Journal articles: '20th century music'

1

Marks, Anthony. "20th Century." Musical Times 127, no. 1718 (May 1986): 281. http://dx.doi.org/10.2307/965468.

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Marks, Anthony, and Paul Griffiths. "20th Century." Musical Times 128, no. 1732 (June 1987): 332. http://dx.doi.org/10.2307/1193737.

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Marks, Anthony. "20th Century." Musical Times 128, no. 1732 (June 1987): 337. http://dx.doi.org/10.2307/1193747.

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Criswick, Mary. "20th-Century Guitar." Musical Times 127, no. 1726 (December 1986): 695. http://dx.doi.org/10.2307/964679.

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Criswick, Mary. "20th-Century Guitar." Musical Times 128, no. 1734 (August 1987): 442. http://dx.doi.org/10.2307/965019.

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O'Loughlin, Niall. "20th Century Wind." Musical Times 131, no. 1766 (April 1990): 206. http://dx.doi.org/10.2307/966272.

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Banfield, Stephen. "20th-Century British." Musical Times 126, no. 1704 (February 1985): 99. http://dx.doi.org/10.2307/963479.

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Craig, Dale A. "Trans–Cultural Composition in the 20th Century." Tempo, no. 156 (March 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.

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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement without cross-cultural referrents).

9

Roseberry, Eric, and Robert P. Morgan. "Anthology of 20th-Century Music." Musical Times 133, no. 1797 (November 1992): 581. http://dx.doi.org/10.2307/1002593.

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Von Blumröder, Christoph. "Ende der Neuen Musik." Die Musikforschung 72, no. 3 (September 22, 2021): 201–13. http://dx.doi.org/10.52412/mf.2019.h3.44.

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The term "Neue Musik" was coined for a special concept of fundamental musical innovation within Austro-German music theory of the early 20th century, and it found no terminological equivalent beyond the German language. Established by Paul Bekker with his lecture “Neue Musik” in 1919, composers such as Stockhausen or Ligeti embraced the term with its emphatic claim to innovation and new departures. However, one hundred years on the term "Neue Musik" is often used mainly as a synonym for any type of contemporary music. This article questions whether the term "Neue Musik" is still an appropriate framework for a current theory of musical composition. Not only have the specific musical circumstances changed within the course of the 20th century, but also the political and social conditions have altered drastically after two world wars which had given special impulses to those composers who strove for a new foundation of music after 1918 and 1945 respectively. This article argues that the age of "Neue Musik" has come to an end in the late 20th century, and thus it is now necessary to introduce alternative terminological concepts and methodical directions for music historiography.

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Gbur, Bruce, and David DeBolt. "Bassoon Music of 20th-Century America." American Music 18, no. 1 (2000): 116. http://dx.doi.org/10.2307/3052397.

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Anderson, Julian, and Norman Lebrecht. "The Companion to 20th Century Music." Musical Times 134, no. 1799 (January 1993): 38. http://dx.doi.org/10.2307/1002636.

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Manuel, Peter, and Wim van der Meer. "Hindustani Music in the 20th Century." Asian Music 18, no. 1 (1986): 208. http://dx.doi.org/10.2307/834168.

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Sabbe, H. "Open structure in 20th century music." Interface 16, no. 3 (January 1987): 121–22. http://dx.doi.org/10.1080/09298218708570494.

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Jones, Mark. "20th century composers." Psychiatric Bulletin 15, no. 7 (July 1991): 442–45. http://dx.doi.org/10.1192/pb.15.7.442.

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At the turn of the century, opera was leaderless after the heady days of Verdi and Wagner. Puccini emerged as the new voice of Italian opera, where realism, or verismo, was the way forward. But verismo could never be the answer to the operatic dilemma that faced the latest composers, since it only gave a musical dimension to a stage painting of ‘life as it is’, without reference to underlying psychodynamics — I personally have never thought Puccini much of an intellectual. Beautiful his music may be, but as thinking pieces of theatre they are devoid of real challenges. Their appeal and potency lies, to a great extent, in Puccini's obsession with needless suffering.

16

Ladič, Branko. "Transformations of folklorism in 20th-century Slovak composition." Studia Musicologica 56, no. 4 (December 2015): 367–95. http://dx.doi.org/10.1556/6.2015.56.4.6.

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Folkloristic musical works played an essential role in the creation of a ‘Slovak idiom’ in classical music of the post-war period. From the simple arrangement of folk songs to a more autonomous art music (which may have been only partly influenced by folk traditions) there existed a broad spectrum of musical practices, including also film music and music for the professional ‘folk music ensembles’ that appeared after 1948. By referring to specific examples from this large body of music, I will show how composers worked with harmonic and poetic elements that were particular to folk music: my discussion of examples from the breadth of this music — including music for the film Zem spieva ([The land sings], music by F. Škvor), the ‘model’ compositions for the ensemble SĽUK (A. Moyzes) and, finally, the subjective folklorism of the avantgarde in the 1960s and 1970s — shows how Slovak composers worked under changing ideological influences to bring about an ‘ennobling’ of folk music.

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Dobrota, Snježana, and Marija Sarajčev. "Students musical preferences for classical music, 20th century music, and world music - the open-earedness hypothesis." Školski vjesnik 70, no. 1 (2021): 27–42. http://dx.doi.org/10.38003/sv.70.1.2.

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The paper explores students’ preferences for classical music, 20th century music, and world music, as well as the influence of student age, gender, and previous familiarity with the piece of music on the preferences for 20th century music and world music. As a part of the research, a general data ques[1]tionnaire and an assessment scale for testing preferences for musical fragments were administered to the sample of 183 students in fourth and eighth grades of primary school and senior students attending grammar school. Students gener[1]ally show greatest preferences for world music. The influence of age on the pref[1]erences for 20th century music and world music has been confirmed. Female students, compared to male students, show greater preferences for 20th century music, while in the case of world music, no statistically significant differences were observed with respect to gender. It has been confirmed that students show greater preferences for familiar music, compared to unfamiliar music. The fact that younger students are more open to different musical styles can have significant implications for designing musical activities for children of preschool and early school age

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Knust, Martin. "20th-century Music in Sweden. An Overview." Musicological Annual 54, no. 2 (November 15, 2018): 31–43. http://dx.doi.org/10.4312/mz.54.2.31-43.

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Sweden appeared as a music exporting country on the map in the beginning of the 20th century. Located between different shifting military and political blocks it maintained a politics that contributed to some extent to the specific shape of Sweden’s music life which this overview outlines.

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Waldron, Janice. "Questioning 20th Century Assumptions About 21st Century Music Practices." Action, Criticism, and Theory for Music Education 17, no. 1 (April 2018): 97–113. http://dx.doi.org/10.22176/act17.1.97.

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Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.

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These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism. Other poets, particularly Mario Sa-Carneiro (1890–1916), and plastic artists, notably Amadeo de Sousa Cardoso (1887–1918) and Jose de Almada Negreiros (1893–1970), similarly reflect the strength of these patriotic and mystical ideas in Portugal during the country's deepening social crisis in the early part of the century. But Pessoa, who famously split himself into several persons, each with their own name, style and poetic output, may also stand as a symbol of the different currents Portuguese composers have ridden in search of their national identity.

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Savenko, Svetlana Savenko. "Stravinsky and Russian Music of the 20th Century." Musicological Annual 43, no. 2 (December 1, 2007): 93–98. http://dx.doi.org/10.4312/mz.43.2.93-98.

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The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most important stations of the perception of Stravinsky: 1. 1910–1920. Stravinsky’s works were regularly performed in Russia during this period. The reaction of the audience and the press was various and partly controversial. 2. End of the 30’s to the middle 1950’s. In this period Stravinsky’s music has almost disappeared from the USSR concert life. It became the target for most violent ideological criticism, which reached its zenith at the threshold of 1940’s 1950’s. 3. Stravinskys visit to the USSR (1962) had a crucial meaning for the expansion of his influence. The main factors of the influence: 1. After the 1920’s the direct influence of Stravinsky on the Russian music was at first rather obvious. At that time, one could observe it through a whole set of compositions by “leftist” composers from the circle of The Association Of Modern Music; they understood Stravinsky’s music as a renewed, contemporary musical tradition of Russia. 2. A revival of the influence of Stravinsky’s music began in the 1960’s, probably in connection with “the new folkloristic wave” in the national oriented works of young composers, who belonged to a large extent to “the Soviet avant-garde”. Resumé: Stravinsky’s work was ideal as a model for the development of the Russian music in the 20th century.

22

Hopkins, Charles. "Godowsky's 'Phonoramas': A 20th-Century 'Wanderlust'." Musical Times 130, no. 1757 (July 1989): 400. http://dx.doi.org/10.2307/1193437.

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23

Schachter, Carl. "20th-century analysis and Mozart performance." Early Music XIX, no. 4 (November 1991): 620–28. http://dx.doi.org/10.1093/earlyj/xix.4.620.

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Bulancea, Gabriel. "THE AUGMENTED TONALITY IN THE FIRST HALF OF THE 20TH CENTURY MUSIC." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 2, no. 2 (2018): 286–98. http://dx.doi.org/10.26520/mcdsare.2018.2.286-298.

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25

Pereverzeva, Marina Viktorovna. "Interdisciplinary Approach to the Mastering of the Music of the 20th Century." Journal of Advanced Research in Dynamical and Control Systems 12, SP3 (February 28, 2020): 772–78. http://dx.doi.org/10.5373/jardcs/v12sp3/20201316.

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26

Kudiņš, Jānis. "FRAGMENTARY AND MODERATE MODERNISM IN LATVIAN MUSIC HISTORY ." Culture Crossroads 19 (October 11, 2022): 111–25. http://dx.doi.org/10.55877/cc.vol19.31.

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The question of 20th century modernism in the history of Latvian academic genres music is still topical. The prevailing opinion in musicological research (literature) is that representation of modernism in the history of Latvian music has been fragmentary. In various decades of the 20th century (the first and second half of the century), Latvian composers have rarely turned to the most radical expression of modernism, the avant-garde. Much more often possible identified stylistically moderate manifestations of modernism. However, these issues have still been little researched. This article offers a focused (panoramic) characterisation, looking at local peculiarities of adaptation and representation of modernism in Latvian music history in the 20th century.

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Doty, David B., and Gardner Read. "20th-Century Microtonal Notation." Notes 48, no. 4 (June 1992): 1309. http://dx.doi.org/10.2307/942152.

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Maglov, Marija. "Past music, future music: Technology and music institutions in the 20th century." New Sound, no. 48-2 (2016): 53–64. http://dx.doi.org/10.5937/newso1648053m.

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In his text Technology and the Composer Pierre Boulez writes about new technologies that emerged in the 20th century, primarily created for the purposes of music recording and reproduction, but also established as a means of innovation in electronic and electro-acoustic music practice. Boulez points to two directions where technology and music are in question: conservative historicism and progressive technology, enabling the development of new music material and innovation. By using Boulez's text(s) as a point of departure, the author considers the roles those new technologies had in the development of some musical institutions and questions how institutionalized discourse molds ideas on the roles music technology should have. The aim of the paper is to discuss how the music of the past was 'conserved' and how the music of the future was created in particular types of music institutions thanks to new technological possibilities.

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Ghuman, Nalini. "19th- and 20th-Century British and American." Musical Times 136, no. 1826 (April 1995): 196. http://dx.doi.org/10.2307/1004177.

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30

Stampfel, Peter. "The American 20th Century in 100 Songs." Journal of Popular Music Studies 31, no. 2 (June 2019): 3–14. http://dx.doi.org/10.1525/jpms.2019.312002.

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31

Bedford, Frances. "Major 20th-century composers and the harpsichord." Contemporary Music Review 20, no. 1 (January 2001): 17–24. http://dx.doi.org/10.1080/07494460100640031.

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32

Madsen, Clifford K., and John M. Geringer. "Responses of Multi-Aged Music Students to Mid-20th-Century Art Music." Journal of Research in Music Education 63, no. 3 (August 6, 2015): 336–48. http://dx.doi.org/10.1177/0022429415595621.

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This investigation replicates previous research into K–12 students’ responses to mid-20th-century art music. The study extends that research to include undergraduates and graduates as well as an additional group of graduate students who had taken a 20th-century music class. Children’s responses showed remarkable consistency and indicated that younger children gave higher mean liking ratings than did older students. Kindergarten and third-grade youngsters preferred all but two of the excerpts compared to their older counterparts. There appeared to be a large difference between younger students’ responses compared to 6th- and 9th-grade students, who were more similar to undergraduate and graduate music students, while 12th graders generally gave the lowest responses. Preferences for the group of graduate students who studied 20th-century music were not significantly higher than those of graduate students who had not had an additional course. These results corroborate previous research that illustrates differences in preference between different ages of listeners.

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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.

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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.

34

Kozel, David. "Time Models in Myth and Music of the 20th Century." Musicological Annual 55, no. 1 (June 20, 2019): 177–94. http://dx.doi.org/10.4312/mz.55.1.177-194.

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The study deals with the relationship between myth and music of the 20th century. Myth is a structuring principle affecting music by remythologisation. The author analyses time models in mythological thinking in confrontation with new models of time in music. Myth and music contain a vertical and non-linear dimension with specific manifestation.

35

Burnett, Robert, Russell Sanjek, David Sanjek, and Norton York. "American Popular Music Business in the 20th Century." Notes 50, no. 4 (June 1994): 1440. http://dx.doi.org/10.2307/898340.

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36

Christensen, Erik. "Overt and Hidden Processes in 20th Century Music." Axiomathes 14, no. 1 (2004): 97–117. http://dx.doi.org/10.1023/b:axio.0000006790.51374.4a.

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37

Barnard, Stephen. "The Faber Companion to 20th Century Popular Music." Popular Music 11, no. 1 (January 1992): 111–15. http://dx.doi.org/10.1017/s0261143000004888.

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Hyung-Joo Chi. "20th Century Korean music, opened a new path." Music and Culture ll, no. 32 (March 2015): 177–83. http://dx.doi.org/10.17091/kswm.2015..32.177.

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39

Qu, Xin. "Metaphoric characteristics of perpetuum mobile and its conductorial interpretation (based on the examples of compositions by D.Shostakovich)." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 23–33. http://dx.doi.org/10.7256/2453-613x.2021.4.36350.

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The authors give theoretical substantiation and offer the ways to define the metaphoric images of perpetuum mobile in European music of the 19th - the first half of the 20th century. The research considers the common formative characteristics of an image (monothematism, variational nature, subordination to the continuous flow-through tempo), intonational components (noise and onomatopoeical effects, ostinato character, repetition of rithmic, texture and melodic formulae). The authors detect individual stylistic peculiarities in the realization of perpetuum mobile in the process of conducting a piece of music: sarcastic invariants of a theme (D. Shostakovich). Using the material of musical compositions, the authors substantiate and explain the universal character of the image of perpetuum mobile and its strong potential. The transformations of the image reflect the development of European music from pantheism of romanticists to the newest technicist tendencies of the 20th century, and represent complex conflict processes of the spiritual life of a person in the age of industrial civilization. The research of the image of perpetuum mobile of the previous ages doesn’t explain all the peculiarities of the phenomenon and determines the need for further research of the postmodernist music art of the late 20th - the early 21st century. Based on the offered images of perpetuum mobile in music, the authors detect their transformation from the sound images of the 19th century to anthropogenic allusions of the first half of the 20th century. It is proved that in the music of the early 20th century, perpetuum mobile is one of the implementations of the image of a “human-machine” - in music culture, becomes controversial due to wars and confrontation in the world, therefore the sound images of perpetuum mobile reflect a militarized conflict (a vivid example is Shostakovich’s Symphony No 7). The article characterizes the artistic and stylistic aspects of perpetuum mobile in the instrumental music of the 20th century. The authors note that in the beginning of the century, the image of perpetuum mobile gains the features of technicism, which promotes the development of a different interpretation and means of conducting a piece of music.  

40

Sheludyakova, Oksana E. "The New Obikhod of the 20th Century: Compilations of Monastic Liturgical Music of the Late 20th Century." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2017): 93–99. http://dx.doi.org/10.17674/1997-0854.2017.4.093-099.

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Kudiņš, Jānis. "Latvian Music History in the Context of 20th-century Modernism and Postmodernism. Some Specific Issues of Local Historiography." Musicological Annual 54, no. 2 (November 15, 2018): 97–139. http://dx.doi.org/10.4312/mz.54.2.97-139.

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Do the terms “modernism” and “postmodernism” objectively characterize the trends in the music history of the 20th century or are they merely theoretical abstractions? How can they be applied to the music history of specific countries, for example, when analysing a local historical experience? The article will consider these questions primarily to focus on the representation of the modernist and postmodernist aesthetics in the stylistic developments of the 20th-century Latvian music history.

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Engur, Doruk. "The Effect of Music Teacher Education on Musical Taste of Music Majors." International Education Studies 13, no. 1 (December 30, 2019): 98. http://dx.doi.org/10.5539/ies.v13n1p98.

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In this study, it was aimed to determine the level of change of music education students' musical taste after they have received four years of music education given within the scope of the Music Education Undergraduate Program. To achieve this purpose, a cross-sectional survey was employed. Therefore, 12 pieces were selected to represent each category of Baroque, Classical, Romantic, and 20th-century music, and the first, second, third, and fourth-year students were asked to score the pieces out of 7 according to their musical taste. The results show a linear trend decreasing from Baroque to 20th-century music. However, the year of education of the students does not have a significant effect on their musical taste.

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Rasch, Rudolf, and Gardner Read. "Review of Gardner Read, 20th-Century Microtonal Notation." Perspectives of New Music 29, no. 1 (1991): 258. http://dx.doi.org/10.2307/833079.

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Jasiecka-Bury, Urszula. "A nostalgic return to the past or sound searching? On the use of contemporary harpsichords in early music performance." Notes Muzyczny 2, no. 16 (December 30, 2021): 117–35. http://dx.doi.org/10.5604/01.3001.0015.5496.

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The article is based on the materials used for the author’s doctoral dissertation entitled Contemporary performance of 17th century German harpsichord toccatas in the context of instrument selection. Its main part is an analysis of the changes which occured in the harpsichord builiding before the end of the 19th century and the change in approach to early music at the beginning of the 20th century. The article is an attempt to answer the question to which extent instrument selection determines our today’s performance. Is it only a harpsichord being an exact copy of historical instruments that allows us to deliver an authentic and fresh interpretation? While listening to 20th century harpsichordists playing 20th century instruments (i.e., using contemporary models, not historically-based), we discover a different world of early music, which may even be more experimental than today’s performance sound-wise. It seems that the openness towards contemporary harpsichords while preserving historical practices at the same time may help discover new sound qualities in early music pieces.

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Milner, Anthony. "British Music. A Misunderstood Tradition?: 3. The 20th Century." Musical Times 133, no. 1788 (February 1992): 71. http://dx.doi.org/10.2307/965848.

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46

Gushee, Marion S., and Paul Griffiths. "The Thames and Hudson Encyclopedia of 20th-Century Music." Notes 45, no. 4 (June 1989): 756. http://dx.doi.org/10.2307/941226.

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47

FRĂȚILĂ, Lioara. "Accompanying and the Orchestral Reduction of 20th Century Music." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 77–84. http://dx.doi.org/10.31926/but.pa.2019.12.61.31.

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48

O'Loughlin, Niall. "What is English music? The Twentieth Century Experience." Musicological Annual 43, no. 1 (December 1, 2007): 147–66. http://dx.doi.org/10.4312/mz.43.1.147-166.

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Many countries in the 19th century wanted to assert their national character, with music being one way of doing so. We can distinguish four ways in which in music national identity can be established: composers may use the folk music, they can base their music on folk music, they can set the words of a nation to music and the last possibility can be found in the idea of an association of certain music with specific events and festivities in a tradition. The author discusses in detail these four possibilities of the establishment of Englishness in music in 20th century.

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Uscher, Nancy. "A 20th–Century Approach to Heterophony: Mark Kopytman'S ‘Cantus II’." Tempo, no. 156 (March 1986): 19–22. http://dx.doi.org/10.1017/s0040298200022087.

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Plato discussed the term ‘heterophony’ in his Laws, Part VII, The technique was widely in use by the Notre Dame school of composers in 12th-century Paris. Much of the indigenous music of the Near East and Africa is rich with it. Indeed, there is an important example in the Credo of Beethoven's Missa Solemnis. The Israeli composer Mark Kopytman has in recent years transformed this ancient term into a vital 20th-century technique, and made it the language of some of his important compositions. One of these, Cantus II for violin, viola, and cello (1980), will be performed at the ISCM World Music Days during March in Budapest.

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Demchenko, Alexander I. "The Scythian Neophyte of the Early 20th Century." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2016): 33–41. http://dx.doi.org/10.17674/1997-0854.2016.1.033-041.

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Journal articles on the topic '20th century music'

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