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1
J, Statham P., ed. Inorganic trace analysis: Philosophy and practice. Chichester: Wiley, 1993.
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2
Zolotov, A. A. (Andreĭ Andreevich), author, ed. Znaki zhizni: Neizvestnyĭ Sviridov = Traces of a life : the unknown Sviridov. Moskva: T︠S︡entr knigi Rudomino, 2014.
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3
Belhassine, Naoufel. Hédi Jouini: La trace d'un géant. Nice: Bénévent, 2009.
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4
Küng, Hans. Mozart: Traces of transcendence. Grand Rapids, Mich: W.B. Eerdmans Pub. Co., 1993.
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5
Il y a trace de nous. Sampzon]: Delatour France, 2020.
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6
Canadian Council of Ministers of the Environment. Compost Guidelines Task Group. Guidelines for compost quality. [Winnipeg]: Canadian Council of Ministers of the Environment, 2005.
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7
Simsova, Sylva. Traces in the sand: The story of Anthony Kammel in 18th century Britain. Newcastle-under-Lyme: Dvořák Society, 2014.
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8
Dusapin, Pascal. Flux, trace, temps, inconscient: Entretiens sur la musique et la psychanalyse. Nantes: Defaut, 2012.
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9
Brahms dopo Brahms: Tracce panoramiche di una discendenza e di un'eredità. Lucca: Libreria musicale italiana, 2009.
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10
Palák, Milan. Po stopách Gustava Mahlera v Čechách a na Moravě =: Auf den Spuren von Gustav Mahler in Böhmen und Mähren = In Gustav Mahler's footsteps in Bohemia and Moravia = Sur les traces de Gustav Mahler en Bohême et en Moravie = In Gustav Mahler's voetsporen in Bohemen en Moravië. Ostrava: Milan Palák, 2003.
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11
Kim, Yŏng-hyŏn. Kil esŏ kil ŭl mutta: Na ŭi haep'arangkil kŏtki. 8th ed. Kyŏngbuk Kyŏngsan-si: Yŏllin Sisŏn, 2014.
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12
Andò, Valeria. Euripide, Ifigenia in Aulide. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-513-1.
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This volume contains the first Italian critical edition with introduction, translation and commentary of Euripides’ Iphigenia in Aulis. The tragedy, exhibited posthumously in 405 BCE, stages the first mythical segment of the Trojan War, namely the sacrifice of Iphigenia, daughter of king Agamemnon, head of the Greek army, in order to propitiate the winds that should lead the navy to Troy. A tragedy of intrigue and unveiling, in which all the characters try to oppose the sacrifice, judged to be an impiety despite its sacred essence. It is therefore a tragedy without gods, in which characters of modest moral stature move, unstable, ready to sudden changes of mind, and among whom the protagonist stands out: the girl who, having overcome the dismay for the destiny awaiting her, voluntarily moves towards death on the altar, for a flimsy patriotic ideal and with the illusion of achieving immortal glory. Since the end of the eighteenth century, the text of this tragedy, handed over to us by the manuscript tradition, has been exposed more than others to a rigorous philological criticism that has broken its unity, through considerable expunctions of entire sections and sequences of verses. The volume traces the phases of this critical work, showing its methods – and sometimes its excesses – and choosing a balance line in the constitution of the text. The overall exegesis of the tragedy, which I propose in this study, consists in the belief that, despite the exodus being spurious, the finale, in view of which the entire dramaturgy was composed, still had to contemplate Iphigenia’s salvation. In fact, if the Panhellenic ideal of defence against the barbarians is now meaningless, and if a war of destruction, to begin with, needs the death of an innocent person, then this death must be transcended and the horror of human sacrifice must dissolve. It therefore seems that, once political current events become opaque, the poet’s research tends to create situations of great patheticism in an aesthetic setting of refined beauty.
13
Statham, P. J., and A. G. Howard. Inorganic Trace Analysis: Philosophy and Practice. John Wiley & Sons, 1994.
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14
Sur les traces de J-S Bach. BUCHET CHASTEL, 2021.
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15
The composer composes the future so that the composition leaves the traces of the future which the future won’t leave, Hong-Kai Wang. Taipei, Taiwan: TheCube Project Space, 2012.
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16
LAMM, Kelcey W. Easy Cello Solos: 29 Classical Music Tracks by Composers. Independently Published, 2022.
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17
Kung, Hans. Mozart: Traces of Transcendence. Wm. B. Eerdmans Publishing Company, 1993.
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18
Küng, Hans. Mozart: Traces of transcendence. SCM Press, 1992.
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19
Clement, Raymond E. Instrumentation for Trace Organic Monitoring. CRC, 1991.
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20
Clement, Raymond E. Instrumentation for Trace Organic Monitoring. Taylor & Francis Group, 2018.
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21
Instrumentation for Trace Organic Monitoring. Taylor & Francis Group, 2017.
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22
Clement, Raymond E. Instrumentation for Trace Organic Monitoring. Taylor & Francis Group, 2018.
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23
Clement, Raymond E. Instrumentation for Trace Organic Monitoring. Taylor & Francis Group, 2018.
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24
Harrison Birtwhistle Wild Tracks A Conversation Diary With Fiona Maddocks. Faber & Faber, 2014.
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25
Platte, Nathan. Music Director Differences. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0006.
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In the productions leading up to Gone with the Wind, Selznick tried working with different composers to cultivate a sustainable partnership. These efforts included trial productions with Alfred Newman (The Prisoner of Zenda) and Oscar Levant (Nothing Sacred), and ultimately led to Selznick’s hiring Lou Forbes as a permanent music director in 1937. Forbes’s responsibilities included securing permissions to use preexistent music, assembling preview scores (known now as “temp tracks”), supervising final scores, serving as a liaison between Selznick and the composer, monitoring recording sessions, and watching the budget. This chapter surveys the films leading up to Forbes’s tenure and his initial productions, which involved coordinating the collective efforts of multiple composers, including Hugo Friedhofer, Max Steiner, Robert Russell Bennett, and Franz Waxman. Forbes’s thoughtful contributions to films like Intermezzo illuminate the otherwise neglected role of the Hollywood music director.
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Bonds, Mark Evan. The Beethoven Syndrome. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190068479.001.0001.
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The “Beethoven syndrome” is the inclination of listeners to hear music as the projection of a composer’s inner self. Beethoven’s music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general—not just Beethoven—in their works, particularly in their instrumental music. The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric, in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. Expression was thought of as an objective construct with a purpose. But through a confluence of musical, philosophical, social, and economic changes, the framework of rhetoric gave way to a framework of hermeneutics. Under the paradigm of expressive subjectivity, concert-goers no longer perceived composers as orators but as oracles to be deciphered. The aesthetics of “New Objectivity” around 1920 marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high-modernist aesthetic that dominated the century’s middle decades. Perceptions of compositional subjectivity have nevertheless endured in surprising ways, and we find ourselves today in an era of dual and often conflicting paradigms.
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Llewellyn, Matthew P., and John Gleaves. The Anatomy of Olympic Amateurism. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040351.003.0002.
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This chapter traces the origins and development of amateurism, from the plans to revive the Olympic Games of classical Greek antiquity in 1894 through its global diffusion. Though often misattributed to ancient Greece, amateurism was a distinctly modern invention born in Great Britain during the latter half of the nineteenth century. A holistic and loosely articulated set of ideas, beliefs, and practices, amateurism is commonly defined as being “about doing things for the love of them, doing them without reward or material gain or doing them unprofessionally.” The amateur played the game for the game's sake, disavowed gambling and professionalism, and competed in a composed, dignified manner. From its institutional seedbed in Victorian Britain, amateurism traveled the sporting globe, from the cosmopolitan Dominion cities of Cape Town, Sydney, and Toronto to distant British imperial outposts in sub-Saharan Africa, the Caribbean, Southeast Asia, and beyond. Like the spread of modern sports and games, the British diffused amateurism via a series of interrelated mechanisms: notably, the public schools, the economic and industrial system, the imperial British army, the evangelical and muscular Christianity movements, and a vast literary network of sporting journals, male adventure stories, and imperial tracts.
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Shelleg, Assaf. Theological Stains. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197504642.001.0001.
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Theological Stains traces the growth of art music in Israel from the mid-twentieth century to the turn of the twenty-first. In a riveting and provocative account, Assaf Shelleg explores the theological grammar of Zionism and its impact on the art music written by emigrant and native composers grappling with biblical redemptive promises and diasporic patrimonies. Unveiling the network that bred territorial nationalism and Hebrew culture, Shelleg shows how this mechanism infiltrated composers’ work as much as it triggered less desirable responses from composers who sought to realize to the nonterritorial diasporic options Zionism has renounced. In the process, compositional aesthetics was stained by the state’s nationalization of the theological, by diasporism that refused redemption, and by Jewish musical traditions that permeated inaudibly into compositions written throughout the second half of the twentieth century. Accompanying this rich and dramatic story are equivalent developments in modern Hebrew literature and poetry alongside vast and previously unstudied archival sources. The book is also lavishly illuminated with 135 music examples that render it an incisive guide to fundamental chapters in modern and late modern art music.
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Paschalis, Michael. Translations of Virgil into Ancient Greek. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810810.003.0010.
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This chapter traces the two-thousand-year-old tradition of translating Virgil into ancient Greek. It examines verse translations composed in late antiquity (Oratio Constantini) and in the Renaissance (Scaliger and Heinsius) as well as translations from the period of the modern Greek Enlightenment (Voulgaris) down to nineteenth-century modern Greece (Philitas and Ioannou). Paschalis investigates the elements of continuity and change in relation to translation techniques, adaptation to the genre’s conventional dialect, metrical and verbal equivalences between the translations and the original, the kinds of audience to which translations are addressed, and the role of ideology in determining the character of the translations.
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Maymudes, Victor, and Jacob Maymudes. Another Side of Bob Dylan: A Personal History on the Road and off the Tracks. St. Martin's Press, 2014.
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31
Another Side of Bob Dylan: A Personal History on the Road and off the Tracks. Griffin, 2015.
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32
Maymudes, Victor. Another side of Bob Dylan: A personal history on the road and off the tracks. 2014.
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33
Dmitriev, Kirill, and Christine van Ruymbeke, eds. “Passed around by a Crescent”. Ergon – ein Verlag in der Nomos Verlagsgesellschaft, 2022. http://dx.doi.org/10.5771/9783956509094.
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This publication explores the presence of the shared heritage and interdependence of poetry composed around the theme of wine in diverse literary traditions of the Islamic world. The specialist contributions discuss multiple aspects of the literary polyphony of wine in the pre-modern Arabic, Persian, Hebrew, Ottoman Turkish, and Urdu literatures during the first millennium of the Islamic era. Presenting these together and in dialogue with one another, the volume offers a comparative perspective on a long, varied, but singularly mutual tradition. It traces how this poetry develops, flourishes and matures across linguistic and geographic, confessional and social, aesthetic and artistic boundaries within the regions of the religiously and culturally diverse Islamic world, from al-Andalūs to India.
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Kreuzer, Gundula. Curtain, Gong, Steam. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520279681.001.0001.
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Exploring opera from the perspectives of media studies and technology studies, this pioneering book examines how composers since the late eighteenth century have increasingly integrated specific audiovisual details into their creative visions, thereby furthering the development of stage machineries as well as the means of their codification. In particular, composers fostered what the author calls “Wagnerian technologies”: multisensory devices intended to veil both the artificiality of illusionist stage representation and their own mechanicity. Building on Richard Wagner’s theories of the total work of art and exposing its reliance on technology, the book looks in detail at the uses and effects of curtains, the gong (or tam-tam), and steam. Designed to appeal directly to the audience’s sensorium like media interfaces, these technologies not only mediated between the sound and sight of a production but also smoothed over its heterogeneous materialities. Drawing on scores, performance documents, treatises, reviews, and cultural discourses, the book traces the practical, hermeneutic, and artistic implications of each titular technology in a wealth of European operatic works—both well known and obscure—by Wagner and the generations of composers around him. Each technology was temporarily absorbed into common notions of the relevant operas but gradually transformed in later productions, in its own mechanical evolution, and its resurgence across performance genres of the last half century. With its interdisciplinary angle on the history and materiality of staging, Curtain, Gong, Steam thus expands the concept of the operatic work.
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Shapiro, Stewart, and Geoffrey Hellman, eds. The History of Continua. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198809647.001.0001.
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Mathematical and philosophical thought about continuity has changed considerably over the ages. Aristotle insisted that continuous substances are not composed of points, and that they can only be divided into parts potentially; a continuum is a unified whole. The most dominant account today, traced to Cantor and Dedekind, is in stark contrast with this, taking a continuum to be composed of infinitely many points. The opening chapters cover the ancient and medieval worlds: the pre-Socratics, Plato, Aristotle, Alexander, and a recently discovered manuscript by Bradwardine. In the early modern period, mathematicians developed the calculus the rise of infinitesimal techniques, thus transforming the notion of continuity. The main figures treated here include Galileo, Cavalieri, Leibniz, and Kant. In the early party of the nineteenth century, Bolzano was one of the first important mathematicians and philosophers to insist that continua are composed of points, and he made a heroic attempt to come to grips with the underlying issues concerning the infinite. The two figures most responsible for the contemporary hegemony concerning continuity are Cantor and Dedekind. Each is treated, along with precursors and influences in both mathematics and philosophy. The next chapters provide analyses of figures like du Bois-Reymond, Weyl, Brouwer, Peirce, and Whitehead. The final four chapters each focus on a more or less contemporary take on continuity that is outside the Dedekind–Cantor hegemony: a predicative approach, accounts that do not take continua to be composed of points, constructive approaches, and non-Archimedean accounts that make essential use of infinitesimals.
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Ó Briain, Lonán. On Becoming Vietnamese. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0002.
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Chapter 1 examines the mythologization of the Hmong and other minorities by mainstream performing artists to show how those minorities have been inscribed into Vietnam’s national consciousness through popular music. The chapter traces the early history and migrations of the Hmong into the mountains of Southeast Asia to their formal identification as an ethnic group in French Indochina. From revolutionary songs (ca khúc cách mạnh) in the 1950s and 1960s to independent creative artists in the late twentieth and early twenty-first centuries, the multivalent superculture that comprises the Vietnamese mediascape has perpetuated a series of stereotypes about the minorities. Songs, artists, and composers are linked to historically situated political developments to illustrate the gradual assimilation of Hmong and other minorities into Vietnamese culture and society.
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Smith, Nigel. Grace Abounding to the Chief of Sinners (1666). Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.10.
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This chapter looks closely at John Bunyan’s first major narrative, his conversion account Grace Abounding to the Chief of Sinners (1666), exploring interwoven qualities of intense religious confession, especially the deep sense of sinful guilt; metaphorical vitality drawn from Bunyan’s local experience in Bedfordshire; animated, personified, medicinal citation of the Bible (and other pious books); modes of social abjection; and pursuit of the authority to speak. Grace Abounding was composed when Bunyan was in prison under the terms of the 1664 Conventicle Act, and hence he was using the conversion narrative as a kind of published sermon. Later revisions reduced or erased traces of his earlier religious radicalism, and demonstrated his growing competence as minister and writer, but sometimes compromised authentically remembered spontaneous experience.
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Issiyeva, Adalyat. Representing Russia's Orient. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051365.001.0001.
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This book examines the musical ramifications of Russia’s nineteenth-century expansion to the east and south and explores the formation and development of Russian musical discourse on Russia’s own Orient. It traces the transition from music ethnography to art songs and discusses how various aspects of (music) ethnographies, folk song collections, music theories, and visual representations of Russia’s ethnic minorities, or inorodtsy, shaped Russian composers’ perception and musical representation of Russia’s oriental “others.” Situated on the periphery, minority peoples not only defined the geographical boundaries of the empire, its culture, and its music but also defined the boundaries of Russianness itself. Extensively illustrated with music examples, archival material, and images from long-forgotten Russian sources, this book investigates the historical, cultural, and musical elements that contributed to the formation and creation of Russia’s imperial identity. It delineates musical elements that have been adopted to characterize Russians’ own national hybridity. Three case studies—well-known leader of the Mighty Five Milii Balakirev, lesser known Alexander Aliab’ev, and the late-nineteenth-century composers affiliated with the Music-Ethnography Committee—demonstrate how and why, despite the overwhelming number of pejorative images and descriptions of inorodtsy, these composers decided to disregard their social and political differences and sometimes confused and combined diverse minorities’ identities with that of the Russian “self.” The analysis of the arrangements of folk songs of Russia’s eastern and southern minorities reveals the trajectory of the ways their music was treated, from denigration and “othering” to embracing peoples from all the provinces of the empire.
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Marsland, Rebecca. Lament for the Dead in Fifteenth-Century Scotland. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198787525.003.0003.
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This chapter explores the importance of lament for the dead within historical and romance narratives composed in Scotland between c.1438 and c.1500 in both Older Scots and Latin. The chapter looks in detail at intercalated laments for the dead included in Walter Bower’s Scotichronicon (c.1440–7) and the anonymous Liber Pluscardensis (completed c.1461) as well as in the octosyllabic Buik of Alexander (c.1437), The Wallace (c.1476–8), and Sir Gilbert Hay’s Buik of King Alexander the Conquerour (c.1460–99). The chapter traces a persistent association within these texts between lament for the dead and physical rites of commemoration such as burial and the production of monuments, arguing that lament for the dead provides a means by which reputations can be authoritatively fixed.
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O’Brien, Julia M., ed. The Oxford Handbook of the Minor Prophets. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190673208.001.0001.
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The Oxford Handbook of the Minor Prophets provides a clear and engaging one-volume guide to the major interpretative questions currently engaging scholars of the twelve Minor Prophets. Essays by both established and emerging scholars explore a wide range of methodological perspectives. Historical studies consider the manuscript evidence for these books and overview debates about how, when, and by whom they were composed. Literary explorations consider the genres and rhetorical style of the material, key themes, and intertextual connections with other sections of the Jewish and Christian canons. A large section on the history of interpretation traces the ways in which past and present confessional communities, scholars, and artists have understood the Minor Prophets. In the final section, essays on individual books of the Twelve explore the structure, themes, and contested issues of each book.
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Ramsey, Grant. Trait Bin and Trait Cluster Accounts of Human Nature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823650.003.0003.
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Conceptions of human nature fall under two broad categories, trait bin accounts and trait cluster accounts. Trait bin accounts take there to be a special bin of traits, one composed of all and only those traits constituting our nature. For those arguing for a trait bin account of human nature, the challenge is to articulate what it is that marks a trait as being inside or outside the bin. I argue that trait bin approaches to human nature are misguided, that there is no good way of dividing human traits into those that are a part of our nature and those that are not. Instead, I argue for a trait cluster account, which sees human nature as the patterns of trait expression within and across human life histories and better aligns the concept of human nature with the human sciences.
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De Lucca, Valeria. The Politics of Princely Entertainment. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.001.0001.
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The Politics of Princely Entertainment explores transformations in the politics of entertainment of the Italian aristocratic classes during the second half of the seventeenth century, a time when profound social and cultural shifts influenced the production and consumption of music. The emergence of commercial theaters in the 1630s in Venice and the great appeal that opera began to have for a large and international audience required the aristocracy to take on a new role within the complex network of agents responsible for the production not only of opera but of music in general. The increasing competition between commercial opera theaters, ruling courts, aristocratic families, and religious institutions, and the consequent professionalization of roles that previously had relied solely on patronage meant that singers, poets, and composers acquired unprecedented negotiating power. These questions are explored following the journeys and ventures of two of the most prominent patrons in seventeenth-century Italy, Prince Lorenzo Onofrio Colonna and his wife Maria Mancini. During the thirty years under examination here, 1659–1689, the Colonna were the most influential and active agents in Roman musical life: they sponsored an unprecedented number of operas, serenatas, oratorios, public ceremonies, and carnival parades while supporting the careers of the most prominent composers, librettists, musicians, and singers of the time. Following the Prince and his wife through their travels to Venice, Spain (as Viceroys of the Kingdom of Aragon), and later Naples, this book traces the journeys not only of scores and librettos, but also of the singers, composers, and librettists whose art reached these faraway corners of Europe, serving diverse social and political purposes.
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Simms, Bryan R., and Charlotte Erwin. Berg. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190931445.001.0001.
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This book contains a new study of the life and works of the composer Alban Berg (1885–1935). The major events in his life are recounted, based on a reassessment of archival documents, correspondence, and the recollections of those who knew him. His relationship with other modernists in music, art, and literature—including Arnold Schoenberg, Karl Kraus, and Alma Mahler-Werfel—is traced. The role played in Berg’s personal and artistic life by his wife, Helene, is emphasized, and her management of his legacy—often controversial—for the forty years following his death is explored. The book contains a close study of each of Berg’s major musical works, including his operas Wozzeck and Lulu.
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Lewis, Hannah. “The Music Has Something to Say”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0007.
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Chapter 6 focuses on a well-known case of conflict surrounding a film’s music: the beloved 1934 film L’Atalante. The second collaboration between experimental filmmaker Jean Vigo and film composer Maurice Jaubert, L’Atalante had a disastrous initial release. In an attempt to make the film more broadly accessible, the producers edited the film substantially, replacing parts of Jaubert’s score with the popular song “Le Chaland qui passe.” In altering the soundtrack, they altered an important narrative subtext: a reflexive fixation on synchronized sound film, expressed through a focus on the magic of musical playback technologies. This chapter traces the differences between the two versions of L’Atalante, arguing that Vigo’s fascination with mediated music, and the producers’ attempt to fit the film’s music into a commercially successful paradigm, reflects continuing concerns from both sides about how mediated sound would affect French cinema in the mid-1930s.
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Caps, John. Here Was Something Fresh. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0001.
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This introductory chapter traces the path of Henry Mancini's career, highlighting the reasons why he became the first publicly successful and personally recognizable film composer in history. It suggests that Mancini was perfectly placed, by time and temperament, to be a bridge between the traditions of the big band period of World War II and the eclectic impatience of the baby boomer generation that followed, between the big formal orchestral film scores of Hollywood's so-called Golden Years and a modern American minimalist approach. On the one hand, his respect for pre-wartime pop and movie music represented continuity, even advocacy, of tradition. On the other hand, for many young postwar families, the Mancini sound seemed to represent the bright, confident, welcoming voice of a new middle-class life: interested in pop songs and jazz, in movies and television, in outreach politics but also conventional stay-at-home comfort.
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Debaise, Didier. A Universe of Societies. Translated by Tomas Weber. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423045.003.0010.
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Which kind of relation exists between a stone, a cloud, a dog, and a human? Is nature made of distinct domains and layers or does it form a vast unity from which all beings emerge? Refusing at once a reductionist, physicalist approach as well as a vitalistic one, Whitehead affirms that « everything is a society » This chapter consequently questions the status of different domains which together compose nature by employing the concept of society. The first part traces the history of this notion notably with reference to the two thinkers fundamental to Whitehead: Leibniz and Locke; the second part defines the temporal and spatial relations of societies; and the third explores the differences between physical, biological, and psychical forms of existence as well as their respective ways of relating to environments. The chapter thus tackles the status of nature and its domains.
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Mirka, Danuta, ed. The Oxford Handbook of Topic Theory. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841578.001.0001.
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The concept of topics was introduced into the vocabulary of music scholars by Leonard Ratner to account for cross-references between eighteenth-century styles and genres. The emergence of this phenomenon followed the rapid proliferation and consolidation of stylistic and generic categories. While music theorists and critics classified styles and genres, defining their affects and proper contexts for their usage, composers crossed the boundaries between them, using stylistic conventions as means of communication with the audience. Such topical use of styles and genres out of their proper contexts and their mixtures with other styles and genres became the hallmark of South-German instrumental music, which engulfed the so-called Viennese Classicism. Since this music did not develop its own aesthetics and, in its days, received no adequate critical appraisal, topic theory developed from Ratner’s seminal insight by Wye J. Allanbrook, Kofi Agawu, Robert Hatten, Raymond Monelle, and others can be considered a theory of this music, andThe Oxford Handbook of Topic Theorygoes some way toward reconstructing its aesthetic underpinnings. The volume grounds the concept of topics in eighteenth-century music theory, aesthetics, and criticism; documents historical reality of individual topics on the basis of eighteenth-century sources, traces the origins of topical mixtures to transformations of eighteenth-century musical life, and relates topical analysis to other kinds of music analysis conducted from the perspectives of composers, performers, and listeners. It lays the foundation under further investigation of musical topics in the nineteenth, twentieth, and twenty-first centuries.
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Papadopoulos, Yannis. Multilevel Governance and Depoliticization. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198748977.003.0007.
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‘Multilevel’ governance (MLG) refers to the fact that, in contemporary established democracies, collectively binding decisions are frequently formulated or implemented in a cooperative manner by networks composed of public actors attached to different jurisdictional levels (from the local to the supranational) and of non-public actors such as experts, interest representatives, and members of cause groups. This chapter develops the expectation that the occurrence and magnitude of depoliticization in MLG depend on a number of its defining traits, and that the presence and intensity of these traits depend in turn on the specific empirical configuration and actor constellation of governance arrangements. The chapter first lays out the relationships that may exist between different facets of depoliticization in MLG, and then explores how MLG is depoliticized when technocratic rule, deficits of representation, lack of political control, and lack of public debate tend to prevail.
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Graber, Naomi. Kurt Weill's America. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906580.001.0001.
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This book traces composer Kurt Weill’s changing relationship with the idea of “America.” His European works such as The Rise and Fall of the City of Mahagonny (1930), depict the nation as a capitalist dystopia filled with gangsters and molls. But in 1935, it became clear that Europe was no longer safe for the Jewish Weill, and he set sail for the New World. Once he arrived, he found the culture nothing like he imagined, and his engagement with America shifted in intriguing ways. From that point forward, most of his works concerned the idea of “America,” whether celebrating her successes, or critiquing her shortcomings. As an outsider-turned-insider, Weill’s insights into American culture are somewhat unique. He was more attuned than native-born citizens to the difficult relationship America had with her immigrants, for example. However, it took him longer to understand the subtleties of other issues, particularly those surrounding race relations.
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Bomberger, E. Douglas. Afterword. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.003.0014.
Full textAbstract:
Examining the aftermath of 1917, this section traces the impact of the year’s events on future US musical directions. Recording technology advances made the spread of jazz possible, led to heightened fidelity of sound reproduction in classical music, and eventually altered the entire culture of live performance. Classical music did not disappear, but the advent of jazz presaged the coming dominance of popular music. World War I’s aftermath spawned a culture war between rural and urban Americans, and gains made by African American servicemen encountered a backlash of racial violence and discrimination in the 1920s. The negative stereotypes of the war years hastened German American assimilation. World War II saw different cultural and musical responses, and American classical composers benefited from World War II patriotism in ways their predecessors had not. Finally, the ability of “The Star-Spangled Banner” to unite and divide Americans is an ongoing legacy of World War I.