Academic literature on the topic 'Music Europe History and criticism'
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Journal articles on the topic "Music Europe History and criticism"
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Kahr, Michael. "The Jazz Institutes in Graz." European Journal of Musicology 16, no. 1 (December 31, 2017): 45–59. http://dx.doi.org/10.5450/ejm.2017.16.5778.
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In 1965, the Institute for Jazz at the University of Music and Performing Arts (then the Academy of Music) in Graz started to build a reputation as a pioneer in jazz education in Europe. Upon the establishment of a separate Institute for Jazz Research in 1971, the institution was able to position itself as an academic centre with a focus on both artistic practice and the academic study of jazz; as such, it also inspired other jazz programmes across Central Europe. This article discusses the determining factors and socio-cultural conditions for the development of the Jazz Institutes in Graz and analyses aspects of professionalisation, internationalisation and outreach activities both local and international. The leading personalities in the institution's history are introduced, and their activities from 1965 to 1980 are described. After an overview of the Institute's current state, the article discusses internal and external conflicts and criticism of the Institute's activities, artistic orientation and status. Research for this article was compiled as part of the FWF research project ‘Jazz & the City: Identity of a Capital of Jazz', conducted at the University of Music and Performing Arts in Graz from 2011 to 2013 under Prof. Dr Franz Kerschbaumer
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Kramer, Lawrence. "Culture and musical hermeneutics: The Salome complex." Cambridge Opera Journal 2, no. 3 (November 1990): 269–94. http://dx.doi.org/10.1017/s0954586700003281.
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From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies and behaviour of women. The present paper revisits this well-known episode in cultural history with two distinct aims in mind, one interpretative, the other methodological. The interpretative aim is to offer a feminist approach to the fin-de-sièclecompulsion to retell the Salome story with lavish attention to misogynist imagery - those quivering female bodies and gory male heads. The methodological aim is to find a meeting ground for literary criticism and musicology as both disciplines aspire to become vehicles of a more comprehensive criticism of culture.
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Gordon, Bonnie. "The Secret of the Secret Chromatic Art." Journal of Musicology 28, no. 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.
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In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic melodies condoned by the Church. Beneath that compliant surface lurked secret chromaticism and seditious meanings that remained hidden from the Inquisition. Despite Lowinsky’s obvious interest in odd passages in motets of Clemens non Papa, Lassus, and others, I argue that his history as a Jew in Nazi Germany and then as an exile from that regime compelled his idiosyncratic hearing of sixteenth-century polyphony. A close reading of the text suggests that Lowinsky identified with the composers he wrote about and that he aligned Nazi Germany with the Catholic Inquisition. Beyond its engagement with music theory and cultural history, The Secret Chromatic Art delivers a modern narrative of oppressed minorities, authoritarian regimes, and the artistic triumph of the dispossessed. The Secret Chromatic Art matters today because its themes of displacement and cultural estrangement echo similar issues that Pamela Potter and Lydia Goehr have discerned in the work of other exiled musicians and scholars who migrated from Nazi-controlled Europe to the United States, and whose contributions helped shape our discipline. Moreover, Lowinsky’s theory figured prominently in the debate initiated by Joseph Kerman in the 1960s that pitted American criticism against German positivism, a polemic that is still with us today.
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Conversi, Daniele, and Matthew Machin-Autenrieth. "The Musical Bridge—Intercultural Regionalism and the Immigration Challenge in Contemporary Andalusia." Genealogy 4, no. 1 (December 30, 2019): 5. http://dx.doi.org/10.3390/genealogy4010005.
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The ideals of tolerance and cultural exchange associated with the interfaith past of Muslim Spain (al-Andalus) have become a symbol for Andalusian regionalism and for the integration of Moroccan communities. Nowhere is this more keenly felt than in the context of music. In cities such as Granada, Moroccan and Spanish musicians actively promote the ideals of intercultural dialogue through the performance of repertoires such as flamenco and Arab-Andalusian music that allegedly possess a shared cultural history. In this article, we examine the interrelationship between music and ‘intercultural regionalism’, focusing on how music is used by public institutions to ground social integration in the discourse of regionalism. Against a backdrop of rising Islamophobia and the mobilization of right-wing populist and anti-immigration rhetoric both within Spain and internationally, the authors consider how music can be used to promote social integration, to overcome Islamophobia and to tackle radicalization. We advance two arguments. First, we argue that the musical interculturalism promoted by a variety of institutions needs to be understood within the wider project of Andalusian regionalism. Here, we note that musical integration of Spain’s cultural and historical ‘Other’ (Moroccans) into Andalusian society is promoted as a model for how Europe can overcome the alleged ‘death of multiculturalism’. The preferential way to achieve this objective is through ‘intercultural regionalism’, envisioned as the combination of regional identity-building and intercultural interactions between communities that share a common cultural heritage. Second, we assess some of the criticism of the efficacy of al-Andalus as a model for contemporary intercultural exchange. Combining approaches in political science and ethnomusicology, we focus on one case study, the Fundación Tres Culturas (FTC). Through interviews with figures within the FTC, we examine why this model has become partly insufficient and how it is borne out in the sorts of musical activities programmed by FTC that seek to move beyond the ‘andalusí’ myth. We conclude by recognizing the continuing regional and international importance of this myth but we question its integrating capacity at a time of radical political, economic and environmental upheaval.
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Kurbak, Maria. "Madness of the Society and Madness of the Writer: Wopko Jensma and the Politics of Apartheid." ISTORIYA 13, no. 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020554-8.
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This article focuses on the biography and works of South-African poet, writer and artist Wopko Jensma. He was often referred to as “the first South-African”, implying that he, like no other, was able to merge his own culture — that of Afrikaaners — with mythology, music and languages of black and coloured population of the SAR. His works had been exhibited in the USA and Europe and had been forbidden in his homeland as the consequence of his criticism of Apartheid. Jensma, like no other South-African poet, exploited the theme of loneliness, alienation and restlessness. He was not able to close his eyes on the crimes committed by his nation and unable to demonstrate ignorance towards the suppressed groups of people. This feeling of frustration had been growing and, combined with anxiety and helplessness, at the end brought him to schizophrenia. This article concentrates on the analysis of the challenging creative track pursued by Jensma against the background of historical events of Apartheid period. It demonstrates the way how aggressive politics of the State leads to the development of “sick” society, increasing aggression, disintegration, emergence of “double-thinking”, a maddening feeling of being involved in crime. It clearly gives birth to the trauma, which is extremely difficult to overcome, even for the entire generation — and sometimes even impossible to overcome.
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Llewellyn, Kathleen M. "A Fantastic Frenzy of Consumption in Early Modern France." Renaissance and Reformation 38, no. 3 (November 27, 2015): 119–40. http://dx.doi.org/10.33137/rr.v38i3.26151.
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The enthusiastic (even excessive) consumerism of contemporary western society has its roots, according to some, in the expansion of the consumption of goods in Renaissance Europe. Early modern men and women were ardent, even “passionate” consumers. Such self-indulgence was regarded as decadent and socially perilous; religious and other moral authorities of the era sought to eradicate or at least control these sins of excess. My study examines criticism of “crimes of consumption” in both serious and satirical French literature of the early modern era, including such pamphlets as Frenaizie fantastique Françoise Sur la Nouvelle Mode des Nouveaux Courtisans bottez de ce temps and Pasquil de la Cour pour apprendre à discourir et s’habiller à la mode. Scrutiny of these texts suggest that women’s “crimes of consumption” tended to reveal who they “really were”—bad women, sinful women, dangerous women who led men into sin. Men’s crimes of passionate consumption sometimes also revealed their sinful selves—some were seen as gluttons, for example. But men’s consumption was also, at times, condemned as an attempt to appear to be what they were not; their display of acquired objects revealed an effort to claim membership in a social class to which they did not belong.
Le consumérisme enthousiaste (et même démesuré) de la société occidentale contemporaine a ses racines, d’après certains, dans l’expansion de la consommation de biens en Europe pendant la Renaissance. Dès les débuts de la modernité, hommes et femmes furent des consommateurs ardents, voire « passionnés ». S’adonner au plaisir d’acquérir était sévèrement condamné par les théologiens et les moralistes. Cet article examine la critique de ces passions excessives dans la littérature morale et satirique de l’époque, incluant les pamphlets tels que Frenaizie fantastique Françoise Sur la Nouvelle Mode des Nouveaux Courtisans bottez de ce temps et Pasquil de la Cour pour apprendre à discourir et s’habiller à la mode. Une analyse approfondie de ces textes montre combien la question du gender influe sur l’interprétation de ces passions : la femme coupable de tels excès y est vue mauvaise, pécheresse, dangereuse pour l’homme ; l’homme, quant à lui, est condamné pour dissimuler et vouloir paraître autre que ce qu’il est, entendre d’une autre classe que celle à laquelle il appartient.
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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.
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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results.
The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky).
The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky.
The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.
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Rudichenko, Tatyana. "Art in the Process of Integrating the Don Host to the Russian State." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (September 2019): 215–23. http://dx.doi.org/10.15688/jvolsu4.2019.4.18.
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Introduction. Studying culture and art in the formation of the Cossacks, designing its estate status is carried out in the perspective of current ideas about cultural policy contributing to more complete systemic reconstruction of the process. The novelty consists in showing the interaction of artistic and traditional household culture, the transformation of the latter. The purpose and objectives were analyzing the role of art in integrating the Cossacks into the Russian state, identifying the direction of changes in the culture; historical periodization of perception and adaptation of new art forms; establishing the specificity of the selected periods and the results achieved. Methods and materials. Research methods include the historical one, which allows considering changes in culture based on facts of social history, and cultural one, which gives approaches to studying regulation of the integration process in accordance with the principles of cultural policy. The source base consists of published official documents (letters, laws, decrees) containing reliable information, and art criticism, historical and ethnographic literature, which describes specific phenomena of culture and art. Analysis. The supreme power used effective and relevant for a particular historical period institutions and resources: religion and church (17th c.); service in the army and military education system (18th c.); reforming of social organization (incorporation into the estate structure of the state) and the control system of the Army (separation of the military and civilian system of administration) (19th c.). Results. By creating infrastructure, developing church and secular education, the government promoted systemic renewal of culture and Cossacks’ digestion of its forms that were perceived in Russia and Europe as close, identical and related (architecture, painting, choral singing and orchestra music, drama and musical theater). At the early stage of integration into the Russian state, contact forms and democratic nature of the cultural interaction process prevailed. Cultural expansion of the 18th – 19th centuries had a systemic nature and was determined by purposeful influence of the institutions (church, army, school and social elite) that contributed to renewal of culture according to the Western European model.
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Desrosiers, Diane, and Jean-Philippe Beaulieu. "L’écriture féminine à la Renaissance française sous le regard des chercheurs canadiens." Renaissance and Reformation 37, no. 4 (April 30, 2015): 3–18. http://dx.doi.org/10.33137/rr.v37i4.22637.
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Au cours des dernières décennies, un travail considérable a été accompli par les chercheurs canadiens dans l’exhumation et la réhabilitation des textes des femmes de lettres de la Renaissance française. En raison de leur positionnement géographique à l’intersection des États-Unis et de l’Europe, ces chercheurs participent à la fois des avancées de la recherche française en matière d’érudition et des percées théoriques de la réflexion nord-américaine, enrichie par les gender studies et les études culturelles. Cela explique en partie le caractère original de leur contribution à ce champ de recherche, tant par le choix de leur objet d’étude et l’exploration de corpus marginaux que par l’approche critique et le positionnement théorique qu’ils ont adoptés. Le présent article vise à cerner la spécificité des activités de recherche menées en langue française au Canada dans les domaines bibliographique, éditorial et critique, en portant une attention particulière aux enjeux théoriques et idéologiques des choix effectués par les chercheurs.
Over the past few decades, significant work has been accomplished by Canadian researchers unearthing and recovering texts by the women writers of the French Renaissance. Because of their geographical location—at the intersection of the United States and Europe—these researchers share simultaneously in the advances of French research in the discipline of scholarship and in the theoretical breakthroughs of North American thought informed by gender and cultural studies. This explains, in part, the unique character of their contribution to this field of research — as much for their chosen object of study and exploration of a marginal corpus of work as by their adoption of a certain critical approach and theoretical position. This article seeks to outline the specific features of research activities undertaken in the French language in Canada in the areas of bibliography, editing, and criticism, highlighting in particular the theoretical and ideological issues at stake in the choices made by the researchers.
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Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.
Full textDissertations / Theses on the topic "Music Europe History and criticism"
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CHINCOLI, Veronica. "Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)." Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.
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Defence date: 15 April 2019Examining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo
This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical world. By creating an historical account of the encounters and exchanges between people of different origins within the music scenes, this thesis examines music development and the complexity of processes of racialisation according to their historical locality and meaning. Using a variety of sources including police reports, government documents, interviews, guidebooks and newspapers, this work contributes to widen the perspective of historical studies on music developments, emphasising their social and spatial dimensions, which are fundamental for the exploration of music scenes, in general, and for the spread of black genres of music in particular. Black music styles spread internationally, but were produced in several specific locations where music industry infrastructure was developing. In the urban spaces of the music scenes of London and Paris social networks were formed by various actors - both blacks and whites - and were crucial for music production and reception; different perceptions of blackness, processes of competition, and debates on authenticity emerged; and processes of regulation and negotiation underpinned the intervention of public authorities.
Chapter 4 'Black Music Styles as Vehicles for Trans-racial Interplay: Practices of Learning, Perceptions of Blackness and Commercialisation of Music' of the PhD thesis draws upon an earlier version published as an article “Black Music Styles as Vehicles for Transnational and Trans-Racial Exchange: Perceptions of Blackness in the Music Scenes of London and Paris (1920s-1950s),” (2017) in the journal 'Zapruder world'
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James, Douglas Goff. "Luigi Rinaldo Legnani: His life and position in European music of the early nineteenth century, with an annotated performance edition of selections from 36 Capricci per Tutti I Tuoni Maggiori E Minori, Opus 20." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186632.
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Luigi Legnani (1790-1877) was an important guitarist/composer of the early nineteenth century Italian Romantic school. In addition, he was also a highly skilled singer, violinist, and luthier. Legnani's guitar compositions represent the logical next step after Giuliani; fully evocative of the operatic vocal style characterized by Rossini, and technically adventurous in much the way Paganini's compositions were for the violin, although not to the same degree. His contributions to guitar literature form an important link in the chain of compositional and technical development during the nineteenth-century. This study is in two parts. The first will present as concise a biography as possible, particularly regarding Legnani's concert itineraries, contributions to guitar construction, and relationship with Paganini. An examination of little-known contemporary reviews of his performances will serve as a means of both documenting his concertizing and developing a concept of Legnani's performance style. The second part, an annotated performance edition of selections from Legnani's most famous composition, 36 Capricci per tutti i tuoni maggiori e minori, opus 20, will provide a basis for the understanding and successful performance of Legnani's music by modern guitarists. In conclusion, Legnani's unique contributions to both guitar composition and construction are reevaluated, and an up-to-date list of compositions appended.
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Wang, Rong Sheng. "A study of five Chinese piano pieces with a review of the introduction and development of the piano in China." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941578.
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This dissertation is an analytical study of five Chinese piano pieces: Buffalo Boy's Flute by He Lu-ting, Flower Drum by Qu Wei, Xing-jiang Dance No. 1 and No. 2 by Ding Shan-de and Tunes at Sunset by Li Ying-hai. These five pieces represent a specific historical period from the 1930s to the 1950s--a primary phase in the establishment of Chinese piano music. Each piece is analyzed in terms of melody, rhythm, harmony, form and style, in order to ascertain how Chinese composers fused Western compositional techniques with the Chinese musical heritage. A second objective was to provide an historical background of the introduction and development of the piano in China. Through the investigation, this study has traced the channels through which Western music was introduced to China.The study consists of five chapters. Chapter 1 presents introductory information as well as the purpose, significance, procedures and delimitation of the study. Chapter 2, a review of related literature, provides a brief description and evaluation of important sources utilized. Chapter 3 presents a brief history of the piano in China. Chapter 4 provides an analysis of each of the five Chinese piano pieces. Also included are an evaluation of each work, brief biographies, and the historical circumstances surrounding the composition of each piece. Summary and conclusions are reported in Chapter 5.The history of Chinese piano music is relatively short--spanning approximately eighty years. Western music was not introduced to China until the beginning of the twentieth century. The founding of the National Conservatory in 1927 marked the beginning of professional musical higher education in China. Because of the musical training which Chinese musicians received, the German-Russian romantic style exerted a strong influence on the musical development of China. In the past eighty years, Chinese musicians have taken different paths trying to establish a national identity within their musical culture. The five pieces analyzed in this study reflect the accomplishments which Chinese musicians achieved in combining Western compositional techniques with Chinese musical idioms. These innovations have since become common practice among most Chinese composers.School of Music
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Chen, Chen. "Development of the western orchestra in China." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118237.
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The subject of this study is the historical development of a vehicle for a form of western art (the orchestra) in China from 1840 to the present. The writer was primarily concerned with how the orchestra developed in broad socio-economical, political-cultural, and historical contexts with an emphasis on elaborating certain conditions responsible for the specific features of this development. The following major aspects of the development of the orchestra in China are discussed:1)The uniqueness of China's culture before accepting western culture;2)Reason and procedures by which China accepted western music and its orchestra;3)The social change in the 1950s which affected the function of the orchestra in China;4)The influence of political movements and individual roles on the development of the orchestras in China;5)The emergence of the orchestra as a cultural symbol during China's modernization;6)The fact in which the orchestra become a cultural symbol during China's modernization;7)Roles and functions of the orchestra during the cultural merging of China and the West;8)The future of the orchestra in China.The purpose of this study is to confirm the cultural assimilation of the western orchestra as a world-wide trend, one in which East and West enrich one another.School of Music
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Gentry, Jonathan C. "Memory and hypnotism in Wagner's musical discourse." PDXScholar, 2007. https://pdxscholar.library.pdx.edu/open_access_etds/3660.
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A rich relationship unites the composer Richard Wagner (1813-1883) and the history of psychology, especially if one considers his attempt to make music speak with the clarity of verbal language. Wagner's musical discourse participated in the development of psychology in the nineteenth century in three distinct areas. First, Wagner shared in the non-reductive materialist discourse on mind that characterized many of the thinkers who made psychology into an autonomous intellectual pursuit. Second, Wagner's theories and theatrical productions directly influenced two important psychologists - Friedrich Nietzsche (1844-1900) and Christian von Ehrenfels (1859-1932). Finally, the experiences of music achieved by Wagner at his Bayreuth festivals created greater sensitivity toward psychology, especially among the more sympathetic participants.
In tracing a narrative from Wagner's first conception of a festival in 1849 to the premiere of Parsifal in 1882, one can also see several arcs in the evolution of Wagner's musical discourse. These include the shift from mnemonic to hypnotic techniques for giving music a voice, as well as the transition from a socially critical festival to one of personal affirmation. Connected to both of these augmentations of musical discourse was the volatile relationship between music and text in Wagner's compositions. Important in facilitating these transformations was not only Wagner's discovery of Schopenhauer's philosophy, but also the larger contingencies of instituting a festival in the Griinderzeit. In looking at the reception side of theatrical productions, in addition to their staging, this thesis has been able to identify psychologically-related links important to the history of music, science, and culture.
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Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.
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555 pagesThis study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
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Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.
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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.
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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.
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Brownlee, Jane. "The transmission of traditional fiddle music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.
Full textBooks on the topic "Music Europe History and criticism"
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Music in medieval Europe. Englewood Cliffs, N.J: Prentice Hall, 1989.
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Allen, Patrick. World of music: Europe. Chicago, Ill: Heinemann Library, 2007.
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Europe. Oxford: Heinemann, 2009.
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Allen, Patrick. Europe. Chicago, Ill: Heinemann Library, 2008.
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Renaissance music: Music in Western Europe, 1400-1600. New York: Norton, 1998.
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Baroque music: Music in Western Europe, 1580-1750. New York, NY: W.W. Norton & Company, 2004.
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Borroff, Edith. Music in Europe and the United States: A history. [s.l.]: [s.n.], 1990.
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Borroff, Edith. Music in Europe and the United States: A history. 2nd ed. New York: Ardsley House, 1990.
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Jakus, Jean. Musique et Europe. Bruxelles: Memor, 2004.
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Jakus, Jean. Musique et Europe. Bruxelles: Memor, 2003.
Find full textBook chapters on the topic "Music Europe History and criticism"
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Williams, Carol J. "Music." In The Routledge History of Emotions in Europe, 390–405. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: The Routledge histories: Routledge, 2019. http://dx.doi.org/10.4324/9781315190778-31.
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Wehrs, William. "Affect and Film Music: A Brief History." In The Palgrave Handbook of Affect Studies and Textual Criticism, 735–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63303-9_28.
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Pievatolo, Maria Chiara. "Leoni's and Hayek's Critique of the Rule of Law in Continental Europe." In The Rule of Law History, Theory and Criticism, 421–39. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5745-8_12.
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Keller, Vera. "Fake News: The Marketplace of Boccalini’s Parnassian Press and the History of Criticism." In Economies of Literature and Knowledge in Early Modern Europe, 51–68. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37651-2_3.
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Posteraro, Tano S. "Vitalism and the Problem of Individuation: Another Look at Bergson’s Élan Vital." In History, Philosophy and Theory of the Life Sciences, 9–25. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12604-8_2.
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AbstractMikhail Bakhtin’s 1926 essay, “Contemporary Vitalism,” includes Bergson alongside Driesch in a short list of “the most published representatives of vitalism in Western Europe,” and, indeed, Bakhtin’s critique of Driesch is intended to undermine what he calls the “conceptual framework” of “contemporary vitalism” as a whole (The crisis of modernism: Bergson and the vitalist controversy. Eds. Frederick Burwick and Paul Douglass. Cambridge University Press, New York, 1992, p 81). The conceptual framework that Driesch and Bergson are supposed to have shared in common consists at bottom, for Bakhtin, in the ontological commitment to the autonomy of life, “its independence, its disconnectedness from physical-chemical phenomena” (81). This has long been understood as the defining mark of vitalism, at least in the mind of its critics: the contention that matter and the mechanical models that track it are insufficient to the reality of biological forms, and that the explanation of life therefore requires the postulation of a non-mechanical, possibly immaterial, uniquely vital principle, force, substance, or property. Recent scholarship has made considerable headway in complicating these pictures by attending to earlier and subtler forms of materialism, and by distinguishing between different types of vitalism and drawing out the heuristic or scientific utility of some of them (Wolfe, Eidos 14: 212–235, 2011, Antropol Exp 17(13): 215–224, 2017; cf. Wolfe and Normandin, Vitalism and the scientific image in post-enlightenment life science, 1800–2010. Springer, Dordrecht, 2013). The focus of some of this work has been on the critical revaluation of Driesch himself (Bognon et al., Kairos J Philos Sci 20(1): 113–140, 2018). Yet the status of Bergson’s commitment to the existence of a vital principle remains underdeveloped. In the midst of what some are calling a “Bergson renaissance,” I think that it calls for the same kind of critical reappraisal (Ansell-Pearson, Bergson: thinking beyond the human condition. Bloomsbury, New York, 2018: 1; cf. Lundy, Deleuze’s Bergsonism. Edinburgh University Press, Edinburgh, p 5, 2018). The aim of this paper is to attempt the outline of an answer to that call. I begin with a brief summary of Driesch’s vitalism, then I reconstruct Bergson’s underappreciated critique of internal finality, or what Kant called inner purposiveness, and locate in it a subterranean criticism of vital principles of the Drieschian variety as well. Two consequences follow: first, if Bergson is to be considered a vitalist, it cannot be in the Drieschian sense and we are therefore wrong to associate the two; and second, if Bergson is to be considered a vitalist, then his vitalism has to be understood—somewhat counterintuitively, and certainly contra Driesch—on the basis of a principle external to the ostensible individuality of biological forms.
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Concilio, Carmen. "‘Following’ Teju Cole’s ‘Black Portraitures’ On Zigzagging Between (Digital) Literature, Photography, Art History, Music and Much More…" In Postcolonial Publics: Art and Citizen Media in Europe. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-677-0/016.
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In this chapter, I will explore ‘black portraitures’ in Teju Cole’s writings, photos, and art history lessons, while ‘following’ his journeying – geographic, literary, photographic, digital – in both his photo essays and criticism Known and Strange Things (2016), Blind Spot (2016), in his novel Open City (2011) and his latest essay collection Black Paper (2021). I intend to study his poetics, his aesthetics and his ethical stance, particularly in relation to his re-formulation of postcolonial paradigms. Intersecting trajectories with works by Caryl Phillips (The European Tribe, 1987) and by Johny Pitts (Afropean. Notes from Black Europe, 2019) will also be considered.
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Victoroff, Tatiana V. "‛Spiritualization of Matter’: Ivan Bunin in French Literary Criticism and in Translations by Boris Schloezer." In I.A. Bunin and his time: Context of Life — History of Work, 693–741. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-693-741.
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Boris de Schloezer, leading literary critic in Russian émigré and French journals (“Sovremennye Zapiski” (“Contemporary Notes”), “La Revue Musicale”, “La Nouvelle Revue Française”) wrote several reviews of the work of Ivan Bunin and in в 1929 translated a collection of his early short stories as well as those written in the emigration (“La Nuit”, éd. Émile-Paul Frères). A mediator between Bunin and the French intellectual world, instrumental for his acquaintance with André Gide, his being invited to the conferences of European writers in Pontigny (Les Décades de Pontigny), his contacts with the French publishing house Stock. Schloezer as translator aims at make real the “spiritualization of matter” — the main feature, in his opinion, of Bunin’s poetics — by means of French terms, rendering the original music, intonations and rhythm. Thanks to a perfect knowledge of both Russian and French and to direct contact with the author, the translation was created according to the laws of artistic oeuvre, based on the model of Bunin’s freely emerging words. The appendix contains a first translation into Russian of Schloezer’s review of Bunin for “La Nouvelle Revue Française”; letters to Ivan Bunin from Boris Schloezer, Benjamin Crémieux, Paul Desjardins, André Gide, Jacques Rivière, and Dumesnil de Gramont (Russian Archive in Leeds), as well as letters from Ivan Bunin to the French publisher Stock, Maurice Delamain.
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Dahl, Per. "Music Criticism in Norway." In The Cambridge History of Music Criticism, 392–407. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.021.
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Karnes, Kevin C. "MUSIC CRITICISM AS LIVING HISTORY." In Music, Criticism, and the Challenge of History, 48–76. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195368666.003.0003.
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Frey, Emily. "Music Criticism in Imperial Russia." In The Cambridge History of Music Criticism, 208–28. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.012.
Full textConference papers on the topic "Music Europe History and criticism"
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Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.
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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.
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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.
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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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Kohl, Marie-Anne. "Die weinende Jury. »Geschlechtslose« Tränen bei globalen Musik-Castingshows?" In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.59.
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Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an ‘affective economy’ as an effect of their circulation, their staging as a specific ‘emotional style’ of dealing with emotions (Eva Illouz). The circulation of affects in casting shows is a global one, since the formats, developed in Europe, have produced local versions in over 60 countries worldwide. Emotions play an important role in the successful localization of the formats and define a complex area of conflict between a sensitization to socio-cultural characteristics and the ‘reproduction of culturalistic concepts’ (Laura Sūna) or clichés. In European cultural history, tears have developed a special significance as guarantors of the authenticity of empathy (Sigrid Weigel), and are generally associated with femininity, however at the same time have been film-historically recoded as ‘gender-neutral’ (Renate Möhrmann). Keeping in mind that all these casting show formats have been exported from Europe, these observations are of special interest, especially since one can see men and women crying equally in the Arabic, German or South African versions of e. g. The Voice. This article questions the concurrence of musical performance, display of tears, gender performance and the translocal dramaturgy of music casting shows.