Journal articles: 'Music History'

1

Kárpáti, János. "Music history — Conference history." Studia Musicologica 49, no. 1-2 (March 1, 2008): 193–95. http://dx.doi.org/10.1556/smus.49.2008.1-2.9.

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Lam, Joseph S. C. "MING MUSIC AND MUSIC HISTORY." Ming Studies 1997, no. 1 (January 1997): 21–62. http://dx.doi.org/10.1179/014703797788763526.

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Zbikowski, Lawrence M. "Music Theory, Music History, and Quicksand." Music Theory Spectrum 33, no. 2 (October 2011): 226–28. http://dx.doi.org/10.1525/mts.2011.33.2.226.

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Mukhutovich, Islomov Dilmurod. "History and music." ACADEMICIA: An International Multidisciplinary Research Journal 12, no. 5 (2022): 1233–35. http://dx.doi.org/10.5958/2249-7137.2022.00594.8.

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Lucia, Joe. "Music, Imagination, History." Journal for Peace and Justice Studies 16, no. 1 (2006): 18–26. http://dx.doi.org/10.5840/peacejustice20061614.

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Treitler, Leo. "History and Music." New Literary History 21, no. 2 (1990): 299. http://dx.doi.org/10.2307/469254.

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Rees, Owen. "Welsh music history." Early Music XXVI, no. 3 (August 1998): 490–92. http://dx.doi.org/10.1093/earlyj/xxvi.3.490.

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Oliver, Paul. "Music, History, Democracy." Popular Music 9, no. 1 (January 1990): 133–34. http://dx.doi.org/10.1017/s0261143000003780.

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Goehr, Lydia. "Writing Music History." History and Theory 31, no. 2 (May 1992): 182. http://dx.doi.org/10.2307/2505596.

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van der Linden, Bob. "Non-Western national music and empire in global history: interactions, uniformities, and comparisons." Journal of Global History 10, no. 3 (October 5, 2015): 431–56. http://dx.doi.org/10.1017/s1740022815000212.

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AbstractInspired by C. A. Bayly’s notion of global uniformities, this article investigates the different ways in which elitist non-Western music reformers, often with state support, canonized and institutionalized modern national music traditions during the age of liberalism and empire. As these non-Western music reformers reinterpreted liberal and earlier Enlightenment ideas, they envisaged their own musics hierarchically in comparison with Western music. In the context of comparative musicological thinking, they became particularly preoccupied with the systematization of scales, equal temperament tuning, and the origins of their own music. In the process, they often incorporated claims about authenticity and spirituality in music to give strength to burgeoning national, if not anti-imperial, identities. However, beneath the appearance of formal similarity and mutual translatability of non-Western national musics, significant sonic and cultural differences remained. As a contribution to global history scholarship, the article principally attempts to establish these global parallels and comparisons.

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Ihde, Don. "Technologies—Musics—Embodiments." Janus Head 10, no. 1 (2007): 7–24. http://dx.doi.org/10.5840/jh20071012.

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Today recorded music probably accounts for the single largest category of music listening. This essay seeks to re-frame the usual understanding of the role of that type of music. Here the history and phenomenology of instrumentally mediated musics examines pre-historic instruments and their relationship to skilled, embodied performance, to innovations in technologies which produce multistable trajectories which result in different musics. The ancient relationship between the technologies of archery and that of stringed instruments is both historically and phenomenologically examined. This narrative is then paralleled by a similar examination of the history and variations upon recorded and then electronically produced music. The interrelation of music-technologies and embodiment underlies this interpretation of musical production.

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Walker, Margaret E. "Ethnicize and Historicize: Thoughts on Anti-Racist Pedagogy and Post-Secondary Music History." MUSICultures 50 (March 18, 2024): 51–75. http://dx.doi.org/10.7202/1110011ar.

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<p>The “unmarked whiteness” at the core of most Canadian and US university music programs is an example of racist policy. Anti-racist actions that identify, describe, and dismantle racism can be productively applied to music history courses by adopting strategies outlined in the work of Kyoko Kishimoto. By exploring knowledge production through the historiography of canonic music, challenging Eurocentrism by teaching Western music as “ethnic,” and dismantling the division of white and non-white musics into different disciplines, this article offers an approach to musicultural anti-racism.</p>

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Champion, Matthew S., and Miranda Stanyon. "MUSICALISING HISTORY." Transactions of the Royal Historical Society 29 (November 1, 2019): 79–103. http://dx.doi.org/10.1017/s0080440119000045.

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ABSTRACTWhile there have been growing calls for historians to listen to the past, there are also significant barriers to integrating music in particular into broader historical practice. This article reflects on both the gains and difficulties of this integration, moving from an interrogation of the category of music to three case studies. These concern musical terms, compositional practices and cultures from the fifteenth to eighteenth centuries, revisiting some key debates in musicology: first, the highly charged language of sweetness deployed in the fifteenth century; second, connections discerned in nineteenth-century music history between medieval polyphony and contemporary attitudes towards time and authority; and, third, debate over the anti-Jewish implications of Handel's music, which we approach through his Dixit Dominus and a history of psalm interpretation stretching back to late antiquity. Through these case studies, we suggest the contribution of music to necessarily interdisciplinary fields including the study of temporality and emotions, but also explore how a historical hermeneutic with a long pedigree – ‘diversity of times’ (diversitas temporum) – might help to reframe arguments about musical interpretation. The article concludes by arguing that the very difficulty and slipperiness of music as a source can encourage properly reflective historical practice.

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Drabkin, William, and William Kinderman. "Music as Case-History." Musical Times 128, no. 1738 (December 1987): 692. http://dx.doi.org/10.2307/964811.

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Cox, Renee. "A History of Music." Journal of Aesthetics and Art Criticism 48, no. 4 (1990): 395. http://dx.doi.org/10.2307/431576.

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박정숙. "Why Women’s Music History?" 音.樂.學 ll, no. 16 (December 2008): 113–39. http://dx.doi.org/10.34303/mscol.2008..16.005.

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Perlis, Vivian. "Oral History and Music." Journal of American History 81, no. 2 (September 1994): 610. http://dx.doi.org/10.2307/2081176.

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Borroff, Edith, and Leonie Rosenstiel. "Schirmer History of Music." American Music 3, no. 1 (1985): 88. http://dx.doi.org/10.2307/3052121.

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Miller, V. Kaye. "Music, history, and culture." Music Educators Journal 77, no. 2 (October 1990): 9–10. http://dx.doi.org/10.2307/3397806.

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Flanagan, Kieran. "Foundations of Music History." Philosophical Studies 31 (1986): 506–9. http://dx.doi.org/10.5840/philstudies1986/1987315.

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Robinson, J. Bradford. "Dahlhaus and Music History." Musical Times 126, no. 1704 (February 1985): 76. http://dx.doi.org/10.2307/963461.

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Fishzon, Anna. "When Music Makes History." Kritika: Explorations in Russian and Eurasian History 14, no. 2 (2013): 381–94. http://dx.doi.org/10.1353/kri.2013.0019.

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Moll, Kevin N. "Teaching Music History (review)." Notes 60, no. 1 (2003): 191–93. http://dx.doi.org/10.1353/not.2003.0115.

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Kaufman Shelemay, Kay. "Music, Memory and History." Ethnomusicology Forum 15, no. 1 (June 2006): 17–37. http://dx.doi.org/10.1080/17411910600634221.

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Suisman, David. "Afterword: Music, Sound, History." Journal of Social History 52, no. 2 (2018): 383–89. http://dx.doi.org/10.1093/jsh/shy055.

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COX, RENEE. "A History of Music." Journal of Aesthetics and Art Criticism 48, no. 4 (September 1, 1990): 395–410. http://dx.doi.org/10.1111/1540_6245.jaac48.4.0395.

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Bromell, Nicholas Knowles. "Music, Experience, and History." American Quarterly 53, no. 1 (2001): 165–77. http://dx.doi.org/10.1353/aq.2001.0002.

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BULANCEA, Gabriel. "CLASSICISM AND NEO-CLASSICISMS IN THE HISTORY OF MUSIC." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 5, no. 1 (November 24, 2021): 115–22. http://dx.doi.org/10.26520/mcdsare.2021.5.115-122.

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In one of his articles, Octavian Paler draws attention in a metaphorical-mythologizing manner upon one of the risks taken by those who chose tradition as their source of inspiration. The epigonic spirit, because this is what he refers to, cannot escape idolatrising tradition, phenomenon that happens within an alterity of the creative identity, within the pettiness of controlling the artistic means, within the infatuation of his own image which is placed under the protection of the great creative figures. The epigone masters in an embryonic form some techniques which, for various reasons, he cannot manipulate creatively. He is somehow suspended between two sensibilities, hence his failure. On the one hand, he is not aware of the risk of assuming past sensibilities, and on the other, he does not assume his contemporariness. Giving in to the temptation of looking too much into the past, the epigonic artist loses his identifying sensibility. “The mistake of neo-classicism, with its statues painted or sculpted based and antique models, is Orpheus’ mistake. As we no longer have the soul of the ancient Greeks, imitating their art is useless because in art too, looking back kills if there is no conscience of the irreversibility. From this point of view, there is no turning back unless in order to desolate everything” (Paler, 2016, pp. 189-190). This quote refers to neo-classicism perceived in its most rudimentary form, in which it would identify itself with the epigonic phenomenon. Of course, no relation of equality can be claimed between an epigone and a neo-classicist. If we are to give a brief definition in which to establish a relationship between these two terms, the epigone is a neo-classicist that lacks fantasy. Neo-classicism means to creatively take over technical means, past sensibilities in order to anchor them in the tumultuousness of contemporary times. Neo-classicism represents the happiest mixture between past and present, that form of artistic reverberation in which modernity still makes room for the seal of the past. Not servility, not obedience, not anachronism which denote the incapacity to assimilate new composing techniques or the lack of vigour of creative energies, but the power to adapt to new sensibilities through restorative interventions. Starting from here, we will trace a re-echeloning line of various types of neo-classic sensibilities specific to the end of the 19th century and to the entire 20th century

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Lam, Joseph S. C. "‘There is No Music in Chinese Music History’: Five Court Tunes from the Yuan Dynasty (AD 1271–1368)." Journal of the Royal Musical Association 119, no. 2 (1994): 165–88. http://dx.doi.org/10.1093/jrma/119.2.165.

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‘There is no music in Chinese music history.’ This paradox is often expressed by music scholars in Hong Kong, a modern metropolis in which Chinese and Western musics and music scholarship mingle and thrive. Highlighting the contrasts between traditional Chinese and contemporary Western views of music and music historiography, the paradox refers to the scholars' observation that Chinese music histories include few descriptions of actual music, and that performances of early Chinese music are often inauthentic. Published accounts of China's musical past include little hard evidence about the structure and sounds of specific musical works. Thus, the scholars argue, the accounts are more theoretical than factual, and their musical descriptions disputable. Public performances and recorded examples of early Chinese music reveal obvious use of Western tonal harmony and counterpoint, and thus cannot be authentic music from China of the past. The scholars' arguments, however, cannot refute that in Hong Kong many Chinese music masters and audiences find the so-called early Chinese music authentic and its histories credible.

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Rice, Timothy, and Dave Wilson. "Creating a Global Music History." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 1–6. http://dx.doi.org/10.30819/aemr.10-1.

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The authors use the mission statement of the ICTM Study Group on Global Music History to present issues they faced in writing a global music history intended for use in schools of music (conservatories) in the United States. They argue that all global music histories will of necessity be written from some position on the globe, not from “outer space”; explain how they constructed a chronology going back thousands of years from sound recordings all made in the twentieth century; and outline their pedagogical goal of introducing music students to the full range of human music making today.

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Karamanova, Marina Leonidovna, and Alina Gavrilovna Asriyan. "Pierre van Houwe and his concept of "Playing with Music" in the history of music education." PHILHARMONICA. International Music Journal, no. 5 (May 2023): 34–41. http://dx.doi.org/10.7256/2453-613x.2023.5.68958.

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The object of research of this work is the creative and pedagogical activity of the Dutch conductor, composer and teacher Pierre van Hauwe (1920-2009). The subject of the study is the conceptual foundations of his pedagogical theory of "Playing with Music", which has become widespread not only in European countries, but also in South America, Africa and Asia. The authors of the article consider in detail the features of P. van Hauwe's concept, the foundations of which are based on the elements of the Zoltan Kodai system, which became widespread in Hungary, and the method of musical education of Karl Orff, whom P. van Hauwe met in Salzburg. Special attention is paid to the methodical publication "Playing with Music" ("Spielen mit Musik"), where P. van Hauwe outlined his concept step by step, accompanied by specific recommendations for teachers. The research used theoretical (analysis, synthesis, etc.) and empirical (comparative-historical, structural-typological) research methods. The main conclusions of the study: P. van Hauwe's pedagogical activity had a great impact on the development of music education not only in the Netherlands, but also in other countries of the world. His concept of "Playing with music" ("Spielen mit Musik") combined elements of the educational systems of two outstanding teachers of the twentieth century – Z. Kodai and K. Orff, as a result of which it became a natural continuation of the development of European musical and pedagogical thought. A special contribution of the authors of the article to the study of the topic, reflecting its novelty, was a detailed analysis of the methodological publication "Spielen mit Musik" ("Playing with music"), on the basis of which the essential relationship of the ideas of P. van Hauwe and his predecessors was revealed. Also, for the first time in Russian musicology, the facts of the musician's biography are more fully disclosed.

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NIEBUR, LOUIS. "‘There is Music in It, But It is Not Music’: A Reception History ofMusique Concrètein Britain." Twentieth-Century Music 15, no. 2 (June 2018): 211–30. http://dx.doi.org/10.1017/s1478572217000299.

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AbstractThe traditional narrative of the development ofmusique concrèteandelektronische Musiktells a story of esoteric, academic branches of musical modernism emerging out of Paris and Cologne in the 1950s. But this narrative clouds our understanding of the unique ways this music developed in Britain, largely filtered through the BBC, as a relatively populist, accessible iteration of Continental techniques. This article explores how British reactions to contemporary music and, in particular,musique concrèteandelektronische Musik, reflected on the one hand continued suspicion towards Continental music and on the other a deep insecurity about Britain's musical position in the world. The predominantly hostile attitude towards electronic music from within establishment musical cultures betray profound concerns about trends that were seen to exert a harmful influence on British musical society.

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Irgi Rechansyah Gani and Kiki Zakiah Darmawan. "Perkembangan Musik Pop Indonesia." Bandung Conference Series: Journalism 3, no. 2 (July 28, 2023): 153–58. http://dx.doi.org/10.29313/bcsj.v3i2.8486.

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Abstract. The phenomenon of reciting old Indonesian popular music from the 60-90s era is increasingly circulating everywhere, social media timelines, cafes, and many other unique mediums are widely listened to by Gen Z who incidentally were not born or even experienced the era that music first appeared. However, one thing that is missing from the phenomenon of the glittering Indonesian pop music today is the ongoing debate about what pop music really is, what underlies it's success. This study examines audience reception as readers of the book "From Ngak Ngik Ngok to Dheg Dheg Plas" to explore readers' understanding of the history and development of pop music in Indonesia. This research has a focus on examining how audience reception of the history of the development of Indonesian pop music in the book "From Ngak Ngik Ngok to Dheg Dheg Plas". The data were analyzed qualitatively using the reception analysis method through observation and interviews with readers. The results of this study indicate the hypothetical position of a number of informants. All informants occupy a dominant hegemonic position, 1 of a number of informants occupies a negotiating position, and none of the informants occupies an oppositional position. This evidence contains 4 aspects of knowledge discussed in the book From Ngak Ngik Ngok to Dheg Dheg Plas, and the informant claimed to have knowledge, especially in terms of state intervention in Indonesian pop music in the decade of the 60s. The informant admitted that after reading the book, his attitude changed and he liked Indonesian pop music in terms of strengthening the identity of a pop music lover, feeling validated as a pop music lover. Keywords: History, Pop Music, Communication. Abstrak. Fenomena lantunan musik populer lawas Indonesia era 60-90an kian berseliweran dimana-mana, linimasa media sosial, café, dan banyak medium lainnya yang uniknya banyak didengarkan oleh Gen Z yang notabene tidak lahir atau bahkan mengalami era musik-musik itu pertama kali muncul. Namun satu hal yang luput dari fenomena kemilaunya musik pop Indonesia saat ini adalah perdebatan yang tiada hentinya mengenai apa sebenarnya musik pop, apa yang melandasi musik-musik itu berjaya. Penelitian ini mengkaji resepsi khalayak sebagai pembaca buku “Dari Ngak Ngik Ngok ke Dheg Dheg Plas” untuk menggali pemahaman pembaca mengenai sejarah dan perkembangan musik pop di Indonesia. Penelitian ini memiliki fokus untuk meneliti bagaimana resepsi khalayak tentang sejarah perkembangan musik pop Indonesia dalam buku “Dari Ngak Ngik Ngok ke Dheg Dheg Plas”. Data dianalisis secara kualitatif dengan metode analisis resepsi melalui hasil observasi dan wawancara pembaca. Hasil dari penelitian ini menunjukkan posisi hipotekal sejumlah informan. Semua informan menempati posisi hegemoni dominan, 1 dari sejumlah informan menduduki posisi negosiasi, dan tidak ada satupun informan yang menduduki posisi oposisi. Bukti ini memuat 4 aspek pengetahuan yang dibahas dalam buku Dari Ngak Ngik Ngok ke Dheg Dheg Plas, dan informan mengaku mendapat pengetahuan terutama dalam hal intervensi negara terhadap musik pop Indonesia pada dekade 60-an. Informan mengaku mengalami perubahan sikap setelah membaca buku tersebut menambah rasa suka terhadap musik pop Indonesia dalam hal merperteguh identitas penyuka musik pop, merasa tervalidasi, sebagai penyuka musik pop. Kata Kunci: Sejarah, Musik Pop, Komunikasi.

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Bagaskara, Akbar, Kun Setyaning Astuti, and Umilia Rokhani. "Filsafat musik: Memahami esensi, perkembangan, dan relevansinya." Imaji: Jurnal Seni dan Pendidikan Seni 22, no. 1 (April 28, 2024): 71–78. http://dx.doi.org/10.21831/imaji.v22i1.71954.

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Tujuan dari penelitian ini adalah untuk menyelidiki serta menguraikan ilmu filsafat musik dari banyak dimensi, mulai dari pendefinisian esensinya hingga perkembangan keilmuannya sepanjang sejarah dan relevansinya di era kontemporer. Metode penelitian yang digunakan dalam peneltian kali ini adalah metode kualitatif, dengan ciri lebih mengedepankan pada analisis fenomena sosial budaya yang luas dan mendalam. Teori analisis data yang diaplikasikan pada penelitian ini adalah model dari Miles dan Huberman dengan konsep empat tahapan analisis data yaitu pengumpulan data, reduksi data, penyajian data dan kesimpulan. Adapun temuan dari peneltian ini adalah (1) filsafat musik bukan hanya sekedar analisis teoritis bentuk belaka, tetapi juga berkaitan dengan makna mendalam musik pada konteks yang lebih luas yaitu, sosial, budaya, individual maupun kelompok yang menyertainya. (2) Sejarah dari filsafat musik menggambarkan bagaimana perjalanan atau evolusi dari pemikiran tentang musik dari masa ke masa yang akhirnya memberikan pemahaman utuh terhadap fenomena musik era saat ini. (3) Pada era kontemporer analisis wacana filsafat musik condong kepada masalah-masalah seperti tren musik modern, teknologi yang menyertainya dan dampak perubahannya terhadap masyarakat global. (4) Urgensi dari mempelari filsafat musik sangat erat kaitannya pada, dihasilkannya keterbukaan wawasan mendalam tentang musik, yang pada akhirnya akan membuat siapapun yang mendalaminya akan lebih menghargai musik dan memiliki daya analisis kritis lebih pada fenomena musik di sekitar. Kata kunci: Filsafat musik, esensi, perkembangan, relevansi Philosophy of music: Understanding its essence, development, and relevance AbstractThe purpose of this study is to investigate and describe the science of music philosophy from many dimensions, from defining its essence to its scientific development throughout history and its relevance in the contemporary era. The research method used in this research is a qualitative method, characterized by prioritizing the analysis of broad and in-depth socio-cultural phenomena. The theory of data analysis applied in this research is the model of Miles and Huberman with the concept of four stages of data analysis, namely data collection, data reduction, data presentation and conclusions. The findings of this research are (1) the philosophy of music is not just a theoretical analysis of form, but also related to the deep meaning of music in a broader context, namely, social, cultural, individual and group that accompanies it. (2) The history of the philosophy of music illustrates how the journey or evolution of thinking about music from time to time which ultimately provides a complete understanding of the phenomenon of music in the current era. (3) In the contemporary era, the analysis of music philosophy discourse leans towards issues such as modern music trends, the technology that accompanies them and the impact of their changes on global society. (4) The urgency of studying the philosophy of music is closely related to, the resulting openness to deep insight into music, which will ultimately make anyone who deepens it will appreciate music more and have more critical analysis power on the phenomenon of music around. Keywords: Philosophy of music, essence, development, relevance

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Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

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Wolkowicz, Vera. "Incan or Not? Building Ecuador’s Musical Past in the Quest for a Nationalist Art Music, 1900–1950." Journal of Musicology 36, no. 2 (2019): 228–60. http://dx.doi.org/10.1525/jm.2019.36.2.228.

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When the development of Ecuadorian national art music began at the end of the nineteenth century, composers and music historians followed European models and studied folklore as a window onto the past. In this quest to discover and articulate what was truly “Ecuadorian,” Incan culture occupied a complex position, sometimes hailed as a primary component of Ecuador’s musical heritage and sometimes dismissed as irrelevant. This article explores the music histories written by composers Pedro Pablo Traversari, Segundo Luis Moreno, and Sixto María Durán, and investigates a selection of Traversari’s compositions and Moreno’s music analyses. It demonstrates how they either included Incan culture in or excluded it from a national music history, in dialogue with scholars outside Ecuador. Early twentieth-century musical discourse in Ecuador produced a series of conflicting and converging perspectives on national and continental music that contribute to our understanding of the global history of nationalistic art musics.

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Cusic, Don. "Music of the Counterculture Era: American History Through Music." Journal of American Culture 28, no. 1 (March 2005): 144. http://dx.doi.org/10.1111/j.1542-734x.2005.160_17.x.

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Johnson, Khalil Anthony. ""Other" Music: Race, Music, and Assimilation in U.S. History." American Quarterly 63, no. 1 (2011): 191–202. http://dx.doi.org/10.1353/aq.2011.0000.

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Jähnichen, Gisa. "Book Review of ‘Kirsten Seidlitz. 2020. Musik & Politischer Konflikt aus der Türkei – kurdische, alevitische und linke Musik in Deutschland’ [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music In Germany]. Bielefeld: Transcript." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 97–99. http://dx.doi.org/10.30819/aemr.7-8.

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This short review essay refers to the book of Kirsten Seidlitz ‘Musik XXABSTRACT Politischer Konflikt aus der Türkei – Kurdische, alevitische und linke Musik in Deutschland [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music in Germany], which was published in 2020 by the German Transcript Verlag in Bielefeld. It is written in German and addresses many important questions regarding political conflicts and their impact on music among various different Turkish people living in Germany. Migration and political participation are heatedly debated in recent times and also a part of cultural exchange.

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Gedik, Ali C. "Reflections on Popular Music Studies in Turkey <br>http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.6en." IASPM Journal 2, no. 1-2 (January 18, 2012): 51–56. http://dx.doi.org/10.5429/551.

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This article reviews the state of popular music studies in Turkey in comparison to IASPM's Anglo-American history of popular music studies. The main focus is on the similarities and dissimilarities in studies based on shifts in paradigms: firstly the shift from the sociology of arabesk music in Turkey and sociology of rock music in the Anglo-American popular music studies, to the sociology of popular music; secondly, a parallel shift in theoretical premises, from Marxism to postmodern theories. Mapping the achievements of popular music studies in Turkey in relation to the study of popular musics that have dominated specific eras, it is shown that despite earlier divergences from the 1990s onwards, Turkish popular music studies gradually converged with international popular music studies.

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Ritterman, Janet. "Music History – On the Decline?" British Journal of Music Education 7, no. 3 (November 1990): 239–47. http://dx.doi.org/10.1017/s0265051700007841.

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The position of music history, traditionally regarded as a central element of the music curriculum in higher education as well as in secondary schools, has seemed to be challenged both by recent changes in the curriculum content and by reappraisals of the philosophy and practice of advanced musical study. This article, an expanded version of a paper given in the session on Curriculum Developments in Higher Education at the first British Music Educators' Conference in Huddersfield in July 1989, assesses the impact of these changes and relates them to changing attitudes within the discipline of musicology as well as within other historically based areas of enquiry.

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42

Pawar, Vasundhara. "HISTORY OF INNOVATION IN MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3445.

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The history of Indian music is as ancient and eternal as mankind. Its Sankarancha is considered Vedic. The music and culture of our country is as ancient as the ancient civilization and culture of our country.Indian music originated from the deities of Samadeva and its infancy was spent in the meditation of the taphbhoomi of the sage sages and the sacred groves of the Yajnavedis. This is the reason why the Indian mystics have described Naad as God, and Naad has always worshiped the universe. भारतीय संगीत का इतिहास उतना ही प्राचीन और अनादि हैं, जितनी मानव जाति। इसका सभारंच वैदिक माना जाता है। जितनी प्राचीन हमारे देश की सभ्यता और संस्कृति है उतना ही विस्तृत एवं विषाल यहाँ के संगीत का अतीत है।भारतीय संगीत का उद्भव सामदेव की ऋचाओं से हुआ है तथा इसका शैषव काल ऋषि मुनियों की तपोभूमि तथा यज्ञवेदियों के पावन घ्रुम के सान्निध्य में सुवासित होकर व्यतीत हुआ। यही कारण है कि भारतीय मनीषियों ने नाद को ईश्वर के समान कहा गया है, तथा नाद ब्रह्य की सदैव उपासना की है।

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43

Rahkonen, Carl, and Michael Hicks. "Mormonism and Music: A History." Notes 47, no. 2 (December 1990): 401. http://dx.doi.org/10.2307/941990.

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Sharpe, R. A., Enrico Fubini, and Michael Hatwell. "The History of Music Aesthics." Philosophical Quarterly 42, no. 169 (October 1992): 519. http://dx.doi.org/10.2307/2220303.

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Sharvit, Uri, and Kay Kaufman Shelemay. "Music, Ritual and Falasha History." Yearbook for Traditional Music 20 (1988): 228. http://dx.doi.org/10.2307/768180.

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Erlmann, Veit, Stephen Blum, Philip V. Bohlman, and Daniel M. Neuman. "Ethnomusicology and Modern Music History." Yearbook for Traditional Music 24 (1992): 156. http://dx.doi.org/10.2307/768477.

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Weil, Shalva, and Kay Kaufman Shelemay. "Music, Ritual and Falasha History." Journal of Religion in Africa 19, no. 3 (October 1989): 276. http://dx.doi.org/10.2307/1581352.

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Rahkonen, Carl, Stephen Blum, Philip V. Bohlman, Daniel M. Neuman, and Bruno Nettl. "Ethnomusicology and Modern Music History." Notes 49, no. 1 (September 1992): 77. http://dx.doi.org/10.2307/897192.

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Cai, Camilla, Nils Grinde, William H. Halverson, Leland B. Sateren, and Hans Kuhn. "A History of Norwegian Music." Notes 49, no. 3 (March 1993): 1018. http://dx.doi.org/10.2307/898956.

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Tick, Judith, and Karin Pendle. "Women & Music: A History." Notes 49, no. 3 (March 1993): 1058. http://dx.doi.org/10.2307/898975.

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Journal articles on the topic 'Music History'

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