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Bajzek, Dieter. Percussion : An annotated bibliography with special emphasis on contemporary notation and performance. Metuchen, N.J : Scarecrow Press, 1988.
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Spectral Analysis of Musical Sounds with Emphasis on the Piano. Oxford University Press, 2015.
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Racy, A. J. Musical Improvisation. Sous la direction de Benjamin Piekut et George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.23.
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This chapter studies musical improvisation from the perspective of a performing musician and ethnomusicologist. Informed by personal experience and theory, the author explores improvisation in terms of two broadly conceived yet closely interconnected realms, musical artistry and cultural interpretation. Examples from different world contexts are presented with emphasis on the author’s area of expertise, especially the Arab World, Turkey, and Iran. Topics addressed include musical mode, emotion, ecstasy, and the cultural values and meanings attached to improvisatory practice. Cross-cultural musical fusions are closely studied. Through analysis of specific performance events, this research highlights the symbolic, social, political, and ideological meanings as well as the improvisatory artistry.
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Sheppard, W. Anthony. Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.001.0001.
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Extreme Exoticism: Japan in the American Musical Imagination offers a detailed and wide-ranging documentation and investigation of the role of music in shaping American perceptions of the Japanese, the influence of Japanese music on American composers, and the place of Japanese Americans in American musical life. This book covers over 150 years of American musical history, from the first American encounters with the Japanese in the mid nineteenth-century to today, as it reveals the central role of music in American japonisme. Nearly every musical genre, media, and form is discussed, as parallels between “high” and “low” art and connections between various art forms are explored. Particular emphasis is placed on popular song in both the Tin Pan Alley period and in more recent decades and on representations of the Japanese throughout the history of Hollywood film and Broadway musicals. Manifestations of the “Madame Butterfly” narrative are explored throughout a wide range of popular musical, cinematic, and theatrical genres. Musical representations of Japan were directly connected to efforts to reshape American perceptions of race and gender and for the purposes of political propaganda, particularly during World War II and the Cold War periods. The book also details the extensive influence of Japanese traditional music on modernist American composers and the pursuit of Japanese musical performance by numerous American musicians.
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Martincich, Dustyn, Phoebe Rumsey, Benae Beamon, Bud Coleman, Tome’ Cousin, Joanna Dee Das, Ramón Flowers et al. Dance in Musical Theatre. Sous la direction de Dustyn Martincich et Phoebe Rumsey. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350235564.
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From Oklahoma! and West Side Story, to Spring Awakening and Hamilton, dance remains one of the most important and key factors in musical theatre. Through the integration of song and dance in the ‘dream ballets’ of choreographers like Agnes de Mille; the triple threat performances of Jerome Robbins’ dancers; the signature style creation by choreographers like Bob Fosse with dancers like Gwen Verdon; and the contemporary, identity-driven work of choreographers like Camille A. Brown, the history of the body in movement is one that begs study and appreciation. Dance in Musical Theatre offers guidelines in how to read this movement by analyzing it in terms of composition and movement vocabulary whilst simultaneously situating it both historically and critically. This collection provides the tools, terms, history, and movement theory for reading, interpreting, and centralizing a discussion of dance in musical theatre, importantly, with added emphasis on women and artists of color. Bringing together musical theatre and dance scholars, choreographers and practitioners, this edited collection highlights musical theatre case studies that employ dance in a dramaturgically essential manner, tracking the emergence of the dancer as a key figure in the genre, and connecting the contributions to past and present choreographers. This collection foregrounds the work of the ensemble, incorporating firsthand and autoethnographic accounts that intersect with historical and cultural contexts. Through a selection of essays, this volume conceptualizes the function of dance in musical: how it functions diegetically as a part of the story or non-diegetically as an amplification of emotion, as well as how the dancing body works to reveal character psychology by expressing an unspoken aspect of the libretto, embodying emotions or ideas through metaphor or abstraction. Dance in Musical Theatre makes dance language accessible for instructors, students, and musical theatre enthusiasts, providing the tools to critically engage with the work of important choreographers and dancers from the beginning of the 20th century to today.
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Tan, Sooi Beng. Community Musical Theatre and Interethnic Peace-Building in Malaysia. Sous la direction de Brydie-Leigh Bartleet et Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.33.
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Community musical theatre projects have played important roles in engaging young people of diverse ethnicities in multicultural and religious Malaysia to cross borders, deconstruct stereotypes, appreciate differences, and build interethnic peace. This essay provides insights into the strategies and dialogic approaches employed in two such community musical theatre projects that promote peace-building in Penang. The emphasis is on the making of musical theatre through participatory research, collaboration, ensemble work, and group discussions about alternative history, social relationships and cultural change. The projects also stress partnerships with the multiethnic stakeholders, communities, traditional artists, university students, and school teachers who are involved in the projects. Equally important is the creation of a safe space for intercultural dialogue, skill training, research, and assessments to take place; this a working space that allows for free and open participation, communication, play, and creative expressions for all participants.
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Fung, C. Victor. Complementary Bipolar Continua in Music Education. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0005.
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Classic Confucianism and classic Daoism were inspired by Yijing and were established during a period of nihilism. Both philosophical schools value human lives, expect individuals to improve continuously by self-cultivation, and recognize the world as a living organism. Despite their different emphases of dao, they are compatible to a great extent. For most people, it is necessary to utilize the different emphases to maintain a healthy diet, much like eating different types of food at different times of the day. Based on principles of yin and yang, the author proposes four complementary bipolar continua: active and passive musical motions, music teacher and learner roles, high-energy and low-energy activities, and familiar and unfamiliar musical experiences. The chapter ends with an explanation on how the complementary bipolar continua are connected among themselves and with the broader life.
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Merchant, Tanya. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0007.
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This conclusion considers the border-crossing process involved as women come together as a community, applying educational theorist Etienne Wenger's ideas about learning as engaged by a community of practice to musical activity—specifically to the musical activities of professional women musicians both inside and outside institutions. By contrasting practices within and beyond the Uzbek State Conservatory and by putting the rhetoric surrounding each of these musical styles into conversation, the diverse nature of women's musical contribution to the Uzbek national project comes into sharper focus. The more everyday context of a social gathering allows not only border crossing, but also an emphasis on the pleasure of music making and the joy of singing along. Institutions define musical genres, not musical experience. The conclusion emphasizes the complex relation of national identity to individual feminine experiences.
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Shrock, Dennis. Ludwig van Beethoven – Symphony no. 9. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0006.
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Chapter 6 begins with an Introduction that discusses the exceptional popularity of Beethoven’s final symphony. An historical overview of all nine symphonies follows, with emphasis on unique qualities, the genesis of the Ninth, and factors of its premiere. Other historical information includes biographical material about Friedrich von Schiller, his poem “An die Freude,” other musical settings of the poem, and Beethoven’s choice and arrangement of verses. Musical discussion of Beethoven’s Ninth focuses on the formal structures of all movements, the relationship of the first three movements to the fourth, and extra-musical characteristics. Performance practice topics include tempo based on character, metric accentuation, orchestration, and disposition of performers on stage.
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Sears, Ann. Political Currents and Black Culture in Scott Joplin’s Treemonisha. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0006.
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This chapter examines politics and black culture in Scott Joplin's Treemonisha, a love story that also lays emphasis on the main character's education and its benefits to her and the plantation folk, as well as the novel idea of a woman as a community leader. Much of Treemonisha's music parallels the Euro-American musical style employed by other American opera composers of the early twentieth century, but also incorporates nineteenth-century African American musical styles. This chapter first considers Treemonisha's African American musical elements before discussing some important musical signifiers of black identity in the opera, along with Joplin's use of language to impart cultural and political messages. It also explores Treemonisha's take on progress and education as well as its political content. It argues that through Treemonisha, Joplin was making a statement about the political, social, and economic status of African Americans in the early twentieth century.
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Kartomi, Margaret. Sumatra’s Performing Arts, Groups, and Subgroups. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0001.
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This book examines the traditional musical arts of Sumatra, with particular emphasis on the ethnographic, cultural, and historical contexts of the performing arts that contain music as well as some of the changes in their style, content, and reception from 1971 when the author began her field travels. The musical arts, or performing arts containing music, include the vocal, instrumental, and body percussive music, the dance and other body movement, the art of self-defense, the bardic arts, and the musical theater performed at domestic ceremonies. The book considers the musico-lingual groups and subgroups of Sumatra—population groups and subgroups that are primarily distinguished from one another on the basis of the lingual attributes of their vocal-musical genres (including songs, ritual/religious chanting, song-dances, and intoned theatrical monologues or exchanges). This chapter provides an overview of some of the major themes that recur throughout the book—identity, rituals and ceremonies, religion, the impact of foreign contact on the performing arts, the musical instruments and pitch variability, the dances and music-dance relationships, social class, gender issues, and arts education.
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Fonseca, Anthony J. Listen To Rap ! ABC-CLIO, 2019. http://dx.doi.org/10.5040/9798400679841.
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Listen to Rap! Exploring a Musical Genre discusses the 50 most influential, commercially successful, and important rappers, rap crews (bands), rap albums, and rap singles. Rap began as an American phenomenon, so the book's emphasis is on Americans, although it also includes information on Canadian, British, Indian, and African rappers and crews. Its organization makes information easily accessible for readers, and the emphasis on the sound of the music gives readers a new angle from which to appreciate the music.
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Pravadelli, Veronica. Performative Bodies and Non-Referential Images. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038778.003.0007.
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This chapter focuses on the 1950s musical. In contrast to melodrama, the musical combines spectacle with reflexive strategies and is able to comment in a sophisticated fashion on the fiction/reality dichotomy and on the relation between cinema and the other media, especially theater and television. While noir and woman's film used expressive techniques to emphasize the split nature of the human psyche—the opposition between conscious and unconscious realities—1950s musical goes one step further. Many films show that gendered identities are the product of a series of performances, rather than the expression of an intrinsic nature, and that the same character may well embody opposite tendencies and behaviors. In a similar fashion, other films suggest that the opposition between fiction and reality is no longer tenable, and that the performative register has started to invade both the realm of artistic production and of subjective experience.
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Ansari, Emily Abrams. The American Exceptionalists. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.003.0002.
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This chapter examines Americanist composers William Schuman and Howard Hanson in parallel, as they engaged with the Cold War in very similar ways. These two men are shown to have used their influence as conservatory directors and advisers to government to present musical Americanism as a tool to grow American power on the global stage. Working with the State Department and the US Information Agency, Schuman and Hanson helped shape Cold War–created international cultural programs that placed a heavy emphasis on concert music and mandated the performance of American compositions. The chapter also includes an analysis of a musical work by Schuman that was commissioned by a branch of the US government. Credendum (1955) demonstrates in sound Schuman’s conception of Cold War American exceptionalism.
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Gough, Peter, et Peggy Seeger. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039041.003.0009.
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This chapter argues that while the Federal Music Project (FMP) and WPA Music Program in the American West reflected many of the societal prejudices of the day, it was the New Deal emphasis on inclusion that distinguishes the musical productions within a historical context. Indeed, participation bridged many previous barriers and included black as well as white; men as well as women; poor and not; conservative, liberal, and radical; symphonic orchestras and orquestas tipicas; African American spirituals; folksong; satirical political revues; and the range of musical expression. These cross-cultural presentations most often found origin as grassroots ventures and were encouraged by a presidential administration that enthusiastically embraced its constitutionally mandated responsibility to “promote the general welfare” within a society where each citizen is assured of his or her own pursuit of happiness.
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Upitis, Rena. This Too is Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.001.0001.
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This Too Is Music guides and motivates teachers to foster classroom conditions that enable elementary students to thrive as improvisers, critical listeners, performers, and composers. Using anecdotes and illustrated with musical examples, the book explores how these aspects of music making are intertwined and quells any doubts teachers may have regarding their abilities to create an environment where children can improvise, dance, compose, and notate their musical offerings. While the book acknowledges the importance of traditional approaches to teaching notation and performance, its emphasis is on the student’s point of view, illustrating how young musicians can learn when their musical ideas are honored and celebrated. Various teaching ideas are presented; some are exploratory in nature, and others involve direct instruction. Regardless of their nature, all of the activities arise from research on children’s musical development in general and their development of notational systems in particular, and they have been tested in multiple elementary-classroom environments and preservice settings. The activities center on engaging with music through movement, performing, singing, improvising, composing, developing notational skills, and appealing to children across subjects, including language, drama, and mathematics. Activities encompass both small-scale classroom lessons and large-scale productions. This pedagogy has a timeless quality; even in our digital age, this musical environment appeals to children. The book invites readers to adapt the ideas to their own teaching settings, showing both preservice and established teachers that they can teach music creatively to build community and to inspire all who enter there.
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Lehman, Frank. Pantriadic Wonder. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0006.
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This chapter focuses on the wider cultural and psychological ramifications of chromaticism in film music. It is argued that pantriadicism strives for a specific affect: wonderment, and with it two subsidiary psychological states, frisson and awe. Both literary and cognitive/psychological accounts are given for this affect’s connection with harmony, with particular emphasis on the relationship of emotion and musical expectation. Frisson and awe have distinctive temporal profiles, leading to an evaluation of theoretical and empirical work on subjective temporality in connection with chromaticism. The analytical ramifications of this theory of chromatic temporality are examined with respect to a single large-scale case study, Howard Shore’s music for the Lord of the Rings trilogy. In the process, the author finds ways of integrating two traditionally separate analytical approaches: transformational networks and cognitive models of musical expectation.
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Platte, Nathan. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0015.
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Understanding the musical collaboration behind Selznick’s films does not require embracing every one of the producer’s decisions—some missed their mark. But Selznick’s productions do invite a re-evaluation of dominant prejudices in film-music discourse regarding, the involvement of a non-musicians in the scoring process, the sharing of compositional duties among multiple personnel, and film music’s relationship to commercial interests. These factors are crucial to understanding music’s function in Selznick’s films and its success within films and beyond. Although Selznick’s emphasis on film music reflected priorities born of prestige filmmaking (and literary adaptations in particular), his musical ideas spread far beyond these categories in the hands of other filmmakers. A concluding section shows that the mosaic-like construction of scores for Selznick presents not a crisis of authorship, but rather an opportunity to assess the dynamic and messy collaborations that produced some of Hollywood’s most memorable scores.
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McMullen, Tracy. The Improvisative. Sous la direction de George E. Lewis et Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.016.
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This chapter explores the ramifications of musical improvisation for understanding self and other. It argues that contemporary cultural theory is over-invested in Hegelian notions of the self as created through the field of the other and the concomitant emphasis on “recognition” as the central factor in the construction of the subject. This emphasis on recognition is, in part, installed through the theory of performativity. The article illuminates problems with this theory and then offers an alternative theory, the “improvisative,” that focuses on “generosity” rather than “recognition.” It argues that the practice of the improvisative may offer a better approach to effecting human agency than the performative. An examination of the improvisative practices of middle and high school age girls at the Girls’ Jazz and Blues Camp in Berkeley, California demonstrates this effectiveness.
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Stinson, Russell. Bach's Legacy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.001.0001.
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This book examines how four of the greatest composers of the nineteenth and twentieth centuries—Felix Mendelssohn, Robert Schumann, Richard Wagner, and Edward Elgar—engaged with the legacy of the music of J. S. Bach. It investigates the various ways in which these individuals responded to Bach’s oeuvre, not as composers per se, but as performers, conductors, scholars, critics, and all-around ambassadors. In its detailed analyses of both musical and epistolary sources, the book sheds light on how Bach’s works were received within the musical circles of these composers. The book’s narrative also helps humanize these individuals as it reconstructs, with touching immediacy, and often by recounting colorful anecdotes, the intimate social circumstances in which Bach’s music was performed and discussed. Special emphasis is given to Mendelssohn’s and Schumann’s reception of Bach’s organ works, Schumann’s encounter with the St. Matthew and St. John Passions, Wagner’s musings on the Well-Tempered Clavier, and Elgar’s (resoundingly negative) thoughts on Bach’s vocal works.
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Martin, Denis-Constant. Sounding the Cape : Music, Identity and Politics in South Africa. African Minds, 2013. http://dx.doi.org/10.47622/978-1-920489-82-3.
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For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an ìidentityî which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social --in this case pseudo-racial --identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape Town, deploying analytical tools borrowed from the most recent studies of identity configurations. He demonstrates that musical creation in the Mother City, and in South Africa, has always been nurtured by contacts, exchanges and innovations whatever the efforts made by racist powers to separate and divide people according to their origin. Musicians interviewed at the dawn of the 21st century confirm that mixture and blending characterise all Cape Town's musics. They also emphasise the importance of a rhythmic pattern particular to Cape Town, the ghoema beat, whose origins are obviously mixed. The study of music demonstrates that the history of Cape Town, and of South Africa as a whole, undeniably fostered creole societies. Yet, twenty years after the collapse of apartheid, these societies are still divided along lines that combine economic factors and 'racial'categorisations. Martin concludes that, were music given a greater importance in educational and cultural policies, it could contribute to fighting these divisions and promote the notion of a nation that, in spite of the violence of racism and apartheid, has managed to invent a unique common culture.
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Hwang, I.-Uen Wang. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0020.
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In twenty-first-century atonal music, tonality is more than the organization of musical components: it also includes timbres, texture, instrumentation, articulation and additional elements which will be discussed in a moment. In modern art since the era of impressionism, painting has developed towards a synaesthetic scheme in which tonality is considered to be a succession of movements. Modern art also places a greater emphasis on the use of colours to depict emotions. Traditional subjects are often superseded by geometric patterns. Abstract art is thus akin to atonal music, which replaces tonal centres with alternative methods of structuring the twelve notes....
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Sacred Poetry and Music Reconciled : Or a Collection of Hymns, Original and Compiled, Intended to Secure, by the Simplest and Most Practicable Means, an Invariable Coincidence Between the Poetic and the Musical Emphases ... Creative Media Partners, LLC, 2021.
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Slobin, Mark. A City in Motion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882082.003.0001.
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This introductory section thumbnails Detroit’s early history and sudden rise to prominence after 1915, as the auto industry created new forms of production and nearly two million people arrived from abroad and the American South. Accounts are scarce of early music history. The chapter outlines chapter coverage for the period roughly of the 1940s-60s, including European heritage musics and the music of white and black southerners, with some emphasis on the author’s own experience and circles, as well as other writers’ and artists’ retrospective glances at their hometown. Detroit’s identification through transportation leads to the guiding metaphors of the chapters, as musical and literal traffic overlap throughout the book.
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Ahlgren, Angela K. A New Taiko Folk Dance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199374014.003.0002.
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One of the first groups in the United States, San Jose Taiko has influenced North American taiko significantly through its performances, leadership, and philosophies. This chapter interrogates the group’s movements on two levels: by examining its connections to the Asian American movement and by analyzing its musical and choreographic repertoires. To that end, the chapter provides an analysis of P. J. Hirabayashi’s participatory taiko folk dance “Ei Ja Nai Ka?” in a variety of performance contexts and its implications for re-membering pre-internment Japanese American histories and honoring immigrant labor. It further demonstrates how the group navigates the sometimes Orientalist strategies that agents and presenters use to market the group, despite its efforts to emphasize its identity as an Asian American group.
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Bomberger, E. Douglas. Noise. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.003.0004.
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As the revelation of the Zimmermann telegram pushed the United States closer to war, jazz continued to grow in popularity. The Creole Band and Original Dixieland Jazz Band played simultaneous engagements in New York, and numerous journalists reported on the new musical genre. Fritz Kreisler played to loyal audiences of German Americans, while Karl Muck continued to emphasize Austro-German music in his Boston Symphony Orchestra concerts. Patron Henry Lee Higginson weighed the pros and cons of renewing Muck’s contract in light of the conductor’s frankly expressed loyalty to Germany. Walter Damrosch seized the moment by prominently featuring “The Star-Spangled Banner” in his concerts with the New York Symphony, which embarked on a ten-week national tour in mid-March.
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Bomberger, E. Douglas. Fallout. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.003.0012.
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In a 2 December article entitled “Rising Tide of Sentiment against German Music,” critic W. J. Henderson detailed the ways that musical attitudes in the United States had been altered in recent months. Fritz Kreisler and Karl Muck were restricted in their performances, while Schumann-Heink took a temporary break from public concerts. Walter Damrosch and Leopold Stokowski took pains to emphasize their loyalty, but Damrosch’s new arrangement of “The Star-Spangled Banner” was criticized for being too ornate. The Original Dixieland Jazz Band and the Original Creole Band continued to ride the wave of jazz popularity. After further delays, the Fifteenth New York National Guard Regiment finally crossed the Atlantic Ocean and prepared to join the war in France.
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Lee, Sherry D. Modernist Opera’s Stigmatized Subjects. Sous la direction de Blake Howe, Stephanie Jensen-Moulton, Neil Lerner et Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.12.
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While nineteenth-century opera saw its share of damaged and acutely afflicted bodies, and its music more frequently aestheticized suffering than it either objectified or sympathized with it, the early twentieth century saw a shift in emphasis with regard to the staged and musical representation of subjects stigmatized by congenital or permanent physical disabilities. This essay considers the ways in which the musicodramatic framework for interpretation, spectatorship, and identification in modernist opera (including depictions by Strauss, Schreker, and Zemlinsky of dwarves and hunchbacks) is subtly reconfigured according to shifting modernist aesthetic and sociocultural contexts, such that the visual and sonic signification of physical disability is conceptualized as a kind of metaphor for damaged subjectivity or personhood—a status not infrequently understood as encapsulating the broader fate of the modern self.
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Galand, Joel. Topics and Tonal Processes. Sous la direction de Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0017.
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This chapter contributes to topic theory by evaluating the extent to which the choice of musical topics and tonal process in a composition might mutually condition or influence one another. Is it possible to “semanticize” the tonal paths taken by eighteenth-century composers on the basis of the keys with which certain topics were associated? The chapter begins by establishing some conditions under which a proposed connection between topics and tonal process may be considered. Next, it reviews the evidence for associating certain keys with individual topics in the first place, with particular emphasis on the pastorale, hunt,tempesta(i.e.Sturm und Drang),ombra, and military topics. Finally, the chapter presents passages, mostly drawn from the music of Haydn, Mozart, and Beethoven, that exemplify possible interactions of topic and tonal plan.
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Phillips, Tom, et Armand D'Angour, dir. Music, Text, and Culture in Ancient Greece. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.001.0001.
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This book explores the interaction between music and poetry in ancient Greece. Although scholars have long recognized the importance of music to ancient performance culture, little has been written on the specific effects that musical accompaniment and features such as rhythmical structure and melody would have created in individual poems. The chapters in the first half of the volume engage closely with the evidential and interpretative challenges that this issue poses, and propose original readings of a range of texts, including Homer, Pindar, and Euripides, as well as later poets such as Seikilos and Mesomedes. While they emphasize different formal features, they argue collectively for a two-way relationship between music and language. Attention to the musical features of poetic texts, insofar as we can reconstruct them, enables us to better understand not only their effects on audiences, but also the various ways in which they project and structure meaning. In part two, the focus shifts to ancient attempts to conceptualize interractions between words and music; the essays in this section analyse the contested place that music occupied in Plato, Aristotle, Plutarch, and other critical writers of the Hellenistic and Imperial periods. Thinking about music is shown to influence other domains of intellectual life, such as literary criticism, and to be vitally informed by ethical concerns.
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Platte, Nathan. “Drama Rising like Mighty Music”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0003.
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Selznick’s move to RKO in 1931 brought the producer in contact with music director Max Steiner. Through their collaborative relationship they defined and directed the role of symphonic underscore in Hollywood. This chapter charts their systematic expansion of background scoring within individual films and the extension of this music beyond films in sheet music and concert performances. Special emphasis is placed on Symphony of Six Million (1932) and the “island-adventure trilogy” of Bird of Paradise (1932), The Most Dangerous Game (1932), and King Kong (1933). Tracking music’s role across these four films reveals how Steiner and Selznick’s experimental use of background scoring creatively reworked silent-era musical practices to produce a widely influential scoring model. Selznick’s RKO productions also feature critical but overlooked contributions from orchestrator Bernhard Kaun, sound engineer Murray Spivack, and African-American choral director Clarence Muse.
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Temperley, David. Strategies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0009.
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Strategies are recurrent structural patterns that combine the musical dimensions explored in previous chapters—key/tonality, harmony, melody, rhythm/meter, phrase structure, timbre, form—for structural or expressive effect. One set of strategies concerns the boundary between the first VCU (verse-chorus unit) and the second; here there often seems to be an effort to balance continuity and closure. Another set of strategies involves the IV chord, which is used in rather specific ways to achieve cadential effects. VCUs often reflect an overall trajectory of tension, either “middle-peaking” or “end-peaking,” through increased rhythmic density, phrasal irregularity, and emphasis of non-tonic harmonies. Other strategies may be used to shape the energetic or tensional trajectory of a song as a whole. Finally, shifts in scale or tonal center can contribute greatly to the expressive impact of a song.
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Jarjour, Tala. Emotion and the Economy of Aesthetics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0001.
Texte intégralRésumé :
This chapter sets forth the theoretical and epistemological frame for the book and the themes it integrates. The chapter introduces the main issues at stake in Sense and Sadness, be they intellectual, historical, political, geographic, temporal, methodological, or disciplinary. Its holistic contextualization is essential in order to understand the Suryani music experience as this book explains it: an emotional-cognitive aesthesis. The chapter explains the economy of emotion and aesthetics, proposed here as a new interpretive and analytical concept for a suggested connection between two main problems in music studies, namely mode and emotion. It thus offers theoretical frameworks for connecting mode and emotion through their mutual relation to the aesthetic. While maintaining emphasis on music modality and human emotionality in explaining Syriac chant music, the chapter draws on the cognitive capacities of metaphor and imagination, and addresses issues of liminality as positionality, dynamic method, and musical and contextual complexity.
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Jarjour, Tala. Authority. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0007.
Texte intégralRésumé :
Like Suryaniness, authority in Hayy al-Suryan is performed. The two are constantly contested and (re)articulated such that their components are legitimated, and, ultimately, agreed upon and valued. In putting some emphasis on gender in relation to notions of authority, particularly on women’s agency in the strict ecclesiastical and social hierarchy of Hayy al-Suryan, this chapter suggests the concept of authority as more appropriate than power. Borrowing Ricoeur’s tradition of authority, the chapter presents chant as the arbiter of Suryani modes of value in the worldly, relational sphere of Urfalli sociality. It underlines the affective liminality social complexity bestows on the female voice while gendering women’s bodies. The chapter zooms in on three individuals, portraying them dynamically in integrated instances of intimate ethnography, to shed light on the atemporal interlockings of value and perception in the musical story of a living, ancient musicality.
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Phillips, Tom. Hesiod and Pindar. Sous la direction de Alexander C. Loney et Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.45.
Texte intégralRésumé :
This chapter examines Hesiodic elements in Pindar’s “First Hymn” and Pythian 1 and appropriations of Hesiod’s “path to virtue” in the epinicians. Differences between Pindar’s treatment of Zeus’s marriage and cosmic dispensations in the “First Hymn” and Hesiod’s account articulate a greater emphasis on cosmic order and create an identification between the audience’s response to the poem and that of the gods to the newly created cosmos. In Pythian 1 Pindar’s ekphrasis of Etna presents a picture of Typhon who is more constrained and integrated into the cosmic order than his counterpart in the Theogony. But Pindar represents the monster with great imagistic and musical immediacy and brings it into closer proximity to human civilization. These tensions can be read as programmatic for the poem’s projection of the listener as an ethical subject, articulating the threats posed to human self-constitution by the violence in both the natural and social orders.
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Gooley, Dana. Fantasies of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.001.0001.
Texte intégralRésumé :
This book is the first history of keyboard improvisation in European music in the postclassical and romantic periods (c. 1815–1870). Grounded in primary sources, it documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbé Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century’s leading improvisers. The book further discusses the reception and valuation of improvisational performances by colleagues, audiences, and critics, which prompted many keyboardists to stop improvising. Its central argument is that amid the decline of improvisational practices in the first half of the nineteenth century there emerged a strong and influential “idea” of improvisation as an ideal or perfect performance. This idea, spawned and nourished by romanticism, preserved the aesthetic, social, and ethical values associated with improvisation, calling into question the supposed triumph of the “work.”
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Kartomi, Margaret. The Mandailing Raja Tradition in Pakantan. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0011.
Texte intégralRésumé :
This chapter examines the music culture of the village complex of Pakantan in south Tapanuli, North Sumatra, with particular emphasis on the Mandailing raja tradition. It aims to reconstruct the historical and aesthetic context of Pakantan's pre-Muslim ritual orchestral music in the eighteenth and nineteenth centuries, when the village was ruled by a chieftain (raja) of the original Lubis clan. The three ritual orchestras, which are differentiated by their respective sets of either five or nine tuned gordang drums or two untuned gordang drums, possess indigenous religious and aesthetic meaning. After providing an overview of the Mandailing people's cultural history, the chapter discusses the social role, aesthetic thought, and ritual practice of their ceremonial music. More specifically, it considers the gordang sambilan performed at major ceremonies, funerals, weddings, and clairvoyant rituals. It shows that each musical item on ceremonial occasions, whether played on a gondang or a gordang ensemble, is named after its totop, or fixed drum rhythm, and serves as an invocation.
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Amico, Stephen. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038273.003.0006.
Texte intégralRésumé :
This concluding chapter discusses the insights that might be gained by understanding the sexual self via the musical (rather than the political or textual) and emphasizes the importance of foregrounding the living, sexual body in Russian gay men's wresting of their same-sex desires from the socially imposed shackles of pathology. It begins with a discussion of legal and juridical as well as economic factors that must be taken into account in contextualizing post-Soviet homosexuality. It also considers how the religious and the political are entangled in issues relating to homosexuality in Russia, with particular emphasis on its politicization. Finally, it explores the interconnections among sexuality, music, and culture in Russia as well as the homosexuals' fight for legal protection and equality in a post-Soviet climate. The chapter argues that our understanding of an embodied sexual identity can be greatly aided by its conceptualization via dynamics operating in popular music.
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Wolf, Richard K. Tone and Stroke. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038587.003.0003.
Texte intégralRésumé :
This chapter examines the importance of tone and stroke melody in the rhythmic patterns of South Asian drumming traditions. Many musicians and listeners in South Asia are interested in the relation of what they consider classical music to what they consider folk music. Some emphasize the distinction when wishing to make a point about what constitutes true musical knowledge (usually knowledge associated with the “classical”). This chapter explores the practice of naming and defining drum patterns based on the author's fieldwork in a number of cities, towns, and rural regions in India and Pakistan. It also discusses the role of melody and rhythm in the definition of patterns by looking at examples of (tone-) melodies accompanied by drums, such as functionally specific genres that combine wind-instrument melodies with drum patterns. The chapter highlights the complex ways in which tone and stroke melodies may vie for primacy within a genre or across different items in the drum repertoire.
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Reish, Gregory. On the Notion of “Old-Time” in Country Music. Sous la direction de Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.3.
Texte intégralRésumé :
This chapter investigates the origins, connotations, and uses of “old-time” and related terms in country music, with an emphasis on the hillbilly era of the 1920s and 1930s, the postwar string band revival, and the field of country music scholarship. Use of “old-time” as an appellation for prewar country is shown to have derived from the marketing of printed musical collections in the nineteenth and early twentieth centuries, and employed by the marketers of early commercial country music. During the postwar revival, scholars and taste-making musicians used “old-time” to establish a canon of artists, styles, and repertories that has solidified even more in the twenty-first century, as personal connections to the precommercial era of folk music become rare. There is now a positivistic documentation of early commercial country music and sharing of that information with the community of revivalist musicians through the publication of regional studies and biographies.
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Regelski, Thomas A. Curriculum Philosophy and Theory for Music Education Praxis. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197558690.001.0001.
Texte intégralRésumé :
Curriculum Philosophy and Theory for Music Education Praxis is offered for advanced pre-service music education students, in-service teachers, and doctoral students. “Curriculum” is often poorly understood by music teachers. It also is a typically ignored topic in their teacher training where emphasis is on “methods,” but without prior planning of the musical goals those methods supposedly serve. The basic question of curriculum planning in this book, “What of all that could be taught is most worth learning?,” is not usually what teachers usually have in mind. In any case, too often their answers are not supportable by the rigorous philosophical and theoretical scholarship of this monograph. The result is the present anarchy of “programs” that fails to promote pragmatic and long-lasting results. This leads to the ever-growing “legitimation crisis” that advertises the aesthetic benefits of music education in schools. However, since these benefits are vague and intangible, music teachers constantly must engage in “advocacy” of their “programs.” This scholarly monograph accepts that pre- and in-service readers can understand the challenges of curriculum planning. It begins with a brisk survey of philosophies of music and music education inherited from the Greeks—included because they too often still dominate contemporary music teaching in negative ways. Then more recent and substantial bases of music curriculum and praxis theory of music and music education are examined as alternatives for planning curriculum built on intellectually substantial philosophical and theoretical grounds. The study concludes with a model curriculum based on recent praxis theory where musical and educational benefits are evident to students, administrators, and taxpayers and lead to “artful” living through music.
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Waddell, Nathan. Moonlighting. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198816706.001.0001.
Texte intégralRésumé :
How and why did the life and music of Ludwig van Beethoven (1770–1827) matter to experimental writers in the early twentieth century? Previous answers to this question have tended to focus on structural analogies between musical works and literary texts, charting the many different ways in which poetry and prose resemble Beethoven’s compositions. This book takes a different approach. It focuses on how early twentieth-century writers—chief among them E. M. Forster, Aldous Huxley, Wyndham Lewis, Dorothy Richardson, Rebecca West, and Virginia Woolf—profited from the representational conventions associated in the nineteenth century and beyond with Beethovenian culture. The emphasis of Moonlighting falls for the most part on how modernist writers made use of Beethovenian legend. It is concerned neither with formal similarities between Beethoven’s music and modernist writing nor with the music of Beethoven per se, but with certain ways of understanding Beethoven’s music which had long before 1900 taken shape as habit, myth, cliché, and fantasy, and with the influence they had on experimental writing up to 1930. Moonlighting suggests that the modernists drew knowingly and creatively on the conventional. It proposes that many of the most experimental works of modernist literature were shaped by a knowing reliance on Beethovenian consensus; in short, that the literary modernists knew Beethovenian legend when they saw it, and that they were eager to profit from it.
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Schwadron, Hannah. The Case of the Sexy Jewess. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190624194.001.0001.
Texte intégralRésumé :
This book documents the unorthodox case of the Sexy Jewess, a distinctive figure of twenty-first-century American Jewishness. Versions of her image proliferate in US popular culture among neoburlesque, movie musicals, comedic television, ballet parody, and progressive pornography. In embodied plays with sexed-up self-display, the Sexy Jewess revises long-standing stereotypes of the ugly hag, the insatiable Jewish mother, and the self-obsessed Jewish American princess that sustain images of excess even as they have assimilated into the American mainstream. Talking back and dancing back at these stereotypes through gender and humor rebellion, a slew of celebrity and lesser known performers play up their Jewish and female difference as self-conscious comments on their majoritarian sameness. In doing so, performers invoke the Sexy Jewess as a postassimilatory, postfeminist persona with radical and conservative effects. The introduction, five chapters, and the conclusion show how this occurs in a spectrum of spectacle embodiments across a range of performance contexts. Extending across stage and screen legacies of a hundred years, The Case of the Sexy Jewess links humor to classed ideas about sexiness and links ethnicity to gendered constructions of race. Unique to the study of American Jewishness but not limited by its scope, the book situates the body as a site of critical agency in discussions of parody and representational politics, with an emphasis on cultural appropriation and reappropriation that provokes questions applicable to a wide range of other identity acts and impersonations.
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Díaz, Juan Diego. Africanness in Action. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197549551.001.0001.
Texte intégralRésumé :
This book discusses how musicians from Bahia, an emblematic African diasporic location in northeastern Brazil, think about, discuss, compose, rehearse, perform, and stage music inspired by what they perceive to be their own African ancestry. It argues that these musicians assert Afro-Brazilian identities and connect to the African continent and other diasporic places by creatively engaging essentialized notions about African music and culture: instead of mechanically reproducing these tropes, they emphasize them or downplay them. The book theorizes these preconceived notions about African music, culture, and performance as tropes of Africanness, emphasizing that they exist in two interrelated realms: as essentialist ideas in discourse and as concrete practices and sounds. Six commonly encountered tropes of African music are analyzed: the notions that its most important parameter is rhythm and that it is dominated by percussion; that it is meant to be danced to or deeply embodied rather than intellectualized; that it always touches on the sacred; that it is spontaneous and improvisatory; and that it reflects communalism rather than individualism. Through four case studies from Bahia (a jazz big band called Orkestra Rumpilezz, a symphony orchestra called the Orquestra Afrosinfônica, and two berimbau orchestras led by capoeira practitioners), the book demonstrates the nuances of musical creation in the African diaspora, acknowledging the genuine impact that essentialisms have on Bahian music while showing that they may not be an essential part of the musicians’ African roots.
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Nardini, Luisa. Chants, Hypertext, and Prosulas. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197514139.001.0001.
Texte intégralRésumé :
The liturgical chant that was sung in the churches of southern Italy between the ninth and the thirteenth centuries reflects the multiculturalism of a territory in which Roman, Franks, Lombards, Byzantines, Normans, Jews, and Muslims were present at various times and with different political roles. This book examines a specific genre, the prosulas that were composed to embellish and expand preexisting liturgical chants of the liturgy of mass. Widespread in medieval Europe, prosulas were highly cultivated in southern Italy, especially by the nuns, monks, and clerics in the city of Benevento. They shed light on the creativity of local cantors to provide new meanings to the liturgy in accordance with contemporary waves of religious spirituality and to experiment with a novel musical style in which a syllabic setting is paired with the free-flowing melody of the parent chant. In their representing an epistemological “beyond” and because of their interconnectedness with the parent chant, they can be likened to modern hypertexts. The emphasis on universal saints of ancient lineage stressed the perceived links with the cradles of Christianity, Africa and West Asia, and the center of the papal power, Rome, while the high number of Christological prosulas in manuscripts used in nunneries might be tied to the devotion to Jesus as “spiritual spouse” that was typical of female religiosity. Full editions of texts, melodies, and manuscript facsimiles in the companion website enrich the study of the stylistic features and the cultural components of this fascinating genre.
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Kulezic-Wilson, Danijela. Sound Design is the New Score. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855314.001.0001.
Texte intégralRésumé :
Sound Design Is the New Score explores film soundtrack practice that blurs the boundary between scoring and sound design, subverting long-established hierarchical relationships between dialogue, music, and sound effects. The new methods associated with this practice rely on the language and techniques of contemporary popular and art music rather than traditional Hollywood scoring and mixing practices, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of pre-existing musique concrète or electroacoustic music are merged with diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrète. The book argues that the underlying principle that binds together all the different manifestations of this practice is a musical approach to soundtrack conceived as an integrated whole. The aesthetic concerns of this practice, demonstrated in a resistance to the familiar tropes of classical narrative and scoring, are illuminated through the concept of the aesthetics of reticence, which encourages an intellectual, affective, and sensuous engagement with film. The sensuous aspect of this practice is theorized using the concept of the erotics of art, arguing that the sensuousness of film form—its sonic and visual textures, composition, rhythm, movement, and flow—is much more complex and sophisticated than simply being an emphasis on excessive sensory stimulation facilitated by the use of digital technology or the aesthetics inspired by it.