Articoli di riviste: "Humanities -> music -> music history"

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Jeon, Seonkoo. "A Study on the Practical Humanities Potential of Music Humanities". Korean Society of Culture and Convergence 45, n. 11 (30 novembre 2023): 837–48. http://dx.doi.org/10.33645/cnc.2023.11.45.11.837.

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This study proposed Music Humanities as a methodological model for the social realization of practical humanities. Music humanities is text-based journalistic content based on a convergent approach between the fields of music and humanities.. In order to examine the possibility and usefulness of practical humanities implied in Music Humanities, based on interpretive research methods based on grounded theory of the text of Music Humanities and related research literature, first, text recognition according to discussion system restructuring We analyzed the text linguistics and social psychological standards and values reflected in the environment construction process, and derived practical humanities significance through them. Second, the musicological value of key text areas according to the structuring of music's media nature was illuminated and the practical humanities implications implied in the conceptualization process of music were derived. Lastly, the possibility of creating social messages in the humanities through music was specified by analyzing the discourse process of key text areas that surfaced the humanities value of music. This study can provide an opportunity to further solidify the social tone and line of practical humanities.

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Schroeder-Sheker, Therese. "The Chalice of Repose Project’s Music-Thanatology History and Praxis". Music and Medicine 9, n. 2 (16 aprile 2017): 128. http://dx.doi.org/10.47513/mmd.v9i2.573.

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Abstract The palliative medical modality of music-thanatology as developed by the author and pioneered at the Chalice of Repose Project is an evidence-based practice-vocation-profession, and maintains a singular focus and orientation: the physical and spiritual care of the dying with prescriptive music. Music-thanatology palliative care is delivered in every psychosocial setting and serves every patient constituency, pediatric to geriatric. The music-thanatology delivery of prescriptive music occurs live, at the bedside; is responsive to the patient’s unique, dynamic medical and interior conditions, and features quiet reception rather than clinician-patient interaction. This historical report provides a condensed overview of forty-four years of music-thanatology development, history and clinical practice. This includes a description of the historical and current curricula, excerpts from clinical field notes and an example of a spiritual practice that can sensitively orient musician-clinicians toward the existential patient experience. The bibliographical resources cited reflect the methodologies of a variety of scholarly disciplines in the biomedical and nursing arts and sciences and a full range of the humanities, all of which are integrated into music-thanatology education, formation and praxis. Recent population studies [1] report that there are currently over 46 million Americans aged 65 and older, and this number is expected to double by 2060. Life expectancy has generally increased and with it the need for excellent end-of-life palliative care programs. A full array of dedicated and competent practitioners skilled in a variety of end-of-life arts and sciences has never been so greatly needed in the USA. When interventional modalities have been exhausted, music-thanatology offers effective pain relief and meaningful, effective, cost-effective supportive care options during the final days and hours of life. Keywords: Music-thanatology, palliative care, prescriptive music, narrative medicine, spirituality, transitus, monastic medicine, contemplative practice, letting go.

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Morgan, Frances. "Pioneer Spirits: New media representations of women in electronic music history". Organised Sound 22, n. 2 (12 luglio 2017): 238–49. http://dx.doi.org/10.1017/s1355771817000140.

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The Alternative Histories of Electronic Music conference in 2016 reflected a rise in research that explores new and alternative directions in electronic music historiography. Accordingly, attention has been focused on practitioners previously either ignored or thought to be marginal; a significant number of these figures are women. This fact has caught the attention of print and online media and the independent recording industry and, as a result, historical narratives of female electronic musicians have become part of the modern music media discourse. While this has many positive aspects, some media representations of the female electronic musician raise concerns for feminist scholars of electronic music history. Following the work of Tara Rodgers, Sally MacArthur and others, I consider some new media representations of electronic music’s female ‘pioneers’, situate them in relation to both feminist musicology and media studies, and propose readings from digital humanities that might be used to examine and critique them. This article expands on a talk given at AHEM and was first conceived as a presentation for the Fawcett Society event Sound Synthesis and the Female Musician, in 2014.

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Howe, Sondra Wieland. "A History of American Music Education". Journal of Aesthetic Education 42, n. 4 (1 dicembre 2008): 115–20. http://dx.doi.org/10.2307/25160308.

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Efremenko, Alexey P., e Mukadas Gabdiyev. "Specifics of the Formation of Musical Culture of Modern Adolescents in the System of Additional Education". Uchenye Zapiski RGSU 20, n. 1 (30 marzo 2021): 122–30. http://dx.doi.org/10.17922/2071-5323-2021-20-1-122-130.

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The study of musical culture, various aspects of it is traditionally engaged in humanities – art science, cultural studies and a number of social disciplines. The most significant science is musicology, which includes the history of music, the philosophy of music (section of aesthetics) and musical ethnology. Music culture at different levels of development is also the object of a study of music pedagogy, one of the current tasks of which today is the formation of the musical culture of modern adolescents. The specifics of this process, carried out in the system of additional education, are devoted to the article. It reveals the main conditions, factors and methods that contribute to the effective formation of the musical culture of adolescents.

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Scherzinger, Martin. "African Music and the History of Time". History of Humanities 6, n. 2 (1 ottobre 2021): 397–426. http://dx.doi.org/10.1086/715864.

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Li, Ang. "Historical Evolution of the Popularization of Classical Music and the Development of the Fusion of Multiple Musical Styles". Herança 7, n. 1 (21 dicembre 2023): 113–25. http://dx.doi.org/10.52152/heranca.v7i1.810.

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The historical evolution of classical music and its fusion with different musical genres is an important phenomenon in the field of music. The aim of this thesis is to explore the historical evolution of the popularization of classical music and its fusion with a variety of musical genres. First, we define the characteristics of classical and popular music. Then, we examine the development of classical music in the history of popular music, including its relationship to blues, jazz, and American country music. Next, we summarize the history of the fusion of classical and popular music and analyze contemporary examples. Finally, we discuss the impact and future trends of the popularization of classical music. By examining this topic, we can better understand trends in musical preferences and the role of classical music in music culture.

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Steinberg, Michael P. "Music Drama and the End of History". New German Critique, n. 69 (1996): 163. http://dx.doi.org/10.2307/488613.

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Do Thi, Thach. "Adapting literature works taught in schools into music". Journal of Science Social Science 66, n. 2 (maggio 2021): 54–63. http://dx.doi.org/10.18173/2354-1067.2021-0025.

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Thanks to the interference and encounter with many arts, literary texts can be “recreated” to new forms of art which include music. This article will deal with the concept of adaptation, the formation history and the process of adaptation, the close relationship between music and literature, which is the basic of literary adaptation. In terms of music adaptation activitities in schools this article points out the pros and cons, thereby proposing some matters involving in methods of adapting literature to music.

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Schiavio, Andrea, Nikki Moran, Mihailo Antović e Dylan van der Schyff. "Grounding Creativity in Music Perception? A Multidisciplinary Conceptual Analysis". Music & Science 5 (gennaio 2022): 205920432211229. http://dx.doi.org/10.1177/20592043221122949.

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To what extent can we understand and account for music perception as a creative process? In this paper we draw on recent work in music, creativity, and the cognitive humanities to suggest that the fundamentally creative aspect of music perception is not yet satisfactorily examined in existing research. We briefly review the state of scholarship into both creativity and music perception, and identify key points of convergence, which are prominent in work that investigates the mutuality of action and perception, and the exploratory bases of the latter, among others. Inspired by a growing number of contributions in 4E music cognition research, we argue that listening to music can involve mechanisms of active bodily engagement, along with the imaginative exploration of novel possibilities for thought and action. We put forward the view that this approach is important because of the way in which it can bring to the analytical centre stage a creative dimension that may not otherwise be apparent. The contribution of this paper involves this presentation of a multidisciplinary framework for the study of music perception, highlighting the integration of perception and action, and foregrounding this conception of creative cognition as a central aspect of music perception.

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J. Vishalinromiya. "Digital Humanities as a Treasure Trove for the Developing Countries: An Exploration". Shanlax International Journal of English 12, S1-Dec (14 dicembre 2023): 501–6. http://dx.doi.org/10.34293/rtdh.v12is1-dec.80.

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Digital humanities integrate the methods from conventional humanities disciplines (such as rhetoric, history, philosophy, linguistics, literature, art, archaeology, music, and cultural studies) and social sciences. It encompasses both digitized and born-digital materials. In addition to altering our way of life, contemporary technology has also had an impact on our perceptions, thoughts, and analyses of modernity. An Integrated Learning Major (ILM) called “digital humanities” blends the conventional humanities strengths with an emphasis on digital and information technology. As a tool for the humanities and as a subject of humanistic study, it allows students to expand their knowledge of the humanities to digital culture. Communication between people is always the foundation of social behavior. Communication tools, access is now incredibly simple and reasonably priced. In the subject of literature, organizing the deluge of information properly is a major difficulty. Not only has modern technology altered our way of life, but it has also had an impact on our perception, reasoning, and analysis. This article reveals that Digital humanities as a treasure trove for the developing countries through literature, language and other areas such as the arts (e.g. paintings, sculpture, architecture, music, films), philosophy, psychology and social sciences (e.g. politics, economics, history,sociology).

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Pavlenko, Oleksii, Ihor Shcherbak, Viktoriia Hura, Valentyn Lihus, Iryna Maidaniuk e Tamara Skoryk. "Development of Music Education in Virtual and Extended Reality". BRAIN. Broad Research in Artificial Intelligence and Neuroscience 13, n. 3 (30 settembre 2022): 308–19. http://dx.doi.org/10.18662/brain/13.3/369.

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The relevance of the chosen topic of the paper is determined by the need to study the development of music education in our time in virtual and augmented reality, focused on the study of new vectors of music education in Ukraine and its entry into the world educational and cultural space based on innovative technologies. The study aims to define and justify the development of music education in virtual and augmented reality, research of innovative technologies to expand the possibilities of the creative process in the art of music, and definition of methods of musical expansion reality. The paper analyzes the directions of development of music education in the works of researchers and scientists, as in the last few decades, scientists have become more interested in the virtualization of society and music education, in particular. Virtual reality is becoming the object of study in philosophy and the humanities and the natural sciences, art history. The article also collects theoretical developments on the topic, specifies the tasks in the music education system in our time in virtual and augmented reality, explores the role and place of innovative technologies to expand the creative process in music, methods of expanding musical reality determined.

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Bohlman, Andrea F. "Sounding Plastic: The “Great Career” of the Flexidisc in Socialist Poland". Slavic Review 82, n. 4 (2023): 874–86. http://dx.doi.org/10.1017/slr.2024.4.

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This essay asks what archival sound objects—in this case a vast stockpile of bootleg music recordings—can tell us about cultures of listening and the cultivation of intimacy through sound under state socialism. It combines ethnographic and historical methodologies to analyze a format for popular music that circulated through an alternative economy in the People's Republic of Poland from the 1950s through the 1980s: the “sound postcard” (pocztówka dźwiękowa). These flimsy, often colorful, plastic rectangles contained copies of mainstream western, Polish, and Soviet popular musics on seven-minute records, sold hand-to-hand at markets and kiosks. In the twenty-first century, these polyethylene flexidiscs circulate as socialist ephemera with a nostalgic thrill, cherished for their obsolescence and provocative visual design reconstruct, but dismissed as poor fidelity transfers. I treat this archive as material history that contains aural traces allowing us to access socialities, affective experiences, and labor relations.

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Abbink, Jon. ": Music, Ritual, and Falasha History . Kay Kaufman Shelemay." American Anthropologist 91, n. 2 (giugno 1989): 500–502. http://dx.doi.org/10.1525/aa.1989.91.2.02a00680.

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De Beukelaer, Christiaan. "Music Piracy: a Rich but Narrow History". Cultural Studies 30, n. 2 (15 aprile 2014): 346–48. http://dx.doi.org/10.1080/09502386.2014.909864.

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Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn". Journal of the Royal Musical Association 135, n. 2 (2010): 205–43. http://dx.doi.org/10.1080/02690403.2010.506265.

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What would contemporary music scholarship look like if it was no longer imprinted with the disciplinary assumptions, boundaries and divisions inherited from the last century? This article proposes that a generative model for future music studies would take the form of a relational musicology. The model is drawn from the author's work; but signs of an incipient relational musicology are found scattered across recent research in musicology, ethnomusicology, and jazz and popular music studies. In support of such a development, the article calls for a reconfiguration of the boundaries between the subdisciplines of music study – notably musicology, ethnomusicology, music sociology and popular music studies – so as to render problematic the music/social opposition and achieve a new interdisciplinary settlement, one that launches the study of music onto new epistemological and ontological terrain. In proposing this direction, the article points to the limits of the vision of interdisciplinarity in music research that is more often articulated, one that – in the guise of a turn to practice or performance – sutures together the historically inclined, humanities model of musicology with the micro-social, musicologically inclined aspects of ethnomusicology. The article suggests, moreover, that this vision obscures other sources of renewal in music scholarship: those deriving from anthropology, social theory and history, and how they infuse the recent work gathered under the rubric of a relational musicology. As an alternative to the practice turn, a future direction is proposed that entails an expanded analytics of the social, cultural, material and temporal in music. The last part of the article takes the comparativist dimension of a relational musicology to four topics: questions of the social, technology, temporality and ontology.

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Ehrmann-Herfort, Sabine, e Dörte Schmidt. "Einleitung". Quellen und Forschungen aus italienischen Archiven und Bibliotheken 100, n. 1 (25 novembre 2020): 57–71. http://dx.doi.org/10.1515/qufiab-2020-0006.

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AbstractThe German Historical Institute in Rome (DHI Rome) is the only one among the Humanities Institutes of the Max Weber Foundation abroad to have its own music department, the importance of which in the German-speaking world is demonstrated by the close and structurally anchored connection with the Gesellschaft für Musikforschung (German Musicological Society), among other things, which has been in place since the beginning. The 60th anniversary of the Music History Department at the DHI Rome (after the focus on the historical reappraisal of its founding history on the occasion of its 50th anniversary) now provides an opportunity to focus on the question of the methodological conditions of the relationship between historically active musicology and historical studies. In the end, the question will not only be what opportunities lie today in the connection of the two disciplines, but also why this should continue to be done within the framework of research humanities institutes abroad.

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Ahn, Si-hyeon. "A Study of the State of Applied Musicology Research －Focusing on Domestic Doctoral Thesis－". Korean Society of Human and Nature 5, n. 1 (30 giugno 2024): 331–63. http://dx.doi.org/10.54913/hn.2024.5.1.331.

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This thesis aims to establish foundational data for the field of applied musicology, with a focus on research conducted on practical music in Korea. To accomplish this, an analysis was conducted on the current status of doctoral dissertations related to practical music, categorizing them into practical and popular music. The Department of Applied Music in Korean universities was established in 1988. Although a doctoral program was introduced in 2003, research papers on applied music were not prevalent. There are over 1,500 theses and dissertations related to applied music stored in the National Assembly Library, and individual papers are published in various academic journals. However, due to the difficulty in synthesizing these sources comprehensively, the significance lies in examining the current state of research on applied music, focusing on doctoral dissertations, to establish foundational data for the field of applied musicology. The concept of applied music encompasses a wide range of musical cultures, including popular music, jazz, Eastern traditional music, Western classical music, and others, as defined by the educational objectives of universities. It aims to create “music of the 21st century” by integrating various musical genres. In terms of categorization, an examination of university curricula in South Korea reveals over 100 courses classified under this category. The current status of doctoral dissertations on applied music and popular music reveals that there have been 94 papers (from 1992 to 2024) on applied music, conducted at 23 different institutions. Notably, Kyung Hee University and Sangmyung University have produced the highest number of dissertations in this field. As for popular music, there have been 65 papers (from 1994 to 2023), researched at 33 institutions. Kyung Hee University leads in the number of dissertations, followed by Sangmyung University and Sejong University. These papers were categorized and analyzed based on their content, with 35 focusing on historical aspects, 64 on typology, 41 on effects, and 19 on applications, totaling 159 papers. The nature of these papers covers various topics such as the overall history of popular music, expected outcomes through program development, emotional and therapeutic uses of popular music, as well as papers exploring humanities-related subjects like philosophy and aesthetics. However, there is a scarcity of papers specifically focused on aesthetics and art studies.

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Reily, Suzel Ana, e Deborah Pacini Hernandez. "Bachata: A Social History of a Dominican Popular Music." Journal of the Royal Anthropological Institute 3, n. 1 (marzo 1997): 169. http://dx.doi.org/10.2307/3034382.

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Howe, Sondra Wieland. "A History of American Music Education (review)". Journal of Aesthetic Education 42, n. 4 (2008): 115–20. http://dx.doi.org/10.1353/jae.0.0023.

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Mundy, Rachel. "Evolutionary Categories and Musical Style from Adler to America". Journal of the American Musicological Society 67, n. 3 (2014): 735–68. http://dx.doi.org/10.1525/jams.2014.67.3.735.

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As we consider music's role in defining races, cultures, and species, musicologists may benefit from examining more closely the history of conceptions of musical style. That history offers an opportunity to reassess the question of how and how much one of the core tools of music scholarship—the recognition and categorization of musical style—reflects a historical tradition of categorizing culture as a form of essential, biologized difference. This exercise seems particularly relevant in the present moment, when scholarly style categories converge with a renewed interest in evolutionary science. Tracing notions of style from the days of Guido Adler to the present, I argue that classifications of musical style have offered a way for music scholars to explore changing concepts of human difference. By asking what it means to identify a musical style, it is possible to engage more sensitively with music's power to classify human cultures, define human beings, and demarcate the perimeter of the humanities.

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Lornell, Kip. "A New History of American and Canadian Folk Music". Journal of American Folklore 135, n. 535 (1 gennaio 2022): 113–14. http://dx.doi.org/10.5406/15351882.135.535.15.

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Hisama, Ellie M. "Feminist Music Theory into the Millennium: A Personal History". Signs: Journal of Women in Culture and Society 25, n. 4 (luglio 2000): 1287–91. http://dx.doi.org/10.1086/495562.

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Baker, Sarah, Lauren Istvandity e Raphaël Nowak. "Curatorial practice in popular music museums: An emerging typology of structuring concepts". European Journal of Cultural Studies 23, n. 3 (29 marzo 2018): 434–53. http://dx.doi.org/10.1177/1367549418761796.

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Museums have been central to the institutionalisation of popular music as heritage; yet, there has been little scholarly focus on the curatorial strategies behind the exhibition of popular music’s past. This article outlines an emerging typological framework of structuring concepts in curatorial practice in popular music museums. The typology brings into conversation concepts previously identified by a number of popular music museum scholars. These concepts are critically assessed and built upon substantively by drawing on the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographical locations. Eight concepts are discussed: dominant (and hidden) histories, projected visitor numbers, place, art and material culture, narrative, curator subjectivity, nostalgia and sound. We argue that such a framework acts as a useful tool for comparing institutional practices internationally and to more fully understand the ways in which popular music history is presented to museum visitors.

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Pellegrino, Anthony, Joseph L. Adragna e Kristien Zenkov. "Using the Power of Music to Support Students’ Understanding of Fascism". Social Studies Research and Practice 10, n. 2 (1 luglio 2015): 67–72. http://dx.doi.org/10.1108/ssrp-02-2015-b0006.

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Music has been an integral part of humanity’s culture for millennia. Like many other artifacts of culture, songs have: expressed a range of feelings, informed listeners of historical and political issues, and provoked social awareness and change at every level of sophistication. In nearly all corners of the globe, music is woven deeply into the fabric of life and significantly affects and reflects the contexts in which it is written and shared. Our almost universal passion for music, bolstered by its importance as an artifact of culture and history, has not resulted in the integration of musical forms and texts in our classrooms in any systematic or conspicuous way. In that context, we propose a framework for integrating music in the social studies classroom. Our example comes from two individuals who lived very different lives, yet experienced some tragic parallels confronting fascism at various points in history. The music and writing these individuals left behind enable us to explore best practices in social studies and literacy in particularly engaging ways.

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Kushner, Scott. "Collecting and media change, or: Listening to Phish via app". Convergence: The International Journal of Research into New Media Technologies 26, n. 4 (4 aprile 2019): 969–89. http://dx.doi.org/10.1177/1354856519838741.

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Practices of collecting are constrained by media circumstances. To show how changing media circumstances can occasion changes in collecting practices, this article explores one case study, an iOS app developed by a Phish fan to allow streaming audio of fan-made recordings of Phish concert performances. Such practices are part of a history of unofficial music collecting that parallels the history of recorded sound. This case study shows how one collecting community’s practices evolved in the context of changing media conditions: from cassette tape to CD-R to MP3 to streams (and a parallel motion from print to online message boards to app). This progression illustrates the ways that different ways of listening to and accessing recorded music afford different possibilities of collecting music, different links between listener and music, and different relationships among listeners. More precisely, Phish concert recordings, which lent themselves to collection when circulated on cassette, are no longer available to collect when they circulate as streaming media, because streaming is characterized by a relationship of access rather than possession. Among devoted fans, streaming recordings provoke a cultural emphasis on knowledge about music, rather than accumulation of recordings. My argument is rooted in prevailing theories of collecting, which situate collecting as a component of consumer culture emerging from the capitalist expansion stimulated by 19th-century mass production. Ultimately, I argue that when an object of collecting is displaced by changing media conditions, new collecting practices emerge to fill the void.

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Andrade, Ana Beatriz. "[Review of] Riccardo Martinelli. Philosophy of music. A history". Biblos, n. 7 (12 luglio 2021): 299–301. http://dx.doi.org/10.14195/0870-4112_3-7_18.

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Torres, Rendell R., e Kevin Galiè. "Music and acoustics for Catholic churches: history and modernity". Journal of the Acoustical Society of America 121, n. 5 (maggio 2007): 3193. http://dx.doi.org/10.1121/1.4782423.

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Zhang, FeiFei, e YiMiao Su. "Crossing the Border: Cultural identity and historical integration of national music and popular music". Herança 6, n. 1 (24 luglio 2023): 225–39. http://dx.doi.org/10.52152/heranca.v6i1.770.

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Music is a form of artistic expression and an important carrier of cultural and historical development, containing rich cultural content. This paper summarizes the characteristics and differences between typical musical instruments by analyzing the origin and historical development of national music and popular music. It analyzes the distribution of music-cultural circle, at the same time, to analyze the interaction between national music and popular music more comprehensively, this paper discusses the promotion and promotion between national music and popular music from the perspective of cultural identity and historical integration. Cross the border of national music and popular music, further enrich the forms and ways of mutual reference between the two, and strengthen the integration and development of the two, which can enrich the cultural connotation of popular music and make the expression form and content of national music more diversified, laying a foundation for the spread and development of national music and popular music in modern society.

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Golland, David. "Making Music in Music City: Conversations with Nashville Industry Music Professionals. JohnMarkert. U of Tennessee P, 2021. 218 pp. $34.95 hardcover." Journal of Popular Culture 55, n. 1 (febbraio 2022): 274–75. http://dx.doi.org/10.1111/jpcu.13097.

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Veerbeek, Vincent. "A Dissonant Education: Marching Bands and Indigenous Musical Traditions at Sherman Institute, 1901–1940". American Indian Culture and Research Journal 44, n. 4 (1 dicembre 2020): 41–58. http://dx.doi.org/10.17953/aicrj.44.4.veerbeek.

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At the end of the nineteenth century, the US government established a system of off-reservation boarding schools in an effort to assimilate Indigenous youth into the American nation-state. Music emerged as one of the most enduring strategies that these schools employed to reshape the cultural sensibilities of young Native Americans. A lively music culture could be found, for instance, at Sherman Institute in Riverside, California, which was home to a marching band and dozens of other music groups throughout its history. Although school officials created these institutions for the purposes of assimilation and cultural genocide, this music program often had a more ambiguous place in the lives of students. To understand the role of music within Sherman Institute during the early twentieth century, this article examines the school’s marching band and the place of Indigenous cultural expression. While the school had students march to the beat of civilization, young Native Americans found various strategies to combat assimilation using the same instruments. At the same time, they also used the cultures of their communities to navigate life in an environment that the government created to destroy those very cultures.

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Klette-Bøhler, Kjetil, Lorena Avellar De Muniagurria, Bjørn Schiermer e Chris Stover. "Affective Turn, or Return?" Journal of Extreme Anthropology 7, n. 1 (17 giugno 2024): 143–73. http://dx.doi.org/10.5617/jea.11550.

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The ‘affective turn’ suggests that we pay attention to how affects create subjectivities, build communities, and shape new forms of politics in the making. It invites us to move beyond established humanities and social science paradigms and toward richer forms of contextual analysis by studying how bodies – human and otherwise – ‘act and are acted upon’ (Gregg and Seigworth 2010, 1). The ‘affective turn’ requires sensitive attention to a host of cognate terms and concepts – sentiment, emotion, reverberation, resonance, atmosphere, and far beyond, including the more specific trans-category of ‘affective politics’ as well as affective reinterpretations of the social. Music has long been recognized as a site where affective politics play out. However, existing scholarship often view Baruch Spinoza, Silvan Tomkins, Gilles Deleuze, and Brian Massumi as the founding fathers of affective thinking at the expense of related work in the broader tradition of music philosophy. We address this lacuna by discussing the relationship between music, affect, and politics in the work of Plato, Aristotle, Al-Farabi, Qian Sima, Johannes Tinctoris, René Descartes, Johann Gottfried von Herder, Jean-Jacques Rousseau, Theodor Adorno, Antoine Hennion, and Tia DeNora, as we aim to broaden, nuance, sharpen, and situate contemporary understandings of affective politics in music studies. In doing so, we discuss whether the affective turn is, perhaps, better understood as a ‘return’ to cross-disciplinary music research that situates the understandings of affective politics, relational agency, and political emotions within a longer history of music philosophy that, taken together, provide a more robust theoretical argument for the social and political force of musical sounds.

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Gottlieb, Jean S. "Early Science at the Newberry Library: An Introduction". British Journal for the History of Science 19, n. 3 (novembre 1986): 323–30. http://dx.doi.org/10.1017/s000708740002330x.

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The Newberry Library of Chicago is an independent history and humanities research library. Its 1.5 million printed books and 4500 linear feet of manuscripts on European and American history, English and American literature, travel and discovery in the New World, and music were, until recently, not thought to include much material on the sciences. A search of the card catalogue has already yielded over 1500 scientific titles, with the likelihood that 700–1000 more will be found, scattered among the Library's collections.

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Zhang, Shuang Shuang, e Chao-Jung Wu. "Revitalizing Endangered Traditions: Innovative Approaches to Safeguarding Yunnan's Ethnic Minority Music as Intangible Cultural Heritage". Herança 6, n. 1 (26 luglio 2023): 264–93. http://dx.doi.org/10.52152/heranca.v6i1.787.

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This qualitative research study investigates the cultural symbolism and identity exhibited by ethnic minorities in Yunnan, China, through vocal music, as well as the ethnic minority music consequences. The study adopts a three-step coding analysis based on interviews with 18 respondents representing diverse ethnic minority groups to discover themes and patterns in the cultural symbolism buried within vocal music. For data analysis, the MAXQDA-2020 software is used. The findings show that ethnic minority groups in Yunnan rely heavily on vocal music to preserve cultural history, generate community pride, and promote intercultural understanding. The rich connection between vocal music and ethnic identity, the influence of nature and environment on musical expressions, the preservation of cultural heritage through rituals and celebrations, and the evolving collaborations and contemporary adaptations in vocal music are among the themes extracted from the data. This study has three implications: general, theoretical, and practical. In overall, this study adds to our understanding of vocal music as a potent medium for cultural expression and identity building. The identification of recurring themes and patterns has theoretical significance, offering a platform for further investigation and comparative investigations. In practice, the findings influence ethnic minority music practices by emphasizing the importance of introducing vocal music traditions into curricula, encouraging cultural awareness, and developing international discussion.

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Sutcliffe, W. Dean. "The Cambridge History of Eighteenth-Century Music (review)". Eighteenth-Century Studies 44, n. 3 (2011): 419–21. http://dx.doi.org/10.1353/ecs.2011.0000.

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Lambrechts, Lizabé, e Schalk Merwe. "Ghosts of the Popular: The Hidden Years Music Archive and the Interstices of South African Popular Music History". Journal of Popular Culture 53, n. 6 (dicembre 2020): 1316–34. http://dx.doi.org/10.1111/jpcu.12975.

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AYANGIL, RUHI. "Western Notation in Turkish Music". Journal of the Royal Asiatic Society 18, n. 4 (ottobre 2008): 401–47. http://dx.doi.org/10.1017/s1356186308008651.

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Abstract (sommario):

The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.

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Oliva, Diane. "Sonic Decency: Music in the Aftermath of Guatemala’s 1773 Santa Marta Earthquake". Journal of the American Musicological Society 76, n. 1 (2023): 169–221. http://dx.doi.org/10.1525/jams.2023.76.1.169.

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Abstract (sommario):

Abstract For several decades, the topic of natural disaster has featured significantly across the humanities; in musicology, however, the severity of such events has been marked primarily in the footnotes to our histories. Often leaving a substantial and insurmountable lacuna in the historical record, natural disasters are rarely considered for their generative potential. This article demonstrates the value of a disaster-studies approach to musicology, showing how natural events can have long-term impacts on the development and evolution of musical practices. It centers on the Santa Marta earthquake of 1773 and its effects on music and musicians in the colonial capital of Santiago de Guatemala. Colonial disasters, in particular, generated a flurry of written documentation, requiring correspondence at the local, regional, and imperial level to negotiate the process of restoring order to urban centers. I argue that it is precisely the disruptive nature of disaster that allows us to observe new details of both the extraordinary and ordinary musical practices of a colonial city. Embedded in an extensive archival record is evidence of the ways ecclesiastical notions of decencia (decency) in the post-disaster landscape were enacted through musical performance, which contributed to the political process of reinstating colonial power over a destroyed Guatemala. The article expands the relationship between music and nature, placing colonial musical practices in dialogue with the sociopolitical impacts of disaster, weaving together a history of music that intersects with environmental history.

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MESTYAN, ADAM. "Power and music in Cairo: Azbakiyya". Urban History 40, n. 4 (24 maggio 2013): 681–704. http://dx.doi.org/10.1017/s0963926813000229.

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ABSTRACTIn this article, the origins of the modern metropolis are reconsidered, using the example of Cairo within its Ottoman and global context. I argue that Cairo's Azbakiyya Garden served as a central ground for fashioning a dynastic capital throughout the nineteenth century. This argument sheds new light on the politics of Khedive Ismail, who introduced a new state representation through urban planning and music theatre. The social history of music in Azbakiyya proves that, instead of functioning as an example of colonial division, Cairo encompassed competing conceptions of class, taste and power.

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Gillett, Rachel. "Music of the Great Depression". Journal of Popular Culture 39, n. 3 (giugno 2006): 501–3. http://dx.doi.org/10.1111/j.1540-5931.2006.00265.x.

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Doucet, Sharon Arms. "Cajun Music: Songs and Psyche". Journal of Popular Culture 23, n. 1 (giugno 1989): 89–99. http://dx.doi.org/10.1111/j.0022-3840.1989.2301_89.x.

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Cusic, Don. "Latin America and Country Music". Journal of Popular Culture 33, n. 3 (dicembre 1999): 39–47. http://dx.doi.org/10.1111/j.0022-3840.1999.3303_39.x.

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43

Łubocki, Jakub Maciej. "Musical sources – meaning of the term in bibliology and museology". Z Badań nad Książką i Księgozbiorami Historycznymi 17, n. 1 (27 luglio 2023): 103–25. http://dx.doi.org/10.33077/uw.25448730.zbkh.2023.759.

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Abstract (sommario):

Although it may seem improbable, various types of musical sources can also be found in the collection of the Publishing Art Department of the National Museum in Wrocław. They are not only music sheets and songbooks, but also written documents related to musical works or people of music, and in the future, they could be even printed elements of sound documents or ephemeras related to music life. This was the reason for the general reflection on the understanding of the term “musical sources” (“musicals”) and its meaning in relation to the universes of music and publishing art. Then, basic categories of museum objects that are simultaneously from both universes – music and publishing art – were presented (with examples).

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Bruhn, Tommy. "There’s a Hinterland in Me". Culture Unbound 16, n. 1 (15 marzo 2024): 117–41. http://dx.doi.org/10.3384/cu.4289.

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Northern Norrland has a long history of domestic colonialism and internal migration. However, in the latter half of the twentieth century the region has seen a decline in population, job opportunities and welfare services. This study analyses how contemporary popular music from the region represents it and reflects feelings and thoughts on life there, and how identity, moods and sentiments are constructed and attached to place to uncover the rhetoric of place-making in popular music. The analysis shows a complex relationship between the local area and the surrounding country, featuring themes of ambivalence, resistance, dualistic nostalgia and transience responding to contemporary realities of the region. The lyrical themes and rhetorical actions performed in twenty-first century popular music evinces clear connections to literary depictions of the region throughout the last hundred years, indicating a reinterpretation of cultural memory in light of present conditions. These lyrics perform a rhetoric of re-membering which serves to reinforce the bond of people to place through music.

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Kaplan, E. Ann. "History, the Historical Spectator and Gender Address in Music Television". Journal of Communication Inquiry 10, n. 1 (gennaio 1986): 3–14. http://dx.doi.org/10.1177/019685998601000101.

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Beal, Jane. "Matthew Cheung Salisbury, Worship in Medieval England. Past Imperfect Series. Croydon: ARC Humanities Press, 2018, 92 pages." Mediaevistik 32, n. 1 (1 gennaio 2020): 315–18. http://dx.doi.org/10.3726/med.2019.01.42.

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Matthew Cheung Salisbury, a Lecturer in Music at University and Worcester College, Oxford, and a member of the Faculty of Music at the University of Oxford, wrote this book for ARC Humanities Press’s Past Imperfect series (a series comparable to Oxford’s Very Short Introductions). Two of his recent, significant contributions to the field of medieval liturgical studies include The Secular Office in Late-Medieval England (Turnhout: Brepols, 2015) and, as editor and translator, Medieval Latin Liturgy in English Translation (Kalamazoo: Medieval Institute Publications, 2017). In keeping with the work of editors Thomas Heffernan and E. Ann Matter in The Liturgy of the Medieval Church, 2nd ed. (Kalamazoo: Medieval Institute Publications, 2005) and Richard W. Pfaff in The Liturgy of Medieval England: A History (Cambridge University Press, 2009), this most recent book provides a fascinating overview of the liturgy of the medieval church, specifically in England. Salisbury’s expertise is evident on every page.

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PROKOPOVYCH, MARKIAN. "Introduction: music, the city and the modern experience". Urban History 40, n. 4 (27 marzo 2013): 597–605. http://dx.doi.org/10.1017/s0963926813000345.

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It is somewhat surprising that music has only recently become a serious subject for urban historians. Musicologists and music historians, urban geographers, planners and all others who deal with diverse aspects of local development, cultural industry and the built environment have fared much better in tackling the fundamental social implications of music in a particular locality. It is not an accident that, for example, the recent volume ofBuilt Environment, ‘Music and the city’, edited by an economic geographer, Robert C. Kloosterman, deals with urban spaces of creativity and the role of black music today, some of which have by now an ascribed ‘urban’ adjective in North America.1It is also only natural, however, that Kloosterman's enquiry should concentrate on music in the city of the present and rarely venture into the time periods before World War II.

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Davis, James. "Aesthetic Questions and Questions of Aesthetics in the Music History Classroom". Journal of Aesthetic Education 35, n. 3 (2001): 87. http://dx.doi.org/10.2307/3333612.

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Meroño-Peñuela, Albert. "Digital Humanities on the Semantic Web: Accessing Historical and Musical Linked Data". Journal of Catalan Intellectual History 1, n. 11 (1 ottobre 2017): 144–49. http://dx.doi.org/10.1515/jocih-2016-0013.

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Abstract (sommario):

AbstractKey fields in the humanities, such as history, art and language, are central to a major transformation that is changing scholarly practice in these fields: the so-called Digital Humanities (DH). A fundamental question in DH is how humanities datasets can be represented digitally, in such a way that machines can process them, understand their meaning, facilitate their inquiry, and exchange them on the Web. In this paper, we survey current efforts within the Semantic Web and Linked Data, a family of Webcompatible knowledge representation formalisms and standards, to represent DH objects in quantitative history and symbolic music. We also argue that the technological gap between the Semantic Web and Linked Data, and DH data owners is currently too wide for effective access and consumption of these semantically enabled humanities data. To this end, we propose grlc, a thin middleware that leverages currently existing queries on the Web (expressed in, e.g., SPARQL) to transparently build standard Web APIs that facilitate access to any Linked Data.

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Coldiron, Katie, e Julio Capó. "Making Miami’s History and Present More Accessible". International Journal of Information, Diversity, & Inclusion (IJIDI) 6, n. 4 (25 gennaio 2023): 84–98. http://dx.doi.org/10.33137/ijidi.v6i4.38943.

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This is a work-in-progress report of Miami Studies, a curricular, research, and collections-focused initiative housed at the Wolfsonian Public Humanities Lab (WPHL) at Florida International University (FIU). Miami Studies represents a unique approach to Latina/o/x studies in the Greater Miami region and at one of the largest Hispanic-Serving Institutions (HSI) in the country. The rationale, framework, and historical context for a Miami Studies school of urbanism is described in detail. This is followed by an explanation of the WPHL’s digitally focused initiatives: the digitization of a now-defunct newspaper titled Miami Life and the Mellon Foundation-funded Community Data Curation post-custodial project. Also referenced is the Díaz Ayala Collection of Cuban and Latin American Popular Music, housed at FIU Libraries.

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