Bibliografias temáticas / Music – california – history and criticism

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Literatura científica selecionada sobre o tema "Music – california – history and criticism"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Music – california – history and criticism"

1

Тарускин, Р. ""'Everybody Gotta be Someplace' (on Context)"". Музыкальная академия, n.º 2(782) (26 de junho de 2023): 52–83. http://dx.doi.org/10.34690/308.

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Данная публикация представляет собой перевод 21-й главы из посмертного сборника очерков Ричарда Тарускина «О временах и судьбах: программные выступления и заметки по случаю, 2006–2019» («Musical Lives and Times Examined: Keynotes and Clippings, 2006–2019»), выпущенного издательством Калифорнийского университета в начале 2023 года. В основе текста лежит ключевой доклад американского ученого, произнесенный 25 октября 2018 года в Белградском университете искусств на XIV Международной конференции «Контекстуальность музыкознания — что, как, почему и потому» («Contextuality of Musicology—What, How, Why and Because»). В этом выступлении Ричард Тарускин обобщил особенности своего научного метода, подчеркнув значение контекстуализации для герменевтически ориентированной истории музыки. Принципиальным моментом для автора статьи является широкое понимание категории контекста при интерпретации явлений музыкального искусства: контекст простирается во времени от того момента, когда автор задумал свое произведение, до дней жизни музыкального критика; при этом смысл сочинения не ограничивается содержанием, которое вложил в него творец, — он включает в себя все значения, возникшие в процессе восприятия. Отстаивая метод контекстуализации, Тарускин вступает в полемику с его противниками. Он протестует против слишком узкого понимания категории контекста, принятого у музыкальных теоретиков США под влиянием литературной Новой критики: по мнению ученого, неправомерно и нелогично идентифицировать с данной категорией текст музыкальной пьесы как наиболее масштабную структуру по отношению к его частям (хотя такая практика и распространена у тех, кто анализирует музыку). Действуя подобным образом, мы фактически вводим запрет на рассмотрение того, что является собственно контекстом произведения, — в этом Тарускин видит пережиток романтической эстетики автономного искусства, сохраняющей влиятельные позиции как в литературоведении, так и в музыкознании США. Тем, кто придерживался и продолжает придерживаться этих позиций, Тарускин предъявляет этические обвинения: деконтекстуализация означает, по его мнению, бегство от социальной и политической реальности, а также в конце концов от собственной «нечистой совести»; в этой связи особое значение имеет заключительный раздел статьи, в котором анализируются исполнения симфонической музыки Берлинским филармоническим оркестром под управлением Вильгельма Фуртвенглера в последние годы Второй мировой войны, а также отклики современников — жителей обреченной на поражение столицы Германии. Острие полемики Тарускина направлено и в другую сторону: против тех, кто, атакуя традиции Новой критики в американской академической науке, призывают отказаться от категории контекста в принципе. Таковыми являются сторонники акторно-сетевой теории, последователи Бруно Латура: выступая в защиту произведений искусства как «не-человеческих акторов», они фактически упраздняют или сводят к минимуму роль автора и интерпретатора. Данный подход представляется абсурдным по чисто интеллектуальным соображениям — как номиналистская игра слов (получается, что произведения сами себя сочиняют и сами разговаривают со своей аудиторией). Но еще более он неприемлем для Тарускина этически: наделяя субъектностью то, что составляет среду обитания музыкальных сочинений, их «мир», то есть в конечном счете контекст, сторонники новейших подходов снимают ответственность с подлинных акторов художественного процесса (композиторов и критиков в случае, если речь идет о музыке), позволяя им действовать под прикрытием бесчисленных «агентов» истории искусства. Перевод с английского и комментарии Р. А. Насонова. This publication is a translation of the 21st chapter from the posthumous collection of essays by Richard Taruskin “Musical Lives and Times Examined: Keynotes and Clippings, 2006-2019,” released by the University of California Press in early 2023. The text is based on the key report of the American scholar, delivered on October 25, 2018, at the Belgrade University of the Arts at the 14th International Conference “Contextuality of Musicology—What, How, Why and Because.” In this talk, Richard Taruskin summarized the features of his scholarly method, emphasizing the importance of contextualization for a hermeneutical-oriented history of music. The fundamental point for the author of the article is a broad understanding of the category of context when interpreting the phenomena of musical art: the context extends in time from the moment when the author conceived his work to the days of the life of a music critic. At the same time, the meaning of the composition is not limited to the content that the creator put into it; it includes all the meanings that have arisen in the process of perception. Defending contextualization as a method, Taruskin enters into controversy with its opponents. He protests against the too narrow understanding of the context adopted by US music theorists under the influence of literary New Criticism: according to the scholar, it is wrong and illogical to identify the text of a musical piece—as the most large-scale structure in relation to the parts of music composition—with this category (although this practice is common among those who analyze music). Acting in this way, we actually introduce a ban on consideration of what is the actual context of the work—Taruskin regards this practice as a relic of the romantic ideal of aesthetic autonomy, which retains an influential position both in literary criticism and in musicology in the United States. Taruskin makes ethical accusations against those who adhered and continue to adhere to these positions: decontextualization means, in his opinion, an escape from social and political reality, and also, in the end, from one’s own “bad conscience.” In this regard, the final section of the article is of particular importance: Taruskin analyzes the performances of symphonic music by the Berlin Philharmonic Orchestra conducted by Wilhelm Furtwengler in the last years of World War II, as well as the responses of contemporaries, residents of the German capital doomed to defeat. The edge of Taruskin’s controversy is also directed on the other side of polemics: against those who, attacking the traditions of New Criticism in American academia, call for abandoning the category of context in principle. Such are the supporters of the actor-network theory, the followers of Bruno Latour: speaking in defense of works of art as “non-human actors,” they actually abolish or minimize the role of both the author and interpreter. This approach seems absurd for purely intellectual reasons—as a nominalist conceit (it turns out that the works compose themselves and speak to their audience on their own). But it is even more unacceptable for Taruskin ethically: endowing subjectivity to what makes up the environment of musical compositions, their “world,” that is, ultimately, the context, supporters of the latest scholarly approaches remove responsibility from the true actors of the artistic process (composers and critics in case we are talking about music), allowing them to operate under the guise of countless “agents” of art history. Translated and commented by R. A. Nassonov.
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Botstein, Leon. "On Criticism and History". Musical Quarterly 79, n.º 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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Marcus, K. H. "Nineteenth Century California Sheet Music". Journal of American History 98, n.º 1 (1 de junho de 2011): 308. http://dx.doi.org/10.1093/jahist/jar137.

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Botstein, L. "Witnessing Music: The Consequences of History and Criticism". Musical Quarterly 94, n.º 1-2 (1 de março de 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)". Notes 58, n.º 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI". Nasledje Kragujevac XX, n.º 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.

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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.
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Foote, Thelma Wills. "Music of African Americans in California". Pacific Historical Review 69, n.º 1 (1 de fevereiro de 2000): 89–95. http://dx.doi.org/10.2307/3641239.

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Tukova, Iryna, Valentina Redya e Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)". Studia Universitatis Babeş-Bolyai Musica 67, n.º 2 (20 de dezembro de 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II". Muzyka 63, n.º 4 (31 de dezembro de 2018): 55–64. http://dx.doi.org/10.36744/m.344.

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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kang, sun ha. "The Problems an Improvement Direction of High School Music Appreciation and Criticism Textbook". Korean Association For Learner-Centered Curriculum And Instruction 23, n.º 17 (15 de setembro de 2023): 1–15. http://dx.doi.org/10.22251/jlcci.2023.23.17.1.

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Objectives This study examines the problems in the contents of high school textbook Music Appreciation and Criticism, and proposes improvement directions accordingly. Methods For this purpose, the 2015 revised textbook Music Appreciation and Criticism's unit composition, organization, and Gugak contents were analyzed. Results The problems of high school music appreciation and criticism education are, first, that Gugak is not universally covered in music. Second, the majority of music pieces overlapped with general Music textbooks, and third, the fact that the description of Gugak was remarkably lacking compared to Western music history, and fourth, there was no concept and critical awareness of Gugak criticism. Since music appreciation and criticism education is a special subject for students majored in music, it should have more advanced content than general Music textbooks, but there was room to instill musical prejudice. Conclusions The improvement direction for these problems is, first, to understand Korean traditional music universally. Second, a critical mind about the criticism of Gugak will be preceded. Third, future-oriented education with the context of the times was to be pursued. Fourth, appreciation music was to be presented in a more diverse way and learning contents were to be converged. When these suggestions for improvement are fully considered and improved, the appreciation and criticism of Gugak can also develop in a creative direction.
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Teses / dissertações sobre o assunto "Music – california – history and criticism"

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Hilliard, Howard (Howard Louis). "The History of Horn Playing in Los Angeles from 1920 to 1970 : a Lecture Recital, Together With Three Recitals of Selected Works for Horn by M. Haydn, Franz, Britten, Mozart, Koetsier, Hindemith, Herzogenberg, Rossini, Stevens and others". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038828/.

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The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonic. This study details the introduction of soundtracks, the early studio orchestras, the contract studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonic and the studios, major figures from the subsequent freelance period such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.
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Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music". Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.

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555 pages
This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
10000-01-01
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Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music". Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature". Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia". Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.

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Brownlee, Jane. "The transmission of traditional fiddle music in Australia". Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.

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Stewart, Shawna Lynn. "Charles C. Hirt at the University of Southern California| Significant contributions and an enduring legacy". Thesis, University of Southern California, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564029.

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Dr. Charles Hirt and the Department of Church and Choral Music at the University of Southern California (USC) produced some of America's most successful choral conductors and administrators. Many of those students are conducting or administrating at the finest colleges and universities, secondary schools, churches, and community choral organizations in the nation. From the earliest moments of his career, Charles Hirt himself received a seemingly endless string of accolades. Always focused on the betterment and future of the choral arts, he was a "founding father" of significant choral organizations such as the American Choral Directors Association (ACDA), Choral Conductors Guild of California, and the International Federation of Choral Music. It was also his visionary mindset that served as a hallmark of his tenure at USC and arguably earned him the right to stand as an equal alongside the greatest of American choral conductors.

It is the aim of this study to examine Hirt's significant contributions to the University of Southern California and his legacy as it continues on in his students and the subsequent generation of choral leaders they generated.

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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme". Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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Sarmast, Ahmad Naser. "A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D". Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /". London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Livros sobre o assunto "Music – california – history and criticism"

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Haslam, Gerald W. Workin' man blues: Country music in California. Berkeley: University of California Press, 1999.

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2

Wood, Jack. Surf city: The California sound. New York: Friedman/Fairfax Publishers, 1995.

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3

Reyes, David. Land of a thousand dances: Chicano rock 'n' roll from Southern California. Albuquerque: University of New Mexico Press, 1998.

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4

Reyes, David. Land of a thousand dances: Chicano rock 'n' roll from Southern California. Albuquerque: University of New Mexico Press, 1998.

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5

Reyes, David. Land of a thousand dances: Chicano rock 'n' roll from Southern California. Albuquerque: University of New Mexico Press, 1998.

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Country Music Hall of Fame & Museum (Nashville, Tenn.), ed. The Bakersfield sound: Buck Owens, Merle Haggard, and California country. Nashville, Tenn: Country Music Foundation Press Country Music Hall of Fame, 2012.

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7

Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.

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Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.

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9

Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.

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Fowley, Kim. California confidential: A small taste of California dreamin' and California schemin' : in conversation with Kim Fowley. 2a ed. North Strathfield, N.S.W: CMusic Books, 2001.

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Capítulos de livros sobre o assunto "Music – california – history and criticism"

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Wehrs, William. "Affect and Film Music: A Brief History". In The Palgrave Handbook of Affect Studies and Textual Criticism, 735–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63303-9_28.

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Brüstle, Christa. "Gender Issues as Criticism Within (New) Music Institutions". In New Music and Institutional Critique, 49–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_3.

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AbstractWhy is the thematisation of gender linked to social criticism and criticism of music institutions as well as criticism of music as institution? Institutions and institutionalised organisations should be regarded as intermediate instances located between society as a whole and the individual. In them, gender relations are created and reproduced, discussed, and transformed. The thematisation of gender and the associated criticism within institutions then means, above all, dealing with gender-specific power relations. Moreover, the spectrum of approaches in art and art studies for thematising gender ranges from criticism of the exclusion of women from history to criticism of the dominance of certain discourses. Therefore, the integration of gender in the field of music implies aspects and measures of institutional gender equality policy as well as fundamental perspectives critical of music discourses, music theory, and musicology, and thus also institutionally critical perspectives.
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Iddon, Martin. "Darmstadt and Its Discontents". In New Music and Institutional Critique, 69–84. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_4.

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AbstractThough the Darmstadt New Music Courses have often been the site of critique, relatively few of those critiques have brought about concrete change. This might be illustrated in its fullest form in the history of the courses in the 1970s. A sequence of protests appear, on the superficial level, to have been the proximate cause for a gradual transformation of the institution, in its move away from the authority of its earlier senior figures in favour of a more egalitarian model, where different approaches can co-exist. Yet this history belies the ways in which that apparent diversity both repeats the ways in which the territory of new music was historically divided up and that territorial disputes actually prevent criticism of the institution itself, critiques which were being undertaken by a small group of composers who arguably represented a very different possible, unrealised future for new music in the 1980s: Fernando Grillo, Moya Henderson, Christina Kubisch, and Davide Mosconi.
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Lockhart, Ellen. "Giuditta Pasta and the History of Musical Electrification". In Animation, Plasticity, and Music in Italy, 1770-1830. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284432.003.0006.

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Chapter 5 traces the theme of human plasticity into Italian aesthetic discourse and opera of the 1820s and 1830s. The echoes of the musical statues of the late Enlightenment can be heard in the reception of performers of Ottocento opera, especially the women. Figures like Maria Malibran and particularly Giuditta Pasta were construed as living statues or artificially animated interlopers from an ancient past. This quality of animatedness was described with a very new kind of imagery within music criticism, one that drew on well-known developments in the nascent scientific field later known as electrobiology.
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Kramer, Lawrence. "History". In Interpreting Music, 96–112. University of California Press, 2010. http://dx.doi.org/10.1525/california/9780520267053.003.0006.

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"History and Criticism". In Italian Ars Nova Music, 13–74. 2a ed. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8306149.10.

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Dahl, Per. "Music Criticism in Norway". In The Cambridge History of Music Criticism, 392–407. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.021.

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Solie, Ruth A. "Beethoven as Secular HumanistIdeology and the Ninth Symphony in Nineteenth-Century Criticism". In Music in Other WordsVictorian Conversations, 5–43. University of California Press, 2004. http://dx.doi.org/10.1525/california/9780520238459.003.0002.

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Karnes, Kevin C. "MUSIC CRITICISM AS LIVING HISTORY". In Music, Criticism, and the Challenge of History, 48–76. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195368666.003.0003.

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Frey, Emily. "Music Criticism in Imperial Russia". In The Cambridge History of Music Criticism, 208–28. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.012.

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Trabalhos de conferências sobre o assunto "Music – california – history and criticism"

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Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS". In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.

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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.
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