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Author: Julian Hellaby
Publisher: Taylor & Francis
ISBN: 1000815358
Category : Music
Languages : en
Pages : 272
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Book Description
The principal purpose of topics in musicology has been to identify meaning-bearing units within a musical composition that would have been understood by contemporary audiences and therefore also by later receivers, albeit in a different context and with a need for historically aware listening. Since Leonard Ratner (1980) introduced the idea of topics, his relatively simple ideas have been expanded and developed by a number of distinguished authors. Topic theory has now become a well-established branch of musicology, often embracing semiotics, but its relationship to performance has received less attention. Musical Topics and Musical Performance thus focuses on the interface of theory and practice, and investigates how an appreciation of topical presence in a work may prompt interpretative thoughts for a potential performer as well as how performers have responded to such a presence in practice. The chapters focus on music from the nineteenth, twentieth and twenty-first centuries with case studies drawn from composers as diverse as Beethoven, Scriabin and Péter Eötvös. Using both scores and recordings, the book presents a variety of original and innovative perspectives on the subject from a range of distinguished authors, and addresses a neglected area of musicology and musical performance.
Author: Julian Hellaby
Publisher: Taylor & Francis
ISBN: 1000815358
Category : Music
Languages : en
Pages : 272
Get Book Here
Book Description
The principal purpose of topics in musicology has been to identify meaning-bearing units within a musical composition that would have been understood by contemporary audiences and therefore also by later receivers, albeit in a different context and with a need for historically aware listening. Since Leonard Ratner (1980) introduced the idea of topics, his relatively simple ideas have been expanded and developed by a number of distinguished authors. Topic theory has now become a well-established branch of musicology, often embracing semiotics, but its relationship to performance has received less attention. Musical Topics and Musical Performance thus focuses on the interface of theory and practice, and investigates how an appreciation of topical presence in a work may prompt interpretative thoughts for a potential performer as well as how performers have responded to such a presence in practice. The chapters focus on music from the nineteenth, twentieth and twenty-first centuries with case studies drawn from composers as diverse as Beethoven, Scriabin and Péter Eötvös. Using both scores and recordings, the book presents a variety of original and innovative perspectives on the subject from a range of distinguished authors, and addresses a neglected area of musicology and musical performance.
Author: Julian Hellaby
Publisher: Taylor & Francis
ISBN: 1000815285
Category : Music
Languages : en
Pages : 270
Get Book Here
Book Description
The principal purpose of topics in musicology has been to identify meaning-bearing units within a musical composition that would have been understood by contemporary audiences and therefore also by later receivers, albeit in a different context and with a need for historically aware listening. Since Leonard Ratner (1980) introduced the idea of topics, his relatively simple ideas have been expanded and developed by a number of distinguished authors. Topic theory has now become a well-established branch of musicology, often embracing semiotics, but its relationship to performance has received less attention. Musical Topics and Musical Performance thus focuses on the interface of theory and practice, and investigates how an appreciation of topical presence in a work may prompt interpretative thoughts for a potential performer as well as how performers have responded to such a presence in practice. The chapters focus on music from the nineteenth, twentieth and twenty-first centuries with case studies drawn from composers as diverse as Beethoven, Scriabin and Péter Eötvös. Using both scores and recordings, the book presents a variety of original and innovative perspectives on the subject from a range of distinguished authors, and addresses a neglected area of musicology and musical performance.
Author: Gianmario Borio
Publisher: Routledge
ISBN: 0429649118
Category : Art
Languages : en
Pages : 187
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Book Description
Investigating Musical Performance considers the wide range of perspectives on musical performance made tangible by the cross-disciplinary studies of the last decades and encourages a comparison and revision of theoretical and analytical paradigms. The chapters present different approaches to this multi-layered phenomenon, including the results of significant research projects. The complex nature of musical performance is revealed within each section which either suggests aspects of dialogue and contiguity or discusses divergences between theoretical models and perspectives. Part I elaborates on the history, current trends and crucial aspects of the study of musical performance; Part II is devoted to the development of theoretical models, highlighting sharply distinguished positions; Part III explores the relationship between sign and sound in score-based performances; finally, the focus of Part IV centres on gesture considered within different traditions of musicmaking. Three extra chapters by the editors complement Parts I and III and can be accessed via the online Routledge Music Research Portal. The volume shows actual and possible connections between topics, problems, analytical methods and theories, thereby reflecting the wealth of stimuli offered by research on the musical cultures of our times.
Author: Nicholas Cook
Publisher: Routledge
ISBN: 135155705X
Category : History
Languages : en
Pages : 378
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Book Description
This selection of sixteen of Nicholas Cook's essays covers the period from 1987 to 2004 and brings out the development of the author's ideas over these years. In particular the two keywords of the title -Meaning and Performance- represent critical directions that expand to the point that, by the end of the book, they become coextensive: music is seen as social action and meaning as created by that action. Within this overall direction, a wide variety of topics is explored, ranging from Beethoven to Schenker, from Chinese qin music to jazz and rock, from perceptual psychology to sketch studies and analysis of record sleeves. A substantial introduction draws out the links (and differences) between the essays, sometimes critiquing them and always setting them into the developing context of the author's work as a whole.
Author: Jeffrey Stolet
Publisher:
ISBN: 9781678044954
Category : Music
Languages : en
Pages : 196
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Book Description
Do: Notes about Action in the Creation of Musical Performance with Data-driven Instruments is a work that examines aspects of real-time performance of electroacoustic music. While technical discussions are unavoidably necessary when examining a technology-centric topic such as musical performance with digital musical instruments, the uniqueness of this text derives from its commitment to presenting material and offering solutions from a musical perspective. To address the complex topic of musical performance with digital instruments, an all-encompassing activity that involves musical composition, musical performance, and instrument building, many sub-areas are examined. Some of these sub-areas relate to the data-driven instrument itself. In other cases, concentration is placed on topics that have been glossed over or omitted in previous examinations of the subject, topics that have been unnoticed or under-appreciated, or topics that have been fundamentally misrepresented or misunderstood. The text provides insight into the conceptualization and classification of performance interfaces, basic data mapping operations, and instrumental mutability. The text also includes discussions about sensor embodiment, the development of a complete performance space, and the role of the performer in this emerging type of musical expression. Additionally, the text presents discussions about practice, performance anxiety, and compositional transportability. Along the path the text examines and explains with greater preciseness and from a musical perspective tracking technologies and addresses often stated misconceptions about tracking as it functions in musical performance. Because musical audiences are, in fact, multi-modal in their understanding of matters related to how the visual dimension impacts the comprehension of the sonic domain, a concept of cinematics in musical performance is proffered. The text finds its completion with a consideration of the musical and cultural values of virtuosity.
Author: Professor Graham Welch
Publisher: Ashgate Publishing, Ltd.
ISBN: 1409436896
Category : Music
Languages : en
Pages : 409
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Book Description
This book brings together current psychological and educational research on issues related to advanced musical performance learning within higher education contexts. Each of the book's four sections focus on one aspect of music performance and learning: musics in higher education and beyond; musical biographies and musical journeys; performance learning; and developing expertise and professionalism.
Author: Per Dahl
Publisher: BRILL
ISBN: 946300887X
Category : Education
Languages : en
Pages : 171
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Book Description
FREELY AVAILABLE ONLINE AS OPEN ACCESS BOOK! This book illustrates the acquisition of knowledge in a musician’s performative practice, and how this can contribute to the development of Artistic Research. Using a broad understanding of ‘knowledge,’ the first part of the book presents aspects of the practitioner knowledge a musician develops through daily exercises and performances. Technical and practical skills, creativity and music reading are central topics. Part II describes four different methodologies of knowledge accumulation. First is the hypothetico-deductive method (music as object). Then the author asks, “Where is the musical work?” After an introduction to semiotics, the question that must follow is “Is music a language?” Following up methodologies focusing on intersubjective and contextual topics, the presentation of hermeneutics generates the question “What happens to the music when you are listening?” Being the most subjective, phenomenology is the last methodology to be presented. The question it poses is “Are analysis and interpretation two sides of the same coin?” Artistic research is a new perspective in knowledge acquisition, and the performing artist is the pivot point. The obvious insight positioning music beyond the score is elaborated into a critique of the representational theory as a relevant ontological discourse in music. As an alternative, the potential in embodied meaning theories is discussed through cognitive, linguistic and artistic approaches. Artistic expressions convey the subjective practitioner knowledge based on the difference between the objective sign and the intersubjective expression. This makes music as communication the ultimate topic. In conclusion, understanding the meaning construction and the conditions of artistic content are both of importance in artistic research.
Author: Edward T. Cone
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 0
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Book Description
Author: Costantino Maeder
Publisher: Leuven University Press
ISBN: 9462700443
Category : Music
Languages : en
Pages : 357
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Book Description
Transdisciplinary and intermedial analysis of the experience of music Nowadays musical semiotics no longer ignores the fundamental challenges raised by cognitive sciences, ethology, or linguistics. Creation, action and experience play an increasing role in how we understand music, a sounding structure impinging upon our body, our mind, and the world we live in. Not discarding music as a closed system, an integral experience of music demands a transdisciplinary dialogue with other domains as well. Music, Analysis, Experience brings together contributions by semioticians, performers, and scholars from cognitive sciences, philosophy, and cultural studies, and deals with these fundamental questionings. Transdisciplinary and intermedial approaches to music meet musicologically oriented contributions to classical music, pop music, South American song, opera, narratology, and philosophy. ContributorsPaulo Chagas (University of California, Riverside), Isaac and Zelia Chueke (Universidade Federal do Paraná, OMF/Paris-Sorbonne), Maurizio Corbella (Università degli Studi di Milano), Ian Cross (University of Cambridge), Paulo F. de Castro (CESEM/Departamento de Ciências Musicais; FCSH Universidade Nova de Lisboa), Robert S. Hatten (University of Texas at Austin), David Huron (School of Music, Ohio State University), Jamie Liddle (The Open University), Gabriele Marino (University of Turin), Dario Martinelli (Kaunas University of Technology; International Semiotics Institute), Nicolas Marty (Université Paris-Sorbonne), Maarten Nellestijn (Utrecht University), Małgorzata Pawłowska (Academy of Music in Krakow), Mônica Pedrosa de Pádua (Federal University of Minas Gerais, UFMG), Piotr Podlipniak (Adam Mickiewicz University, Poznan), Rebecca Thumpston (Keele University), Mieczysław Tomaszewski (Academy of Music in Krakow), Lea Maria Lucas Wierød (Aarhus University), Lawrence M. Zbikowski (University of Chicago)
Author: Tina K Ramnarine
Publisher: Routledge
ISBN: 1317969561
Category : Music
Languages : en
Pages : 168
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Book Description
This book illustrates how ethnographic investigation of musical performances might contribute to the analysis of diaspora. It embraces diverse examples such as 'mourning and cultures of survival' amongst Aboriginal and Jewish communities in Australia, remembering a Kazakh 'homeland' in Western Mongolia, celebrating Diwali in New Zealand and the circulation of musical performances in Mozambique, Portugal and the UK. Some of the topics discussed in Musical Performance in the Diaspora include: the expression and shaping of diasporic and postcolonial identities through performance musical memory in diasporic contexts the geographies of performance the politics of 'new' forms of diasporic music-making. This book presents a rich array of theoretical approaches and wide ranging ethnographic case studies to reconsider and challenge discourses that have favoured uncritical notions of diasporic 'hybridity' and to broaden current analyses of performance in the diaspora.
