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Author: Riccardo D. Wanke
Publisher: Routledge
ISBN: 1000430243
Category : Music
Languages : en
Pages : 177
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Book Description
What does a one hour contemporary orchestral piece by Georg Friedrich Haas have in common with a series of glitch-noise electronic tracks by Pan Sonic? This book proposes that, despite their differences, they share a particular understanding of sound that is found across several quite distinct genres of contemporary art music: the ecstatic-materialist perspective. Sound in the ecstatic-materialist perspective is considered as a material mass or element, unfolding in time, encountered by a listener, for whom the experience of that sound exceeds the purely sonic without becoming entirely divorced from its materiality. It is "material" by virtue of the focus on the texture, consistency, and density of sound; it is "ecstatic" in the etymological sense, that is to say that the experience of this sound involves an instability; an inclination to depart from material appearance, an ephemeral and transitory impulse in the very perception of sound to something beyond – but still related to – it. By examining musical pieces from spectralism to electroacoustic domains, from minimalism to glitch electronica and dubstep, this book identifies the key intrinsic characteristics of this musical perspective. To fully account for this perspective on sonic experience, listener feedback and interviews with composers and performers are also incorporated. Sound in the ecstatic-materialist perspective is the common territory where composers, sound artists, performers, and listeners converge.
Author: Riccardo D. Wanke
Publisher: Routledge
ISBN: 1000430243
Category : Music
Languages : en
Pages : 177
Get Book Here
Book Description
What does a one hour contemporary orchestral piece by Georg Friedrich Haas have in common with a series of glitch-noise electronic tracks by Pan Sonic? This book proposes that, despite their differences, they share a particular understanding of sound that is found across several quite distinct genres of contemporary art music: the ecstatic-materialist perspective. Sound in the ecstatic-materialist perspective is considered as a material mass or element, unfolding in time, encountered by a listener, for whom the experience of that sound exceeds the purely sonic without becoming entirely divorced from its materiality. It is "material" by virtue of the focus on the texture, consistency, and density of sound; it is "ecstatic" in the etymological sense, that is to say that the experience of this sound involves an instability; an inclination to depart from material appearance, an ephemeral and transitory impulse in the very perception of sound to something beyond – but still related to – it. By examining musical pieces from spectralism to electroacoustic domains, from minimalism to glitch electronica and dubstep, this book identifies the key intrinsic characteristics of this musical perspective. To fully account for this perspective on sonic experience, listener feedback and interviews with composers and performers are also incorporated. Sound in the ecstatic-materialist perspective is the common territory where composers, sound artists, performers, and listeners converge.
Author: Riccardo D. Wanke
Publisher: Routledge
ISBN: 1000430286
Category : Music
Languages : en
Pages : 148
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Book Description
What does a one hour contemporary orchestral piece by Georg Friedrich Haas have in common with a series of glitch-noise electronic tracks by Pan Sonic? This book proposes that, despite their differences, they share a particular understanding of sound that is found across several quite distinct genres of contemporary art music: the ecstatic-materialist perspective. Sound in the ecstatic-materialist perspective is considered as a material mass or element, unfolding in time, encountered by a listener, for whom the experience of that sound exceeds the purely sonic without becoming entirely divorced from its materiality. It is "material" by virtue of the focus on the texture, consistency, and density of sound; it is "ecstatic" in the etymological sense, that is to say that the experience of this sound involves an instability; an inclination to depart from material appearance, an ephemeral and transitory impulse in the very perception of sound to something beyond – but still related to – it. By examining musical pieces from spectralism to electroacoustic domains, from minimalism to glitch electronica and dubstep, this book identifies the key intrinsic characteristics of this musical perspective. To fully account for this perspective on sonic experience, listener feedback and interviews with composers and performers are also incorporated. Sound in the ecstatic-materialist perspective is the common territory where composers, sound artists, performers, and listeners converge.
Author: Jeanice Brooks
Publisher: Routledge
ISBN: 1000473562
Category : Music
Languages : en
Pages : 384
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Book Description
Sound Heritage is the first study of music in the historic house museum, featuring contributions from both music and heritage scholars and professionals in a richly interdisciplinary approach to central issues. It examines how music materials can be used to create narratives about past inhabitants and their surroundings - including aspects of social and cultural life beyond the activity of music making itself - and explores how music as sound, material, and practice can be more consistently and engagingly integrated into the curation and interpretation of historic houses. The volume is structured around a selection of thematic chapters and a series of shorter case studies, each focusing on a specific house, object or project. Key themes include: Different types of historic house, including the case of the composer or musician house; what can be learned from museums and galleries about the use of sound and music and what may not transfer to the historic house setting Musical instruments as part of a wider collection; questions of restoration and public use; and the demands of particular collection types such as sheet music Musical objects and pieces of music as storytelling components, and the use of music to affectively colour narratives or experiences. This is a pioneering study that will appeal to all those interested in the intersection between Music and Museum and Heritage Studies. It will also be of interest to scholars and researchers of Music History, Popular Music, Performance Studies and Material Culture.
Author: Makis Solomos
Publisher: Taylor & Francis
ISBN: 1000847268
Category : Music
Languages : en
Pages : 258
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Book Description
Makis Solomos explores the ecologies of music and sound, inspired by Felix Guattari, for whom environmental destruction caused by capitalism goes hand in hand with deteriorating ways of living and feeling, and for whom an ecosophical stance, combining various ecological registers, offers a glimpse of emancipation, a position strengthened today by intersectional approaches. Solomos explores environmental, mental and social ecologies through the lens of the history of music and current artivisms – especially in the fields of acoustic ecology, contemporary music and sound art. Several theoretical and analytical debates are put forward, including a theory of sound milieus and the biopolitics of sound; the relationships between music and the living world; soundscape compositions, field recording, ecomusicology, and the creation of sound biotopes; the use of sound and music to violent ends as well as considering the social and political functions of music and the autonomy of art, sonic ecofeminism, degrowth in music, and much more.
Author: Gemma L. Farrell
Publisher: Taylor & Francis
ISBN: 1000896331
Category : Music
Languages : en
Pages : 254
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Book Description
Psychedelic music is a fascinating yet under-researched field of study. This thought-provoking collection offers a broad introduction to the field of psychedelic music studies, bringing together scholarly work on psychedelic music in genres like rock, folk, electronic dance music and pop. Through an expanded purview on psychedelic music, an emerging trend in research, the collection affords students and academics alike an introduction to a rich, multi-faceted field. The contributing authors explore a range of different facets of musical psychedelia: its transgressive and transcendent aspects, its foregrounding of timbre and texture, the way it changes our perception of time, its influence on “non-psychedelic” music, key composition and production techniques that composers and musicians use in its creation, how it is mediated by different places and spaces, and the interplay between psychedelic visual and sonic aesthetics. This interdisciplinary work reveals both commonalities in musical psychedelic experiences and the contestation inherent in a field of study that juxtaposes music of different genres and eras with a variety of theoretical approaches and methodologies. In broadening the scope of psychedelic music research, the collection not only makes for varied and absorbing reading on the subject level but also stimulates reflexive thought about interdisciplinary research.
Author: Nicholas Cook
Publisher: Oxford University Press
ISBN: 0197663982
Category : Music
Languages : en
Pages : 569
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Book Description
Modern Western musical thought tends to represent music as a thing--a pattern, a structure, even an organism--than as a human practice. Music, Encounter, Togetherness focusses on music as something people do, as a mode of encounter between individuals and cultures, and as an agent of interpersonal and social togetherness. It presents music as a utopian dimension of everyday life.
Author: Simon D.I. Fleming
Publisher: Routledge
ISBN: 1000519988
Category : Music
Languages : en
Pages : 310
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Book Description
This book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works. These lists shed considerable light on the nature of those who subscribed to music, including their social status, place of employment, residence, and musical interests. Through broad analysis of subscription data, the contributors reveal insights into social and economic changes during the period, and the types of music favoured by groups like music clubs, the aristocracy, the clergy, and by men and women. With chapters on female composers and listeners, music and the slave economy, musical patronage, the print trade, and nationality, this book provides innovative perspectives that enhance our understanding of music’s social spheres, the emergence of music publishing, and the potential of digital musicology research.
Author: Michael Alan Anderson
Publisher: Routledge
ISBN: 1000591956
Category : Music
Languages : en
Pages : 310
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Book Description
This study uncovers the musical foundations and performance suggestions of books of hours, guides to prayer that were the most popular and widespread books of the late Middle Ages. Exploring a variety of musical genres and sections of books of hours with musical implications, this book presents a richly textured sound world gleaned from dozens of extant manuscript sources from fifteenth-century France. It offers the first overview of the musical content of these handbooks to liturgy and devotional prayer, together with cues that show scribal awareness for the articulation of sacred plainchants. Although books of hours lack musical notation, this survey elucidates the full range of musical genres and styles suggested both within and beyond the liturgical offices prescribed in books of hours. Privileging sound and ritual enactment in the experience of the hours, the survey complements studies of visual imagery that have dominated the category. The book’s interdisciplinary approach within a musical context, and beautiful full-color illustrations, will attract not only specialists in musicology, liturgy, and late medieval studies, but also those more broadly interested in the history of the book, memory, performance studies, and art history.
Author: Paul Laird
Publisher: Routledge
ISBN: 0429662734
Category : Music
Languages : en
Pages : 188
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Book Description
In this ground-breaking study, Paul Laird examines the process and effect of orchestration in West Side Story and Gypsy, two musicals that were among the most significant Broadway shows of the 1950s, and remain important in the modern repertory. Drawing on extensive archival research with original manuscripts, Laird provides a detailed account of the process of orchestration for these musicals, and their context in the history of Broadway orchestration. He argues that the orchestration plays a vital role in the characterization and plot development in each major musical number, opening a new avenue for analysis that deepens our understanding of the musical as an art form. The orchestration of the score in Broadway musicals deeply shapes their final soundscapes, but only recently has it begun to receive real attention. Linked by a shared orchestrator, in other ways West Side Story and Gypsy offer a study in contrasts. Breaking down how the two composers, Leonard Bernstein and Jules Styne, collaborated with orchestrators Sid Ramin, Irwin Kostal, and Robert Ginzler, Laird’s study enables us to better understand both of these two iconic shows, and the importance of orchestration within musical theatre in general.
Author: Per Dahl
Publisher: Routledge
ISBN: 1000504506
Category : Music
Languages : en
Pages : 244
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Book Description
Igor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky’s music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden's triangle, Dahl presents an empirical investigation of Stravinsky's vocabulary of signs and expressions in his published scores - his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer’s different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky’s performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literary and Stravinsky the musician.
