MTO 4.2: Alpern, Review Article, “Will the Real Anton Webern
... grounds that it may be dictated more by theoretical bias than historical fidelity. Shreffler appeals what she condemns as Darmstadt’s premature verdict on the grounds of newly discovered evidence. She is among the first to peruse the atonal sketches, particularly for the vocal works of opp. 12–18 up ...
... grounds that it may be dictated more by theoretical bias than historical fidelity. Shreffler appeals what she condemns as Darmstadt’s premature verdict on the grounds of newly discovered evidence. She is among the first to peruse the atonal sketches, particularly for the vocal works of opp. 12–18 up ...
Dohnányi`s American Years, 1949–1960
... obtained a large amount of musical source materials from Hungary and abroad (originals sources and copies). The volumes of the Dohnányi Évkönyv (Dohnányi yearbooks, published by the Institute for Musicology in 2002, 2003, 2004, 2005, and 2006/7), showed how various types of basic research commenced: ...
... obtained a large amount of musical source materials from Hungary and abroad (originals sources and copies). The volumes of the Dohnányi Évkönyv (Dohnányi yearbooks, published by the Institute for Musicology in 2002, 2003, 2004, 2005, and 2006/7), showed how various types of basic research commenced: ...
Exarchos - Stamos
... Background in music theory and analysis. With his theory of outside-time musical structures (first refered to in Musiques formelles of 1963) Xenakis embarked on a project to show that what most composers consider to be the most important element of music, is actually subordinate. Time in music, he s ...
... Background in music theory and analysis. With his theory of outside-time musical structures (first refered to in Musiques formelles of 1963) Xenakis embarked on a project to show that what most composers consider to be the most important element of music, is actually subordinate. Time in music, he s ...
Introduction: Experimental, Minimalist, Postminimalist? Origins
... instrumentations, is among the most widely recognized of modern works. In short, evolving from its hippie, low-tech beginnings a quarter-century earlier, minimalism became far and away the most well-known and commercially successful new style of what we still call ‘classical music’ in the late twent ...
... instrumentations, is among the most widely recognized of modern works. In short, evolving from its hippie, low-tech beginnings a quarter-century earlier, minimalism became far and away the most well-known and commercially successful new style of what we still call ‘classical music’ in the late twent ...
At The Cutting Edge: Three American Theorists at The End of The
... "Progressive Harmonic Theory in the Mid-Nineteenth Century," Journal of Musicological Research 8 (1988:55-90) provides an exemplary instance of work likely ...
... "Progressive Harmonic Theory in the Mid-Nineteenth Century," Journal of Musicological Research 8 (1988:55-90) provides an exemplary instance of work likely ...
Facial expression and piano performance
... of a performer’s expressive conduct are not to be thought of as separate aspects but on the contrary, they complement each other. ...
... of a performer’s expressive conduct are not to be thought of as separate aspects but on the contrary, they complement each other. ...
What is Tonality - California State University, Los Angeles
... fifths with intervening scale tones. Moreover, the tonalities (C major, G major, etc.) are defined by functional relations among their constituent triads (tonic, dominant, etc.) which are based on fifth-relationships, and fall into large-scale structural configurations by fifth.3 The tonality of the ...
... fifths with intervening scale tones. Moreover, the tonalities (C major, G major, etc.) are defined by functional relations among their constituent triads (tonic, dominant, etc.) which are based on fifth-relationships, and fall into large-scale structural configurations by fifth.3 The tonality of the ...
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg
... Schenker’s normative view, of course, was that the seventh chord is not an independent harmony; like any other dissonance (or rather, untransformed dissonance), its prolongation is prohibited—though dissonance at one level could of course receive consonant harmonic support at another. However, which ...
... Schenker’s normative view, of course, was that the seventh chord is not an independent harmony; like any other dissonance (or rather, untransformed dissonance), its prolongation is prohibited—though dissonance at one level could of course receive consonant harmonic support at another. However, which ...
PDF text - Music Theory Online
... [8] The strength of Whittall’s argument for Apollo-Dionysus as a central influence on twentieth-century compositional thought lies not only in his convincing interpretations of works that juxtapose restraint and chaos, but also in his ability to track down telling comments on the opposition itself ...
... [8] The strength of Whittall’s argument for Apollo-Dionysus as a central influence on twentieth-century compositional thought lies not only in his convincing interpretations of works that juxtapose restraint and chaos, but also in his ability to track down telling comments on the opposition itself ...
Sample Pages - Oxford University Press
... first began his studies into acoustics, and had already proven itself more than faddish, having gone through six editions by 1872. Yet within this nexus of music and psychology—for which Stumpf is predominantly remembered today—it is easy to overlook his grounding in Plato and Aristotle, which, for ...
... first began his studies into acoustics, and had already proven itself more than faddish, having gone through six editions by 1872. Yet within this nexus of music and psychology—for which Stumpf is predominantly remembered today—it is easy to overlook his grounding in Plato and Aristotle, which, for ...
music
... Includes lines and spaces in relation to clef signs, and letter names of the notes on the Grand staff. Apply knowledge of keys and scales. Includes key signatures, scale types and structures, and the types and characteristics of tonal structures. Understand the elements of melody. Includes the types ...
... Includes lines and spaces in relation to clef signs, and letter names of the notes on the Grand staff. Apply knowledge of keys and scales. Includes key signatures, scale types and structures, and the types and characteristics of tonal structures. Understand the elements of melody. Includes the types ...
A Semiotic Analysis of Paisaje Cubano con Lluvia by Leo Brouwer
... communication to convey both extramusical and intramusical information to its audience, given the so-called “abstract” nature of music? Can a composer articulate meaning by making a deliberate compositional decision? Even further, can the analyst or musicologist communicate said meaning verbally? It ...
... communication to convey both extramusical and intramusical information to its audience, given the so-called “abstract” nature of music? Can a composer articulate meaning by making a deliberate compositional decision? Even further, can the analyst or musicologist communicate said meaning verbally? It ...
Musical Authenticity: Annotated Bibliography
... Compiled 18 Feb 1004 by John Roeder partially with reference to annotated bibliographies by Greg Myers and Laurel Parson. Spitzer, John. “Authenticity.” The New Harvard Dictionary of Music [Revised 2d ed.] Ed. Don Michael Randel. Cambridge, MA: Belknap Press, 1986. “In the context of Western art mus ...
... Compiled 18 Feb 1004 by John Roeder partially with reference to annotated bibliographies by Greg Myers and Laurel Parson. Spitzer, John. “Authenticity.” The New Harvard Dictionary of Music [Revised 2d ed.] Ed. Don Michael Randel. Cambridge, MA: Belknap Press, 1986. “In the context of Western art mus ...
Overview - West Ada
... Music exhibits both continuity and change over time. (9-12.Mu.1.1.1, 9-12.Mu.1.1.2, 9-12.Mu.1.1.3, 9-12.Mu.1.1.4, 9-12.Mu.2.1.3, 9-12.Mu.2.1.4) ...
... Music exhibits both continuity and change over time. (9-12.Mu.1.1.1, 9-12.Mu.1.1.2, 9-12.Mu.1.1.3, 9-12.Mu.1.1.4, 9-12.Mu.2.1.3, 9-12.Mu.2.1.4) ...
Uri Golomb Rhetoric in the Performance of Baroque
... Word-paintings, of course, exist in musical practice and are duly noted in theory; but the overall function of rhetorical figures is wider, more flexible and less immediately definable. Yet their presence – as localised details to be realised in performance – is significant. If music resembles speec ...
... Word-paintings, of course, exist in musical practice and are duly noted in theory; but the overall function of rhetorical figures is wider, more flexible and less immediately definable. Yet their presence – as localised details to be realised in performance – is significant. If music resembles speec ...
Composition.
... of discourse and writing that draw on the resources of myth. Myths may focus on the acquisition of songs, dances, ceremonies or musical instruments without identifying composers or inventors. In learning to perform sequences of songs and ceremonies, it is not always necessary to learn how, when and ...
... of discourse and writing that draw on the resources of myth. Myths may focus on the acquisition of songs, dances, ceremonies or musical instruments without identifying composers or inventors. In learning to perform sequences of songs and ceremonies, it is not always necessary to learn how, when and ...
Lisa McCormick, Yale University Problems of Musical Performance
... Problems of Musical Performance: The Presentation of Musical Self at the International Music Competition ...
... Problems of Musical Performance: The Presentation of Musical Self at the International Music Competition ...
Experiencing Music
... Expressiveness- Interpretation, style, and phrasing Technique- Performers skills in bringing the musical sounds to life. Presentation- Choice and appropriateness of music, does the performance meet expectations Impact- Artist’s charisma, familiarity and newness of what you hear, how does the perform ...
... Expressiveness- Interpretation, style, and phrasing Technique- Performers skills in bringing the musical sounds to life. Presentation- Choice and appropriateness of music, does the performance meet expectations Impact- Artist’s charisma, familiarity and newness of what you hear, how does the perform ...
Singing Renaissance Music From Partbooks
... indication of what is editorial and what is primary source material. While this seems a rather archaic practice, many editions are still published this way. Between these two extremes lie what are often referred to as scholarly editions that usually indicate clearly what is original and what is edit ...
... indication of what is editorial and what is primary source material. While this seems a rather archaic practice, many editions are still published this way. Between these two extremes lie what are often referred to as scholarly editions that usually indicate clearly what is original and what is edit ...
is a matter of perpetual controversy. Should performers play in a way
... a way that recreates the music as the composer would have heard it, or should they adjust to modern conventions? One point of view, represented by longtime New Yorker music critic Andrew Porter, advocates what is known as performance practice, a style based on the premise that the most valuable perf ...
... a way that recreates the music as the composer would have heard it, or should they adjust to modern conventions? One point of view, represented by longtime New Yorker music critic Andrew Porter, advocates what is known as performance practice, a style based on the premise that the most valuable perf ...
the schenkerian analysis in the modern context of the
... musical insights not obtainable from other methods of analysis. Musical analysis from the schenkerian point of view – musical and analytical – lies at the core of all musical studies (intuitive or intellectual). Schenkerian analysis reveals connections among tones that are not readily apparent. Dire ...
... musical insights not obtainable from other methods of analysis. Musical analysis from the schenkerian point of view – musical and analytical – lies at the core of all musical studies (intuitive or intellectual). Schenkerian analysis reveals connections among tones that are not readily apparent. Dire ...
View article
... Social changes are the important factors that related with an artistic point of view. These factors can create, destroy or just effect an art form in a maximum or minimum level. It could be a dimension to cominication. An Artist could assimilate the ideas by consulting the cultural approaches. This ...
... Social changes are the important factors that related with an artistic point of view. These factors can create, destroy or just effect an art form in a maximum or minimum level. It could be a dimension to cominication. An Artist could assimilate the ideas by consulting the cultural approaches. This ...
The case of L`escalier du diable by György Ligeti
... medium and high pitched registers (e.g. bar (31): system with 4 staves) create sound perspectives similar to visual perspectives in the works of Escher. ...
... medium and high pitched registers (e.g. bar (31): system with 4 staves) create sound perspectives similar to visual perspectives in the works of Escher. ...
Keynote Presentation
... labeling is another task that initially seems easy but rapidly becomes extremely troublesome for several reasons. Are grace-notes accented or unaccented? Only a musically-trained ear that also knows the norms of an era can tell. Incompletely-filled measures, such as pickup measures and mid-bar repea ...
... labeling is another task that initially seems easy but rapidly becomes extremely troublesome for several reasons. Are grace-notes accented or unaccented? Only a musically-trained ear that also knows the norms of an era can tell. Incompletely-filled measures, such as pickup measures and mid-bar repea ...
Musicology
Musicology (from Greek μουσική (mousikē), meaning ""music"", and -λογία (-logia), meaning ""study of-"") is the scholarly analysis of, and research on, music, a part of humanities. A person who studies music is a musicologist. For broad treatments, see the entry on ""musicology"" in Grove's dictionary, the entry on ""Musikwissenschaft"" in Musik in Geschichte und Gegenwart, and the classic approach of Adler (1885).Traditionally, historical musicology (commonly termed ""music history"") has been the most prominent subdiscipline of musicology. In the 2010s, historical musicology is one of several large musicology subdisciplines. Historical musicology, ethnomusicology, and systematic musicology are approximately equal in size. Ethnomusicology is the study of non-Western music. Systematic musicology includes music acoustics, the science and technology of acoustical musical instruments, and the musical implications of physiology, psychology, sociology, philosophy and computing. Cognitive musicology is the set of phenomena surrounding the computational modeling of music. In some countries, music education is considered to be a prominent subfield of musicology, while in others it is regarded as a distinct academic field, or one more closely affiliated with teacher education, educational research, and related fields.The parent disciplines of musicology include general history; cultural studies; philosophy (particularly aesthetics and semiotics); ethnology and cultural anthropology; archeology and prehistory; psychology and sociology; physiology and neuroscience; acoustics and psychoacoustics; and computer/information sciences and mathematics. Musicology also has two central, practically oriented subdisciplines with no parent discipline: performance practice and research (sometimes viewed as a form of artistic research), and the theory, analysis and composition of music. The disciplinary neighbors of musicology address other forms of art, performance, ritual and communication, including the history and theory of the visual and plastic arts and of architecture; linguistics, literature and theater; religion and theology; and sport. Musical knowledge and know-how are applied in medicine, education and music therapy, which may be regarded as the parent disciplines of applied musicology.