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| Author | : Olivia Ashley Bloechl |
| Publisher | : Cambridge University Press |
| Total Pages | : 451 |
| Release | : 2015-01-08 |
| Genre | : Music |
| ISBN | : 1107026679 |
This major essay collection takes a fresh look at how differences among people matter for music and musical thought.
| Author | : Olivia Bloechl |
| Publisher | : Cambridge University Press |
| Total Pages | : 451 |
| Release | : 2015-01-08 |
| Genre | : Music |
| ISBN | : 1316194434 |
Two decades after the publication of several landmark scholarly collections on music and difference, musicology has largely accepted difference-based scholarship. This collection of essays by distinguished contributors is a major contribution to this field, covering the key issues and offering an array of individual case studies and methodologies. It also grapples with the changed intellectual landscape since the 1990s. Criticism of difference-based knowledge has emerged from within and outside the discipline, and musicology has had to confront new configurations of difference in a changing world. This book addresses these and other such challenges in a wide-ranging theoretical introduction that situates difference within broader debates over recognition and explores alternative frameworks, such as redistribution and freedom. Voicing a range of perspectives on these issues, this collection reveals why differences and similarities among people matter for music and musical thought.
| Author | : Nicholas Cook |
| Publisher | : Oxford University Press, USA |
| Total Pages | : 594 |
| Release | : 1999 |
| Genre | : Music |
| ISBN | : 019879004X |
Rethinking Music reflects the ideas of 24 distinguished musicologists as they evaluate current thinking about music, its social and ethical dimensions and the relationship between academic study and direct musical experience.
| Author | : Gavin Lee |
| Publisher | : Routledge |
| Total Pages | : 198 |
| Release | : 2018-01-29 |
| Genre | : Music |
| ISBN | : 1317337123 |
In studies of gender and sexuality in popular music, the concept of difference is often a crucial analytic used to detect social agency; however, the alternative analytic of ambiguity has never been systematically examined. While difference from heterosexual norms is taken to be the multivalent sign of resistance, oppression, and self-invention, it can lead to inflated claims of the degree and power of difference. This book offers critically-oriented case studies that examine the theory and politics of ambiguity. Ambiguity means that there are both positive and negative implications in any gender and sexuality practices, both sameness and difference from heteronormativity, and unfixed possibility in the diverse nature of discourse and practice (rather than just "difference" among fixed multiplicities). Contributors present a diverse array of approaches through music, sound, psyche, body, dance, performance, race, ethnicity, power, discourse, and history. A wide variety of popular music genres are broached, including gay circuit remixes, punk rock, Goth music, cross-dress performance, billboard 100 songs, global pop, and nineteenth-century minstrelsy. The authors examine the ambiguities of performance and reception, and address the vexed question of whether it is possible for genuinely new forms of gender and sexuality to emerge musically. This book makes a distinctive contribution to studies of gender and sexuality in popular music, and will be of interest to fields including Popular Music Studies, Musicology/Ethnomusicology, Cultural Studies, Queer Studies, and Media Studies.
| Author | : Tara Browner |
| Publisher | : University of Illinois Press |
| Total Pages | : 383 |
| Release | : 2019-03-16 |
| Genre | : Music |
| ISBN | : 0252051157 |
In Rethinking American Music, Tara Browner and Thomas L. Riis curate essays that offer an eclectic survey of current music scholarship. Ranging from Tin Pan Alley to Thelonious Monk to hip hop, the contributors go beyond repertory and biography to explore four critical yet overlooked areas: the impact of performance; patronage's role in creating music and finding a place to play it; personal identity; and the ways cultural and ethnographic circumstances determine the music that emerges from the creative process. Many of the articles also look at how a piece of music becomes initially popular and then exerts a lasting influence in the larger global culture. The result is an insightful state-of-the-field examination that doubles as an engaging short course on our complex, multifaceted musical heritage. Contributors: Karen Ahlquist, Amy C. Beal, Mark Clagu,. Esther R. Crookshank, Todd Decker, Jennifer DeLapp-Birkett, Joshua S. Duchan, Mark Katz, Jeffrey Magee, Sterling E. Murray, Guthrie P. Ramsey Jr., David Warren Steel, Jeffrey Taylor, and Mark Tucker
| Author | : Geoffrey Baker |
| Publisher | : Open Book Publishers |
| Total Pages | : 270 |
| Release | : 2021-04-12 |
| Genre | : Music |
| ISBN | : 180064129X |
How can we better understand the past, present and future of Social Action through Music (SATM)? This ground-breaking book examines the development of the Red de Escuelas de Música de Medellín (the Network of Music Schools of Medellín), a network of 27 schools founded in Colombia’s second city in 1996 as a response to its reputation as the most dangerous city on Earth. Inspired by El Sistema, the foundational Venezuelan music education program, the Red is nonetheless markedly different: its history is one of multiple reinventions and a continual search to improve its educational offering and better realise its social goals. Its internal reflections and attempts at transformation shed valuable light on the past, present, and future of SATM. Based on a year of intensive fieldwork in Colombia and written by Geoffrey Baker, the author of El Sistema: Orchestrating Venezuela’s Youth (2014), this important volume offers fresh insights on SATM and its evolution both in scholarship and in practice. It will be of interest to a very varied readership: employees and leaders of SATM programs; music educators; funders and policy-makers; and students and scholars of SATM, music education, ethnomusicology, and other related fields.
| Author | : Hickmott Sarah Hickmott |
| Publisher | : Edinburgh University Press |
| Total Pages | : 353 |
| Release | : 2020-07-06 |
| Genre | : Music |
| ISBN | : 1474458335 |
What counts as music for contemporary thinkers? Why is music of use to philosophers and how do they use it in their work? How do philosophers decide what music is and what assumptions are uncritically inherited in this move? And what is the philosophical relationship between music and gender? To answer these questions, Sarah Hickmott looks at the way music is used, characterised and understood in the work of Jean-Luc Nancy, Philippe Lacoue-Labarthe and Alain Badiou. Despite the differences in their philosophical-theoretical positions, all of these writers invoke music - both directly and indirectly - to negotiate their relationship to ontology, politics, ethics and aesthetics. Given a longer philosophical history, dating back at least to Plato, of aligning music with the feminine, she also focuses on the way gender is deployed, understood and constructed within the philosophy of music.
| Author | : Matthew Gelbart |
| Publisher | : Oxford University Press |
| Total Pages | : 553 |
| Release | : 2022-09-30 |
| Genre | : History |
| ISBN | : 0190646926 |
European Romanticism gave rise to a powerful discourse equating genres to constrictive rules and forms that great art should transcend; and yet without the categories and intertextual references we hold in our minds, "music" would be meaningless noise. Musical Genre and Romantic Ideology teases out that paradox, charting the workings and legacies of Romantic artistic values such as originality and anti-commercialism in relation to musical genre. Genre's persistent power was amplified by music's inevitably practical social, spatial, and institutional frames. Furthermore, starting in the nineteenth century, all music, even the most anti-commercial, was stamped by its relationship to the marketplace, entrenching associations between genres and target publics (whether based on ideas of nation, gender, class, or more subtle aspects of identity). These newly strengthened correlations made genre, if anything, more potent rather than less, despite Romantic claims. In case studies from across nineteenth-century Europe engaging with canonical music by Bizet, Chopin, Verdi, Wagner, and Brahms, alongside representative genres such as opéra-comique and the piano ballade, Matthew Gelbart explores the processes through which composers, performers, critics, and listeners gave sounds, and themselves, a sense of belonging. He examines genre vocabulary and discourse, the force of generic titles, how avant-garde music is absorbed through and into familiar categories, and how interpretation can be bolstered or undercut by genre agreements. Even in a modern world where transcription and sound recording can take any music into an infinite array of new spatial and social situations, we are still locked in the Romantics' ambivalent tussle with genre.
| Author | : Danielle Fosler-Lussier |
| Publisher | : University of Michigan Press |
| Total Pages | : 323 |
| Release | : 2020-06-10 |
| Genre | : Music |
| ISBN | : 0472901281 |
Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation. With its innovative multimodal approach, Music on the Move invites readers to listen and engage with many different types of music as they read. The text introduces a variety of concepts related to music’s travels—with or without its makers—including colonialism, migration, diaspora, mediation, propaganda, copyright, and hybridity. The case studies represent a variety of musical genres and styles, Western and non-Western, concert music, traditional music, and popular music. Highly accessible, jargon-free, and media-rich, Music on the Move is suitable for students as well as general-interest readers.
| Author | : William Cheng |
| Publisher | : University of Michigan Press |
| Total Pages | : 181 |
| Release | : 2016-08-11 |
| Genre | : Music |
| ISBN | : 0472900560 |
Modern academic criticism bursts with what Eve Kosofsky Sedgwick once termed paranoid readings—interpretative feats that aim to prove a point, persuade an audience, and subtly denigrate anyone who disagrees. Driven by strategies of negation and suspicion, such rhetoric tends to drown out softer-spoken reparative efforts, which forego forceful argument in favor of ruminations on pleasure, love, sentiment, reform, care, and accessibility. Just Vibrations: The Purpose of Sounding Good calls for a time-out in our serious games of critical exchange. Charting the divergent paths of paranoid and reparative affects through illness narratives, academic work, queer life, noise pollution, sonic torture, and other touchy subjects, William Cheng exposes a host of stubborn norms in our daily orientations toward scholarship, self, and sound. How we choose to think about the perpetration and tolerance of critical and acoustic offenses may ultimately lead us down avenues of ethical ruin—or, if we choose, repair. With recourse to experimental rhetoric, interdisciplinary discretion, and the playful wisdoms of childhood, Cheng contends that reparative attitudes toward music and musicology can serve as barometers of better worlds.
