Suchergebnisse

"Music, the Moving Image and Ireland, 1897-2017 constitutes the first comprehensive study of music for screen productions from or relating to the island. It identifies and interprets tendencies over the first 120 years of a field comprising the relatively distinct yet often overlapping areas of Irish-themed and Irish-produced film. Dividing into three parts, the book first explores accompaniments and scores for 20th-century Irish-themed narrative features that resulted in significant contributions by many Hollywood, British, continental European and, to a lesser extent, Irish composers; along with the input of many orchestras and other musicians. Its second part is framed by a consideration of various cultural, political and economic developments in both the Republic of Ireland and Northern Ireland from the 1920s (including the Troubles of 1968-1998). Focusing on scoring and other aspects of soundtrack production for domestic newsreel, documentary film and TV programming, it interprets the substantial output of many Irish composers within this milieu, particularly from the 1960s-1990s. Also referring to broader cultural and historical themes, the book's third and final part charts approaches to, and developments in music and sound design over various waves of Irish cinema, from its relatively late emergence in the 1970s to an exponential growth and increasingly transnational orientation in the early decades of the 21st century"--

The purpose of this Article is to contribute to the volume of legal scholarship that focuses on popular music lyrics and their effects on children. This interdisciplinary cross-section of law and culture has been analyzed by legal scholars, philosophers, and psychologists throughout history. This Article specifically focuses on the recent public uproar over the increasingly violent and lewd content of death-metal and gangsta-rap music and its alleged negative influence on children. Many legal scholars have written about how legal and political efforts throughout history to regulate contemporary genres of popular music in the name of the protection of children's morals and well-being have ultimately been foiled by the proper judicial application of solid First Amendment free-speech principles. Because the First Amendment prevents musicians from being held liable for their lyrics, and prevents the content of lyrics from being regulated, some scholars have suggested that the perceived problems with popular music lyrics could be dealt with by increasing public awareness and group action.

Jean-Francois Lyotard (1974) had argued that Theodor Adorno's Philosophy of Modern Music (1949) was a "diabolic" work of "negative theology" that attributed to composer Arnold Schoenberg's music a secret redemptive power. However, in his later writings, Lyotard has himself moved close to a negative theological position with respect to modernity, time, aesthetics, & music. Here, the occasion of Lyotard's theologically inspired essays on music, "God and the Puppet" & "Obedience" (both, 1991) are drawn on to reevaluate Adorno's claims that music transcends mere language & reaches for the theological & more general claims in modern Western culture on behalf of music's ability to express the inexpressible. It is argued that the music-as-negative-theology position is not inherently metaphysical but rather that it reflects the importance of the "unsayable" to modern conceptions of reason. In resisting the closure of the modern narrative of reason, music, as a temporal art, has often given expression to the more radical forms of alterity present in modern forms of time; ie, negative theology is not the discourse of the devil; it is the impossible discourse of Western reason & its internal fracturing. 40 References. Adapted from the source document.

Military rituals accompanied by martial music help breed in the military sustainable social attitudes--patriotism, the feeling of belonging to the nation, to the army, etc. Military music and military rituals throughout Russian history are examined. Adapted from the source document.

This thesis critically examines the roles and representations of Eastern spirituality in avant-garde classical music from the early twentieth century to the present. By examining the history of Asian religious traditions in the United States and their influence upon musical works that fuse Eastern and Western cultures, I argue that intercultural contemporary music often perpetuates pervasive attitudes and assumptions regarding the relationship between spirituality, Asia, and artistry that are historically amnesiac, culturally reductionistic, and perversely antithetical to the progressive egalitarian values typically associated with musical interculturalism. In Chapter 1, I outline how Asian religious traditions were adapted to suit a Western audience in the late 19th and early 20th centuries in response to the imperialist pressures exerted by European and American military forces, and how those adaptations related to art and aesthetics. Chapter 2 examines how the idea of "spirituality" coalesced in the popular imagination in the context of the political and social rebellion of the counterculture era, further establishing an imagined link between an ambiguous Eastern spirituality and creative ability, before becoming heavily commodified in the 1980s. Chapter 3 surveys how musical representations of Eastern spirituality today continue to systemically support and produce the attitudes and assumptions outlined in the first two chapters without confronting their historically dubious claims.

" A multidisciplinary collection of twenty essays that examine the debates and controversies around music and theology during the period of the European Reformations from both Catholic and various Protestant perspectives. Throughout the history of the Church, music has regularly been placed under the critical microscope. Nonetheless, the intensity of thought concerning music's role in the liturgy and in spiritual life in general reached a peak during the period of the European Reformations. This multidisciplinary collection examines the debates and controversies around music and theology during that time from both Catholic and various Protestant perspectives. It includes twenty essays from musicologists, theologians, Biblical scholars, and Church historians that attempt to answer the following questions: What difference did the theological and ecclesiological developments of the sixteenth century make to musical forms and practices? What continuities of practice existed with former times? How was the desire to restore the church to an imagined pristine state manifest in music and liturgy? How did developments in exegesis arising from the massively increased knowledge and access to the Bible in Hebrew and Greek affect the way composers wrote and congregations heard? Why did some reformers embrace music, while others rejected it?" -- Back cover.

The paper focuses on the aspects of aesthetic education and aesthetic experience of music under the conditions of online teaching of music due to the COVID-19 pandemic. The new mode of teaching affected the teaching process, particularly in the field of performance arts which involves direct experiencing of music, stage performances and direct cooperation of musicians. Aside from certain advantages, mostly regarding the organization of teaching and more time for practice, the results show that students were for the most part deprived of a comprehensive experience of music during the teaching process, and particularly of a specific aesthetic experience. A general conclusion is drawn that direct contact between the student and the professor in face-to-face teaching practice is an irreplaceable segment of music education.