Suchergebnisse

First presented as a lecture (entitled "Musik und neue Musik") on TV in May 1960. The meaning & validity of the concept "new music," referring to abrupt change undergone by music in the early twentieth century, are examined. While current composition of music essentially derives from this new approach, its reproduction & consumption are based on the traditional tonal approach, to which new music can be contrasted. The practice of new music rests on systematic rejection of even the remotest derivatives of the tonal tradition, & of the desire to ingratiate or appeal to the emotions, which has been recognized as implicitly ideological in significance. Electronic music in particular creates a sense of alienation in many hearers, by refusing to produce a music consonant with the existing world, & can be expected to become a major part of the development of new music. Ultimately, the category of new music is useless, because the "distinction between new music & music per se has become the distinction between good & bad music." W. H. Stoddard.

Qualitative research has provided a home for innovative approaches to collecting, analyzing, and representing data (Hesse - Biber & Leavy, 2006; Janesick, 2011; Ketelle, 2010). Reflexive journaling, photography and photo elicitation, poetry, video representations, dramatic enactments, visual presentations, and play - writing are but a few of the creative techniques embraced by qualitative researchers in search of ways to help their audiences move beyond reading and into experiencing the data (Collier, 2001; Deacon, 2006). These formats have opened doors to re - inventions of traditional thick, rich descriptions and provided living, intentional metaphors through which a reader can filter data via their own emotional, cognitive, spiritual, and scholarly lenses. Music, however, is one area that has been minimally used as an approach to mining and re/presenting data. This piece explores the use of music in a qualitative research project. My intention is to initiate a conversation on how music can capture both participant and researcher experiences in a way that naturally challenges words, thoughts, reactions, and assumption.

"This book examines how we can reconcile the widely held belief that men are 'less emotional' than women, with a history of emotions in music. A belief that men identify with an ideal of rationality - understood as the separation of emotion from rational action - has informed critical studies on men and masculinities. Yet engaging with a wide range of music to stimulate, reflect and express, as well as manage particular types of emotions continues to be the key to music's appeal. Through detailing how judgments about emotions are expressed in relation to music tastes and distastes, this book demonstrates that emotions are as much social, value judgments as embodied, affective responses. It therefore raises the importance of looking at music listening contexts, culture, personal experience and a history of emotions in order to contest the orthodoxy that men's privilege stems from the 'repression' of emotions"--

After World War I, America was musically transformed from an outsider in the European classical tradition into a country of musical vibrance and maturity. These great advances, however, were deeply threatened by the Wall Street crash of 1929 and the consequent Great Depression. The nation that, for the first time, was developing an international reputation in the arts now faced a crisis of how to support them. Government sponsorship of the arts through the New Deal Federal One projects allowed struggling artists to survive economically during this era. In the realm of music, however, the Federal Music Project (FMP) had consequences that reached far beyond economics and into the realms of politics and culture. This article surveys the important impact of the Federal Music Project on American music in both the East and the West by using statistics, examples, and stories, specifically with regards to new music, populism, American nationalism, minority involvement, and ethnomusicology.

The relationship between music and the nervous system is now the subject of intense interest for scientists and people in the humanities, but this is by no means a new phenomenon. This volume sets out the history of the relationship between neurology and music, putting the advances of our era into context.

Abstract Darwin (1871) noted that the human musical faculty 'must be ranked amongst the most mysterious with which he is endowed'. Indeed, previous research with human infants and young children has revealed that we are born with variable musical capabilities. Here, the adaptive purpose served by these differing capabilities is discussed with reference to comparative findings regarding the acoustic behavior of nonhuman primates. The findings provide evidence supporting Darwin's hypothesis of an intermediate stage of human evolutionary history characterized by a communication system that resembles music more closely than language and possibly acting as a precursor for both current language and music.

The music rapport between Malta and Bulgaria go back to the 1970s following the establishment of diplomatic relations between the two countries. Various published literature and official documents relate to this theme. The main research to date was undertaken at the National Academy of Music Prof. Pancho Vladigerov, Sofia. ; peer-reviewed

Hubertus Siegert's impressionistic documentary, Berlin Babylon, illuminates the demolition and urban renewal of Berlin during the mid-late 1990s. This was a critical phase in the city's history, as it prepared, amidst a flurry of excitement and anticipation, to become the united Germany's seat of power. Siegert's film seeks to give pause for thought, but deliberately eschews a "voice of god" voiceover, opting instead for a poetic audiovisual montage. This includes shots of the cityscape (and its lacunae), archival footage documenting the wartime devastation and subsequent dynamiting of buildings, observational cinema of the city's busy building sites, and of verbal snippets from various architects, developers and politicians––following the film title's cue, the agents in a rerun of the construction of the Tower of Babel––as well as epigraphs from the Bible and Walter Benjamin, and a prominent soundscape and musical score. As this article will demonstrate, the film's (mostly) sombre soundtrack plays a critical role here, commenting on the footage, and beyond that on the whole project of the new 'Berlin Republic' and its attitude to architectural heritage and twentieth century history. Re-figuring the theme of this volume, Berlin Babylon's music is a form of writing about (collapsing, old) architecture and history. And yet, the soundtrack is not as unambiguous as a voiceover might have been, and thereby allows creative space for the audience's interpretation, a matter that was very important to the film's director. This article will focus, in particular, on three elements: the use (and treatment) of historical recordings in the film; the use of silence; and finally the way in which tracks from the Berlin band Einstürzende Neubauten use music, noise and text to comment on the project of the new Berlin.

Music Generation is the title of one of the most significant national initiatives in music education in Ireland. It seeks to put in place a countrywide infrastructure for instrumental and vocal music education. It has long been awaited. Over the last 30 years numerous reports and initiatives have highlighted the geographic inequity of the lack of access to high quality and affordable music tuition outside major urban centers.(1) In the ensuing years many ambitious plans and proposals have been made, including those commissioned by Government.(2) Funding to realize these plans however was always elusive. It is significant that they are now made possible not by a national government-led initiative, but as the result of philanthropy. This essay examines the context in which a philanthropic gift by the Irish rock group U2 and the philanthropic organization The Ireland Funds has enabled the development of a much needed nationals system of vocal and instrumental music education. Furthermore, it explores how philanthropy has shaped the development of this new national infrastructure and influenced the guiding principles.

Argues that the best rock music secretes resistance to commodification. Cheap sound equipment, independent producers and the reproducibility of the cassette have limited the extent to which rock music can be subordinated to commodity. Suggests also that rock music helps to constitute sub-cultural communities of resistance, drawing on class, gender, generation and race. (RSM)

Music in Jamaica has a long history that is very much intertwined with religious, social, and political factors. As the development of reggae music grew, it became increasingly popular in relation to politics and social issues. This research examines the development of reggae and dancehall music in Jamaica in relation with politics and identity. In turn, this research seeks to present the importance of Jamaican music as a voice for Jamaican people—an accurate presentation of their experiences and their beliefs.