Principles and practices. Classical music, copyright, and collecting societies / Brian Inglis ; Growing a forest : the changing business of classical music publishing / Sarah Osborn ; Evolving business models in the classical record industry / Marius Carboni ; Managing artists in the classical sector : definitions and challenges / Atholl Swainston-Harrison ; On classical music competitions / Glen Kwok and Christopher Dromey -- Identity and diversity. Uncertain capital : class, gender, and the imagined futures of young classical musicians / Anna Bull ; Inequalities in the classical music industry : the role of subjectivity in constructions of the ideal classical musician / Christina Scharff ; Lifespan perspective theory and (classical) musicians' careers / Dawn Bennett and Sophie Hennekam ; Reimagining classical music performing organisations for the digital age / Brian Kavanagh -- Challenges and debates. Is classical music a living or heritage art form? / Susanna Eastburn ; Dancing to another tune : classical music in nightclubs and other non-traditional settings / Julia Haferkorn ; Curating classical music : towards a synergetic concert dramaturgy / Masa Spaan ; Talking about classical music : radio as public musicology / Chris Dromey
The Uzbek classical music forms: Bukhara Shashmaqom; Six and half maqoms and Dutar maqoms Khoresm; Tashkent-Fergana maqom TUNES and two forms innovation were generated in Dushanbe and Tashkent: Tajik Shashmaqom and Uzbek Shashmaqom. This becomes possible to study the bases maqomat in this context after decoding "tanbur notations" created in the last fourth 19-e centuries and содержа writing the full volume элитных Poles and halfs maqoms, examples more democratic Dutar maqoms Khoresm, and so named "critical text" Bukhara Shashmaqom published in Berlin in music notation Ari Babakhanov
This essay introduces the special collection 'Representing Classical Music in the Twenty-First Century'. The editors outline what the collection is about and explain how it developed before providing synopses of the articles and linking them together. They argue for the importance of joined-up thinking between scholars from multiple disciplines, artists working across different media forms, and professionals in the classical music industry.
As a rich and diverse genre of digital folklore, memes are an integrated part of popular discourses on classical music. Memes provide communicative tools in everyday discourse on aesthetics, the historical canon, music theory, careers and professional life, among other things. During the coronavirus pandemic, classical music memes commenting on different aspects of the outbreak have provided insight into how online classical music communities meme and make sense (and nonsense) of the pandemic within a classical music framework. This article discusses classical music memes relating to the coronavirus in terms of newslore – that is, as folklore that comments on current events – and as a way to playfully expose knowledge of and stances towards different aspects of classical music, the global pandemic and the rules and recommendations of authorities. To conclude, the article suggests that a key function of these memes is their capacity to – in an often humorous fashion – blend together passed-down knowledge, competence and experience from the classical music world with extraordinary current conditions affecting people globally, acting both as social commentary and social safety valves. In doing so, they also uphold a widely held canon, functioning as a non-disputable doxa within the field.
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.
Itäaasialaisia klassisia muusikoita käsittelevät artikkelit ovat olleet yleisiä eurooppalaisissa klassisen musiikin lehdissä siitä lähtien kun itäaasialaiset alkoivat yhä suuremmassa määrin voittaa kansainvälisiä musiikkikilpailuita ja luoda kansainvälistä uraa 1900-luvun viimeisinä vuosikymmeninä. Läntinen taidemusiikki on kansainvälistymässä aikana, jolloin pelot klassisen musiikin kuolemasta ovat myös päässeet otsikoihin Euroopassa. Itäaasialaiset muusikot työskentelevät kompleksisella kulttuurien kentällä, jossa heidän muusikkoutensa on jatkuvasti arvostelun alaisena. Tämän tutkimuksen tarkoitus oli saada selville, miten itäaasialaiset klassiset muusikot ja heidän kulttuurinen identiteetti on representoitu kolmessa eurooppalaisessa klassisen musiikin lehdessä, Crescendossa, Gramophonessa ja Rondossa vuosina 2002‒2011. Tämä saavutettiin analysoimalla ensin määrällisesti tutkimusaineiston teemat, asenteet ja toimijat. Päämenetelmänä käytettiin diskurssianalyyttistä viitekehystä kuvaamaan neljää itäaasialaisen muusikkouden representaatiota, joita olivat valloittaja-diskurssi, aasialais-diskurssi, virtuoosi-diskurssi ja sillanrakentaja-diskurssi. Itäaasialaiset muusikot nähdään diskursseissa erilaisina muttei kuitenkaan eksoottisina. Tämä erilaisuus tuodaan esiin korostamalla heidän kansalaisuutta ja etnisyyttä paikoissa, joissa tämä tieto ei ole kontekstin kannalta välttämätöntä. Itäaasialaiset muusikot on lisäksi kuvattu sillanrakentajina itämaisen ja länsimaisen kulttuurin välillä. Muusikoiden virtuositeettiin liitetty tekno-orientalismin stereotypia tuodaan usein esiin diskursseissa mutta julistetaan samalla vanhentuneeksi. Itäaasialainen klassisen musiikin ilmiö puolestaan kuvaillaan käyttäen sotilaallista ja sotaisaa sanastoa. Tulokset osoittavat, että läntisen taidemusiikin tarina nähdään edelleen olennaisesti länsimaisena ilmiönä, ja itäaasialaisilla muusikoilla on vielä paljon tehtävää, jotta heistä tulee tämän tarinan pääosan esittäjiä yhdessä eurooppalaisten ja amerikkalaisten kollegoidensa rinnalla. ; Articles of East Asian classical musicians have been common in the European classical music magazines since East Asians began increasingly winning international music competitions and pursue international careers somewhere towards the end of the 20th century. The field of Western classical music is becoming more international at a time when fear of the dying of classical music has also reached the headlines in Europe. East Asian musicians work in a complex cultural field where their musicianship is constantly evaluated from different premises. The aim of this study is to see how the East Asian classical musicians and their cultural identities are represented in three European classical music magazines, Crescendo, Gramophone, and Rondo during the years 2002‒2011. This is achieved through first analysing the themes, attitudes and actors of the articles by using quantitative content analysis. Discourse analytical framework is used as a main method to illustrate four different representations of East Asian classical musicians ‒ the Invader, the Asian, the Virtuoso, and the Bridge Builder. The East Asian classical musicians are seen as different, yet not exotic. Their difference is brought up in emphasising their nationality and ethnicity in places where this knowledge is not necessary for the context. Further, the East Asian musicians are often seen as bridge builders between Eastern and Western culture. The stereotype of techno-orientalism relating to the virtuosity of the musicians is brought up in discourse but is, at the same time, announced outdated. The general context, the East Asian classical music phenomenon, is described using military and warlike terms. The findings indicate that the story of Western classical music is still seen as inherently Western and that East Asian classical musicians still have work to do in becoming main actors in the story alongside their European and American colleagues.
