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Relevant bibliographies by topics / Avant-garde (Music) Music

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Academic literature on the topic 'Avant-garde (Music) Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Avant-garde (Music) Music"

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GRAHAM, STEPHEN. "From Microphone to the Wire: Cultural change in 1970s and 1980s music writing." Twentieth-Century Music 16, no. 3 (2019): 531–55. http://dx.doi.org/10.1017/s1478572218000336.

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AbstractIn this article I examine localized cultural change that nevertheless serves as an applied instance of broader change. Focusing mostly on British, white male musicians and music writers active in the improvised and experimental music scenes of the UK (and, to a lesser extent, United States and Europe) across the 1970s and early 1980s, I identify clear shifts in taste, attitude, and practice. These shifts arc across what Ben Piekut calls the ‘mixed avant-garde’ of the 1960s to what I describe as the ‘unpop avant-garde’ of the late 1970s and 1980s, in which influences from popular and no

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Calico. "Music in Avant-Garde Periodicals." Journal of Modern Periodical Studies 8, no. 2 (2018): 157. http://dx.doi.org/10.5325/jmodeperistud.8.2.0157.

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Lena, Jennifer C., and Richard A. Peterson. "Classification as Culture: Types and Trajectories of Music Genres." American Sociological Review 73, no. 5 (2008): 697–718. http://dx.doi.org/10.1177/000312240807300501.

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Questions of symbolic classification have been central to sociology since its earliest days, given the relevance of distinctions for both affiliation and conflict. Music and its genres are no exception, organizing people and songs within a system of symbolic classification. Numerous studies chronicle the history of specific genres of music, but none document recurrent processes of development and change across musics. In this article, we analyze 60 musics in the United States, delineating between 12 social, organizational, and symbolic attributes. We find four distinct genre types—Avant-garde,

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Lipták, Michal. "Body, Music and Electronics: Pierre Schaeffer and the Phenomenology of Music." Studia Universitatis Babeș-Bolyai Philosophia 67, no. 1 (2022): 45–74. http://dx.doi.org/10.24193/subbphil.2022.1.03.

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"The article presents a phenomenological investigation of body and music, with particular emphasis on electronic music. The investigation builds on theoretical framework developed in phenomenological investigations in art by Edmund Husserl, Mikel Dufrenne and Roman Ingarden. It is guided beyond these analyses by investigations of particular musical examples in avant-garde acoustic and electronic music. In the former case it tackles music from which body is being consciously erased. In the latter case, the erasure occurs instantly. This negative approach elucidates the function of body in music

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Piekut, Benjamin. "Indeterminacy, Free Improvisation, and the Mixed Avant-Garde:." Journal of the American Musicological Society 67, no. 3 (2014): 769–824. http://dx.doi.org/10.1525/jams.2014.67.3.769.

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John Cage's brand of experimentalism underwent a transformation when it was imported into the UK in the 1960s. There, in contradiction to the American's well-known preferences, indeterminacy became twisted up with jazz-derived free improvisation, owing to discourse that stressed performer freedom and creativity while downplaying notions of non-intention and discipline. The authors of these commentaries created the discursive conditions for a mingling of avant-garde traditions, but the material conditions owed more to the efforts of Victor Schonfield, whose nonprofit organization, Music Now, ac

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Bivins, Jason. "Response to Michael Kaler." Bulletin for the Study of Religion 45, no. 1 (2016): 43–46. http://dx.doi.org/10.1558/bsor.v45i1.29902.

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This response focuses primarily on Kaler's engagement with: the analytical problem of interpreting music without texts, the status of religious "experience" as a disciplinary category, and the relationship between "mainstream" and "avant-garde" musics.

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MUSSGNUG, FLORIAN. "Writing Like Music: Luciano Berio, Umberto Eco and the New Avant-Garde." Comparative Critical Studies 5, no. 1 (2008): 81–97. http://dx.doi.org/10.3366/e1744185408000281.

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Die Dichtung des Lyrikers kann nichts aussagen, was nicht in der ungeheuersten Allgemeinheit und Allgültigkeit bereits in der Musik lag, die ihn zur Bilderrede nötigte. Der Weltsymbolik der Musik ist eben deshalb mit der Sprache auf keine Weise erschöpfend beizukommen. (The poems of the lyrist can express nothing that did not already lie hidden in that vast universality and absoluteness of the music that compelled him to figurative speech. Language can never adequately render the cosmic symbolism of music).

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Pereverzeva, M. V. "The Works of Contemporary Composers in the Teaching Repertoire of the Music Institutions: Mastering Problem." Contemporary problems of social work 6, no. 4 (2020): 29–35. http://dx.doi.org/10.17922/2412-5466-2020-6-4-29-35.

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the article’s subject is avant-garde music of the 20th century and problem of its mastering in educational process in music institutions. The purpose of the work is providing the methodological recommendations for the mastering of avant-garde music in the training of music educators. The results of the work are follow: there have been detailed examination of the basic concepts and artistic and aesthetic principles, as well as the expressive means of this music, the problems of perception of modern compositions and its presentation in the educational process of institutions, the analysis and pe

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MĂNĂILESCU, Sorana. "Versions of Post Avant-Garde Music." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (2020): 117–26. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.13.

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The present paper is written in response to Christopher Norris’s allegation in a famous essay, ""Post-modernism - a guide for the perplexed,"" (Norris 2000) that, unlike literary postmodernism, characterized by an appeal to intelligence and intellectual effort from the reading public, musical postmodernism is impoverished in point of language and idea. This communication attempts to shed light on the complexity of musical compositions in the generic sphere of electroacoustic, timbral or computer-generated music, whose creators are at the same time theorists of their own language which requires

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Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.

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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were inf

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Dissertations / Theses on the topic "Avant-garde (Music) Music"

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Rievers, Henrique André Christiano. "Physiological Perspectives of Avant-garde Music." Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://edoc.hu-berlin.de/18452/24062.

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Obwohl die Theatralisierung der Musik ein entscheidender Aspekt der Neuen Musik ist, der im Szenario nach 1945 noch mehr an Bedeutung gewinnt, kann die aber auch als Ausdruck einer musikalischen Wende zum Leib verstanden werden. Um von einer Wende zum Leib in der Musik zu sprechen, muss man auch eine Form des Dualismus zu überwinden. Durch die Werke avantgardistischer Komponisten wird in dieser Arbeit versucht, ein Verständnis der Musikwahrnehmung aufzubauen.<br>It is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more pro

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Pitkin, Carissa. "Against Expression?: Avant-garde Aesthetics in Satie's "Parade"." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.

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Moroncini, Barbara Serena. "Experimental music after Los Angeles site, power, self, sound /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1706818091&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Rievers, Henrique André Christiano [Verfasser]. "Physiological Perspectives of Avant-garde Music / Henrique André Christiano Rievers." Berlin : Humboldt-Universität zu Berlin, 2021. http://nbn-resolving.de/urn:nbn:de:kobv:11-110-18452/24062-8.

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Sharp, Charles Michael. "Improvisation, identity and tradition experimental music communities in Los Angeles /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779690111&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Madrid-González, Alejandro Luis. "Writing modernist and avant-garde music in Mexico performativity, transculturation, and identity after the revolution, 1920-1930 /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.

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Thesis (Ph. D.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains xv, 238 p.; also includes music, graphics Includes bibliographical references (p. 218-238). Available online via OhioLINK's ETD Center

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Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.

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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). R

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Ming, Christina Tio Ee. "The Avant Garde and its 'others' orientalism in contemporary art music /." Thesis, Online version, 2000. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.364724.

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Sacau-Ferreira, Enrique. "Performing a political shift : avant-garde music in Cold War Spain." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:df601c57-c9f0-4320-9a3a-8493ecf1101a.

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In my thesis, Performing a Political Shift: Avant-Garde Music in Cold War Spain, I argue that towards the end of the 1950s the Spanish ultra-conservative regime of Francisco Franco started to promote avant-garde music. This music contrasted with the aesthetically conservative one that had been promoted since the end of the Civil War (1936-1939). I examine the causes of this shift and reveal for the first time that they are connected to specific trends in Spanish politics and policies. In terms of national politics, the second phase of the Spanish dictatorship, from the late 1950s until Franco’

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Scott, Richard Patrick. "Noises : free music, improvisation and the avant-garde, London 1965 to 1990." Thesis, London School of Economics and Political Science (University of London), 1991. http://etheses.lse.ac.uk/1134/.

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A study of free, improvised music in London and its practitioners. The dissertation is divided into a discussion of different conceptions of the avant-garde with particular reference to critical theory and post-modernism, and transcribed interviews with musicians, making up an oral history of free music. It includes material on the historical development of the avant-garde and the histories of jazz and contemporary composition. There are also considerations of the specific problems of music and language and the problem of methodology and elaborations of the musical/cultural concepts of noise,

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Books on the topic "Avant-garde (Music) Music"

1

Music 109: Notes on experimental music. Wesleyan University Press, 2012.

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György Ligetis Aventures & Nouvelles aventures: Studien zur Sprachkomposition und Ästhetik der Avantgarde. P. Lang, 2001.

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Duteurtre, Benoît. Requiem pour une avant-garde. R. Laffont, 1995.

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The new music: The avant-garde since 1945. 2nd ed. Oxford University Press, 1987.

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Loading the silence: Postmodern sensibilities in Australian sound art in the post-digital age. Ashgate, 2013.

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The Ashgate research companion to experimental music. Ashgate, 2009.

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Sitsky, Larry. Music of the repressed Russian avant-garde, 1900-1929. Greenwood Press, 1994.

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Duteurtre, Benoît. Requiem pour une avant-garde: Essai. Les Belles Lettres, 2006.

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Polnische Avantgarde: Bogusław Schaeffer und sein sinfonisches Werk. P. Lang, 2003.

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Landy, Leigh. Experimental music notebooks. Harwood Academic Publishers, 1994.

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Book chapters on the topic "Avant-garde (Music) Music"

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Braguinski, Nikita. "Avant-garde becomes pop's aide." In Mathematical Music. Focal Press, 2022. http://dx.doi.org/10.4324/9781003229254-16.

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Warden, Claire. "Crossing Genres: Movement and Music." In British Avant-Garde Theatre. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137020697_6.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "The Classical Avant-Garde." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-54.

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Čurda, Martin. "Music and avant-garde discourse in inter-war Czechoslovakia." In The Music of Pavel Haas. Routledge, 2020. http://dx.doi.org/10.4324/9780429433351-2.

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Narimoto, Rica. "Heritage within the avant-garde? Traditional and contemporary musics in post-war Japan." In Music as Heritage. Routledge, 2018. http://dx.doi.org/10.4324/9781315393865-13.

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Trubert, Jean-François. "Avant-garde music theatre at the Festival d’Avignon between 1967 and 1969." In New Music Theatre in Europe. Routledge, 2019. http://dx.doi.org/10.4324/9780429451669-10.

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Goldman, Jonathan. "Open Works on Record." In Revisiting the Historiography of Postwar Avant-Garde Music. Routledge, 2022. http://dx.doi.org/10.4324/9781315108162-8.

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Kuo, Tiffany. "A New Patronage Model in Postwar America." In Revisiting the Historiography of Postwar Avant-Garde Music. Routledge, 2022. http://dx.doi.org/10.4324/9781315108162-6.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Conference papers on the topic "Avant-garde (Music) Music"

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Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.

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The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with

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Danilova, A. V. "Analysis of Russian avant-garde music in the university course "Fundamentals of theoretical musicology"." In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2019. http://dx.doi.org/10.18411/lj-02-2019-91.

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Trifan, Aurelia. "Socialist modernism – a way of disseminating a new ideology in the architecture of entertainment buildings." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.14.

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During the years 1955–1991, the attempts and searches meant to impose qualities corresponding to the fundamental principles of socialism on the architecture led to the realization of buildings with distinctive features, qualified today as modernist-socialist. Over a period of more than three decades, Soviet architecture turned to a synthesis of Western paradigms and its own avant-garde, largely unbuilt heritage. Theater, cinema and music, considered to be fields of culture accessible to the masses at large, are the genres of art placed at the center of the cultural policy of the Soviet state.

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