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Books on the topic 'Borrowing in music'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Consult the top 23 books for your research on the topic 'Borrowing in music.'

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1

1944-, O'Nan Larry, and McGary Norman ill, eds. The band music mystery. Wheaton, Ill: Tyndale House, 1988.

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2

The instrumental music of Iannis Xenakis: Theory, practice, self-borrowing. Hillsdale, NY: Pendragon Press, 2011.

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3

All made of tunes: Charles Ives and the uses of musical borrowing. New Haven: Yale University Press, 1995.

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4

Shakespeare and music: Afterlives and borrowings. Cambridge, UK: Polity, 2007.

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5

Blezzard, Judith. Borrowings in English church music, 1550-1950. London: Stainer & Bell, 1990.

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6

Blezzard, Judith. Borrowings in English church music, 1550-1950. London: Stainer & Bell, 1990.

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7

Meconi, Honey. Early Musical Borrowing. Taylor & Francis Group, 2015.

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8

Honey, Meconi, ed. Early musical borrowing. New York: Routledge, 2004.

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9

Meconi, Honey. Early Musical Borrowing (Criticism and Analysis of Early Music). Routledge, 2003.

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10

Rhymin' and Stealin': Musical Borrowing in Hip-Hop. University of Michigan Press, 2013.

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11

Burkholder, J. Peter. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. Yale University Press, 2004.

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12

Waltham-Smith, Naomi. Music and Belonging Between Revolution and Restoration. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.001.0001.

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In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that music, at the level of style and form, produces certain modes of listening that in turn reveal the conditions of belonging. Specifically, listening shows the intimacy between two senses of belonging: belonging to a community is predicated on the possession of a particular property or capacity. Somewhat counterintuitively perhaps, Waltham-Smith suggests that this relation between belonging-as-membership and belonging-as-ownership manifests itself with particular clarity and rigor at the very heart of the Austro-German canon, in the instrumental music of Haydn, Mozart, and Beethoven. Music and Belonging provocatively brings recent European philosophy into contact with the renewed music-theoretical interest in Formenlehre, presenting close analyses to show how we might return to this much-discussed repertoire to mine it for fresh insights. The book’s theoretical landscape offers a radical update to Adornian-inspired scholarship, working through debates about relationality, community, and friendship between Derrida, Nancy, Agamben, Badiou, and Malabou. Borrowing the deconstructive strategies of closely reading canonical texts to the point of their unraveling, the book teases out a new politics of listening from processes of repetition and liquidation, from harmonic suppressions, and even from trills. What emerges is the enduring political significance of listening to this music in an era of heightened social exclusion under neoliberalism.

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13

Franklin, M. I. Sampling Politics. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190855475.001.0001.

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This book is an exploration of the geocultural politics of music sampling. Each chapter delves into one case study—a track, or larger work—from the inside out by starting with the samples that are at the heart of the work. The objective is to unpack how sampled and sampling material work together in light of shifts in the political, economic, and sociocultural contexts of their making, distribution, and reception since. Considering sampling as a material of music, not simply a digital technique or restricted to one sort of music making, addresses an under-explored dimension in studies of the relationship between music (any sort) and politics of the day (usually progressive, social movements). This is a tendency to concentrate on the lyrics as where all the political meaning lies. But this overlooks how sampling, or borrowing from the music made by others, even one’s own, can also be a political act even when this is not the intention. Based on extensive archival research, close-listening musical analysis, and interviews with artists or their estates, each study provides ways to listen, hear (again), and so learn more about how each piece, as sampled and sampling music making, work, on its own musico-cultural terms. Some errors in the public record, misperceptions about some of the works and artists who feature, are corrected in light of debates over the creative, legal, and cultural legacy of music sampling as either “borrowing,” “appropriation,” or even “theft.”

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14

Sanders, Julie. Shakespeare and Music: Afterlives and Borrowings. Polity Press, 2013.

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15

Sanders, Julie. Shakespeare and Music: Afterlives and Borrowings. Polity Press, 2013.

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16

Gibbons, William. Love in Thousand Monstrous Forms. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0008.

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Borrowing Mikhail Bakhtin’s notion of the grotesque, this chapter explores how the use of remixed classical works contributes to the game Catherine’s pervasive focus on opposing dualities. The chapter describes in detail how, for example, music comments on the real world and horrific dreamworld experienced within the game by the main character, Vincent, who is in the midst of a major life crisis. It explores how the careful selection of musical works in Catherine, along with the irreconcilable combination of high and low arts, mirrors dualistic structures found throughout the game, from the mixing of unlikely gameplay genres to its narrative details.

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17

Melamed, Daniel R. The Musical Topic of the Mass in B Minor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.003.0003.

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If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

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18

Sanders, Julie. Shakespeare and Music: Afterlives and Borrowings (Cultural Reception of Shakespeare). Blackwell Publishing Limited, 2007.

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19

Sanders, Julie. Shakespeare and Music: Afterlives and Borrowings (Cultural Reception of Shakespeare). Blackwell Publishing Limited, 2007.

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20

Rowe, Anne. Iris Murdoch. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9780746312162.001.0001.

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This volume takes into account the variety of talents that inform not only Iris Murdoch’s twenty-six best-selling novels, but also her philosophical, theological and critical writing, which together express stringent views on art, politics and morality. It identifies Murdoch as a proudly Anglo-Irish writer whose work straddles the boundary between popular and intellectually serious novels which spanned the entire latter half of the twentieth century. This thematically based study outlines the overarching themes and issues that characterise her fiction decade by decade; explores her unique role as a British philosopher-novelist; explains the paradoxical nature of her outspoken atheism and highlights the neglected aesthetic aspect of her fiction, which innovatively extended the boundaries of realist fiction by borrowing from the visual arts, drama, poetics and music. The importance of the settings of her homeland of Ireland and her beloved London concludes the study, and while Iris Murdoch is acknowledged throughout as a writer who vividly evokes the zeitgeist of the late twentieth century she is also presented as one whose unconventional life and complex presentation of gender and psychology speaks perhaps more urgently to twenty-first century readers than they did to those of the century in which she wrote.

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21

Dunlop, Alison J. The Famously Little-Known Gottlieb Muffat. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038136.003.0004.

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Gottlieb Muffat (1690–1770) is considered the most successful composer of keyboard music of J. S. Bach's generation to have worked in Vienna. His reputation is based on (1) the corpus of extant works, which is significantly larger than those of his Viennese contemporaries, including his teacher J. J. Fux (ca.1660–1741); (2) the dissemination of Muffat's music during his lifetime; (3) his financial success; and (4) G. F. Handel's extensive borrowings from his music. Yet despite his eminence, little is known of Muffat's life. This chapter evaluates the influence of family background, cultural ties, and social spheres on Muffat's activities as a composer, and draws comparisons with musicians working at the same time outside Habsburg domains, including J. S. Bach.

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22

Schmelz, Peter J. Sonic Overload. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.001.0001.

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Sonic Overload presents a musically centered cultural history of the late Soviet Union. It focuses on polystylism in music as a response to the information overload swamping listeners in the Soviet Union during its final decades. The central themes are collage, popular music, kitsch, and eschatology. The book traces the ways in which leading composers Alfred Schnittke and Valentin Silvestrov initially embraced and assimilated popular sources before ultimately rejecting them. Polystylism first responded to the utopian impulses of Soviet doctrine with utopian impulses to encompass all musical styles, from “high” to “low.” But these initial all-embracing aspirations were soon followed by retreats to alternate utopias founded on carefully selecting satisfactory borrowings, as familiar hierarchies of culture, taste, and class reasserted themselves. Looking at polystylism in the late USSR tells us about past and present, near and far, as it probes the musical roots of the overloaded, distracted present. Sonic Overload is intended for musicologists and Soviet, Russian, and Ukrainian specialists in history, the arts, film, and literature, but it also targets a wider scholarly audience, including readers interested in twentieth- and twenty-first century music; modernism and postmodernism; quotation and collage; the intersections of “high” and “low” cultures; and politics and the arts. Based on archival research, oral historical interviews, and other overlooked primary materials, as well as close listening and thorough examination of scores and recordings, Sonic Overload presents a multilayered and comprehensive portrait of late-Soviet polystylism and cultural life, and of the music of Silvestrov and Schnittke.

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23

Beal, Amy C. Dreams So Real. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036361.003.0011.

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This concluding chapter argues that because of the variety of musical styles cohabitating within Carla Bley's pieces, the label “jazz musician”—which music critics to an extent rightly but far too narrowly apply to her—fails to adequately address the full range of her compositional prowess; rather, it merely points to the instrumental forces for which she frequently prefers to write. Indeed, the musical techniques of Bley's diverse compositional output are varied, their moods can be edgy or serene, and their powers of expression are vast. They are also abstract and narrative, original and full of borrowings. To date she has almost three hundred works registered with BMI and has participated in well over forty recording projects, twenty-seven of which are releases in her own name, placing her among the most accomplished composers, band leaders, and recording artists working in America today.

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