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Journal articles on the topic 'Contemporary music'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 June 2024

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1

Sukmayadi, Yudi. "Musik Kontemporer dalam Kurikulum dan Buku Sekolah di Jerman." Resital: Jurnal Seni Pertunjukan 15, no. 2 (December 1, 2014): 169–78. http://dx.doi.org/10.24821/resital.v15i2.851.

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Tulisan ini menyajikan tentang posisi musik kontemporer dalam kurikulum dan buku sekolah di Jerman. Hal yang dibahas adalah pemilihan materi musik kontemporer untuk setiap kelas, jenis musik kontemporer yang dibahas, serta metode didaktis yang diterapkan. Berdasarkan analisis dapat disimpulkan bahwa melalui pelajaran musik kontemporer, siswa tidak hanya mempelajari hal musikal, namun juga mempelajari masalah kontekstualnya di masyarakat, termasuk di dalamnya masalah musik kontemporer dan perkembangan teknologi. Contemporary Music in German Curriculum and Schoolbooks. This study presents the position of contemporary music in German curriculum and schoolbooks in Germany. This study discusses how to select contemporary music materials for every class, kinds of contemporary music, and how the didactic concepts are applied. This study also discusses how, through contemporary music, the students are introduced to contextual problems in society, including the issue of contemporary music and technology development.

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2

Marchenko, Valerii. "Theatricality in Contemporary Symphonic Music." Revista Gestão Inovação e Tecnologias 11, no. 3 (June 30, 2021): 861–69. http://dx.doi.org/10.47059/revistageintec.v11i3.1981.

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3

Homan, Shane. "A contemporary cultural policy for contemporary music?" Media International Australia 158, no. 1 (February 2016): 37–47. http://dx.doi.org/10.1177/1329878x15622077.

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Creative Nation confirmed the shift by federal governments to viewing popular music as part of the Australian cultural economy, where the ‘contemporary music’ industries were expected to contribute to economic growth as much as providing a set of creative practices for musicians and audiences. In the 19 years between Creative Nation and Creative Australia, much has changed. This article examines relationships between the music industries, governments and audiences in three areas. First, it charts the funding of popular music within the broader cultural sector to illuminate the competing discourses and demands of the popular and classical music sectors in federal budgets. Second, it traces configurations of popular music and national identity as part of national policy. Third, the article explores how both national policy documents position Australian popular music amid global technological and regulatory shifts. As instruments of cultural nationalism, Creative Nation and Creative Australia are useful texts in assessing the opportunities and limits of nations in asserting coherent national strategies.

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4

Bagaskara, Akbar, Maria Adinda, and Veronica Yoni Kaestri. "Musik Klasik dalam Paradigma Kontemporer: Penyelidikan tentang Apresiasi dan Pendengar." PROMUSIKA 11, no. 2 (October 29, 2023): 65–74. http://dx.doi.org/10.24821/promusika.v11i2.11076.

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Penelitian ini bertujuan untuk melacak pergeseran apresiasi musik klasik pada konteks era kontemporer, selain itu juga menganalisis persentase pendengar musik klasik dalam menghadapi tren musik di era kontemporer, dan menakar tantangan serta strategi yang muncul dalam upaya mempertahankan genre musik klasik dalam pergereseran atmosfer era kontemporer. Metode yang digunakan dalam penelitian kali adalah mix method (gabungan antara kuantitatif dan kualitatif) yang mana data bersumber dari bentuk numerik (kuantitatif) dan narasi (kualitatif). Namun, penggunaan kualitatif cenderung lebih dominan dalam menarasikan banyak hal dalam penelitian ini. Hasil dari penelitian ini meliputi berapa hal berikut; (1) apresiasi musik klasik di era kontemporer jauh berbeda dengan era lampau, yang mana kini apresiasi musik klasik dapat diakses dengan mudah dengan platform-platform digital yang telah tersedia dan berbagai macam kemudahan lainnya. (2) persentase pendengar musik klasik jauh tertinggal dari genre lain, dalam data pendengar musik di Amerika Serikat pada tahun 2018, genre musik klasik hanya menempati posisi ke tiga belas dari lima belas genre yang diteliti, dengan persentase hanya 0,7%. (3) adapun respon terhadap tantangan dan upaya pembentukan strategi yang bisa dilakukan dalam pelestarian musik klasik di era kontemporer dapat berupa; memaksimalkan penggunaan platform digital, perbanyak tour konser lintas wilayah, manfaatkan penggunaan live streaming untuk konser daring, kolaborasi lintas genre musik, ciptakan konten-konten edukatif, dan banyak libatkan musik klasik pada budaya popularAbstractClassical Music in the Contemporary Paradigm: An Enquiry into Appreciation and Listening. This article aims to trace the shifting appreciation of classical music in the context of the contemporary era while also analyzing the percentage of classical music listeners in the face of music trends in the contemporary era and assessing the challenges and strategies that arise to maintain the classical music genre in the shifting contemporary atmosphere. The method used in this article is a mixed method (a combination of quantitative and qualitative) where data comes from numerical (quantitative) and narrative (qualitative) forms. However, the use of qualitative tends to be more dominant in narrating many things in the research. The results of this research include the following: (1) The appreciation of classical music in the contemporary era is much different from the past era, where classical music appreciation can be accessed easily with available digital platforms and various other conveniences. (2) The percentage of classical music listeners is far behind that of other genres. In the data on music listeners in the United States in 2018, the classical music genre only occupies the thirteenth position out of the fifteen genres studied, with a percentage of only 0.7%. (3) the response to challenges and efforts to form strategies that can be done in the preservation of classical music in the contemporary era can be to maximize the use of digital platforms, increase cross-regional concert tours, take advantage of the use of live streaming for online concerts, collaborate across musical genres, create educational content, and involve classical music in popular culture.Keywords: Classical Music; Contemporary Era; Appreciation; Listeners

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5

LoVetri, Jeannette. "Contemporary Commercial Music." Journal of Voice 22, no. 3 (May 2008): 260–62. http://dx.doi.org/10.1016/j.jvoice.2006.11.002.

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Budi Pramana, I. Putu Riangga, and I. Wayan Suharta. "Contemporary Music Composition “Konfrontasi” | Komposisi Musik Kontemporer “Konfrontasi”." GHURNITA: Jurnal Seni Karawitan 1, no. 4 (July 3, 2023): 290–98. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i4.371.

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Komposisi Konfrontasi adalah komposisi musik yang mengacu pada representasi dari salah satu bentuk konflik, yang mendeskripsikan sebuah peristiwa dimana seseorang memancing tindakan atau argumen yang berlawanan dari orang lain yang dianggap lawan secara terang-terangan. Dalam musik, konfrontasi diibaratkan sebagai sebuah kata yang mendeskripsikan pergerakan kalimat-kalimat musik yang dinamis dan cenderung disharmonis. Konfrontasi diwujudkan berdasarkan kesinambungan karakter gamelan Gong Kebyar sebagai media ungkap, yakni karakter dinamis. Konfrontasi diwujudkan dengan tujuan untuk meningkatkan pengetahuan dan keahlian penata untuk membangun kemampuan menciptakan komposisi kontemporer berdasarkan pemikiran sederhana pada relevansi karakteristik gagasan dengan karakteristik Gong Kebyar. Dalam mewujudkan komposisi Konfrontasi, penata menggunakan metode penciptaan Panca Sthiti Ngawi Sani yang terdiri atas: Ngawirasa (Inspirasi), Ngawacak (Eksplorasi), Ngarancana (Konsepsi), Ngawangun (Eksekusi), dan Ngebah (Penyajian). Komposisi Konfrontasi disajikan sebagai sebuah komposisi kontemporer dengan struktural bagian yang terdiri atas tiga bagian dengan menitikberatkan pada konsep kontras dan selaras. Komposisi kontemporer merupakan sebuah komposisi musik yang tidak hanya sekedar menganggap bebas tanpa mempertimbangkan ketentuan bersifat konvensional atau melupakan tradisi.

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7

Haryanto, Tri, and I. Gede Yudana. "Contemporary Music Composition “Embryo”| Komposisi Musik Kontemporer “Embrio”." GHURNITA: Jurnal Seni Karawitan 1, no. 1 (June 23, 2023): 1–10. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.147.

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Kehidupan makhluk hidup (manusia) merupakan sesuatu yang diawali dengan berbagai proses dan tahap-tahap pertumbuhan dan perkembangan. Seperti tahapan embrio sebagai jasad hidup yang masih dalam tingkat perkembangan (pertumbuhan) awal, belum mempunyai bentuk yang jelas, akan menjadi sesuatu. Dari proses ini, penata angkat menjadi garapan yang berjudul embrio, dengan medium gamelan Semar Pagulingan Saih Pitu dan Selonding style Tenganan, dengan durasi 10-15 menit. Garapan karya embrio dibagi dalam 4 (empat) bagian, tiap bagian mewakili fase embrionik yang masing-masing fase memiliki ciri tersendiri. Proses pertumbuhan dan perkembangan tersebut terbagi menjadi beberapa tahapan yakni mulai dari fertilisasi yaitu pertemuan gamet jantan dan betina, pembelahan sel pada tahapan morula dan blastula, kemudian gastrula membentuk 3 (tiga) lapisan, serta yang terakhir organogenesis yang membentuk organ makhluk hidup (manusia) baru.

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8

Dunn, Lawrence. "London Contemporary Music Festival." Tempo 72, no. 285 (June 19, 2018): 86–91. http://dx.doi.org/10.1017/s0040298218000177.

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Does intimacy have anything to do with music? Music – especially acoustic chamber music – is regularly, even unthinkingly, labelled intimate. The implications of this common-enough usage were the major preoccupation of the most recent London Contemporary Music Festival. With multiple images and varieties of intimacy foregrounded – bodily, sexual, aural, psychological, somnolent – Igor Toronyi Lalic's curation was masterful. By turns provocative, baffling, emotional and ear-averting, not without some irony, the concerts were held in a vast underground concrete room.

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9

Lumbantobing, Tomson Saut Parulian, and Aji Suseno. "Studi Trend Ibadah Dalam Nyanyian dan Musik Kontemporer di Gereja-gereja Baptis Masa Kini." Veritas Lux Mea (Jurnal Teologi dan Pendidikan Kristen) 4, no. 1 (February 22, 2022): 21–31. http://dx.doi.org/10.59177/veritas.v4i1.139.

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The decision of several Baptist churches to start using contemporary singing and music in the early 2000s has caused controversy and has become a polemic in the Association of Indonesian Baptist Churches (GGBI). However, the trend of worship using contemporary songs and music is getting more widespread in Indonesian Baptist churches. This is the background of this research, which is to comprehensively investigate the factors behind the widespread trend of worship using contemporary songs and music in Indonesian Baptist churches. Thus, the formulation of the research problem is a study of the factors behind the widespread trend of worship using contemporary songs and music in Indonesian Baptist churches. This type of research is classified as a descriptive qualitative variety with a literature study. Data were obtained from various document sources such as books, magazines, articles, and scientific journals about worship, spiritual songs, and music. The results of the research found that the congregational government system, church planting, seminars and writings on worship and music, Baptist youth worship, and technological developments are factors behind the increasingly widespread trend of worship with contemporary singing and music in Indonesian Baptist churches.AbstrakKeputusan beberapa gereja Baptis yang mulai menggunakan nyanyian dan musik kontemporer di awal tahun 2000an telah menimbulkan kontroversi dan menjadi polemik di Gabungan Gereja-Gereja Baptis Indonesia (GGBI). Meskipun demikian, trend ibadah menggunakan nyanyian dan musik kontemporer justru semakin meluas di gereja-gereja Baptis Indonesia. Hal inlah yang melatarbelakangi dilakukannya riset ini, yaitu hendak menyelidiki secara komprehensif faktor-faktor yang melatarbelakangi semakin meluasnya trend ibadah menggunakan nyanyian dan musik kontemporer di gereja-gereja Baptis Indonesia. Dengan demikian, rumusan masalah riset ini adalah kajian tentang faktor-faktor yang melatarbelakangi semakin meluasnya trend ibadah menggunakan nyanyian dan musik kontemporer di gereja-gereja Baptis Indonesia. Jenis riset tergolong dalam ragam kualitatif deskriptif dengan studi literatur. Data diperoleh dari berbagai sumber dokumen seperti seperti buku, majalah, artikel dan jurnal-jurnal ilmiah tentang ibadah, nyanyian dan musik rohani. Hasil riset menemukan bahwa sistem pemerintahan kongregasional, perintisan jemaat, seminar dan karya tulisan tentang ibadah dan musik, ibadah kaum muda Baptis, serta perkembangan teknologi merupakan faktor-faktor yang melatarbelakangi semakin meluasnya trend ibadah dengan nyanyian dan musik kontemporer di gereja-gereja Baptis Indonesia.

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10

Etzkorn, K. Peter. "Contemporary Mediated Music: Challenge to Music Education." International Journal of Music Education os-16, no. 1 (November 1990): 3–12. http://dx.doi.org/10.1177/025576149001600101.

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11

Suprunov, Semen E., Irina A. Deeney (Kuprieva), and Ekaterina Alexandrovna Drozdova. "Spanglish in contemporary music." SHS Web of Conferences 101 (2021): 01015. http://dx.doi.org/10.1051/shsconf/202110101015.

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Spanglish is a unique linguistic phenomenon that is widely used in many spheres of social life and culture, especially among the youth. The relevance of this work lies in the fact that a person who wants to understand the culture of Mexico and the United States of America, to understand the speakers of the Mexican version of the Spanish language and communicate with them successfully, needs to know about the principles of using Spanglish, its significance for speakers, and also its areas of application. The subject of the research is the features of the use of Spanglish in modern music. The purpose of this paper is to study the Spanglish phenomenon and consider examples of its use by contemporary songwriters. Among the tasks it can be noted: based on the experience in studying the history of the origin of Spanglish, consider its main features, give examples of the use of Spanglish in modern musical compositions and draw a conclusion about the frequency of occurrence of Spanglish in music.

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12

Kahn, Robert J., and Ronald J. Anton. "The Contemporary Music Approach." Hispania 75, no. 3 (September 1992): 760. http://dx.doi.org/10.2307/344163.

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13

Takemitsu, Tōru, and Toru Takemitsu. "Contemporary Music in Japan." Perspectives of New Music 27, no. 2 (1989): 198. http://dx.doi.org/10.2307/833410.

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Ciarlillo, Marjorie Ann, and Jeffrey Jacob. "Contemporary Chinese Piano Music." Asian Music 19, no. 1 (1987): 127. http://dx.doi.org/10.2307/833767.

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15

Dimitrin, Y. "Cognition and contemporary music." Physics of Life Reviews 7, no. 1 (March 2010): 47–48. http://dx.doi.org/10.1016/j.plrev.2010.01.013.

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McLane, Daisanne. "Contemporary music in Trinidad." Review: Literature and Arts of the Americas 20, no. 37 (January 1987): 48–51. http://dx.doi.org/10.1080/08905768708594232.

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Hill, Peter. "‘Authenticity’ in Contemporary Music." Tempo, no. 159 (December 1986): 2–8. http://dx.doi.org/10.1017/s0040298200022786.

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It used to be said that we study history for the lessons we can learn for the present: ‘plus ça change, plus c'est la même chose’. But now that the music of the past occupies the centre-stage—with contemporary work getting the walk-on parts—perhaps we should reverse this, and ask how far the past can be illuminated by what happens today.

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18

Wilks, John. "The Contemporary Instrumentalist." British Journal of Music Education 6, no. 1 (March 1989): 37–53. http://dx.doi.org/10.1017/s0265051700006823.

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The study of avant-garde music has been largely neglected by instrumental tuition. Yet such work is not necessarily difficult on either the ears or the fingers – provided it is begun at the earliest stages of study. Indeed, it is the delayed introduction that is the cause of many of the problems seen in accepting and enjoying contemporary music. There is need for systematisation and for the composition of suitable music.

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Marchenko, Valerii, Cheng Yunjia, Lin Yitong, Iryna Antonyuk, and Oleksii S. Khovpun. "Symphonic music in contemporary theatre." Linguistics and Culture Review 5, S4 (October 23, 2021): 162–70. http://dx.doi.org/10.21744/lingcure.v5ns4.1569.

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The transformation of symphonic music is an understudied subject for research. It has changed since the beginning of the 20th century and it can even be said that symphonic music has lost its popularity. An important feature of contemporary symphonic music is its transformation and acquiring a different form. Still, it remains in demand for the theatrical world. The authors aimed to investigate modern trends in symphonic music and works of contemporary composers. For studying examples of contemporary symphonic music and its performance on theatrical stages the authors used the following methods: historical research methods which formed the methodological framework of the study; methods of analysis and synthesis which were used to study information about contemporary symphonic music, contemporary composers, as well as their musical works. Contemporary pieces of symphonic music presented on the theatre stage were considered.

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BARRETT, G. DOUGLAS. "Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art." Twentieth-Century Music 18, no. 2 (February 15, 2021): 223–48. http://dx.doi.org/10.1017/s1478572220000626.

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AbstractThis article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

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Kariasa, I. Nyoman, and I. Kadek Tunas Sanjaya. "Introduction to Contemporary Music “Ngegong” | Pengantar Musik Kontemporer “Ngegong”." GHURNITA: Jurnal Seni Karawitan 1, no. 1 (June 23, 2023): 11–19. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.141.

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“Ngegong'' is a work of contemporary musical composition that uses eight types of gong instruments used in various types of Balinese gamelan barungan as a medium of expression. The eight gong instruments in question are, gong lanang and wadon (in gong kebyar), gong tanggung (in gamelan bebarongan), gong bor ber (gong bheri), gong pulu (geguntangan), also gong ageng and gong alit (in gamelan selonding ensemble). The composer wants to embody his imagination into contemporary musical compositions that highlight the diversity of Balinese gong instruments.The creating process of this musical composition is divided into three stages which are taken from the concept of Alma M. Hawkins in the book Creating Through Dance, namely exploration, improvisation, and formation. Ngegong's music artwork is embodied in the form of a contemporary musical composition frame that takes the elements of sound and musicality into consideration. Contemporary music has the connotation of new works composed using various sound sources, both traditional and non-traditional instruments or all objects that can produce sound or sound according to needs.

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Penn, William, and Michael Fink. "Inside the Music Business: Music in Contemporary Life." Notes 47, no. 3 (March 1991): 803. http://dx.doi.org/10.2307/941925.

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23

Conlon, Paula. "World Music Contemporary Inuit Music from Arctic Canada." World Literature Today 87, no. 2 (2013): 9. http://dx.doi.org/10.1353/wlt.2013.0237.

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Link, Martin W. C. "Contemporary Music and Its Challenges for Music Theory." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 39–44. http://dx.doi.org/10.15294/harmonia.v18i1.13686.

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Contemporary music has found different ways in order to realize new methods of compositions in a process of indiviulazitation. Many of its phenomenons such as the abandonment of functional tonality have already been announced by composers such as Richard Wagner and during its development many scholars have come up with different systems in order to add something new to the existing material. The variety of new models such as the center tone-theory or open forms have a new challenge for music theory, which was used to give accurate definitions of a common denominator. This article wants to analyze those new methods and the importance to understand them in order to be able to give a clear analysis.

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Paula Conlon. "World Music | Contemporary Inuit Music from Arctic Canada." World Literature Today 87, no. 2 (2013): 9. http://dx.doi.org/10.7588/worllitetoda.87.2.0009.

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He, Jingyin, Ajay Kapur, and Dale A. Carnegie. "Contemporary Practices of Extending Traditional Asian Instruments Using Technology." Organised Sound 19, no. 2 (June 30, 2014): 136–45. http://dx.doi.org/10.1017/s1355771814000077.

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Ongoing development of audio and informational technology has had an impact on almost every aspect of the musical arts. Cultures and subcultures have cross-pollinated through the rapid exchange of information and have metamorphosed into new fields of technology-based art forms, one of which is the integration of technology in Asian ethnic musics. This article specifically focuses on the integration of technology with the traditional music of India, Indonesia, China, Japan and Korea. By reviewing the history of this metier, we explore the various applications of technology in traditional Asian music and its future.

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Lazarević, Anja. "Boulez's orientation towards understanding the beginnings of contemporary music: 'Mahler - our contemporary?'." New Sound, no. 48-2 (2016): 20–27. http://dx.doi.org/10.5937/newso1648020l.

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The central part of Orientations - the collected writings of Pierre Boulez is based on Boulez's mostly short texts about composers whom he considered relevant for his oeuvre and contemplations of music. In addition to other texts, in the part of the book entitled "Examples", Boulez wrote three chapters on the composer Gustav Mahler. Besides Orientations, Boules often spoke about Mahler in his interviews and at lectures he gave. His idea of Mahler was in fact the idea of the beginnings of contemporary music. Considering Boulez's sharp sentences, we come across a wealthy network of judgments about Mahler and his wide influence on twentieth-century music, and we acquire a better understanding of Mahler, who, according to Boulez's statements, could be understood only from the perspective of contemporary music.

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Stolp, Mareli. "New Music for New South Africans: The New Music Indabas in South Africa, 2000–02." Journal of the Royal Musical Association 143, no. 1 (2018): 211–32. http://dx.doi.org/10.1080/02690403.2018.1434354.

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ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festival in South Africa, the first of which was presented in 2000 by New Music South Africa (NMSA), the South African chapter of the International Society for Contemporary Music (ISCM). It explores the New Music Indabas of 2000–02 against the background of the political and cultural transformations that characterized South Africa, especially in the aftermath of the end of apartheid. Research into the archive of NMSA provided an entry point into understanding South African cultural, social and political life in the early years of the country's democracy. The ‘separate development’ rhetoric of the totalitarian apartheid regime, in power from 1948 to 1994, prevented cultural exchange and connection between musics and musicians in South Africa for decades; this article explores the ways in which the New Music Indabas attempted to right these historical imbalances, and to forge new directions for South African art-music production and practice.

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Smith, Neil Thomas. "Huddersfield Contemporary Music Festival 2020." Tempo 75, no. 296 (March 10, 2021): 87–88. http://dx.doi.org/10.1017/s0040298220001175.

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‘There has always been a state of crisis’, we are told in Ziad Nawfal's wonderful introduction to the underground music scene in Beirut. That the corona restrictions comprise a rather different crisis to that of Lebanon's capital should be stressed, yet it will have been no easy task creating any kind of Huddersfield festival this year. That any event could occur at all is an achievement on the part of the festival team and the ensembles, musicians, broadcasters and composers with whom they work. Adaptation and renewal are a vital part of a new musicians’ toolkit, even if the pace of change can be bewildering.

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Kovalev, Andrey. "Contemporary sacred music: terminology issues." St. Tikhons' University Review. Series V. Christian Art 36 (December 31, 2019): 196–204. http://dx.doi.org/10.15382/sturv201936.196-204.

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Foucault, Michel, Pierre Boulez, and John Rahn. "Contemporary Music and the Public." Perspectives of New Music 24, no. 1 (1985): 6. http://dx.doi.org/10.2307/832749.

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Idolor, Emurobome. "Music to the Contemporary African." Journal of Social Sciences 14, no. 1 (January 2007): 17–18. http://dx.doi.org/10.1080/09718923.2007.11978349.

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Conway, Paul. "Huddersfield: Contemporary Music Festival, 2005." Tempo 60, no. 236 (March 23, 2006): 49–50. http://dx.doi.org/10.1017/s0040298206220138.

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Conway, Paul. "Huddersfield Contemporary Music Festival 2012." Tempo 67, no. 264 (April 2013): 66–69. http://dx.doi.org/10.1017/s0040298213000089.

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As diverse and inquiring as ever, the 35th Huddersfield Contemporary Music Festival provided nine days of unfamiliar and rarely encountered repertoire, sometimes rewarding, sometimes baffling, but always worth sampling. The 2012 late-November celebration of avant-gardism placed an emphasis on Norway and the voice in its many guises, both strands exemplified by the choice of Trondheim-born vocalist Maja S. K. Ratkje as composer-in-residence. Yet despite this spotlight on vocal and choral works, there was no shortage of instrumental and chamber music, most of it new to Britain.

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Chase, Stephen. "Huddersfield Contemporary Music Festival 2017." Tempo 72, no. 284 (March 20, 2018): 76–79. http://dx.doi.org/10.1017/s0040298217001310.

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My hcmf 2017 started with Montreal's Quatuor Bozzini and pianist Philip Thomas performing three pieces by one of the festival's featured composers, Linda Catlin Smith. Smith's profile has been significantly raised in this country since the release of a portrait CD on Another Timbre, and she featured at Glasgow's Tectonics in May. Her compositional voice is distinct, one that avoids the grand statement in favour of half-familiar nooks and crannies, shading from folkish keening to an elusive chromatic space where Chopin meets Boulez and Feldman. Though each of the pieces, a Piano Quintet and two string quartets, Folkestone and Gondola, shared several aspects in their harmony and gesture, the larger picture as the music unfurled was quite different from piece to piece: the Piano Quintet explored quasi-independence between the bowed and keyed strings, while Folkestone proceeded in short fragments continually beginning again.

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Jones, Stephanie. "London Contemporary Music Festival 2019." Tempo 73, no. 289 (July 2019): 65–66. http://dx.doi.org/10.1017/s0040298219000391.

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In parallel to London's overflowing cityscape, saturated on this occasion by both a bitterly cold torrential downpour and the annual frenzied crowding of materialistic festivity, the penultimate event to the city's Contemporary Music Festival was underway just after 7pm on Saturday 15 December 2018 in the cavernous Ambika P3 venue, a 14,000 square foot performing and exhibition space located on basement level to the University of Westminster's Marylebone Campus.

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37

Darrow, Alice-Ann. "Book Review: Contemporary Music Education." Bulletin of Historical Research in Music Education 7, no. 2 (July 1986): 73–75. http://dx.doi.org/10.1177/153660068600700203.

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Shiraishi, Fumiko. "Book Review: Contemporary Music Education." Bulletin of Historical Research in Music Education 19, no. 1 (September 1997): 53–55. http://dx.doi.org/10.1177/153660069701900105.

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Wells, Robin. "Sesotho music: a contemporary perspective." African Music: Journal of the International Library of African Music 7, no. 3 (1996): 67–75. http://dx.doi.org/10.21504/amj.v7i3.1965.

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Chapman, Jane. "Notes inégales in contemporary music?" Contemporary Music Review 20, no. 1 (January 2001): 59–69. http://dx.doi.org/10.1080/07494460100640061.

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Valiquet, Patrick. "Contemporary Music and Its Futures." Contemporary Music Review 39, no. 2 (March 3, 2020): 187–205. http://dx.doi.org/10.1080/07494467.2020.1806624.

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Mcpherson, Gary. "Book Review: Austrian Contemporary Music." International Journal of Music Education os-24, no. 1 (November 1994): 88. http://dx.doi.org/10.1177/025576149402400123.

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Jonker, Ed. "Contemporary Music & Commercial Radio." Media Information Australia 64, no. 1 (May 1992): 24–30. http://dx.doi.org/10.1177/1329878x9206400105.

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Rychter, Marcin. "Music and Philosophy: Contemporary Challenges." Eidos. A Journal for Philosophy of Culture 3, no. 3 (October 30, 2019): 1–4. http://dx.doi.org/10.14394/eidos.jpc.2019.0026.

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Menger, Pierre-Michel. "Technological Innovations in Contemporary Music." Journal of the Royal Musical Association 114, no. 1 (1989): 92–101. http://dx.doi.org/10.1093/jrma/114.1.92.

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The subject of my paper is the use of new technologies in serious musical creation. Although I cannot develop the comparison with popular music and its mass market, one will understand implicitly the importance of the fact that ‘all of my story’ is set within the institutions and environment located on the edge of the market. My aim is not to show why diverse technologies that have appeared in the last 40 years have been exploited by composers, but rather how innovations such as electroacoustic and computer music were able to ‘succeed’. I employ the word ‘success’ in the organizational sense: it is the lasting formation of new segments of musical creation and the mobilization of composers, of partners from the scientific world, and of the technical and financial resources for establishing these new segments.

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Kovačević, Ivan, and Marija Ristivojević. "The anthropology of music: contemporary theoretical perspectives." Issues in Ethnology and Anthropology 9, no. 4 (February 26, 2016): 1067. http://dx.doi.org/10.21301/eap.v9i4.13.

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The anthropological study of music focuses on meanings which music hah and produces in a specific sociocultural context. Preferences toward a certain genre of music are tightly linked to the preference of certain cultural values, so music represents an important factor of identification in everyday life. In Serbian ethnology and anthropology music was long viewed as part of Serbian traditional culture, so the interests of researchers focused on “traditional music”. In the 1980’s first papers analyzing music which went outside the traditional frameworks appeared (new folk music – turbofolk), and this tendency has increased in the last ten years.

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Howard, Karen. "Traditional Japanese Music in Contemporary Times." General Music Today 33, no. 3 (February 11, 2020): 52–57. http://dx.doi.org/10.1177/1048371320902753.

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Music in Japan is richly varied and includes documented genres dating back more than 1000 years. From classical court music known as gagaku, to the dramatic music plays in kabuki, to contemporary J-pop (subgenre of popular music), educators can find a sound to suit every instructional need. The focus here will be on considerations of three traditional instruments used in Japan: the koto (zither), shakuhachi (bamboo flute), and shamisen (three-stringed instrument), and a unique educational experience for those interested in studying these traditions. The learning program is offered through a koto school in Tokyo that is more than a century old, and they now offer a course in English every other summer. Also offered are suggestions for incorporating traditional Japanese music into elementary and secondary general music settings.

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Wiflihani, Wiflihani. "Keunikan Empat Karya Musik Kontemporer pada Gelaran Seremonialita Javid Nama Tanaka Manalu." Gondang: Jurnal Seni dan Budaya 1, no. 1 (December 4, 2017): 1. http://dx.doi.org/10.24114/gondang.v1i1.7917.

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Contemporary music emerges as a contemporary development in the journey of the art of music. Contemporary is regarded as a way to respond to the present, or the latest cultivation pattern or also one of the working attitude of art that is involved. Although later, the development of contemporary music that many raises questions about the existence of contemporary music in Indonesia. Contemporary music is increasingly pervasive and spreads unstoppable among the contemporary definition of bergamnya itself. In a celebration performed by young people of Medan, by presenting the work of music in accordance with their perspective. It seems clear that contemporary terminology is not able to stem the desire to work of the young generation, which shows a side that is still related to the culture of the country itself and still describes the characteristics of Indonesian culture.

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Miller, Malcolm, Gubaidulina, Haubenstock-Ramati, Krenek, Berio, and Part. "Contemporary Piano." Musical Times 133, no. 1791 (May 1992): 242. http://dx.doi.org/10.2307/1193706.

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Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review." Journal of Ethnic and Cultural Studies 6, no. 3 (December 18, 2019): 111. http://dx.doi.org/10.29333/ejecs/267.

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This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.

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