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Books on the topic 'Discours muséal'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Dusapin, Pascal. Fragment d'un discours musical: Dialogue. Ars Nova, 1995.

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2

Gurumurthy, Premeela. Kathaakaalakshepa (musical discourse): A study. University of Madras, 2009.

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3

Gurumurthy, Premeela. Kathaakaalakshepa (musical discourse): A study. University of Madras, 2009.

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4

Gurumurthy, Premeela. Kathaakaalakshepa (musical discourse): A study. University of Madras, 2009.

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5

Melani, Pascale. Les opéras de Piotr Tchaïkovski: D'après les oeuvres de Pouchkine : adaptation dramaturgique, discours poétique et discours musical. Slavica occitania, 2005.

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6

Music as discourse. Oxford University Press, 2008.

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7

Music and discourse: Toward a semiology of music. Princeton University Press, 1990.

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8

Music and discourse: Toward a semiology of music. Princeton University Press, 1990.

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9

A musical view of the Universe. University of Pennsylvania Press, 1985.

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10

Basso, Ellen B. A musical view of the universe: Kalapalo myth and ritual performances. University of Pennsylvania Press, 1985.

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11

L'oreille divisée: Les discours sur l'écoute musicale aux XVIIIe et XIXe siècles. Musica falsa, 2010.

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12

Halliwell, Jonathan Miles. Metamorphosis and the dolphin: A study of genre in ancient Greek musical discourse. University of Birmingham, 2000.

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13

Le discours dans le spectacle en musique de 1661 à 1686: Des comédies de divertissements de Molière aux tragédies lyriques de Quinault. G. Narr Verlag, 2002.

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14

Hočevar, Drina. Movement and poetic rhythm: Uncovering the musical signification of poetic discourse via the temporal dimension of the sign. International Semiotics Institute, 2003.

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15

Movement and poetic rhythm: Uncovering the musical signification of poetic discourse via the temporal dimension of the sign. International Semiotics Institute, 2001.

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16

Angelic airs, subversive songs: Music as social discourse in the Victorian novel. Ohio University Press, 2002.

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17

Werckmeister, Andreas. Harmonologia musica, oder, Kurze Anleitung zur musicalischen Composition: Musicalische Paradoxal-Discourse, oder, Ungemeine Vorstellungen. 2nd ed. Laaber Verlag, 2007.

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18

Werckmeister, Andreas. Harmonologia musica, oder, Kurze Anleitung zur musicalischen Composition: Musicalische Paradoxal-Discourse, oder, Ungemeine Vorstellungen. 2nd ed. Laaber Verlag, 2007.

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19

Dietrich, Bartel, ed. Harmonologia musica, oder, Kurze Anleitung zur musicalischen Composition: Musicalische Paradoxal-Discourse, oder, Ungemeine Vorstellungen. 2nd ed. Laaber Verlag, 2007.

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20

Språk, musik och kultur: En studier av hur språkbruket i musikrecensioner speglar kulturella värderingar. Institutionen för nordiska språk, 1992.

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21

Harnoncourt, Nikolaus. Le discours musical (French Edition). Gallimard, 2014.

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22

Kathaakaalakshepa (musical discourse): A study. University of Madras, 2009.

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23

White, Harry. The Musical Discourse of Servitude. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190903879.001.0001.

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The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Bar

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24

Nattiez, Jean-Jacques. Music and Discourse. Princeton University Press, 1990.

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25

Krin, Gabbard, ed. Jazz among the discourses. Duke University Press, 1995.

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26

Gabbard, Krin. Jazz among the Discourses. Duke University Press, 1995.

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27

Sherinian, Zoe. Songs of Oru Olai and the Praxis of Alternative Dalit Christian Modernities in India. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.14.

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This chapter addresses an alternative Dalit Christian modernity transmitted and practiced through song and drumming in Tamil Nadu, India. Using two examples of the praxis of sharing, I analyze expressions of agency by the caste and gender oppressed that shows an awareness of discourses of liberation in both the bible and the modern world outside the caste-inflected village. Daily practice of economic sustainability through community finds its musical analogy in folk music’s potential for re-creation, unity, accessibility, and common ownership by the oppressed. I theorize this as an indigenous

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28

Music As Discourse: Semiotic Adventures in Romantic Music. Oxford University Press, Incorporated, 2014.

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29

Nattiez, Jean-Jacques. Music and Discourse: Toward a Semiology of Music/Translated from French. Princeton Univ Pr, 1991.

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30

Musical Debate and Political Culture in France, 1700-1830: Discourse and Discord. Boydell & Brewer, Incorporated, 2017.

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31

Gill, Denise. Melancholic Genealogies. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0004.

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Chapter 3 analyzes the pedagogical underpinnings of affective practice and melancholic musicking in the context of music transmission (meşk). The chapter argues that as meşk works to recreate a master’s sensibility and knowledge anew in the apprentice, master musicians inculcate feeling practices and spiritual discourses alongside music techniques in lessons with students. It is observed that students, in turn, validate their authentic experiences of melancholy through religious discourse and the memorializing of their musical lineage (meşk silsilesi). Chapter 3 also introduces the concept of

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32

Auerbach, Brent. Musical Motives. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526026.001.0001.

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Motives, the small, recurring shape elements primarily identified by their pitch and rhythm profiles, are near-ubiquitous in music. Yet despite their long-standing prominence in composition and in past and present discourse on music, motives have resisted systematic treatment. The present work, Musical Motives, establishes a methodology for identifying and labeling motives and for assembling viable, meaningful analyses with them. The book opens with a general introduction to motives and a review of their history in Western music. The body of the work prescribes a two-tiered system for working

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33

Bohlman, Andrea F. Musical Solidarities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938284.001.0001.

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This book studies the relationship between music making and social movements using the Solidarity movement in 1980s Poland as a case study. Its central argument is that while music offered a means of performing and commemorating the Solidarity movement as unified, the media of the opposition to state socialism also revealed—and continue to reveal—dissonant discourses on citizenship, culture, and history. The story unfolds along crucial sites of political action under state socialism: underground radio networks, the sanctuaries of the Polish Roman Catholic Church, labor strikes and student demo

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34

Iselin, Pierre. ‘More, I prithee, more’: Melancholy, Musical Appetite and Medical Discourse in Shakespeare’s Twelfth Night. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427814.003.0005.

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Pierre Iselin broaches the subject of early modern music and aims at contextualising Twelfth Night, one of Shakespeare’s most musical comedies, within the polyphony of discourses—medical, political, poetic, religious and otherwise—on appetite, music and melancholy, which circulated in early modern England. Iselin examines how these discourses interact with what the play says on music in the many commentaries contained in the dramatic text, and what music itself says in terms of the play’s poetics. Its abundant music is considered not only as ‘incidental,’ but as a sort of meta-commentary on th

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35

Senay, Banu. Musical Ethics and Islam. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043024.001.0001.

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At the heart of this study is a musical practice that occupies a significant place in the contemporary public soundscape of Turkey: the art of playing the ney. Intimately connected with Sufism in both the Ottoman Empire and, for better or worse, in modern secular Turkey, the ney has been a popular instrument throughout the Middle East and North Africa. After enduring a checkered social life during the Turkish Republic’s modernizing reforms, today in a more Islam-friendly socio-political environment the ney is flourishing. Based on extensive field research in Istanbul and an apprentice-style me

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36

Wolf, Richard, Stephen Blum, and Christopher Hasty, eds. Thought and Play in Musical Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.001.0001.

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Thought and Play in Musical Rhythm seeks to explore representations and implicit as well as explicit theorizing of rhythm in relation to aspects of performance that resist objectification and/or are elastic. Authored by ethnomusicologists and music theorists, the chapters provide detailed case studies of art and vernacular musical traditions, historical and contemporary, in South, West, East, and Southeast Asia; West and North Africa; Europe; and North America. Together these case studies highlight the multiple dimensions of musical rhythm. Considering rhythm as a topic involves a set of termi

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37

Musical Discourse of Servitude: Authority, Autonomy, and the Work-Concept in Fux, Bach and Handel. Oxford University Press, Incorporated, 2020.

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38

Beghin, Tom. Recognizing Musical Topics Versus Executing Rhetorical Figures. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0022.

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Along with the emergence of topic theory, musicological discourse has witnessed a spectacular revival of rhetorical terminology. How can musical topics be defined vis-à-vis rhetorical figures? Any answer is fraught with paradox. Unlike Scheibe’s or Mattheson’sloci topici(which remained conceptually clearly anchored ininventio), Ratnerian topics span the range ofresandverba(ideas and words) orinventioandelocutio: like figures, topics are to be recognized as striking foreground events and definitions of them have been style-specific. This chapter discusses three existing examples of figure- vers

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39

Thomas, Susan. Experimental Alternatives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0003.

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In 1969 the director of Cuba’s film institute, Alfredo Guevara, founded a musical collective whose official purpose was to provide film music for Cuba’s vibrant and experimental new socialist cinema. The resulting Grupo de Experimentación Sonora represented something of a “rescue mission” for artists who for reasons political, aesthetic, or of personality found themselves on the margins of increasingly conservative and restrictive state-run cultural institutions. Under the direction of composer Leo Brouwer, the Grupo incorporated musicians who became some of the Revolution’s most renowned arti

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40

Straus, Joseph N. Therapeutic Music Theory and the Tyranny of the Normal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190871208.003.0007.

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This chapter weaves together two stories that are usually told separately. The first is the story of disability, especially how people have talked about bodies perceived as defective, deviant, or deformed. The second is the story of music, especially how music theorists have talked about musical features perceived as in some sense abnormal. Traditional music theory is a normalizing discourse, designed to rationalize abnormal musical elements (like formal anomalies or dissonant harmonies) with respect to normal ones, and it has thus implicitly allied itself with the medical model of disability.

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41

Defining Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna. Oxford University Press, 2014.

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42

Roesner, David. Genre Counterpoints. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.27.

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This chapter offers three contemporary case studies of the British musical, which push the boundaries of what might normally be considered to belong to this art form and genre: Shockheaded Peter, Jerrry Springer: The Opera, and London Road. They do so by challenging conventional creation processes, theatrical and musical dramaturgies and idioms, performance aesthetics and topics. By contextualizing them within the theoretical discourse on ‘genre’, the author seeks to explore the dialogic nature of artwork and audience in relation to generic conventions and expectations, arguing that these are

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43

Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.

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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new t

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44

Roman, Zoltan. Decadent Transitions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199316090.003.0014.

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Not unlike Jugendstil, ‘decadence’ has had a difficult time establishing itself in musical scholarship. In both cases, concept and label originated and were used chiefly in other fields: the former in the visual arts, the latter in literature. Moreover, both had been entrenched in specific cultures: German(ic) in the one case, French in the other. Yet another impediment to an objective application of ‘decadence’ in musical discourse arises from the contradictions, misunderstandings, and misinterpretations that span the term’s history in all disciplines. Finally, for a broadly interdisciplinary

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45

Myrick, Nathan. Music for Others. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197550625.001.0001.

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Musical activity is one of the most ubiquitous and highly valued forms of social interaction in North America—from sporting events to political rallies, concerts to churches. Its use as an affective agent for political and religious programs suggests that it has ethical significance, but it is one of the most undertheorized aspects of both theological ethics and music scholarship. Music for Others: Care, Justice, and Relational Ethics in Christian Music fills part of this scholarly gap by focusing on the religious aspects of musical activity, particularly on the practices of Christian communit

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46

Tucker, Joshua. Peruvian Cumbia at the Theoretical Limits of Techno-Utopian Hybridity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0005.

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This essay analyzes the transformation of Peruvian chicha, an adaptation of Colombian cumbia, from an unassuming working-class music into a central feature in new nationalist discourses that seek to overcome older elitist and racist models of national identification from transnational perspectives. As part of this discussion, the chapter considers the work of intellectual cosmopolitans who appeal to notions of electronic experimentation, psychedelic playfulness, and musical agency, thus resignifying chicha as an aesthetic solution for the intellectual shortcomings of an earlier era. Chicha mus

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47

Whitesell, Lloyd. Tricks of the Light. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0008.

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This chapter turns to the other side of the coin—the failure of magical belief. Glamour conjures up a transfigured counter-reality and acts as a bridge to that imagined existence. But the entire symbolic edifice is built on fancy and prone to collapse, with reality reasserting itself and dragging us back from our projection into the dreamworld. Many film musicals warn against glamour as mystification or deceit. Four types of examples are discussed, each skeptical in a different way (joking, haunted, wishful, manipulative). Concluding discussion shows how the musical genre has affinities with t

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48

Burrows, George. The Recordings of Andy Kirk and his Clouds of Joy. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199335589.001.0001.

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This is the first book-length study of the recordings of Andy Kirk and His Clouds of Joy. This all-black band found nationwide fame in the later 1930s and came to exemplify the Kansas City style of jazz through the records they made between 1929 and 1946. That body of work, however, serves to raise fundamental questions about the long-standing relationship between jazz music and the critical discourses about race that shaped it. This book considers how Kirk and his band appropriated musical styles in a way that was akin to the manipulation of masks in black forms of blackface performance: it s

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49

Carlson, Licia. Music, Intellectual Disability, and Human Flourishing. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.10.

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This essay explores the various ways that music is relevant to the lives of people with intellectual disabilities. Moving beyond a therapeutic and medical model, musical experience can reveal certain dimensions of the self, establish ethical relationships, and promote new kinds of flourishing that, in turn, challenge dominant assumptions about the lives of people with intellectual disabilities. Taking music seriously also raises important critical questions for the field of Disability Studies regarding the marginalization of people with intellectual disabilities, the value of scientific and th

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50

Day-O'Connell, Sarah. The Singing Style. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0010.

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Despite its cursory description by Leonard Ratner and its outright dismissal by Raymond Monelle, the “singing style” is frequently evoked by analysts referring loosely (and often contradictorily) to song-like qualities. This chapter presents the singing style within the wider discourse, culture, and practice surrounding eighteenth-century songs and singing. Contemporary discussions of vocal composition (Johann Mattheson, Heinrich Christoph Koch) and vocal performance (Pier Francesco Tosi, in translations with commentaries by John Ernest Galliard and Johann Friedrich Agricola) involve a range o

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