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Journal articles on the topic 'Discours muséal'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Basso Fossali, Pierluigi, and Julien Thiburce. "« C’est nous qui punissons. ». Quels enjeux d’un discours muséal sur les prisons ?" SHS Web of Conferences 78 (2020): 01023. http://dx.doi.org/10.1051/shsconf/20207801023.

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Dans le cadre de l’exposition internationale et itinérante Prison, co-produite par le Musée International de la Croix-Rouge et du Croissant- Rouge de Genève, le musée des Confluences de Lyon et le Deutsches Hygiene-Museum de Dresde, des institutions muséales élaborent un discours sur les pratiques carcérales dans l’espace occidental contemporain, à l’attention d’un large public. Pour ces institutions, il s’agit de gérer les connaissances et les sensibilités des publics auxquels elles s’adressent, à travers la constitution d’un parcours d’exposition selon une trame narrative tissée par une dive

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2

Nzoyihera, Edouard. "LE MUSÉE NATIONAL DE L’OUGANDA, UN HÉRITAGE COLONIAL À REPENSER." Revista Habitus - Revista do Instituto Goiano de Pré-História e Antropologia 17, no. 1 (2019): 185. http://dx.doi.org/10.18224/hab.v17i1.7104.

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Cet article décrit et analyse l’état actuel du Musée national de l’Ouganda. Il s’attache essentiellement à ses approches muséographiques. Avec un regard critique, il analyse également comment ce musée met en scène l’histoire et la culture nationale. L’article dont il est question ici est le résultat d’une visite dudit musée dans un contexte de recherche pour une thèse de doctorat. Ces recherches portent sur la transformation du système muséal en Afrique orientale. Il s’agit d’une "africanisation" de l’institution muséale, éminemment européenne. Je compte apporter des éléments originaux à cette

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3

Dupont, Luc. "L’Objet matériel, moyen de communication en muséologie." Articles 4 (April 6, 2010): 15–37. http://dx.doi.org/10.7202/201760ar.

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La présente étude vient jeter un regard sur la muséologie à travers l’objet matériel. Plus spécifiquement, on cherche à identifier les thèmes et les symboles qui composent le discours muséal. Pour cette analyse, nos relevés auprès d’expositions diverses ont permis de procéder à la description de la trace de la culture matérielle reconstituée. Nos observations nous font découvrir deux figures du temps (le temps biographique et le temps historique) ainsi que sept types de configurations spatiales (l’espace interstellaire, l’espace national, l’espace régional ou communautaire, l’espace domestique

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4

Blanchet-Robitaille, Ariane. "Le mentefact au musée : la mémoire mise en scène." Muséologies 6, no. 1 (2012): 55–75. http://dx.doi.org/10.7202/1011532ar.

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Considérant la préoccupation grandissante qui existe quant au lien entre l’individu et son patrimoine immatériel en nouvelle muséologie, Ariane Blanchet-Robitaille précise la notion de mentefact et révèle comment l’intégration progressive de ce nouvel « objet muséal » au sein des collections énonce le rapport qui existe entre la mémoire et le musée. Envisageant les possibilités multiples qu’instaure cette nouvelle réalité pour le musée, dont la mise en valeur des contenus d’exposition, l’auteure souligne la nécessité pour l’institution muséale de se doter d’outils visant à faciliter l’acquisit

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Émond, Anne-Marie. "Identifying a Conceptual Framework for the Study of Visitors’ Verbalizations of Self-Awareness while Exploring Contemporary Art in a Museum Context." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (2016): 153. http://dx.doi.org/10.26443/crae.v43i1.23.

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Abstract: Within the context of a research project in a museum setting where adults are engaged with contemporary art, the purpose of the article is to outline a comprehensive conceptual framework for the identification of moments of self-awareness. In particular, based on the analysis of 70 adult visitors’ discourses, we advocate the use of Morin’s model of self-information and levels of self-awareness to identify and articulate moments underlying the discovery of self that could contribute to an optimal museum experience. The transposition of Morin’s model into a conceptual framework will he

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6

Atondi, Ibea. "La violence muséale : aux origines d'un discours ambigu." Cahiers d’études africaines 39, no. 155 (1999): 905–21. http://dx.doi.org/10.3406/cea.1999.1785.

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7

Klipatska, Yuliia. "Functioning of borrowed vocabulary in the musical subculture discourse." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 184–89. http://dx.doi.org/10.34079/2226-3055-2020-13-22-184-189.

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The article reveals musical discourse as a communicative sphere of activity from a linguistic point of view. The aim of thе study is to consider lexical borrowings in the modern Russian-language musical subculture discourse and determine their functions: nominative, caused by globalization, as well as functions concerning the goals, social characteristics, addresser’ intentions and addressee’s position.

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8

Farias Júnior, José Petrúcio. "Educação museal e produção de memórias." Revista Brasileira de História da Educação 21, no. 1 (2020): e148. http://dx.doi.org/10.4025/10.4025/rbhe.v21.2021.e148.

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O artigo discorre sobre a construção de memórias construídas pelo público-visitante a partir da narrativa museal, produzida pelo Museu Ozildo Albano (Picos/Piauí) e seus possíveis usos para o ensino de história. Para isso, faremos uso, de um lado, das representações sobre o passado veiculadas por essa instituição cultural; de outro, analisaremos as percepções de estudantes universitários que o visitaram. Sob esta ótica, relacionaremos o papel do museu ao âmbito da memória cultural, por meio da qual enfatizaremos a constituição da ‘memória protética’, tal como idealizada por Alison Landsberg (2

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Farias Júnior, José Petrúcio. "Educação museal e produção de memórias." Revista Brasileira de História da Educação 21, no. 1 (2020): e148. http://dx.doi.org/10.4025/rbhe.v21.2021.e148.

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O artigo discorre sobre a construção de memórias construídas pelo público-visitante a partir da narrativa museal, produzida pelo Museu Ozildo Albano (Picos/Piauí) e seus possíveis usos para o ensino de história. Para isso, faremos uso, de um lado, das representações sobre o passado veiculadas por essa instituição cultural; de outro, analisaremos as percepções de estudantes universitários que o visitaram. Sob esta ótica, relacionaremos o papel do museu ao âmbito da memória cultural, por meio da qual enfatizaremos a constituição da ‘memória protética’, tal como idealizada por Alison Landsberg (2

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10

Code, David J. "Debussy, Discourse, Time: Listening for “la modernité” in the Nocturnes." Musical Quarterly 100, no. 3-4 (2017): 340–98. http://dx.doi.org/10.1093/musqtl/gdy006.

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11

Aleshinskaya, Evgeniya. "Key Components of Musical Discourse Analysis." Research in Language 11, no. 4 (2013): 423–44. http://dx.doi.org/10.2478/rela-2013-0007.

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Abstract Musical discourse analysis is an interdisciplinary study which is incomplete without consideration of relevant social, linguistic, psychological, visual, gestural, ritual, technical, historical and musicological aspects. In the framework of Critical Discourse Analysis, musical discourse can be interpreted as social practice: it refers to specific means of representing specific aspects of the social (musical) sphere. The article introduces a general view of contemporary musical discourse, and analyses genres from the point of ‘semiosis’, ‘social agents’, ‘social relations’, ‘social con

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Padalka, G. M. "Social and educational openness of professional art education: conditions for ensuring." Musical art in the educological discourse, no. 2 (2017): 8–13. http://dx.doi.org/10.28925/2518-766x.20172.813.

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The article reveals the problem of providing social and educational openness of arts education based on the achievement of personal motivation and interaction targeting students in vocational preparation. It is determined pedagogical conditions and methods of encouraging students to self-realisation through their creativity and implementationof integration approaches to acquiring personal and social-oriented experience in personality’s professional activities. One of the possible ways of “combined”, mutual education of personal motivation and professional goalsetting is the method of “professi

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Kopeliuk, Oleg. "Phenomenology of style as musicological discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 7–21. http://dx.doi.org/10.34064/khnum1-55.01.

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Background. Among the studies of the last five years we note scientific researches which reveal different phenomenological concepts in musicological discourse and reveal the final maximum of the phenomenological study of music essence. R. Kurenkova’s research is one of them, which explores the content of the phenomenological approach to the analysis of musical art works, and traces the analysis of the history and theory of the phenomenological method. In V. Sokolov’s work the attention is focused on the categories of musical thinking, which for the first time becomes the subject of methodologi

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Petrovich Sedykh, Arkady. "Musical phraseology and linguistic identity (as exemplified by the discourse of A.N. Skryabin and Claud Debussy)." Journal of Language and Literature 5, no. 3 (2014): 318–21. http://dx.doi.org/10.7813/jll.2014/5-3/54.

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15

Shykyrynska, O. "MUSICALISATION OF J. BUNYAN’S AND H. SKOVORODA’S LITERARY DISCOURSE." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 372–84. http://dx.doi.org/10.17721/2075-437x.2019.35.36.

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The article deals with the musical space of the artistic heritage of J. Bunyan and H. Skovoroda that has many common features. The general place in the heritage of both writers is reference to solemn church or angelic singing, accompanying the scenes of triumph of the heroes. There are numerous quotations from the Bible psalms, that both writers mastered perfectly. Outplaying of the mythologemes “a man as a musical instrument” and “a world as a musical instrument” became common for both authors. Musical code is expressed in comparison with man’s features and musical sounds; assimilation of the

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16

Guerpin, Martin. "Le Courrier musical et le premier conflit mondial (1904-1923). Propagande, mobilisation culturelle et sortie de guerre." Revue musicale OICRM 4, no. 2 (2018): 35–57. http://dx.doi.org/10.7202/1043219ar.

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Cet article étudie et remet en perspective le rôle joué par Le Courrier musical dans la mobilisation culturelle du monde musical français pendant la Grande Guerre. Il montre tout d’abord que, de 1916 à 1918, la revue sert d’organe de diffusion d’un discours de propagande nationaliste et antigermanique. Une comparaison de ce discours avec les articles publiés avant et après le conflit permet ensuite de nuancer l’idée selon laquelle la guerre constitua une période d’exception dans l’histoire du positionnement esthétique et idéologique de la revue. Elle marqua bien plutôt une reconfiguration de d

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Lefebvre, Marie-Thérèse. "Porosité des pratiques. Étanchéité du discours." Globe 15, no. 1-2 (2013): 65–81. http://dx.doi.org/10.7202/1014626ar.

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L’analyse du répertoire diffusé à l’époque pionnière de la radio soulève un problème de définition des genres. L’éventail des musiques dites « intermédiaires » que proposent les diffuseurs met en évidence la porosité entre les musiques classique et populaire. Cette musique hybride devient un produit de consommation culturelle largement accessible, mais elle se situe dans un contexte où la radio est tributaire du discours esthétique étanche porté par l’intelligentsia, ces défenseurs de la « bonne musique ». L’origine de ce courant provient d’un puissant groupe de pression américain, le « Make A

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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.

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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation),

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Gaulin, André. "La Chanson comme discours." Études littéraires 27, no. 3 (2005): 9–16. http://dx.doi.org/10.7202/501091ar.

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La chanson que Paul Zumthor appelle « poésie orale sonorisée » est un héritage de la poésie lyrique à forme fixe. D'ailleurs, chez Gilles Vigneault, le plus médiéval des chansonniers du Québec, on trouve encore la villanelle, la ballade avec envoi. À ce titre, la chanson, comme genre, emprunte beaucoup aux figures de la rhétorique, énumération, répétition, chiasme, opposition, anaphore, etc. Elle garde surtout de la forme fixe une sorte de concision qui la rend lapidaire. Appartenant à la poésie lyrique, la chanson joue sur le rythme, sur la musicalité et, sur la tropation tout particulièremen

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Crenn, Gaëlle. "La réforme muséale à l’heure postcoloniale. Stratégies muséographiques et reformulation du discours au Musée royal d’Afrique centrale (2005-2012)." Culture & musées, no. 28 (December 1, 2016): 177–201. http://dx.doi.org/10.4000/culturemusees.866.

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21

SEWELL, IAN. "TOWARDS A MORE RECIPROCAL DISCOURSE BETWEEN ANALYSIS AND PERFORMANCE." Music Analysis 39, no. 3 (2020): 414–33. http://dx.doi.org/10.1111/musa.12168.

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22

Barrett, Margaret. "Children's aesthetic decision-making: An analysis of children's musical discourse as composers." International Journal of Music Education os-28, no. 1 (1996): 37–62. http://dx.doi.org/10.1177/025576149602800104.

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In this study I promote a view of children's aesthetic decision-making as a non-verbal process evidenced in the structural features children employ in their musical discourse as composers. I draw on the work of Polanyi and Wittgenstein to support the view that knowledge may be demonstrated as well as ‘stated’ verbally, and that the examination of children's musical discourse as composers provides us with direct access to their musical thinking and aesthetic decision-making. Through the analysis of the form and structure of one hundred and thirty-seven compositions collected from children aged

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Yudina, Vera I. "Musical Culture of the Russian Provinces in the Context of a Culturological Discourse." Observatory of Culture, no. 6 (December 28, 2015): 22–27. http://dx.doi.org/10.25281/2072-3156-2015-0-6-22-27.

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The article offers a way of solution of such a culturological problem as the Russian provinces’ musical culture systematization. Several research areas are marked out: a practical area - the Russian provinces’ musical life, a textological one - musical heritage of the Russian provinces, a symbolical area - the provinces’ musical mythopoetics, and a problem of the provinces’ semantization in the minds of Russian composers.

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Koniari, Dimitra, Sandrine Predazzer, and Marc Méélen. "Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children." Music Perception 18, no. 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.

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This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece

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Lamb, Roberta. "Music Trouble: Desire, Discourse, Education." Canadian University Music Review 18, no. 1 (2013): 84–98. http://dx.doi.org/10.7202/1014822ar.

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"Music Trouble" is an experimental paper, a linear re-presentation of the multi-media performance (which included costume, poetry, photographs, and musical scores, in addition to the paper) designed for the Ottawa Border Crossings Conference. "Music Trouble" explores identity construction through music and music education, specifically in relation to issues of sexuality. Judith Butler's idea of "gender is drag" and Sue-Ellen Case's "butch-femme aesthetic" are employed in conjunction with feminist auto/biography to critique current theories and practices supporting music education.

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Swanwick, Keith. "Musical Criticism and Music Education." Revista Música 2, no. 2 (1991): 134. http://dx.doi.org/10.11606/rm.v2i2.55030.

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I am concerned here with the concept of musical analysis and its role in school and college education. My starting point is simply that musical analysis is the most important branch of musical criticism. By criticism I mean any discourse about music involving judgement or appraisal at any level. Critical statements that have analytical force must by definition say something about how a particular piece of music functions. All analysis is musical criticism but not all criticism is analysis. Analysis cannot be simply an expression of preference or a statement about the social or historical conte

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Zoppelli, Luca. "‘Stage music’ in early nineteenth-century Italian opera." Cambridge Opera Journal 2, no. 1 (1990): 29–39. http://dx.doi.org/10.1017/s0954586700003098.

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It has become commonplace to assume that language and style in Italian opera are not a unified phenomenon, easily comparable with the language and style of a purely musical work. Rather they constitute the various elements of a plurilinguistic interplay in which the opposite pole from ‘the author’ is the characters: those figures whose personality, function and social condition command an individual musical language. Musical expression is determined by an interaction of the author's discourse with the fictive discourse of characters; even when one or the other seems to dominate, there remains

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Kaltenecker, Martin. "THE DISCOURSE OF SOUND." Tempo 70, no. 277 (2016): 5–15. http://dx.doi.org/10.1017/s0040298216000152.

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AbstractThis article offers a short overview of the development of listening theories concerning Western art music since the end of the eighteenth century. Referring to Michel Foucault, I consider such theories as discourses which produce ‘power effects', such as the training of listening attitudes, or the construction of specific spaces, such as the Festspielhaus in Bayreuth. During the eighteenth century, predominant discourses considered musical pieces as orations and, since the nineteenth century, as complex organisms or structures. In the last third of the twentieth century a focus on sou

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Zuk, Patrick. "Music as post-traumatic discourse: Nikolay Myaskovsky’s Sixth Symphony." Arts and Humanities in Higher Education 17, no. 1 (2018): 104–18. http://dx.doi.org/10.1177/1474022216684636.

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This essay explores ways in which musicologists might extend work undertaken by humanities scholars in the interdisciplinary field of trauma studies that has highlighted the centrality of traumatic experience to modernist creativity. It is focussed around a case study of a musical composition that represents the emotional aftermath of a traumatic event, the Sixth Symphony of the Soviet composer Nikolay Myaskovsky (1923). A central concern is to demonstrate how the symphony’s musical symbolism is strikingly evocative of typical features of post-traumatic mentation, such as dissociation and emot

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MOORE, ANDREA. "Neoliberalism and the Musical Entrepreneur." Journal of the Society for American Music 10, no. 1 (2016): 33–53. http://dx.doi.org/10.1017/s175219631500053x.

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AbstractIn 2012, the flutist Claire Chase, founder of the International Contemporary Ensemble, received a MacArthur Award for her work as an “arts entrepreneur and flutist.” The award's emphasis on Chase's entrepreneurship reflects the growing demand among classical musicians, educators, and critics for self-driven musical projects, promoted as an engine of classical music's concert culture and as crucial to its renewal in the United States. Entrepreneurship curricula are now in place at almost every music school in the country.In this article, I offer a critique of the increasingly institutio

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Charles, Brigitte. "Boys' and girls' constructions of gender through musical composition in the primary school." British Journal of Music Education 21, no. 3 (2004): 265–77. http://dx.doi.org/10.1017/s0265051704005820.

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The purpose of the study is to examine, through interviews and observations, the extent to which 8–10 year old children in a London primary school replicate gendered musical practices and experience gendered musical meanings, and how these may affect their expectations and the specific practices and products of their composition. I also consider how primary school teachers participate in the overarching discourse on gender and music education, by examining their expectations about the nature of girls' and boys' compositions. I analyse my findings in relation to Lucy Green's model of gendered m

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Green, Lucy. "Music, Gender and Education A Report on Some Exploratory Research." British Journal of Music Education 10, no. 3 (1993): 219–53. http://dx.doi.org/10.1017/s0265051700001789.

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Sexual difference expresses itself not only in the musical practices and tastes of boys and girls in schools, but also in teachers' discourse about pupils' musicality. The following article explores this discourse through interpreting the findings of some questionnaire research, which was intended to tap teachers' common-sense and sometimes unspoken assumptions about gender, music and education. A considerable amount of both overt and implicit consensus between teachers is revealed. Questions are raised about the implications of such a consensus, both for the musical education of children, and

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Sherr, Richard. "Ex Concordia Discors." Journal of Musicology 32, no. 4 (2015): 494–523. http://dx.doi.org/10.1525/jm.2015.32.4.494.

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In March 1558 Pope Paul IV ordered his College of Singers to consider two Spanish sopranos, then in Naples. Called to Rome for an audition, they were accepted according to the normal procedure (a vote). Two Italian members, however, aggressively abstained from participating. For this they would have been severely punished without they avoided through the intervention of their patron, the papal nephew Cardinal Carlo Carafa. In 1559 Paul IV demanded that the abstainers be dismissed, but their colleagues persuaded him to allow them to remain. Also in 1559 three other papal singers suffered when C

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Swanwick, K. "Music education liberated from new praxis." International Journal of Music Education os-28, no. 1 (1996): 16–24. http://dx.doi.org/10.1177/025576149602800102.

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This article is in response to that of Robert Walker (IJME, 27, 2-15). It is proposed that attempts to define music in terms of either sonic material or socio-cultural acoustic phenomena are inadequate. Furthermore, it is important to distinguish between the view that all music is culturally rooted and the doubtful assertion that all music is uniquely reflective and expressive of a culture. This form of referentialism overlooks the transactional nature of musical discourse. The concept of discourse suggests a group of principles for music educators: care for music as conversation, care for the

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Mak, Su Yin. "Wenn in Time: Linguistic Moments in Robert Schumann’s Dichterliebe." Kronoscope 14, no. 1 (2014): 51–70. http://dx.doi.org/10.1163/15685241-12341291.

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Abstract That song is both a concrete musical entity and an abstract metaphor for romantic subjectivity is the central paradox of musical lyricism. This paradox lends the lyric mode in music a self-consciousness that is, I believe, linguistic in character. It invites the listener to hear musical gestures both as signs that participate in the teleology of tonal discourse, and as sounds; and such sounds, in turn, are experienced viscerally at the same time that they serve as an abstract ideal of pure, natural expression. The present article examines, with reference to Schumann’s Dichterliebe, th

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SAIBER, ARIELLE. "The Polyvalent Discourse of Electronic Music." PMLA/Publications of the Modern Language Association of America 122, no. 5 (2007): 1613–25. http://dx.doi.org/10.1632/pmla.2007.122.5.1613.

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MIGHT ELECTRONIC MUSIC—A MAJOR FORCE BEHIND CHANGES IN ACOUSTIC TECHNOLOGY, COPYRIGHT LAW, HUMAN-MACHINE INTERface, artistic production, marketing and consumption practices, and global connectivity—help us think about the dizzying proliferation of today's written forms and how we talk about them? It can certainly offer new models and a rich vocabulary for speaking about such things as labeling, canon, and the relationship between author and audience. As “text” continues to bloat, shrink, scatter, and blur, thanks in part to the same digital tools used by contemporary e-music, perhaps looking a

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Bochkareva, Olga V. "Musical discourse in the conditions of modern media space." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 170–77. http://dx.doi.org/10.20323/1813-145x-2021-1-118-170-177.

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Musical culture plays an important role in the formation and development of the individual and is conceived as a space of dialogue, a space of spirituality. The media image of real reality formed in the media arises on the basis of the collectively developed semantic field of the presented information, which fixes the values of the perceiving audience in the process of their actualization. The mechanism of valuable media space functioning is available to relevant persons with their understanding of the cultural, political, social situation that recognizes the majority of the audience, individu

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Love, Nancy S. "“Singing for Our Lives”: Women's Music and Democratic Politics." Hypatia 17, no. 4 (2002): 71–94. http://dx.doi.org/10.1111/j.1527-2001.2002.tb01074.x.

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Although democratic theorists often employ musical metaphors to describe their politics, musical practices are seldom analyzed as forms of political communication. In this article, I explore how the music of social movements, what is called “movement music,” supplements deliberative democrats' concept of public discourse as rational argument. Invoking energies, motions, and voices beyond established identities and institutions anticipates a different, more musical democracy. I argue that the “women's music” of Holly Near, founder of Redwood Records and Redwood Cultural Work, exemplifies this t

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Duchesneau, Michel. "Naissance d’une presse musicale francophone spécialisée." Circuit 20, no. 1-2 (2010): 33–37. http://dx.doi.org/10.7202/039641ar.

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L’auteur, qui fut rédacteur en chef de Circuit, réfléchit sur l’état et l’avenir de la revue en revenant sur la question de sa pertinence par rapport à une longue tradition du discours sur la musique qui s’inscrit dans la lignée de la presse musicale francophone au xxe siècle et inclut des revues telles Le Ménestrel (1833-1940), Le Monde musical (1889-1940), Le Courrier musical (1898-1933) et surtout la Revue musicale, en plein foisonnement à partir des années 1920.

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Robinson, Clifford A. "The Teacher of Dance." Greek and Roman Musical Studies 9, no. 2 (2021): 285–319. http://dx.doi.org/10.1163/22129758-bja10026.

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Abstract The De musica of Aristides Quintilianus, an author and music theorist unknown apart from this treatise, presents several tantalizing claims about the relationship between dance and the three sciences of mousikē: i.e., harmonics, metrics, and, most importantly, rhythmics. Elliptical as his remarks on dance may be, if they are taken together with his treatment of the musical phenomena as essentially governed by systēmata, both a technical discourse around dance can be elicited from the evidence as well as the philosophical and aesthetic reasons why such a discourse was so modestly devel

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Nærland, Torgeir Uberg. "Rhythm, rhyme and reason: hip hop expressivity as political discourse." Popular Music 33, no. 3 (2014): 473–91. http://dx.doi.org/10.1017/s0261143014000361.

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AbstractUsing Norwegian hip hop as an example, this article argues that public sphere theory offers a fruitful theoretical framework in which to understand the political significance of music. Based on a musical and lyrical analysis of Lars Vaular's ‘Kem Skjøt Siv Jensen’ (Who Shot Siv Jensen) – a song that recently became the subject of extensive public political discourse in Norway – this article first highlights how the aesthetic language specific to hip hop music constitutes a form of political discourse that may be particularly effective in addressing and engaging publics. Further, the an

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Henderson, Barbara. "‘Get off your arse’." Politics of Sound 18, no. 4 (2019): 526–40. http://dx.doi.org/10.1075/jlp.18064.hen.

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Abstract Although the UK has a centuries-old history of subversive singing, since the election of a Conservative-led government in 2010 and imposition of austerity-based economic and social policies, the number of choirs with a political philosophy and mission has grown. The website CampaignChoirs lists around thirty political choirs committed to a left-wing, green or anarchist agenda, which is reflected in the music and related actions. This paper takes as its case study the Leeds-based Commoners Choir and considers how its musical decisions enable it to communicate protest politics. Using cr

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Teixeira, William, and Silvio Ferraz. "The Performance of Time (or the time of musical performance)." Performance Philosophy 4, no. 2 (2019): 490–509. http://dx.doi.org/10.21476/pp.2019.42226.

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In the twentieth century, time became a key-concept for music – maybe the art more dependent on time. Even so, a myriad of definitions did turn this idea not only into a rich element for musical discourse but also into a conceptual battlefield in discourses about music. Unfortunately, there was an issue for this struggle between theoretical ideas and musical composition that always insisted in striking the debate: the performance. Thus, this is the aim of this short reflection: to bring performers as protagonists in the debate, listening to their experience in time and of time in performance.

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Ghaffari, Soudeh. "From religious performances to martial themes." Politics of Sound 18, no. 4 (2019): 617–33. http://dx.doi.org/10.1075/jlp.18059.gha.

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Abstract This paper deconstructs how religious musical eulogies, as the most important discursive practices of Shi’a rituals (Ghaffari 2019), were used as “war songs” serving to construct the Iranian national identity during the 1980–1988 Iraq-Iran war. These musical practices (in)formed the wider ideological and persuasive rhetoric of Iranians. In this paper, I analyse the textual and musical features of the audio-recorded versions of ten well-known war songs. The Discourse-Historical Approach (Reisigl and Wodak 2016) is used to analyse the discursive strategies and persuasive rhetorical tool

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González, Jordi Roquer. "Media discourses and marketing strategies in the advertising of the pianola." Popular Music 40, no. 1 (2021): 42–57. http://dx.doi.org/10.1017/s0261143021000106.

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AbstractAs a phenomenon of great social relevance between 1900 and 1930, the graphic advertising of the pianola must be considered as one of the first great mass media platforms linked to musical activity and, therefore, the analysis of its discourse offers valuable information about the social construction of the musical world during the first decades of the twentieth century. This article shows the results of an analysis of 200 historical advertisements through which it is possible to trace the origins of some of the current advertising rhetoric and also some of our current ideas about music

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Bezantakou, Olga. "Resonances of Henri Bergson's ‘music’ in the interwar aesthetic discourse of the journal Μακεδονικές Ημέρες: the idea of the nouveau romantisme". Byzantine and Modern Greek Studies 43, № 1 (2019): 117–34. http://dx.doi.org/10.1017/byz.2018.28.

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This essay examines the metaphorical use of musical terms in Greek aesthetic discourse during the interwar period by illuminating a crucial yet neglected moment in the reception of anti-rationalistic philosophical and aesthetic tendencies that had greatly influenced European modernist literature since the late nineteenth century. In particular, it points out the ways the reception of Bergsonian theories in Greece co-determined the formation of a new concept of Modern Greek narrative fiction, clearing the ground for the first modernist attempts to ‘musicalize’ fiction. The essay thus proposes a

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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.

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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; th

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Witulski, Christopher. "Listening to Discourses of Ethics and Aesthetics." International Journal of Middle East Studies 44, no. 4 (2012): 782–84. http://dx.doi.org/10.1017/s0020743812000888.

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Music, as sound, physically and figuratively transcends previously erected or conceptualized boundaries. Artists and listeners each have the ability to aurally extend their values into new spaces, where others hear them. Passions and ideas gain traction through a constant aural negotiation that exists within the music that individuals use to soundtrack their public and private lives. As argued by the contributors to this roundtable, music both resides within the larger societal and cultural constellations that surround it and helps to shape those dynamics in active ways. Music, as a loosely de

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Mora-Rioja, Arturo. "‘We Are the Dead’: The War Poets, metal music and chaos control." Metal Music Studies 7, no. 2 (2021): 299–315. http://dx.doi.org/10.1386/mms_00050_1.

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During the course of the First World War, the generation of British authors known collectively as the War Poets revolutionized the popular culture of their time. Due to their changing attitudes towards armed conflict, their portrayal of war chaos included realist descriptions of life in the trenches, unusual choices of subject matter and an eventual challenge to the political and religious establishment of their time. Metal music, a genre with an inherent lyrical and musical concern about chaos and control, has crafted several songs inspired on the First World War poetry. This specific relatio

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Narančić Kovač, Smiljana, and Iva Kovač. "Narrative as a term in narratology and music theory." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 567–79. http://dx.doi.org/10.31724/rihjj.44.2.16.

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The paper compares the term narrative as it is used by narratologists, and as it is used by music scholars, to establish whether these two disciplines use the term in the same way, or as two homonyms. Narratological studies in medium-specific models of narratives apply the term to different kinds of discourses, i.e. different media. Music theoreticians and musicologists consider its application in music scholarship with a theory of the musical narrative in view. This analysis shows that in the general theory of the narrative the concept includes both story and discourse, based on the referenti

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