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Journal articles on the topic 'European Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Laing, Dave. "The European music industry and European music policy." Cultural Trends 9, no. 34 (1999): 31–56. http://dx.doi.org/10.1080/09548969909365078.

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2

Gammeltoft-Hansen, Hans. "European Music Year." International Journal of Music Education os-7, no. 1 (1986): 41–42. http://dx.doi.org/10.1177/025576148600700111.

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3

Babington, A. L. "European Renaissance music." Early Music 39, no. 2 (2011): 281–83. http://dx.doi.org/10.1093/em/car029.

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4

Fairley, Jan. "European world music charts." Popular Music 11, no. 2 (1992): 241–44. http://dx.doi.org/10.1017/s0261143000005055.

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5

Loos, Helmut. "World Music or Regionality? A Fundamental Question for Music Historiography." English version, no. 10 (October 22, 2018): 13–22. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.13.

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The term “world music” is still relatively new. It came into use around the end of the twentieth century and denotes a new musical genre, one which links European-American pop music to folk and non-European music cultures. It can be seen in a larger context as a phenomenon of postmodernism in that the challenge to the strict laws and boundaries of modernism allowed for a connection between regionality and global meaning to be established. Music in the German-speaking world had previously been strictly divided into the categories of “entertainment music” (U-Musik) and “serious music” (E-Musik),

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6

Dawe, Kevin. "Minotaurs or musonauts? ‘World Music’ and Cretan Music." Popular Music 18, no. 2 (1999): 209–25. http://dx.doi.org/10.1017/s0261143000009053.

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In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affini

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7

Salisbury, I. P. "Music Education in European Music Year – and Beyond." British Journal of Music Education 2, no. 3 (1985): 279–84. http://dx.doi.org/10.1017/s0265051700000644.

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From the viewpoint of European Music Year (EMY) the author, currently HM Staff Inspector for Music and Chairman of the EMY Advisory Committee for Education, makes some general observations about the present condition of and future prospects for music education in the United Kingdom. Reviewing educational initiatives which have been taken during EMY, he relates these to the wider issues which inevitably preoccupy many of us at the present time. Despite the gloomy prognostications being made by some concerning the future of music education, he prefers at this stage to point to positive achieveme

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8

Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music

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9

Urquhart, Alistair P. "European Music Year in Scotland." British Journal of Music Education 2, no. 3 (1985): 327–28. http://dx.doi.org/10.1017/s026505170000067x.

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10

Wagner, Aleksandra, and Zdravko Blažeković. "European fiction—Facts or music?" History of European Ideas 20, no. 1-3 (1995): 461–67. http://dx.doi.org/10.1016/0191-6599(95)92978-4.

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11

Sperenzi, Mario. "European Music Year in Italy." International Journal of Music Education os-8, no. 1 (1986): 83–85. http://dx.doi.org/10.1177/025576148600800134.

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12

Robinson, Lucy. "Pan-European music for viols." Early Music 43, no. 4 (2015): 710–13. http://dx.doi.org/10.1093/em/cav098.

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13

Perrone, Charles A. "Brazil." Popular Music 6, no. 2 (1987): 219–26. http://dx.doi.org/10.1017/s0261143000006000.

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With its blends of Amerindian, African and European sources, Brazil has one of the richest and most diverse musical cultures in the world. Primitive tribal musics flourish in the Amazon, rural and urban regions practise many folk/traditional forms, and cosmopolitan art music has been produced since before the time of Villa-Lobos. Various musics that can be considered popular reflect both this wide national spectrum and the impact of international mass media pop music. Here, a description of the major tendencies in contemporary urban popular music of Brazil will be followed by bibliographical a

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14

Hatch, Christopher. "Celestial Music? Some Masterpieces of European Religious Music (review)." Notes 59, no. 4 (2003): 907–9. http://dx.doi.org/10.1353/not.2003.0060.

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15

Temperley, David. "Rhythmic Variability in European Vocal Music." Music Perception 35, no. 2 (2017): 193–99. http://dx.doi.org/10.1525/mp.2017.35.2.193.

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Rhythmic variability in the vocal music of four European nations was examined, using the nPVI measure (normalized pairwise variability index). It was predicted that English and German songs would show higher nPVI than French and Italian ones, mirroring the differences between these nations in speech rhythm, and in accord with previous studies of instrumental music. Surprisingly, there was no evidence of this pattern, and some evidence of the opposite pattern: nPVI is higher in French and Italian vocal music than in English and German vocal music. This casts doubt on the theory that the differe

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16

Križnar, Dr Franc. "The Development of Slovenian music in European discourse." Journal of Research in Humanities and Social Science 13, no. 4 (2025): 102–17. https://doi.org/10.35629/9467-1304102117.

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The following places Slovenian music in time and space, from antiquity to the present. In the context of European comparisons of this kind, Slovenian music has fluctuated continually in terms of performance and creativity; lagging behind, then equaling or even surpassing European music. From its very beginnings to the present day, Slovenian music has been interesting: On the one hand, it attracted the rest of Europe; on the other hand, the rest of European music was so interesting for Slovenian music that it faced it at home, on Slovenian soil. All this is shown chronologically and stylistical

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17

Romanou, Katy. "Globalisation and western music historiography." Muzikologija, no. 19 (2015): 9–21. http://dx.doi.org/10.2298/muz1519009r.

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Globalisation of musicology and music history aims to fuse the divisions created during Western music?s acme, and is referred to as ?post-European historical thinking?. Therefore, ?post? and ?pre? European historical thinking have much in common. One aspect of this process of fragmentation was that music history was separated from theory and that Western Music Histories succeeded General Music Histories (a development described in some detail in the article). Connecting global music history with ?post-European? historical thinking is one among numerous indications of Western awareness that Eur

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18

CHISHOLM, LEON. "WILLIAM MCGIBBON AND THE VERNACULARIZATION OF CORELLI'S MUSIC." Eighteenth Century Music 15, no. 2 (2018): 143–76. http://dx.doi.org/10.1017/s1478570618000039.

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ABSTRACTIn his 1720 poem ‘To the Musick Club’ Allan Ramsay famously called upon an incipient Edinburgh Musical Society to elevate Scottish vernacular music by mixing it with ‘Correlli's soft Italian Song’, a metonym for pan-European art music. The Society's ensuing role in the gentrification of Scottish music – and the status of the blended music within the wider contexts of the Scottish Enlightenment and the forging of Scottish national identity – has received attention in recent scholarship. This article approaches the commingling of vernacular and pan-European music from an alternative pers

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19

Anderson, Robert, John Hardy, and Andrew McCredie. "European Classicism." Musical Times 126, no. 1710 (1985): 462. http://dx.doi.org/10.2307/964310.

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20

Trendell, D. "European Renaissance." Early Music 34, no. 2 (2006): 317–18. http://dx.doi.org/10.1093/em/cal035.

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21

Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (1994): 533–43. http://dx.doi.org/10.2307/1161372.

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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as

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22

Zhang, Dingchen. "An Investigation of Chinese College Students' Access to European and American Popular Music in the Social Media Environment." SHS Web of Conferences 199 (2024): 04028. http://dx.doi.org/10.1051/shsconf/202419904028.

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The purpose of this paper is to explore how Chinese college students acquire European and American popular music in the social media environment. With the popularization of the Internet and the development of social media, college students gradually tend to contact and acquire music resources through these emerging platforms. Through questionnaire surveys and case studies, the study found that social media not only became the main channel for college students to obtain information about European and American popular music, but also profoundly influenced their music preferences and choices. Spe

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23

Vasic, Aleksandar. "The reception of west European music in Belgrade between world wars: On the examples of “Muzicki glasnik” and “Muzika” magazines." Muzikologija, no. 11 (2011): 203–18. http://dx.doi.org/10.2298/muz1111203v.

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The very first music magazines started in Belgrade between World Wars were ?Muzicki glasnik? (issued monthly from January to December 1922) and ?Muzika? (also issued monthly in the period January 1928 - March 1929). These magazines used to publish music essays, researches, debates, notes, news and other kind of articles. This paper brings an analysis of texts on West European music in these two journals. ?Muzicki glasnik? published only few articles on European music. Those were on bibliographical news concerning editions on musicology in England and on French music magazines. There was a repo

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24

Kewu, Zhang. "LEGACY OF XIAO YOUMEI: PATHS TO EUROPEAN MUSIC." Arts education and science 1, no. 2 (2020): 124–32. http://dx.doi.org/10.36871/hon.202002015.

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The relevance of this topic is linked to the need to understand the way in which Asian countries develop theoretical musicology in active cross-cultural communication. This work examines Xiao Youmei (1884–1940), one of the most outstanding representatives of Chinese music culture in the first half of the XXth century. His contribution to Chinese music education and science include the organization of the Shanghai Conservatory of Music (1927), the upgrading of national musicology and the development of the first textbooks on music theory and history for training specialists. Of particular impor

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25

Irving, David R. M. "THE DISSEMINATION AND USE OF EUROPEAN MUSIC BOOKS IN EARLY MODERN ASIA." Early Music History 28 (August 24, 2009): 39–59. http://dx.doi.org/10.1017/s0261127909000357.

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Musical commodities frequently accompanied European explorers, soldiers, merchants and missionaries who travelled to Asia in the early modern period. During this time, numerous theoretical treatises and musical scores – both printed and manuscript – were disseminated throughout Asia. This article examines the dissemination and use of European musical works in early modern China, Japan and the Philippines, before identifying the titles of scores and treatises so far known to have been present in these territories. In order to measure the relative success of European missionaries in transplantin

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26

Karamanova, Marina Leonidovna, and Alina Gavrilovna Asriyan. "Pierre van Houwe and his concept of "Playing with Music" in the history of music education." PHILHARMONICA. International Music Journal, no. 5 (May 2023): 34–41. http://dx.doi.org/10.7256/2453-613x.2023.5.68958.

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The object of research of this work is the creative and pedagogical activity of the Dutch conductor, composer and teacher Pierre van Hauwe (1920-2009). The subject of the study is the conceptual foundations of his pedagogical theory of "Playing with Music", which has become widespread not only in European countries, but also in South America, Africa and Asia. The authors of the article consider in detail the features of P. van Hauwe's concept, the foundations of which are based on the elements of the Zoltan Kodai system, which became widespread in Hungary, and the method of musical education o

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27

Piotrowska, Anna G. "‘Gypsy music’ as music of the Other in European culture." Patterns of Prejudice 47, no. 4-5 (2013): 395–408. http://dx.doi.org/10.1080/0031322x.2013.846615.

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28

Axtell, Ian. "European perspectives on music education 3: the reflective music teacher." Music Education Research 17, no. 4 (2015): 512–14. http://dx.doi.org/10.1080/14613808.2015.1078543.

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29

Cyrille, Dominique O. "The Politics of Quadrille Performance in Nineteenth-Century Martinique." Dance Research Journal 38, no. 1-2 (2006): 43–60. http://dx.doi.org/10.1017/s0149767700007324.

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Much has been said of the tradition of quadrille dancing that exists in the Caribbean. This dance and music repertory was first introduced there in the late eighteenth century by European colonists who wanted to recreate some of the aristocratic lifestyle they would have enjoyed in their country of origin. But soon after its introduction, people of African descent whom the Europeans had forcibly introduced in the Caribbean appropriated the dance and transformed it to fit the new environment.In his overview of Caribbean music, Kenneth Bilby noted that the most ubiquitous music traditions of the

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30

Bujic, Bojan. "Music in European Thought 1851-1912." Journal of Aesthetics and Art Criticism 47, no. 1 (1989): 99. http://dx.doi.org/10.2307/432006.

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31

Heskes, Irene, Jan Ling, Linda Schenk, Robert Schenk, and Philip V. Bohlman. "A History of European Folk Music." Notes 54, no. 3 (1998): 707. http://dx.doi.org/10.2307/899909.

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32

Mainka, Stefan, Elisabeth Kaczynski, Beate Roelcke, and Ilse Wolfram. "Die EMTC (European Music Therapy Confederation)." Musiktherapeutische Umschau 45, no. 2 (2024): 202–7. http://dx.doi.org/10.13109/muum.2024.45.2.202.

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33

Samuels, Robert. "Second European Conference on Music Analysis." Tempo, no. 180 (March 1992): 64. http://dx.doi.org/10.1017/s004029820002595x.

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34

Hoskyns, Janet. "Music Education and a European Dimension." British Journal of Music Education 9, no. 2 (1992): 97–102. http://dx.doi.org/10.1017/s026505170000886x.

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35

Moyer, Ann E. "Art Music and European High Culture." Comparative Studies in Society and History 39, no. 4 (1997): 635–43. http://dx.doi.org/10.1017/s0010417500020831.

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36

Klump, Brad. "Origins and Distinctions of the "World Music" and "World Beat" Designations." Canadian University Music Review 19, no. 2 (2013): 5–15. http://dx.doi.org/10.7202/1014442ar.

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This article traces the origins and uses of the musical classifications "world music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, Afrobeat, and Latin popular styles. In contrast, the term "world music" was coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and non-Western musics to a marketing category used to sell almost any

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37

Guilbault, Jocelyne. "Interpreting world music: a challenge in theory and practice." Popular Music 16, no. 1 (1997): 31–44. http://dx.doi.org/10.1017/s0261143000000684.

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This article focuses on the issue of meanings in ‘world music’ practices. The main questions addressed are how such musical cultures take on meanings, and what meanings are constructed by such cultures. As Deborah Pacini has indicated, the term ‘world music’ in this case does not refer to a musical genre. It is used, rather, ‘[as] a marketing term describing the products of musical cross-fertilisation between the north – the US and Western Europe – and south – primarily Africa and the Caribbean Basin, which began appearing on the popular music landscape in the early 1980s’ (1993, p. 48). From

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38

Bochmann, Minari. "Zur Rezeption deutscher Musik in der japanischen Musikpublizistik während des Pazifischen Krieges - eine Zwischenbilanz." Die Musikforschung 73, no. 1 (2021): 31–46. http://dx.doi.org/10.52412/mf.2020.h1.29.

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This article analyses the reception of German music in the music press of Japan during the Pacific War, against the bakdrop of the German-Japanese policy of alliance and a twofold centralization of the Japanese music press. In the first half of the 1940s the number of journals dealing with European music was reduced and an official cultural association, subordinated to the ministries for culture and propaganda, was founded. A close reading of Japanese music journals from between 1941 and 1944 establishes that German music was re-interpreted several times within a relatively short period of tim

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39

ALBERTAZZI, SILVIA. "An equal music, an alien world: postcolonial literature and the representation of European culture." European Review 13, no. 1 (2005): 103–13. http://dx.doi.org/10.1017/s1062798705000104.

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The Postcolonial representation of European culture can alter our (European) perspectives on Western arts. The case of the novel An Equal Music by the Indian writer Vikram Seth is particularly interesting. Although set in Europe (between London, Vienna and Venice) and dealing with European characters, situations, landscapes, and cultural myths, the book offers a peculiarly Postcolonial reading of our classical music. Therefore, by applying Said's contrapuntal analysis to Postcolonial writing, I deal with ‘What the Postcolonial means for us’, taking into account, besides European Literature and

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40

Criswick, Mary. "East European Guitar." Musical Times 127, no. 1717 (1986): 156. http://dx.doi.org/10.2307/965503.

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41

Yannay, Yehuda. "A European Trilogy." Perspectives of New Music 26, no. 2 (1988): 281. http://dx.doi.org/10.2307/833198.

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42

Schwartz, Elliott. "European Journal, 1993." Perspectives of New Music 32, no. 2 (1994): 292. http://dx.doi.org/10.2307/833614.

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43

Rice, S. "Northern European polyphony." Early Music 34, no. 4 (2006): 697–99. http://dx.doi.org/10.1093/em/cal078.

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44

Tagg, Philip. "Open letter." Popular Music 8, no. 3 (1989): 285–98. http://dx.doi.org/10.1017/s0261143000003573.

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I have recently found myself reacting with some irritation on meeting such terms as ‘black music’, ‘white music’, ‘Afro-American music’ and ‘European music’. The aim of this letter, written mainly with white European or North American students, friends and colleagues in mind, is to question the validity of these terms, to bring some issues lurking behind their general usage out into the scribal daylight and, hopefully, to provide some ideas for a constructive debate on music, race and ideology.

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45

Gnilov, Boris Gennadievich, and Ilya Dmitrievich Nikoltsev. "Some aspects of the impact of Western European music upon the works of Sergei Rachmaninoff." Философия и культура, no. 7 (July 2021): 75–85. http://dx.doi.org/10.7256/2454-0757.2021.7.36642.

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The subject of this research is certain manifestations of the impact of Western European music culture upon the works of Sergei Rachmaninoff. The object of this research is the piano, piano-orchestral and symphonic music of S. Rachmaninoff. Analysis is conducted on the particular manifestations of the impact of rhythmics that is characteristic to the Western European music and originated from it, certain melodic formulas, such as Dies Irae. Special attention is given to examination of the impact of rhythmic formulas that crystallized in Baroque period, such as &ldquo;eighth with a dot, six

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46

Wolkowicz, Vera. "Incan or Not? Building Ecuador’s Musical Past in the Quest for a Nationalist Art Music, 1900–1950." Journal of Musicology 36, no. 2 (2019): 228–60. http://dx.doi.org/10.1525/jm.2019.36.2.228.

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When the development of Ecuadorian national art music began at the end of the nineteenth century, composers and music historians followed European models and studied folklore as a window onto the past. In this quest to discover and articulate what was truly “Ecuadorian,” Incan culture occupied a complex position, sometimes hailed as a primary component of Ecuador’s musical heritage and sometimes dismissed as irrelevant. This article explores the music histories written by composers Pedro Pablo Traversari, Segundo Luis Moreno, and Sixto María Durán, and investigates a selection of Traversari’s

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47

Żerańska-Kominek, Sławomira. "‘The Whiteness’ of Music Analysis. A Gloss on Philip Ewell's Lamentation over Schenker." Musicology Today 19, no. 1 (2022): 96–103. http://dx.doi.org/10.2478/muso-2022-0007.

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Abstract The article is a polemic with the views formulated in 2020 by Philip A. Ewell in the Journal of the Society for Music Theory. His text is a critique of European music theory, mainly as represented in the writings by Heinrich Schenker. Ewell's main claim is that European music theory is based on racist concepts.

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48

Dordzro, John-Doe. "BRASS BAND MUSIC IN GHANA: THE INDIGENISATION OF EUROPEAN MILITARY MUSIC." African Music: Journal of the International Library of African Music 11, no. 2 (2020): 141–63. http://dx.doi.org/10.21504/amj.v11i2.2318.

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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to

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49

Rinsema, Rebecca M. "De-sacralizing the European: music appreciation (then) and music listening (now)." Music Education Research 20, no. 4 (2018): 480–89. http://dx.doi.org/10.1080/14613808.2018.1433146.

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50

Almatov, Shuhrat Tolipovich. "Combination Of European Music Culture With Uzbek National Art And Culture." American Journal of Social Science and Education Innovations 02, no. 09 (2020): 215–20. http://dx.doi.org/10.37547/tajssei/volume02issue09-33.

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