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Journal articles on the topic 'Funk (Music) – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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2

Bielefeldt, Christian. "Beyond Postmodernism? Prince and Some New Aesthetic Strategies." Musicological Annual 42, no. 1 (December 1, 2006): 89–101. http://dx.doi.org/10.4312/mz.42.1.89-101.

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Former postmodernist Prince’s album Musicology (2004) re-occupies authorship and history, evoking a »real«, non-technological kind of music in the line of funk and hip-hop. The article is reading that as a strategy of »reflexive modernism«, an aesthetic challenging the postmodern denial of ontology with interim ontologies marked as such.

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Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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4

Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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5

Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.

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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (April 1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.

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7

Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (November 1, 2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.

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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially st

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Loydell, Rupert. "Shake the Foundations: Militant Funk & the Post-Punk Dancefloor 1978‐1984, 3CD Box Set, Various Artists." Punk & Post Punk 10, no. 2 (June 1, 2021): 341–42. http://dx.doi.org/10.1386/punk_00100_5.

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10

Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.

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Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.

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Dickinson, Peter. "Review: Maestros of the Pen: A History of Classical Music Criticism in America." Music and Letters 83, no. 4 (November 1, 2002): 631–34. http://dx.doi.org/10.1093/ml/83.4.631.

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13

Heller, George N., and Mark N. Grant. "Maestros of the Pen: A History of Classical Music Criticism in America." History of Education Quarterly 39, no. 2 (1999): 212. http://dx.doi.org/10.2307/370046.

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14

Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.

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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along wi

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15

Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (February 2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.

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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.

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16

Branscombe, P. "E. T. A. Hoffmann's Musical Writings: 'Kreisleriana', 'The Poet and the Composer', Music Criticism." German History 10, no. 2 (January 1, 1992): 248–50. http://dx.doi.org/10.1093/gh/10.2.248.

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17

Zuk, Patrick. "Words for music perhaps? Irishness, criticism and the art tradition." Irish Studies Review 12, no. 1 (April 2004): 11–29. http://dx.doi.org/10.1080/0967088042000192086.

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18

Brown, Howard Mayer. "Recent Research in the Renaissance: Criticism and Patronage*." Renaissance Quarterly 40, no. 1 (1987): 1–10. http://dx.doi.org/10.2307/2861832.

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The book that everyone in musicology is talking about this year—not just those of us working in the fifteenth and sixteenth centuries—is Joseph Kerman's Contemplating Music (Cambridge, Mass.: Harvard University Press, 1985; called simply Musicology in the English edition). In it, Kerman argues against what he calls positivism, which he defines as a rigid and non-judgmental pursuit of dry facts, and in favor of the higher criticism, by which he seems to mean analysis—or at least some penetrating discussion of the way individual pieces work and what makes them great—informed by a sense of histor

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19

Vasic, Aleksandar. "The magazine “Slavenska muzika” (1939–1941) in the history of Serbian music periodicals." Muzikologija, no. 29 (2020): 121–47. http://dx.doi.org/10.2298/muz2029121v.

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From November 1939 to March 1941, the monthly magazine ?Slavenska muzika?, a journal of the Association of Friends of Slavic Music, was published in Belgrade. The magazine did not differ from other Serbian magazines of the interwar period in its sections. ?Slavic music? also published essays on music, music criticism, reviews of books and music editions, notes, news, obituaries, and in one case, polemics. However, differentia specifica of this review is the exclusive focus on the music of the Slavic nations. The study provides a review and analysis of the texts in this journal. It was noticed

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20

COLE, ROSS. "“Fun, Yes, but Music?” Steve Reich and the San Francisco Bay Area's Cultural Nexus, 1962–65." Journal of the Society for American Music 6, no. 3 (August 2012): 315–48. http://dx.doi.org/10.1017/s175219631200020x.

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AbstractThis article traces Steve Reich through the Bay Area's cultural nexus during the period 1962–65, exploring intersections with Luciano Berio, Phil Lesh, Terry Riley, Robert Nelson, the San Francisco Mime Troupe, and the San Francisco Tape Music Center. The aim is to present a revised history of this era by drawing on personal interviews with Tom Constanten, R. G. Davis, Jon Gibson, Saul Landau, Pauline Oliveros, and Ramon Sender. In addition, previously unused source materials and contemporaneous newspaper reception are employed to provide a more nuanced contextual framework. Reich's he

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Watt, Paul, and Sarah Collins. "Critical Networks." Nineteenth-Century Music Review 14, no. 1 (April 2017): 3–8. http://dx.doi.org/10.1017/s1479409816000252.

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This article examines the idea of ‘Critical Networks’ as a way of studying the relational structures that shaped music criticism in the long nineteenth century. We argue that the personal, institutional and international networks that supported the dissemination of critical ideas about music are worthy of study in themselves, as they can yield insights beyond prevailing methodologies that centre on individual cases.Focusing on the institutional culture of music criticism means looking beyond the work of individual critics and the content or influence of their views, towards the structures that

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22

Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.

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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesth

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23

Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.

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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgr

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24

Powers, Devon. "Bruce Springsteen, Rock Criticism, and the Music Business: Towards a Theory and History of Hype." Popular Music and Society 34, no. 2 (May 2011): 203–19. http://dx.doi.org/10.1080/03007761003726472.

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25

Fry, Katherine. "Nietzsche's Critique of Musical Decadence: The Case of Wagner in Historical Perspective." Journal of the Royal Musical Association 142, no. 1 (2017): 137–72. http://dx.doi.org/10.1080/02690403.2017.1286130.

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ABSTRACTAlthough philosophical and biographical accounts of Nietzsche and Wagner abound, the musical issues at stake in the late text Der Fall Wagner (The Case of Wagner, 1888) have rarely been addressed within their wider cultural context. This article explores the nineteenth-century concepts of decadence and degeneration as relevant for understanding the ambivalence of Nietzsche's late critique of Wagner. Emphasizing his affinity with contemporary French criticism, it argues that his late texts advance a theory of decadence pertinent to current music history and criticism. It locates The Cas

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26

Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epoch

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27

Souza, Alberto Carlos de. "The language of the art of music: an overview of its history in Brazil." Humanum Sciences 3, no. 1 (August 5, 2021): 32–40. http://dx.doi.org/10.6008/cbpc2674-6654.2021.001.0004.

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This study sought to re-visit the two conceptions of Art – pedagogical and reflective - forged throughout history and its relationship with the Brazilian aesthetic thought of resistance. From the 60's, such thinking has given a pedagogical purpose to art, charged with the task of social criticism and political engagement human emancipatory: in this scenario mainly determined by the Theater of the Oppressed, the new movies and the protest song by Milton Nascimento, , Caetano Veloso, Chico Buarque, Gilberto Gil, among many others.

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28

Natambu, Kofi. "Whose Music is it, Anyway?: The Oxford University Press Jazz History/Criticism Series, 1980-Present." Black Scholar 29, no. 4 (December 1999): 48–51. http://dx.doi.org/10.1080/00064246.1999.11430983.

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29

Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (September 13, 2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.

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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mai

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30

Garratt, J. "Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna. By Kevin C. Karnes." Music and Letters 91, no. 3 (August 1, 2010): 436–38. http://dx.doi.org/10.1093/ml/gcq028.

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31

Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil dra

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32

Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.

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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems o

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33

Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 265–89. http://dx.doi.org/10.1163/22129758-12341323.

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Abstract Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields

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Salgado, Tomas Garcia. "Comment on "Art History and the Criticism of Computer-Generated Images"." Leonardo 29, no. 1 (1996): 82. http://dx.doi.org/10.2307/1576292.

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35

GOSSETT, PHILIP. "Source Studies and Opera History." Cambridge Opera Journal 21, no. 2 (July 2009): 111–18. http://dx.doi.org/10.1017/s0954586710000030.

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Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an e

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36

Fay, Brendan. "Conservative Music Criticism, the Inflation, and Concert Life in Weimar Germany, 1919–1924." Cultural History 6, no. 2 (October 2017): 141–63. http://dx.doi.org/10.3366/cult.2017.0147.

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In surveying the thirteen crisis-ridden years that Weimar democracy endured from its founding in 1919, perhaps none loom as large as the hyperinflation years spanning 1922–1923. According to many historians, the ‘Great Disorder’ not only destroyed the bonds between different social classes but also shattered Germans’ faith in and commitment to Weimar democracy. At the same time, Germany's cultural conservatives found themselves weathering a ‘cultural crisis’ brought on by the combined forces of artistic and technological innovation. In this article, I argue that our sense of Weimar's crises ha

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37

Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.

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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surroun

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38

Brown, C. "Beethoven and the violin: The Beethoven violin sonatas: history, criticism, performance, ed. Lewis Lockwood and Mark Kroll (Urbana: University of Illinois Press, 2005), 34.95." Early Music 34, no. 2 (May 1, 2006): 303–4. http://dx.doi.org/10.1093/em/cal010.

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39

Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.

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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were inf

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40

McLEOD, KEMBREW. "‘*1/2’ a critique of rock criticism in North America." Popular Music 20, no. 1 (January 2001): 47–60. http://dx.doi.org/10.1017/s0261143001001301.

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As a particular type of gatekeeper, rock critics play a significant role in shaping the representations of artists for an admittedly small, but influential, population, as well as establishing an artist's place in music history. In Sound Effects, Simon Frith (1983) maintains that rock critics are ‘opinion leaders’ and are the ‘ideological gatekeepers’ of the community for which they write. Additionally, I argue that rock critics function as Gramscian ‘organic intellectuals’ who articulate the ideas held by the population of which they are a part (Gramsci 1971, pp. 5-14). The community that roc

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41

Severn, John R. "Salieri’s Falstaff, ossia Le tre burle and The Merry Wives of Windsor: Operatic Adaptation and/as Shakespeare Criticism." Cambridge Opera Journal 26, no. 1 (February 19, 2014): 83–112. http://dx.doi.org/10.1017/s0954586713000323.

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AbstractShakespeare’s The Merry Wives of Windsor contains several features that make it unusual within his dramatic output and that thus render problematic the idea of a unified ‘Shakespearean’ canon. Until very recently, literary criticism has either largely ignored or denigrated the play, with a sustained interest in its portrayal of female agency, family life and the natural world only consolidating in the early twenty-first century. However, earlier operatic adaptations, such as Salieri and Defranceschi’s Falstaff, ossia Le tre burle, demonstrate an engagement with those issues which liter

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42

Devine, Kyle. "Imperfect sound forever: loudness wars, listening formations and the history of sound reproduction." Popular Music 32, no. 2 (May 2013): 159–76. http://dx.doi.org/10.1017/s0261143013000032.

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AbstractThe purpose of this paper is to provide some historical perspective on the so-called loudness war. Critics of the loudness war maintain that the average volume level of popular music recordings has increased dramatically since the proliferation of digital technology in the 1980s, and that this increase has had detrimental effects on sound quality and the listening experience. My point is not to weigh in on this debate, but to suggest that the issue of loudness in sound recording and playback can be traced back much earlier than the 1980s. In fact, loudness has been a source of pleasure

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43

BOARO, ERIC. "EVIDENCE OF THE PRACTICAL APPLICATION OF SOLFEGGIO PATTERNS IN THE MANUSCRIPT FOR THE 1707 NEAPOLITAN PERFORMANCE OF LA FEDE TRADITA E VENDICATA BY GASPARINI AND VIGNOLA." Eighteenth Century Music 18, no. 1 (February 5, 2021): 171–84. http://dx.doi.org/10.1017/s1478570620000421.

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The last two decades have seen the opening of several new paths in eighteenth-century musicology, and Robert O. Gjerdingen has opened one of these: schema theory. Schemata are ‘stock musical phrases employed in conventional sequences’ that function as harmonic, melodic and rhythmic frameworks for musical passages. Evidence of such schematic thinking has emerged through related studies on partimento and solfeggio. Solfeggio practice of the time manifests a schematic way of thinking about music, being mostly based on simple hexachordal patterns which, as studies progressed, could be embellished

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44

Samson, Jim. "The Virtuoso Liszt. By Dana Gooley. pp. xvi + 280. New Perspectives in Music History and Criticism. (Cambridge University Press, Cambridge, 2004. £45. ISBN 0-521-83443-0.)." Music and Letters 86, no. 4 (November 1, 2005): 645–46. http://dx.doi.org/10.1093/ml/gci117.

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45

Fenlon, Iain. "Women and Music in Sixteenth-Century Ferrara. Laurie Stras. New Perspectives in Music History and Criticism. Cambridge: Cambridge University Press, 2018. xxiv + 392 pp. $99.99." Renaissance Quarterly 73, no. 3 (2020): 1096–98. http://dx.doi.org/10.1017/rqx.2020.190.

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46

Marie Sumner Lott. "Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late-Nineteenth-Century Vienna (review)." Notes 66, no. 1 (2009): 62–64. http://dx.doi.org/10.1353/not.0.0211.

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47

Gallope, Michael. "Why was this Music Desirable? On A Critical Explanation of the Avant-Garde." Journal of Musicology 31, no. 2 (2014): 199–230. http://dx.doi.org/10.1525/jm.2014.31.2.199.

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In the introduction to his Oxford History of Western Music (2005), Richard Taruskin writes that his account of music history is based in the work of individual people, their statements, and their actions, as opposed to the power of ideas, teleologies, and romantic attachments to style criticism. He also claims that a “true history” of music can overcome the survey genre by offering causal explanations of historical events. In his discussion of the Cold War avant-garde, however, Taruskin points the way toward a slightly different kind of historiography by employing what I call a critical explan

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48

Comensoli (book editor), Viviana, Paul Stevens (book editor), and Stephen Guy-Bray (review author). "Discontinuities: New Essays on Renaissance Literature and Criticism." Renaissance and Reformation 34, no. 3 (July 1, 1998): 93–95. http://dx.doi.org/10.33137/rr.v34i3.10822.

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49

WISEMAN, MARY. "Fredrika H. Jacobs, Defining The Renaissance Virtuosa: Women Artists and The Language of Art History and Criticism." Journal of Aesthetics and Art Criticism 58, no. 4 (September 1, 2000): 420–24. http://dx.doi.org/10.1111/1540-6245.jaac58.4.0420.

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50

Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism

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