Relevant bibliographies by topics / Music conception analysis

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Music conception analysis'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Music conception analysis"

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Engebretsen, Nora. "Minding the Gap: Conceptualizing “Perceptualized” Timbre in Music Analysis." Leonardo Music Journal 30 (December 2020): 14–17. http://dx.doi.org/10.1162/lmj_a_01088.

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In the past decade, a growing music-analytic practice has emerged around timbre, a parameter long considered either irrelevant to musical structure or too unwieldy to tackle. This new practice centers on an understanding of timbre as a perceptual rather than physical (acoustical) attribute and privileges timbre as a bearer of musical meaning. Through a focused survey of scholarship on timbre from the 1980s to present, this article considers theoretical commitments and challenges that have attended the shift toward this subjective, “perceptualized” conception of timbre, particularly in light of
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Ding, Yue, and Shiyi Huang. "Analysis of the Style and Characteristic of Zhao Jiping’s Film Score." World Journal of Educational Research 5, no. 4 (2018): 410. http://dx.doi.org/10.22158/wjer.v5n4p410.

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<p><em>Zhao Jiping is a famous contemporary Chinese composer. In his film music creation, he pays great attention to the grasp and application of national style. Besides, he is renowned for his bold and advanced artistic conception, organic combination with film pictures as well as strong psychological shock brought to the audiences. All of these form the unique artistic charm of Zhao Jiping’s film music.</em></p>
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Castillo-Villar, Fernando Rey, Judith Cavazos-Arroyo, and Nicolas Kervyn. "Music subculture as a source of conspicuous consumption practices: a qualitative content analysis of “altered movement” songs and music videos." Journal of Consumer Marketing 37, no. 4 (2020): 353–63. http://dx.doi.org/10.1108/jcm-02-2019-3087.

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Purpose The purpose of this study is to focus on analyzing the role of music subcultures in the communication and promotion of conspicuous consumption practices. The object of study is the “altered movement” as the music style of the drug subculture in Mexico. Design/methodology/approach A qualitative content analysis of 78 lyrics and music videos of “altered movement” was carried out between August and December 2018. Findings The analysis of lyrics and music videos leads to the identification of four narratives (from poor to rich, power through violence, lavish lifestyle and power over women)
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Vlahopol, Gabriela. "Analyst vs Performer. The Importance of Studying The Music Analysis Discipline for The Development of Critical-Analytical Thinking of Perfomer Students." Review of Artistic Education 17, no. 1 (2019): 69–76. http://dx.doi.org/10.2478/rae-2019-0008.

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Abstract In the music higher education, the appearance of a concept of incompatibility between the performance practice and the studentsʼ theoretical and analytical training is a phenomenon with multiple consequences on their training, on the way of organizing a curriculum and a hierarchical deformed attitude on the different subjects in the curriculum.This study summarizes some of the arguments that emphasize the role played by the study of the Music Analysis in developing the musicianʼs ability to understand music from the perspective of the compositional conception, to discover its importan
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Gustar, Andrew James. "The Closest Thing to Crazy: The Shocking Scarcity of Septuple Time in Western Music." Journal of the Royal Musical Association 137, no. 2 (2012): 351–400. http://dx.doi.org/10.1080/02690403.2012.717472.

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AbstractThis article considers why septuple metres are so rare in Western music, despite being common in many other cultures. The scene is set by tracing the history of the septuple-time ‘meme’ (an idea that replicates by imitation) from ancient Greece through to Western art and popular music. The following sections consider the psychological, musical and environmental factors in more detail. The scarcity of septuple time in Western music is largely attributable to the development of the time signature, as a vertical conception of music evolved during the Renaissance. Subsequent evolution of t
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Blackburn, Manuella. "The Visual Sound-Shapes of Spectromorphology: an illustrative guide to composition." Organised Sound 16, no. 1 (2011): 5–13. http://dx.doi.org/10.1017/s1355771810000385.

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Since its conception, Denis Smalley's spectromorphology has equipped listeners and practitioners of electroacoustic music with appropriate and relevant vocabulary to describe the sound-shapes, sensations and evocations associated with experiences of acousmatic sound. This liberation has facilitated and permitted much-needed discussion about sound events, structures and other significant sonic detail. More than 20 years on, it is safe to assume that within the electroacoustic music community there is an agreed and collective understanding of spectromorphological vocabulary and its descriptive a
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Psheminska, Larysa. "BOLESLAV YAVORSKYI’S MUSICAL AND PEDAGOGICAL IDEAS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 186–91. http://dx.doi.org/10.36550/2415-7988-2021-1-195-186-191.

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The article is devoted to the research and generalization of Boleslav Yavorskyi's musical-pedagogical ideas, a famous pedagogue with encyclopedic knowledge, an organizer of musical education, a pianist, a composer, a musicologist, a conductor, a scientist, an author of the fricative rhythm, a developer of the unique methodological conception of the creative development of a personality. The analysis of B. Yavorskyi's pedagogical activity allows us to understand the significance of his contribution into the theoretical and practical development of mass musical education, allows to broaden the u
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Richards, Annette. "Carl Philipp Emanuel Bach, Portraits, and the Physiognomy of Music History." Journal of the American Musicological Society 66, no. 2 (2013): 337–96. http://dx.doi.org/10.1525/jams.2013.66.2.337.

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Abstract Taking as its point of departure C. P. E. Bach's extensive, and newly reconstructed, portrait collection, this essay explores the ways in which history in the late eighteenth century was conceived at the meeting point between the portrait collector, the physiognomist, and the anecdotist. Exploring the network of ideas and cultural practices by focusing on the collecting of individual countenances and their visual and literary representations, this article argues that anecdote, annotation, physiognomical analysis, and the visual discipline of portraiture were fundamental to the late ei
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Cooper, Ed. "THE STRONG SILENT TYPE: MASCULINITY AND WANDELWEISER MUSIC." Tempo 75, no. 296 (2021): 21–33. http://dx.doi.org/10.1017/s0040298220000923.

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AbstractMasculinity is not just about being the loudest; it is a contradictory network of relationships relating to power, control and work. Deploying the methodology first developed in Raewyn Connell's Masculinities (1995), this article argues that Wandelweiser works exhibit masculine social ordering. Silence presents apparent creative agency which is ultimately governed by the composer; fragile timbres strain the bodies of both the performers and listeners and encourage constant labour; openness displaces authorship, leaving interpreters to fill a composer-shaped hole. Analysis of these face
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Kriščiūnaitė, Asta, Diana Strakšienė, and Remigijus Bubnys. "Non-Formal Musical Education in the Context of Children’s Experiences: Involving or Limiting?" Pedagogika 129, no. 1 (2018): 126–41. http://dx.doi.org/10.15823/p.2018.09.

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The article deals with analysis of experiences of music school students through focusing on the threat of involvement and discrimination (in the context of the problem of political and practical dualism) by employing the conception of universal education design. Analysis of the research data revealed students’ primary experiences in music school, identification of teacher’s behavior in the process of teaching and learning which significantly contributed to (non-)involvement and (non-)limitation of students as well as manifestation of formal assessment in the education process. Summing up, an a
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Dissertations / Theses on the topic "Music conception analysis"

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Higashikawa, Ai. "Conception musicale et enjeux esthétiques dans les relations entre les écritures instrumentale et électroacoustique chez Pierre Boulez." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL003.

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Cette recherche de thèse vise à reconstruire des éléments de genèse de la composition électroacoustique de Pierre Boulez dans les années cinquante à travers l’étude d’esquisses et de manuscrits conservés au Paul Sacher Stiftung. Notre thèse s’est fondée sur deux approches complémentaires : la reconstitution du contexte musical, esthétique et historique et l’étude des esquisses. Dans la Partie I, nous avons tout d’abord examiné les Fonds Pierre Schaeffer afin de retracer le déroulement du premier stage de musique concrète au GRMC. La réorganisation des esquisses et la reconstitution du processu
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Davies, Alison. "Conceptions of 'talent' in official and student discourses within a music conservatoire : a critical discourse analysis." Thesis, Birmingham City University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272089.

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van, Haaften Peter. "Gesture, sound, and the algorithm : performative approaches to the revealing of chance process in material modulation = Geste, son et algorithme : approches performatives exposant les processus aléatoires dans la modulation de matériaux physiques." Thesis, 2019. http://hdl.handle.net/1866/24567.

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Mémoire en recherche-création / Creative dissertation<br>Cette thèse de maîtrise traite du processus créatif et de la recherche qui y est associée afin de produire deux performances en direct dans le domaine de la musique électroacoustique. À l’aide de ces deux œuvres, mon intention était de concevoir une pratique artistique qui réunit plusieurs modes autour de la gestuelle et du son, influencée par des algorithmes. Une tentative approfondie d’extraire un processus de composition à partir des réactions de la matière en vibration englobe une grande partie de la recherche. Cette r
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Books on the topic "Music conception analysis"

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Dibben, Nicola. Music and Environmentalism in Iceland. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.9.

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This chapter is a scholarly response to environmental degradation in Iceland. In recognizing the scope of the crisis, the chapter questions conventional wisdom in musical geography and offers a new vision for music’s potential in transnational futures. The chapter offers an argument for eco-cosmopolitanism as an alternative to place-centered approaches to the analysis of contemporary spatial experiences, suggesting that recorded music might help people see themselves as part of a global biosphere. The analysis includes a discussion of musical activism in response to the Kárahnjúkar Hydropower
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Jarjour, Tala. Ḥasho. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0008.

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THIS CHAPTER begins by explaining the emotion of huzn, sadness, as a religious aesthetic, then presents ḥasho within canonical liturgical practice. It also explains ḥasho as an emotion to which aesthetic value is inherent, and that understanding it as such sheds light on its conception as a musical mode. The aim is to inform a thinking in which music modality might better be understood through the aesthetic indexing of emotional value. Through a combined musical and ethnographic analysis of music theory on ḥasho and of its employment in the commemoration of the crucifixion, ḥasho emerges as mo
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Teitelbaum, Benjamin R. Rap, Reggae, and White Minoritization. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.19.

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This chapter examines the significance of music in radical white nationalist activism in the Nordic countries. The focus of the chapter is a change in how nationalists look at the relation between their ideological dogmas and music. For decades, the consensus was that the music had to be white, but in the 2000s young activists started to challenge this norm, introducing genres such as hip hop and reggae. The analysis looks beyond the literature’s conventional focus on how the music supports activism to instead examine racial constructions through music, arguing that the introduction of black g
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Lewis, Hannah. Surrealist Sounds. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0003.

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This chapter focuses on the controversial early sound films directed by avant-garde filmmakers Jean Cocteau and Luis Buñuel: Le Sang d’un poète (1930) by Cocteau and L’Age d’or (1930) by Buñuel. They were the first surrealist sound films, and both filmmakers used music to create strange audiovisual juxtapositions and to shock their audiences. Although music’s role in the surrealist movement was contested, Lewis demonstrates through her analysis of these two films that music was crucial for a surrealist audiovisual cinematic conception. While experiments this audacious were short-lived, these t
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Ansari, Emily Abrams. The American Exceptionalists. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.003.0002.

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This chapter examines Americanist composers William Schuman and Howard Hanson in parallel, as they engaged with the Cold War in very similar ways. These two men are shown to have used their influence as conservatory directors and advisers to government to present musical Americanism as a tool to grow American power on the global stage. Working with the State Department and the US Information Agency, Schuman and Hanson helped shape Cold War–created international cultural programs that placed a heavy emphasis on concert music and mandated the performance of American compositions. The chapter als
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Honisch, Stefan Sunandan. Moving Experiences. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.34.

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This essay asks how navigating the world without sight can influence musical interpretation and enable a blind performer to make music move in unfamiliar ways. A recording of Frédéric Chopin’s Prelude in B Minor Op. 28 No. 6 by the blind Hungarian pianist Imre Ungár (1909–1972) constitutes the focal point for an analysis guided simultaneously by Naomi Cumming’s (2000) conceptualization of “the performing self” (a musical identity that emerges through the performer’s ability to control the movement of notes) and by Joseph Straus’s (2011) conception of “mobility-inflected hearing” (musical unde
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Cook, Nicholas, Peter Johnson, and Hans Zender. Theory into practice. Leuven University Press, 2021. http://dx.doi.org/10.11116/9789461664327.

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'Theory into Practice. Composition, Performance and the Listening Experience' is the second publication in the series 'Collected Writings of the Orpheus Institute'. The series comprises articles concerning the activities of the Orpheus Institute. The centrale theme of this book is the relationship between the reflections about and the relization of a musical composition. In his paper Words about Music, or Analysis versus Performance, Nicholas Cook states that words and music can never be aligned exactly with one another. He embarks on a quest for models of the relationship between analytical c
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Bassler, Samantha. Madness and Music as (Dis)ability in Early Modern England. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.46.

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Although disability has long been a subject of premodern historical, cultural, and literary studies, musicologists have not thoroughly investigated conceptions of disability in early music. This essay is intended to enrich understanding of how disability operated in the culture of early modern England and argues for Disability Studies as a useful tool for illuminating aspects of early modern English culture that might otherwise go unnoticed within traditional cultural analysis. It uses disability as a departure point for a more nuanced understanding of premodern culture in England, centering o
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Marstal, Henrik. Urban Music and the Complex Identities of “New Nationals” in Scandinavia. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.18.

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This chapter contributes to the emerging literature on musicians of immigrant parentage in Scandinavia, analyzing significant moments in the careers of four artists: Adam Tensta in Sweden, Karpe Diem in Norway, and Natasja and Outlandish in Denmark. They have all confronted whiteness as a hegemonic dimension of national identity, with implications for racial coding of genres. Immigrant populations of color have gained a significant presence in African American genres and have advocated for transcultural or multicultural conceptions of nationhood. This chapter analyzes significant political mom
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Waltham-Smith, Naomi. Haydn’s Revolution. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.003.0002.

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This chapter rigorously revises the music-theoretical conception of convention from the standpoint of Derridean deconstruction. The mediation of personal expression and generic convention is shown to be a dialectic of the proper and the improper. Analyses of a number of Haydn’s quartets illustrate that the modes of listening they produce always entail a certain exappropriation. This reading suggests one way in which Haydn is an “event,” as Badiou has claimed: the music reveals listening’s intimate relation to belonging. It does so by manipulating the relation between musical material and its u
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Book chapters on the topic "Music conception analysis"

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Audissino, Emilio. "Recent Attempts to Bridge the Gap and Overcome a Separatist Conception." In Film/Music Analysis. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61693-3_3.

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Hare, John. "Kant, Aesthetic Judgement, and Beethoven." In Theology, Music, and Modernity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0003.

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This chapter explores Kant’s conception of the relation of the beautiful and the sublime to freedom and to moral theology. It then turns to Beethoven’s conception of the sublime, and illustrates this by an analysis of the slow movement of his early piano sonata Op. 2, No. 2, and an analysis of the first movement of the Eroica. The thesis of the chapter is that a Kantian ‘optimistic’ account of the sublime fits these pieces better than some other accounts of the sublime that the chapter describes, namely ‘the uncanny sublime’, ‘the authoritarian sublime’ and ‘the solipsistic sublime’. The chapter ends with a brief remark about the relation between Kantian freedom and the Christian faith.
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Chua, Daniel K. L. "Revolutionary Freedom." In Theology, Music, and Modernity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0002.

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This chapter explores the relation between style and agency inspired by the French Revolution in the formation of the heroic subject and its claims to freedom. In particular, it considers how this ‘stylized agency’ became a musical force or will through the music of Beethoven. A selective analysis and critique of the Eroica Symphony—the symbol of this new-found autonomy in the narrative of Western music history—teases out the ethical and theological ramifications of such freedom. The chapter closes by opening up the conception of freedom in Beethoven’s music to suggest that even in Symphony that calls itself ‘heroic’ there are alternative freedoms to be heard.
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Blum, Stephen. "Meter and Rhythm in the Sung Poetry of Iranian Khorasan." In Thought and Play in Musical Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.003.0004.

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The rhythmic theory developed by al-Fārābī remains relevant to the analysis of sung poetry in the contemporary Middle East, not least with respect to the question of how duration comes to be determined and the conception of verse as a constituent of melody (Arabic laḥn) in the fullest sense. This chapter reviews some of Fārābī’s concepts in relation to Christopher Hasty’s discussion of projective potential. Analysis of eight examples of sung verse in Persian and Khorasani Turkish focuses on coordination of tunes with rhythmic cycles associated with different types of poetic meter. I argue that the best analytical work on Persian traditional music, notably that of Dariush Talā’i, provides an excellent foundation for studies of Iran’s regional musics.
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"Silencing and Sounding the Voice in Transition-Era French Cinema." In Voicing the Cinema, edited by Hannah Lewis. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0003.

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This essay examines two contrasting aesthetics of the voice in early 1930s French cinema and the role that music played in each. Filmed theater, or théâtre filmé, emerged from the conception that sound cinema was primarily a recording medium. In French theatrical adaptations, the speaking voice took precedence over all other elements of the soundtrack. The author argues, however, that in théâtre filmé, speech takes on almost musical qualities, folding music and sound effects into the voice itself. Avant-garde filmmakers took a contrasting approach, rejecting the restriction of camera movement imposed by the theatrical model and hoping to recapture some of the visual freedom characteristic of silent cinema. These filmmakers told their stories with as little spoken dialogue as possible, incorporating music prominently into their soundtracks in order to silence the speaking voice. Though the intent may have been to strip the voice of its dominance within the soundtrack, these directors’ strategic denial of the voice often granted it a much greater significance. By examining early experiments with the voice on the soundtrack in the transition years—including those by Jean Renoir, René Clair, and Jean Grémillon—the author’s analysis expands the concept of “vococentrism,” as articulated by Michel Chion and David Neumeyer, to include different models of understanding the voice in cinema beyond those found in classical Hollywood and helps shed light on competing conceptions of the voice’s role in cinema before practices became codified.
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Nicholsen, Shierry Weber. "What kind of conscious activity is ‘listening to music’? A contribution from Theodor Adorno by way of psychoanalysis." In Music and Consciousness 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0013.

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This chapter elaborates Theodor Adorno’s notion of genuine music listening and the role of consciousness within it by analogy with the psychoanalytic conceptualization of listening in the analytic dialogue as described in Freud’s model of the free-association process. Crucial in both models of listening is the simultaneous restraining of conventional expectations and the reception of what is new in what is being heard. For both, listening is collaborative work (between patient and analyst, or between listener and the musical composition), engaging the interaction of consciousness and the unconscious by confronting resistances and bringing new meaning into conscious awareness. Implicit in Adorno’s conception of music listening, as part of his critical theory of society, is a socio-historical dimension: the collaboration between genuinely advanced music like that of the Second Viennese School and the individual engaged in genuine listening works against false consciousness to further an authentic subjecthood..
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Elafros, Athena. "Michie Mee." In Scattered Musics. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832368.003.0006.

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This chapter analyses the formation, maintenance, and transformation of the Caribbean diaspora in the formation of rap music in Toronto, Ontario, Canada. It discusses the marginalization of rap music and people of color within the music industry in Toronto. The author focuses especially on the way artists use rap music to challenge racist and racialized conceptions of Canadian identity and, at the same time, help redefine Canadian identity in ways that emphasize the importance of diasporic identities.
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Seibert, Christoph. "Situated approaches to musical experience." In Music and Consciousness 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0002.

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Informed by a review of recent attempts in cognitive science to overcome head-bound conceptions of the mind, this chapter investigates the contribution of ‘situated’ approaches to understanding music and consciousness, focusing on musical experience. It develops a systematic framework for discriminating between situated approaches, and based on this framework and an analysis of specific scenarios discusses the ways in which musical experience may be conceptualized as ‘situated’, elucidating the implications and explanatory potential of different approaches. Finally, there is a consideration of the framework’s value as a research tool for the analysis of situated aspects of musical practices. The aim is to advance an understanding of music and consciousness by contributing to conceptual clarity and by enriching the relationship between theoretical considerations and observation of musical practice.
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Wolf, Richard K. "“Rhythm,” “Beat,” and “Freedom” in South Asian Musical Traditions." In Thought and Play in Musical Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.003.0013.

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This chapter argues that a family of common rhythmic conceptions underlies many of the musical traditions of South Asia despite sometimes dramatic regional differences in language, culture, and religion. Two contrasting kinds of rhythmic representation are examined: one that objectifies through names and numbers, and one that points toward freedom and resists numeration. Evidence for the first is drawn from the analysis of ritual drumming in India and Pakistan as well as concepts and structures in the art music traditions of North and South India. The second concerns both drumming and the elastic rhythm of rāga ālāpana. Examination of a range of data turns many common conceptions of rhythm, beat, and freedom in South Asian music on their heads.
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Hickmott, Sarah. "From Parnassus to Bayreuth: Staging a Music which is Not One." In Music, Philosophy and Gender in Nancy, Lacoue-Labarthe, Badiou. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458313.003.0006.

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The final chapter brings together all three thinkers and demonstrates the way in which they all – albeit in different ways – inherit and deploy aspects of a Romantic and idealist conception of music. It considers their writings on Wagner in order to ascertain more clearly how their different positions play out over a shared question: to what extent is Wagner’s music fascist or anti-Semitic? Rather than seek to solve this problem, the chapter argues that their positions on this question relate to their a priori understanding of the relationship between music and philosophy, their broader political-philosophical commitments, and their characterization of what is ‘essentially’ musical. The chapter also draws on Irigaray’s work in order to show how both Nancy and Lacoue-Labarthe reinstate a gendered foundationalism (specifically the musical maternal-feminine which logically and chronologically precedes the symbolic, language, and culture) that is so at odds with their broader projects; by contrast, though Badiou never identifies music ‘itself’ with the feminine, the way in which he constructs ‘truth’ nonetheless rehabilitates a certain feminine exceptionalism alongside a pervasive misogyny in his work. The concluding analytic argues for multiply intersecting planes of mediation and a non-reductive approach to both music and gender that refuses to attribute a single essence to either.
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