Relevant bibliographies by topics / Music in 1960s

Contents

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

Academic literature on the topic 'Music in 1960s'

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

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Journal articles on the topic "Music in 1960s"

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Decker, Todd. "Fancy Meeting You Here: Pioneers of the Concept Album." Daedalus 142, no. 4 (October 2013): 98–108. http://dx.doi.org/10.1162/daed_a_00233.

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The introduction of the long-playing record in 1948 was the most aesthetically significant technological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a first generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The first brought together performers unlikely to collaborate in the world of live music making. The second strategy featured well-known singers in songwriter-or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others.
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Booker, Vaughn. "“An Authentic Record of My Race”: Exploring the Popular Narratives of African American Religion in the Music of Duke Ellington." Religion and American Culture: A Journal of Interpretation 25, no. 1 (2015): 1–36. http://dx.doi.org/10.1525/rac.2015.25.1.1.

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AbstractEdward Kennedy “Duke” Ellington (1899–1974) emerged within the jazz profession as a prominent exponent of Harlem Renaissance racial uplift ideals about incorporating African American culture into artistic production. Formed in the early twentieth century's middle-class black Protestant culture but not a churchgoer in adulthood, Ellington conveyed a nostalgic appreciation of African American Christianity whenever hewrote music to chronicle African American history. This prominent jazz musician's religious nostalgia resulted in compositions that conveyed to a broader American audience a portrait of African American religiosity that was constantly “classical” and static—not quite primitive, but never appreciated as a modern aspect of black culture.This article examines several Ellington compositions from the late 1920s through the 1960s that exemplify his deployment of popular representations of African American religious belief and practice. Through the short filmBlack and Tanin the 1920s, the satirical popular song “Is That Religion?” in the 1930s, the long-form symphonic movementBlack, Brown and Beigein the 1940s, the lyricism of “Come Sunday” in the 1950s, and the dramatic prose of “My People” in the 1960s, Ellington attempted to capture a portrait of black religious practice without recognition of contemporaneous developments in black Protestant Christianity in the twentieth century's middle decades. Although existing Ellington scholarship has covered his “Sacred Concerts” in the 1960s and 1970s, this article engages themes and representations in Ellington's work prefiguring the religious jazz that became popular with white liberal Protestants in America and Europe. This discussion of religious narratives in Ellington's compositions affords an opportunity to reflect upon the (un)intended consequences of progressive, sympathetic cultural production, particularly on the part of prominent African American historical figures in their time. Moreover, this article attempts to locate the jazz profession as a critical site for the examination of racial and religious representation in African American religious history.
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GRAHAM, STEPHEN. "From Microphone to the Wire: Cultural change in 1970s and 1980s music writing." Twentieth-Century Music 16, no. 3 (April 30, 2019): 531–55. http://dx.doi.org/10.1017/s1478572218000336.

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AbstractIn this article I examine localized cultural change that nevertheless serves as an applied instance of broader change. Focusing mostly on British, white male musicians and music writers active in the improvised and experimental music scenes of the UK (and, to a lesser extent, United States and Europe) across the 1970s and early 1980s, I identify clear shifts in taste, attitude, and practice. These shifts arc across what Ben Piekut calls the ‘mixed avant-garde’ of the 1960s to what I describe as the ‘unpop avant-garde’ of the late 1970s and 1980s, in which influences from popular and non-Western music play more significant roles than before and liminal, quasi-popular practices such as noise are in the emergence. I trace the appearance of the unpop avant-garde through independent music publications from the period, most prominently Microphone, Musics, Collusion, Impetus, and Re/Search, using these published scene discourses as barometers of the musical atmosphere of the time.
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Dotson, James W., Deborah L. Ackerman, and Louis Jolyon West. "Ketamine Abuse." Journal of Drug Issues 25, no. 4 (October 1995): 751–57. http://dx.doi.org/10.1177/002204269502500407.

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Ketamine was developed in the 1960s and promoted as a dissociative anesthetic because of its ability to induce a lack of responsive awareness not only to pain but to the general environment. The subjective experiences of ketamine intoxication range from pleasant dreams to intensely visual or polysensual hallucinations. Occasionally a brief full-blown delirium occurs. Despite warnings about its abuse potential, ketamine eventually appeared on the streets in the early 1970s in the same way that phencyclidine (PCP) did in the 1960s. By the early 1980s various preparations of ketamine were available on the street with such names as Special K, 1980 acid, and Super C. In the 1990s the social-recreational use of ketamine reemerged in the context of a subcultural music phenomenon known as “acid house” music. Large-scale parties, usually called “raves,” combine acid house music and ketamine use. Ketamine abuse appears to be on the increase. Clinically significant consequences range from occasional flashbacks to delirious reactions, and every type of dissociative symptomology.
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FRITH, SIMON. "Remembrance of Things Past: Marxism and the Study of Popular Music." Twentieth-Century Music 16, no. 1 (February 2019): 141–55. http://dx.doi.org/10.1017/s1478572219000136.

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AbstractThis article considers the role of Marxism in the history of popular music studies. Its approach combines the sociology of knowledge with a personal memoir and its argument is that in becoming a field of scholarly interest popular music studies drew from both Marxist theoretical arguments about cultural ideology in the 1950s and 1960s and from rock writers’ arguments about the role of music in shaping socialist bohemianism in the 1960s and 1970s. To take popular music seriously academically meant taking it seriously politically. Once established as an academic subject, however, popular music studies were absorbed into both established music departments and vocational, commercial music courses. Marxist ideas and ideologues were largely irrelevant to the subsequent development of popular music studies as a scholarly field.
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Searby, Mike. "Ligeti the Postmodernist?" Tempo, no. 199 (January 1997): 9–15. http://dx.doi.org/10.1017/s0040298200005544.

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The stylistic changes in György Ligeti's music since 1960 have in some ways mirrored those in the wider contemporary music world. In his music of the 1960s he displays an experimental and systematic approach to the exploration of sound matter which can also be seen in the contemporaneous music of composers such as Xenakis, Penderecki and Stockhausen. In the 1970s his music shows a more eclectic approach, particularly the opera Le Grand Macabre (1974–7) in which there is much plundering of past styles – such as allusions to Monteverdi, Rossini, and Verdi. From this work onward there would appear to be a complete break from the approach in his works on the 1960s.
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Burke, Harry. "Marching backwards into the future: the introduction of the English creative music movement in state secondary schools in Victoria, Australia." British Journal of Music Education 31, no. 1 (September 2, 2013): 41–54. http://dx.doi.org/10.1017/s0265051713000235.

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In 1910, Victoria established an elite form of state secondary education that remained essentially unchanged until the introduction of a progressive curriculum during the late 1960s. This radical and voluntary curriculum introduced child-centred learning and personal development skills to state secondary schools. Many state secondary music teachers took advantage of the reform and introduced the English creative music movement (Rainbow, 1989). As music teachers were unfamiliar with progressive education they would require extensive retraining. Continual disruption to state secondary education during the 1970s, together with the lack of expertise in progressive music education in the Victorian Education Department led to music teachers being given little assistance in developing strategies for teaching creative music. No rationale was developed for creative music education until the late 1980s. As research in music education was in its infancy in Australia during the late 1960s, teachers had little understanding of the difficulties faced by many creative music teachers in England in regard to students developing traditional skills, for example music notation and performance-based skills. Dissatisfaction with progressive education led to the introduction of standards-based education in 1995. Progressive educational theories were no longer considered an important goal. Similar to the late 1960s Victorian education reforms, music teachers received little assistance from the Victorian Education Department. The introduction of standards-based Arts education has seriously reduced the teaching of classroom music throughout the state, leaving many classroom music programmes in a perilous position that is analogous to state music education before the introduction of progressive education in the late 1960s.
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Stratton, Jon. "Coming to the fore: the audibility of women's sexual pleasure in popular music and the sexual revolution." Popular Music 33, no. 1 (January 2014): 109–28. http://dx.doi.org/10.1017/s026114301300055x.

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AbstractThis paper examines the genre of tracks centred around the mid-1960s to the mid-1970s which include aural representations of female sexual pleasure. The two most important tracks, and the ones on which this paper focuses, are Jane Birkin and Serge Gainsbourg ‘Je t'aime … moi non plus’ and Donna Summer ‘Love To Love You Baby’. The paper argues that this new audibility of female sexual pleasure related to the transformation in the understanding of female orgasm associated with Alfred Kinsey and with William Masters and Virginia Johnson, the American sexologists who radically changed Western understandings of sexual behaviour in the 1950s and 1960s. More broadly, the paper argues for a link between the so-called sexual revolution of the late 1960s and 1970s and the popularity of tracks in which sounds identified as female sexual pleasure were upfront in the musical mix.
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Thibeault, Matthew D. "Learning With Sound Recordings: A History of Suzuki’s Mediated Pedagogy." Journal of Research in Music Education 66, no. 1 (February 7, 2018): 6–30. http://dx.doi.org/10.1177/0022429418756879.

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This article presents a history of mediated pedagogy in the Suzuki Method, the first widespread approach to learning an instrument in which sound recordings were central. Media are conceptualized as socially constituted: philosophical ideas, pedagogic practices, and cultural values that together form a contingent and changing technological network. Suzuki’s early experiments in the 1930s and 1940s established central ideas: the importance of repetition in learning, the recording as teacher, a place for mothers in assisting learning, and the teachability of talent. Suzuki also refined approaches to learning through specialized modes of listening as he examined tens of thousands of student graduation tapes. During the 1960s, Kendall published the first translation of the method in the United States, and his correspondence with Suzuki along with writings for teachers provide a window into evolving pedagogic practices. The method’s mediated pedagogy changed radically in the 1970s as cassette tapes allowed students to be easily recorded for the first time. The article also considers cultural values and the contingency of media through the vastly different acceptance of recordings in the Japanese and US contexts, including efforts by Kendall during the 1980s to eliminate Suzuki’s controversial practice of advanced recitals played to recorded accompaniment.
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Suetin, Ilya N. "Realization of the Right to Education in Music Universities of the Volga Region in the 1950s - 1960s: Problems and Solutions." Volga Region Pedagogical Search 2, no. 36 (2021): 21–31. http://dx.doi.org/10.33065/2307-1052-2021-2-36-21-31.

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. In the Russian Federation a number of problems still remain unresolved in the field of realizing the rights of citizens to education. Progressive changes in this area can be promoted with the study of the experience of previous generations and its further implementation into practice. The purpose of this work is to determine the effectiveness of the mechanism for the implementation of the right to education in the music universities of the Volga region in the 1950s - 1960s. The objectives of the research are to analyze the relevant for the 1950s - 1960s regulatory legal acts in the field of national education in general and music vocational education in particular; to study published and unpublished materials containing information about the features of the educational process in higher educational institutions of the Volga region in the 1950s - 1960s; to identify problems in the sphere of realizing the right to education that existed in the region’s music universities in the 1950s - 1960s and the ways to solve them. The source base of the study includes published materials (regulatory legal acts, collections of documents, scientific works) and materials from central, regional and republican archives (State Archives of the Russian Federation; State Archives of the Saratov Region; Central Archives of the Nizhny Novgorod Region, National Archives of the Republic of Tatarstan). The work used scientific methods typical for historical and legal research: formal legal, comparative legal, historical genetic and comparative historical. The study showed that in the 1950s - 1960s, the students’ right to education was realized at a high level in the music universities of the Volga region. The study of published sources and archival documents made it possible to reveal the degree of effectiveness of the mechanism for the realization of the right to education in music higher educational institutions of the region in the 1950s - 1960s. The results of the study can serve as a basis for further study of the mentioned problem in domestic music educational institutions and serve to improve the system of professional music education in the Volga region at the present stage, taking into account historical experience.
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Dissertations / Theses on the topic "Music in 1960s"

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Ziefel, Jenny. "A living instrument : the clarinet in jazz in the 1950s and 1960s /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11284.

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Thesis (D. Mus. Arts)--University of Washington, 2002.
Vita. Includes transcript of interview, vita and discography of Bill Smith (leaves 257-286). Includes bibliographical references (leaves 240-256).
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Breen, Edward George. "The performance practice of David Munrow and the early music consort of London : medieval music in the 1960s and 1970s." Thesis, King's College London (University of London), 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646010.

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Breen, Edward George. "The performance practice of David Munrow and the early music consort of London : medieval music in the 1960s and 1970s." Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/the-performance-practice-of-david-munrow-and-the-early-music-consort-of-london(6153a225-144d-4664-96c4-125cd150f535).html.

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This thesis focuses on the musical contribution of David Munrow and his Early Music Consort of London (EMC) to the so-called early music revival of the 1960s and 1970s. By exploring the notion of shared cultural space in performances of medieval music by leading ensembles of the time, this thesis seeks to isolate aspects of performance practice unique to the EMC. An assessment of literary sources documenting the early music revival reveals clear nodes of discussion around Munrow’s methods of presenting early music in concert performance which are frequently classified as ‘showmanship’ with a focus on more scholarly performance practice decisions only evident in the post-Munrow period. Close readings of these sources are undertaken which are, in turn, weighed against Munrow’s early biography to map out the web of influences contributing to his musical life. Having established David Munrow’s intentions in performance, this thesis uses techniques of performance analysis to question whether he and the EMC achieved such stated aims in performance, and identifies how different approaches are made manifest in recordings by other ensembles. The findings, which seek to marry sonic analysis with reception history, are interpreted in the light of the New Cultural History of Music and reposition David Munrow, often seen as a showman who evangelized early music, as a musician who profoundly influenced the modern aesthetics and surface details of performance for subsequent generations of early musicians.
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Michaelsen, Garrett. "Analyzing musical interaction in jazz improvisations of the 1960s." Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3599217.

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Collaborative practices of music making abound in jazz improvisation. Nearly every jazz performance involves the coordination of numerous individuals in a dynamic group environment. Many music-theoretical approaches to jazz improvisation have emphasized the individual contributions of the improvising soloist; this emphasis tends to reinforce the widespread view of jazz as a soloist's art. To shift attention to collective dimensions of jazz improvisation, I propose an approach to group improvisation that takes interaction and exchange as crucial components of music making.

In the first chapter of part I, I examine previous analytical approaches in both the “psychological” (individual-centered) and “sociological” (group-centered) traditions, then develop a new theory of musical interaction in jazz improvisation in chapter 2. I construe interaction as the process by which one player intervenes in the unfolding performance of another. Their processes of “intervention” produce projections of musical continuations in the subsequent musical content or character of the other performers. An analyst may interpret the utterances of individual musicians as converging (projecting similar continuations) or diverging (projecting dissimilar continuations). Throughout the dissertation, I offer and analyze transcriptions of music taken from the decade of the 1960s, a decade in which interaction came even more to the fore due to the eclectic and vibrant combination of styles in jazz performance.

In part II of the dissertation, I extend the conception of interaction from the moment-based and player-to-player influenced level discussed in chapter 2 to three expanded “domains” of interactional activity: musical referents, roles, and styles of jazz practice. Chapter 3 introduces these domains and the Miles Davis quintet's influential recording Live at the Plugged Nickel, from which I draw the majority of musical examples in part II. Chapter 4 examines the influence pre-improvisational referents, such as tunes, arrangements, and prior performances, have on the performative actions of musicians. Musical roles (horns, bassist, drummer, and pianist) and functions (soloing, comping, and keeping time) and their impacts on musicians' utterances are the focus of chapter 5. To conclude part II, chapter 6 explores the real-time demands of jazz style, particularly its fundamental uncertainty about the music's future state and the ways in which style can motivate interactional dimensions of improvisation.

Part III of the dissertation introduces a method for analyzing entire performances using this theory of musical interaction. Chapter 7 focuses on an intriguing piano-trio recording Money Jungle by Duke Ellington, an infamous album for the at-times-prickly relationships it exhibits between Ellington and his bandmates Charles Mingus and Max Roach. I analyze transcriptions of two complete performances on the record, “Fleurette Africaine” for its predominantly convergent impulses, and “Money Jungle” for its divergent trajectories. In both analyses, I “improvisationally” shift between different musical aspects and interactional domains in order to fashion an analytical narrative of their interactional projections and resultant outcomes.

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Ketema, Raymok. "ERITREAN SOUNDS OF RESISTANCE: A HISTORICAL, POLITICAL, and MUSICAL ANALYSIS ON THE REVOLUTIONARY WAR, 1960s to 1990s." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524148034538656.

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Adelt, Ulrich. "Black, white and blue racial politics of blues music in the 1960s /." Diss., University of Iowa, 2007. http://ir.uiowa.edu/etd/128.

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Johan, Adil Bin. "Articulating a nation-in-the-making : the cosmopolitan aesthetics of Malay film music from the 1950s to 1960s." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/articulating-a-nationinthemaking(b536d96b-536c-466e-831c-7ce8feb64738).html.

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This thesis provides an in-depth study of the ‘Golden Age of Malay Film’ (1950s to 1960s) by analysing the musical practices and discourses of commercially-produced vernacular Malay films. In exploring the potency of such films and music, it uncovers the relevance of screened music in articulating the complexities and paradoxes of a cosmopolitan Malay identity within the context of mid twentieth-century capitalism, late British colonialism and Malaysian and Singaporean independence. Essentially, I argue that the film music produced during this period articulates a cosmopolitan aesthetic of postcolonial nation-making based on a conception of Malay ethnonationalism that was initially fluid, but eventually became homogenised as national culture. Drawing theoretically on how cosmopolitan practices are constituted within discursive and structural contexts, this thesis analyses how Malay film music covertly expressed radical ideas despite being produced within a commercial film industry. While non-Malay collaborators owned and produced such films that were subject to British censorship, Malay composers such as P. Ramlee and Zubir Said helmed the musical authorship of such films; thereby, enabling an expressive space for their Malaynationalist aspirations. Methodologically, the study unravels the complexities and paradoxes of emergent nation-making through an intertextual analysis of Malay film music; drawing on film narratives, musical and historiographical analysis, literature surveys, and ethnographic fieldwork. I argue that Malay film music from the independence-era could not be confined by rigid ethno-national boundaries when its very aesthetic foundations were pluralistic and contemporaneous with the history of constant change, exchange, interactivity and diversity in the Malay world. This thesis reveals that despite the forced homogeneity of Malay nationalism, Malay film music from the independence-era challenged a limited conception of ethno-national identity. The aspiring and inspiring cosmopolitan ‘frameworks’ of P. Ramlee’s and Zubir Said’s music reverberates in new interpretations of identity, independence, and musical expression in the Malay world.
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Thomas, Helen Christina. "Disturbing times : metaphors of temporality in avant-garde music of the 1960s." Thesis, Lancaster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632545.

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Attili, Maurizio. "A Panoramic View of the Italian Beat Movement." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1289323378.

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Dauterive, Jessica A. "Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing an Identity of South Louisiana, 1960s-1970s." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2138.

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In South Louisiana in the late 1950s, Ville Platte native Floyd Soileau joined a network of independent recording companies across the United States that provided an opportunity for local entrepreneurs and artists to profit from the global music industry. This paper analyzes the album covers of Floyd Soileau’s Cajun recording label, Swallow Records, during the 1960s-1970s. This period overlaps with a movement to subvert a negative regional identity among Louisiana Cajuns that is often referred to as the Cajun revival. Through a consideration of album covers as objects of business strategy and creative expression, as well as oral histories with individuals who worked with Swallow Records, this paper argues that Floyd Soileau shaped the perception of Cajun music and people through the channels of the global music industry. On the album covers of Swallow Records, Floyd Soileau marketed a Cajun identity that was rural, white, masculine, and French-speaking, and became an accidental facilitator of the social and political goals of leaders in the Cajun revival.
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Books on the topic "Music in 1960s"

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1945-, Brakefield Jay F., ed. The Dallas music scene, 1920s-1960s. Charleston, South Carolina: Arcadia Publishing, 2014.

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The Chicago music scene: 1960s and 1970s. Charleston, SC: Arcadia Pub., 2009.

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Milano, Dean. The Chicago music scene: 1960s and 1970s. Charleston, SC: Arcadia Pub., 2009.

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Brunning, Bob. 1960s pop. New York: P. Bedrick Books, 1999.

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American popular song lyricists oral histories, 1920s-1960s. Jefferson, N.C: McFarland & Co., 2012.

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Sounds of rebellion: Music in the 1960s. New York: Britannica Educational Pub. in association with Rosen Educational Services, 2013.

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White bicycles: Making music in the 1960s. London: Serpent's Tail, 2006.

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Kaleidoscope eyes: Psychedelic rock from the 1960s to the 1990s. London: Fourth Estate, 1996.

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Augustin, Paul. Just for the love of it: Popular music in Penang, 1930s-1960s. Petaling Jaya, Malaysia: Strategic Information and Research Development Centre, 2015.

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Harris, Bob. Motor City rock and roll: The 1960s and 1970s. Charleston, SC: Arcadia Pub., 2008.

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Book chapters on the topic "Music in 1960s"

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Pattie, David. "The 1960s." In Rock Music in Performance, 59–80. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230593305_4.

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Fabbri, Franco. "Binaurality, Stereophony, and Popular Music in the 1960s and 1970s." In Popular Music Studies Today, 103–10. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_11.

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Williams, J. B. "Pop Music: Youth Culture in the 1950s and 1960s." In The Electronics Revolution, 81–86. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49088-5_9.

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Siegfried, Detlef. "Music and Protest in 1960s Europe." In 1968 in Europe, 57–70. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611900_6.

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Ashbourn, Julian. "Why Recordings Sound Worse Now Than They Did in the 1950s and 1960s." In Audio Technology, Music, and Media, 107–9. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62429-3_23.

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Tranmer, Jeremy. "The radical left and popular music in the 1960s." In Preserving the Sixties, 90–104. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137374103_6.

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Stilwell, Robynn J. "Manifest Destiny, the Space Race, and 1960s Television 1." In The Routledge Companion to Screen Music and Sound, 176–89. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-15.

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Stokes, Jane. "Pop and the Box: Youth, Television, Music and Movies in the 1950s and 1960s." In On Screen Rivals, 111–30. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27796-4_7.

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Papazova, Julijana. "Yugoslav Music Diplomacy in the 1960s and 1970s — the Cases of Esma Redžepova and the Band Magnifico." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 229–39. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch14.

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Papazova, Julijana. "Yugoslav Music Diplomacy in the 1960s and 1970s — the Cases of Esma Redžepova and the Band Magnifico." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 229–39. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch14.

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Conference papers on the topic "Music in 1960s"

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Lehnert, Sigrun. "Music and Voice in German Newsreels of the 1950s/1960s." In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.15.

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Zhurkova, Daria. "Music vs. Politics: the Image of Russia in the Songs by British Pop Singers of the 1960s and 2010s." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.170.

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Opekar, Aleš. "The Matadors: A difficult approach to songwriting for a Czech rock group of the 1960s." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.43.

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Uimonen, Heikki. "My first compact cassette: Home taping and music consumption in 1970s Finland." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.33.

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Pasdzierny, Matthias. "How much is the glitch? Das digitale Paradigma als Herausforderung und Chance für die historische Musikwissenschaft." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.104.

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Musicology has long since been established as central part of the so-called Digital Humanities. For many areas of music culture as a whole, digitization is considered the central paradigm of our time. But what exactly does this mean, and is it not unusual for technical and cultural developments to be thrown through and into each other? In literary studies as well as in cultural and contemporary history, a critical discussion has already begun on the multiple narratives and projections about „(post)digitality“, which are particularly common in science itself. Against this background, the article pleads for taking digitality seriously as an object of investigation in historical musicology (and possibly also in the history of musicology) and for initiating a corresponding field of research. For example, what promises and debates about loss associated with digitality can be observed within music culture at different times and in different contexts, but also what sources could provide information about this. The introduction of the CD in the 1980s and the emergence of the EDM sub-genre Glitch in the mid-1990s serve as starting examples for such a critical-historical view of and on digitality.
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Liu, Di. "The First Wave: Chinese Film Music in the 1930s." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.125.

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Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.

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The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.
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Петренко, Татьяна. "ЭСТЕТИКА Б. БАРТОКА И ЕЕ ЗНАЧЕНИЕ ДЛЯ КОМПОЗИТОРСКОЙ ШКОЛЫ УЗБЕКИСТАНА." In Proceedings of the XXIX International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25052021/7566.

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The ingenious Hungarian composer-innovator B. Bartok in his work solved the super task – the creation of a national musical art based on the active interaction of composer creativity and folk music. This is consistent with the goals of young national composer schools. That is why the work of B. Bartok has such a great influence. In the Central Asian region, interest in the work of the composer appeared in the 1970-1980s. Bartok’s influence is observed in two main aspects – the level of ideas and the use of specific techniques. Moreover, it is especially valuable that Uzbek composers rethink Bartok's innovations in a national spirit.
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