Relevant bibliographies by topics / Music Musical criticism

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

Academic literature on the topic 'Music Musical criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Music Musical criticism"

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Swanwick, Keith. "Musical Criticism and Musical Development." British Journal of Music Education 8, no. 2 (1991): 139–48. http://dx.doi.org/10.1017/s026505170000824x.

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Musical criticism lies at the heart of music education. It is argued that there are five fundamental dimensions of musical criticism: control of sonorities; expressive characterisation; structural relationships; personal evaluation; historical and technical context. The first four of these – those directly concerned with response to a musical object or event – are the essential modes of criticism and these can be seen unfolding in the musical development of children. Following the publication in 1986 by Swanwick and Tillman of a musical development model, further research in Cyprus gives suppo
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Duchesneau, Michel. "French Music Criticism and Musicology at the Turn of the Twentieth Century: New Journals, New Networks." Nineteenth-Century Music Review 14, no. 1 (2017): 9–32. http://dx.doi.org/10.1017/s1479409816000264.

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This article examines the efforts of French musicologists to create a specialized journal at the turn of the twentieth century that would clearly associate music criticism and musicology. Using as case study a set of music journals, from La Revue d’histoire et de critique musicales to the Mercure musical and the Revue S.I.M. that followed, I establish the connections that brought together the nascent musicological milieu, the musical press and the artistic affinities among the principal actors in their attempt to create a new network of music critics guided by musicological exigencies. Jules C
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Swanwick, Keith. "Musical Criticism and Music Education." Revista Música 2, no. 2 (1991): 134. http://dx.doi.org/10.11606/rm.v2i2.55030.

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I am concerned here with the concept of musical analysis and its role in school and college education. My starting point is simply that musical analysis is the most important branch of musical criticism. By criticism I mean any discourse about music involving judgement or appraisal at any level. Critical statements that have analytical force must by definition say something about how a particular piece of music functions. All analysis is musical criticism but not all criticism is analysis. Analysis cannot be simply an expression of preference or a statement about the social or historical conte
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Herzog, Patricia. "Music Criticism and Musical Meaning." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 299. http://dx.doi.org/10.2307/431355.

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HERZOG, PATRICIA. "Music Criticism and Musical Meaning." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 299–312. http://dx.doi.org/10.1111/1540_6245.jaac53.3.0299.

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Julich-Warpakowski, Nina. "Motion Expressions in Music Criticism." arbeitstitel | Forum für Leipziger Promovierende 8, no. 1 (2020): 34. http://dx.doi.org/10.36258/arbeitstitel.v8i1.3310.

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Music is commonly and conventionally described in terms of motion: melodies fall and rise, and motifs may follow a harmonic path. The thesis explores the motivation of musical motion expressions in terms of conceptual metaphors (Lakoff & Johnson 1999). Specifically, it analyses whether musical motion expressions are based on the time is motion metaphor (Johnson & Larson 2003, Cox 2016). Furthermore, the thesis investigates whether musical motion expressions are perceived as low in metaphoricity because of their conventionality in music criticism, and because of a more general associati
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Gooley, Dana. "Hanslick and the Institution of Criticism." Journal of Musicology 28, no. 3 (2011): 289–324. http://dx.doi.org/10.1525/jm.2011.28.3.289.

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This article surveys Hanslick’s statements about the purpose and practice of criticism to argue that he viewed music criticism as a medium with the potential to effect political and social change, and not as a practical application of aesthetic principles. Hanslick took up the Enlightenment model of criticism—–which stressed the critic’s role in fostering the public’s independence of judgment through the exercise of reason—–and adapted it to the historical circumstances of post-1848 Vienna. The Enlightenment model had originated from an impetus to emancipate a civil public from top-down, absol
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Summers, Tim. "‘Sparks of Meaning’: Comics, Music and Alan Moore." Journal of the Royal Musical Association 140, no. 1 (2015): 121–62. http://dx.doi.org/10.1080/02690403.2015.1008865.

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ABSTRACTComics have become a significant part of modern popular culture. This article examines the ways in which music is involved with comics, and develops methods for analysing musical moments in comic books. The output of the writer Alan Moore (b. 1953) is used as the domain for examining music and comics. This popular author's works are notable for their sophisticated use of music and their interaction with wider musical culture. Using case studies from the comic books V for Vendetta (1982–9), Watchmen (1986–7) and the second and third volumes of The League of Extraordinary Gentlemen (2002
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Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.

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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other
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Kogler, Susanne. "Adorno as Critics – Mozart, Wagner and Strauss in the Light of the Aesthetic Theory." Musicological Annual 41, no. 1 (2005): 45–57. http://dx.doi.org/10.4312/mz.41.1.45-57.

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There is no doubt, that Adomo's critical monographs and essays on Wagner and Strauss, as well as the text on Sibelius, number among the most controversially discussed parts of his oeuvre. One important reason for this controversial reception is the fact that these writings combine philosophical and musical views. As far as the musicologists are concerned, the texts lack a detailed analytical perspective; from the philosophical point of view on the other hand, the deliberations are too much dominated by musical phenomena. This text, which was written for a lecture held at the Musicology Departm
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Dissertations / Theses on the topic "Music Musical criticism"

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LaFleur, Brandon Kyle. "Musical Colors| On Establishing a Methodology for Color Applications in Musical Analysis." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271870.

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<p>This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scr
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Carneiro, Albuquerque Liliana. "Mockumentaries and the music industry : between flattery and criticism." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/125712.

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This thesis discusses the relationship between mockumentaries and the music industry. Because this subject has yet to be studied in depth, the original contribution to knowledge is to further examine this relationship. To do so, a literature review documenting what has thus far been written about mockumentaries is provided. This audiovisual strategy is also contextualized within contemporary practices. In the next section, the music industry is discussed in broad terms. Firstly, the relationship between cinema and music is addressed. Then, music is depicted as a cultural phenomenon, with r
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Yeagley, David Anthony. "Franz Liszt's "Dante Sonata": The origins, the criticism, a selective musical analysis, and commentary." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186883.

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The earliest European Christian (Catholic) music was exclusively vocal. Western music's Renaissance (c.1400-1600) brought about independent instrumental music. However, the idea that religious sentiment could be expressed non-vocally, in non-liturgical contexts, on instruments not associated with religious circumstance, did not develop before Franz Liszt (1811-1886). Though Beethoven (1770-1827) wrote non-liturgical music regarded as "spiritual," (e.g., the late piano sonatas, the late string quartets), Liszt sought to articulate a category of music specifically religious, apart from vocal, li
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Dumitrescu, Theodor. "The early Tudor court and international musical relations /." Aldershot [u.a.] : Ashgate, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016142806&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Revised Thesis (doctoral)--University of Oxford, 2004.<br>Foreign cultural models at the English royal court -- International events and musical exchanges -- Building a foreign musical establishment at the early Tudor court -- Anglo-continental relations in music manuscripts -- English music theory and the international traditions. Includes bibliographical references (p. [297]-315) and index.
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Panyaniti, Rawin. "Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.

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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advanceme
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Begnaud, Edward M. C. "Musical Aesthetics: An Objective Approach to "Music Appreciation" for American Public Education." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500415/.

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The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is rec
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Leung, Tai-wai David, and 梁大偉. "Memory, aesthetics and musical quotation: four case studies in 20th century music." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39733919.

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Eales, Andrew Arnold. "An object-oriented toolkit for music notation." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1006473.

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This thesis investigates the design and implementation of an object-oriented toolkit for music notation. It considers whether object-oriented technology provides features that are desirable for representing music notation. The ability to sympathetically represent the conventions of music notation provides software tools that are flexible to use, and easily extended to represent less common features of music notation. The design and implementation of an object-oriented class hierarchy that captures the structural and semantic relationships of music notation symbols is described. Functions that
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Santos, Diogo Maia. "A reelaboração e a relação com a obra musical: uma reflexão sobre fidelidade, criatividade e crítica na prática de reelaboração musical." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13012016-102541/.

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A presente dissertação expõe uma investigação histórica, conceitual e filosófica a respeito da prática de reelaboração musical. O objetivo desse estudo é revelar diferentes perspectivas através das quais podemos tratar a obra musical nessa atividade. Procuramos discutir o equilíbrio entre a criatividade e a relação de fidelidade/autenticidade estabelecida com o original, considerando a personalidade do intérprete/reelaborador. Para tal, construímos um panorama histórico das práticas de reelaboração: transcrição, orquestração, redução, arranjo, adaptação e paráfrase, e as definimos segundo seus
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Books on the topic "Music Musical criticism"

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Henry, Pleasants, ed. Hanslick's music criticisms. Dover Publications, 1988.

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Savage, Roger W. H. Hermeneutics and music criticism. Routledge, 2009.

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Hermeneutics and music criticism. Routledge, 2010.

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Classical music criticism: With a chapter on reviewing ethnic music. Garland, 1996.

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Ferris, Jean. America's musical landscape. 6th ed. McGraw-Hill Higher Education, 2010.

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America's musical landscape. 6th ed. McGraw-Hill Higher Education, 2010.

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Moyer, Ann E. Musica scientia: Musical scholarship in the Italian Renaissance. Cornell University Press, 1992.

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Sárosi, Bálint. Folk music: Hungarian musical idiom. Corvina, 1986.

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Mariz, Vasco. Vida musical. Civilização Brasileira, 1997.

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El-Mallah, Issam. Arab music and musical notation. H. Schneider, 1997.

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Book chapters on the topic "Music Musical criticism"

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Hirshberg, Jehoash. "Criticism of Music and Music as Criticism in the Chantilly Codex." In Epitome musical. Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.em-eb.3.2664.

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Stallings-Ward, Judith. "Theory and Criticism." In Gerardo Diego’s Creation Myth of Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003016496-4.

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Lee, Jonathan Rhodes. "Theory and Criticism." In Film Music in the Sound Era. Routledge, 2020. http://dx.doi.org/10.4324/9781351190794-3.

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"FORMALIST AESTHETICS AND MUSICAL HERMENEUTICS." In Hermeneutics and Music Criticism. Routledge, 2009. http://dx.doi.org/10.4324/9780203875155-10.

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Churnside, Carrie. "Musical Discourse in Italy, 1500–1800." In The Cambridge History of Music Criticism. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.004.

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Moore, Rachel. "The Legacy of War: Conceptualising Wartime Musical Life in the Post-War Musical Press, 1919–1920." In Music Criticism in France, 1918–1939. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787442573.011.

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Kelly, Barbara L., and Christopher Moore. "Introduction: The Role of Criticism in Interwar Musical Culture." In Music Criticism in France, 1918–1939. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787442573.001.

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Tunbridge, Laura. "Constructing a Musical Nation: German-Language Criticism in the Nineteenth Century." In The Cambridge History of Music Criticism. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.010.

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Trottier, Danick. "Creating a Canon: émile Vuillermoz's Musiques d'aujourd'hui and French Musical Modernity." In Music Criticism in France, 1918–1939. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787442573.013.

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Francis, Kimberly. "A Woman's Critical Voice: Nadia Boulanger and Le Monde musical, 1919–1923." In Music Criticism in France, 1918–1939. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787442573.008.

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Conference papers on the topic "Music Musical criticism"

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Knoth, Ina. "Art Criticism and the Professional Perspective: The Functions of Analogies between Music and Painting in Charles Avison’s Essay on Musical Expression and William Hogarth’s Analysis of Beauty." In Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.118.

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Liang, Yao, and Hu Wang. "Sentiment Analysis of Music Criticism Based on Data Mining." In 2018 2nd International Conference on Education, Economics and Management Research (ICEEMR 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/iceemr-18.2018.84.

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Bebrišs, Rūdis. "Kas objektu padara par mākslas darbu, skaņu – par mūziku? Artūra Danto mākslas pasaules idejas kritika." In LU Studentu zinātniskā konference "Mundus et". LU Akadēmiskais apgāds, 2021. http://dx.doi.org/10.22364/lu.szk.2.rk.03.

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he article focuses on the critique of the definition of art by the American art philosopher Arthur Coleman Danto (1924–2013). This definition could be called the “missing link” in the understanding of art for people who do not understand why modern art is art, or openly criticize and abnegate it on the basis of such incomprehension. In Danto’s theory, one can point to three criteria that any object must meet in order to become an artwork – aboutness, embodiment and inclusion in the artworld, in other words, being in a social and historical relationship with all the art that exists to date.Howe
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Vikulova, Larissa G. "Music Critics Avoiding Conflicts: Take Five Or Why Stars Matter." In Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.03.14.

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You might also be interested in the extended bibliographies on the topic 'Music Musical criticism' for particular source types:
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