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Journal articles on the topic 'Music Musical criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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9

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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10

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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McManus, Laurie. "Feminist Revolutionary Music Criticism and Wagner Reception." 19th-Century Music 37, no. 3 (2014): 161–87. http://dx.doi.org/10.1525/ncm.2014.37.3.161.

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Abstract Histories of progressive musical politics in mid-nineteenth-century Germany often center on the writings of Richard Wagner and Franz Brendel, relegating contributors such as the feminist and author Louise Otto (1819–95) to the periphery. However, Otto's lifelong engagement with music, including her two librettos, two essay collections on the arts, and numerous articles and feuilletons, demonstrates how one contemporary woman considered the progressive movements in music and in women's rights to be interrelated. A staunch advocate of Wagner, Otto contributed to numerous music journals,

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CAPLAN, LUCY. "“Strange What Cosmopolites Music Makes of Us”: Classical Music, the Black Press, and Nora Douglas Holt's Black Feminist Audiotopia." Journal of the Society for American Music 14, no. 3 (2020): 308–36. http://dx.doi.org/10.1017/s1752196320000218.

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AbstractThis article examines the music criticism of Nora Douglas Holt, an African American woman who wrote a classical music column for the Chicago Defender (1917–1923) and published a monthly magazine, Music and Poetry (1921–1922). I make two claims regarding the force and impact of Holt's ideas. First, by writing about classical music in the black press, Holt advanced a model of embodied listening that rejected racist attempts to keep African Americans out of the concert hall and embraced a communal approach to knowledge production. Second, Holt was a black feminist intellectual who refuted

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13

Kramer, Lawrence. "Dangerous Liaisons: The Literary Text in Musical Criticism." 19th-Century Music 13, no. 2 (1989): 159–67. http://dx.doi.org/10.2307/746653.

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Kramer, Lawrence. "Dangerous Liaisons: The Literary Text in Musical Criticism." 19th-Century Music 13, no. 2 (1989): 159–67. http://dx.doi.org/10.1525/ncm.1989.13.2.02a00050.

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FRY, KATHERINE. "Elaboration, Counterpoint, Transgression: Music and the Role of the Aesthetic in the Criticism of Edward W. Said." Paragraph 31, no. 3 (2008): 265–80. http://dx.doi.org/10.3366/e0264833408000278.

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This article examines the role of the aesthetic in the criticism of Edward Said through a reading of two lesser-explored texts, Musical Elaborations (1991) and On Late Style (2006). It explores how, by drawing upon ideas from Gramsci and Adorno, Said advocates a convergence of social and aesthetic approaches to musical analysis and criticism. Although critical of some of the tensions arising from Said's varying perspectives on music and society, the article suggests that we can nonetheless detect a distinctive ideology of the aesthetic in Said's writings on music. It argues that Said's ideas o

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Lalonde, Amanda. "Flowers over the Abyss: A Musical Uncanny in Nineteenth-Century Criticism." 19th-Century Music 41, no. 2 (2017): 95–120. http://dx.doi.org/10.1525/ncm.2017.41.2.95.

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The term unheimlich (uncanny) comes into usage in German music criticism in the nineteenth century and is often used to describe instrumental music, particularly sections of works featuring the ombra topic. While the idea that instrumental music can be uncanny regardless of text or program is not novel, this work differs from most existing scholarship on the musical uncanny in that it presents a possible precursor to the twentieth-century psychoanalytic uncanny. Instead, it examines Schelling's definition of the uncanny in the larger context of his ideas in order to form a basis for theorizing

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17

Alessandri, Elena, Dawn Rose, Olivier Senn, Katrin Szamatulski, Antonio Baldassarre, and Victoria Jane Williamson. "Consumers on Critique: A Survey of Classical Music Listeners’ Engagement with Professional Music Reviews." Music & Science 3 (January 1, 2020): 205920432093133. http://dx.doi.org/10.1177/2059204320931337.

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Music criticism has a long tradition as a leading agent in the classical music discourse. However, some people question its function in the contemporary music market. We explored the topicality of classical music critique by asking: Who reads professional reviews today? And what do readers expect from review? Through an online survey (English/German), we profiled the listening habits of classical music listeners ( N = 1200) and their engagement with professional reviews. Our participants were more actively engaged with music, but contrary to the ‘highbrow’ stereotype, not more highly musically

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18

Laferrière, Carolyn. "Painting with Music." Greek and Roman Musical Studies 8, no. 1 (2020): 63–90. http://dx.doi.org/10.1163/22129758-12341362.

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Abstract When Apollo is depicted playing his lyre, the representation of his active musical performance suggests a sonic element in the viewer’s perception of the image. In this paper, I examine how Apollo’s music and its effect upon his audience are communicated in late Archaic Athenian vase-painting. I draw attention to three musical terms, namely ῥυθµός, συµµετρία, and ἁρµονία, which were defined around the same time that the images were created. These concepts were also used for art criticism, encouraging a comparison between art and music. Working between these musical terms and the visua

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BRACKETT, DAVID. "Improvisation and Value in Rock, 1966." Journal of the Society for American Music 14, no. 2 (2020): 197–232. http://dx.doi.org/10.1017/s1752196320000073.

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AbstractThe mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white

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Condit-Schultz, Nathaniel. "Deconstructing the nPVI." Music Perception 36, no. 3 (2019): 300–313. http://dx.doi.org/10.1525/mp.2019.36.3.300.

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The normalized pairwise variability index (nPVI) is a measure originally used to compare the rhythms of languages. Patel and Daniele (2003a) introduced the nPVI to music research and it has since been used in a number of studies. In this paper, I present a methodological criticism of the nPVI as applied to music. I discuss the known qualitative features of the nPVI and illustrate the nPVI's fundamental features and assumptions through its application to a number of musical datasets. My principle criticism regards the application of a linear average (the nPVI) to categorical data (rhythmic nota

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21

Popa, Florinela. "Aspects of Nationalist Propaganda in the Late Nineteenth-Century Romanian Musical Press." Nineteenth-Century Music Review 14, no. 3 (2017): 339–65. http://dx.doi.org/10.1017/s1479409817000155.

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In the last decades of the nineteenth century, two widely different attitudes regarding local music were evident in the Romanian musical press. One viewpoint had an obviously nationalist character, and was manifested in an apologetic idealization of Romanian music – especially folklore – but also in calls for the improvement of composition and performance in the local music scene. The other attitude revealed a pronounced inferiority complex connected to everything that contemporary Romanian music represented. This was manifested especially in the (sometimes harsh) criticism of Romanian musical

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22

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

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

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23

Eatock, Colin. "Classical Music Criticism at the Globe and Mail: 1936-2000." Canadian University Music Review 24, no. 2 (2013): 8–28. http://dx.doi.org/10.7202/1014580ar.

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This article is a study of developments in classical music criticism at the Toronto-based Globe and Mail newspaper from its inception in 1936 to the year 2000. Three distinct time-periods are identified, according to content, style and ideology: 1936-1952, a period of boosterism, when critics often saw it as their role to support Toronto's musicians and musical institutions; 1952-1987, when (during the lengthy tenure of critic John Kraglund) the newspaper took a more detached, non-partisan stance towards musicians and musical activities in the city; and 1987-2000, when critics began to address

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Krueger, Joel. "Musical Manipulations and the Emotionally Extended Mind." Empirical Musicology Review 9, no. 3-4 (2015): 208. http://dx.doi.org/10.18061/emr.v9i3-4.4496.

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I respond to Kersten&rsquo;s criticism in his article &ldquo;Music and Cognitive Extension&rdquo; of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate&mdash;and in so doing, integrate with&mdash;music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten&rsquo;s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.

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Camargo, Luciano de Freitas. "Shostakovich’s Topics." Per Musi, no. 40 (June 14, 2021): 1–14. http://dx.doi.org/10.35699/2317-6377.2020.24661.

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The study of musical signification constitutes an important key for the comprehension of Shostakovich’s music. This becomes particularly evident when one observes that social and political background plays an important role in his compositional process through the configuration of specific musical topics on structural positions of his music. These specific topics have arisen after cultural and social events during the establishment of the Soviet Union and became typical elements of the Soviet Music. This paper aims to show the function of these elements as compositional roots in the creative c

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Lamb, Roberta. "The Possibilities of/for Feminist Music Criticism in Music Education." British Journal of Music Education 10, no. 3 (1993): 169–80. http://dx.doi.org/10.1017/s0265051700001728.

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The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. F

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Bodley, Lorraine Byrne. "In Pursuit of a Single Flame? On Schubert’s Settings of Goethe’s Poems." Nineteenth-Century Music Review 13, no. 1 (2016): 11–33. http://dx.doi.org/10.1017/s147940981500049x.

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Much musicological and historicist criticism has tended to ‘flatten’ Goethe by confining him to the thought-clichés of his time, and this in turn has led to an implicitly patronizing view of him as musically conservative. This article will show how Goethe proves again and again to be more musically intelligent and perceptive than scholars have given him credit for. Certain musicological questions engross the poet throughout his life: the nature of major and minor tonalities; musical identity throughout the ages; music and text; the rhetoric of attentive listening; musical language and its capa

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

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

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Dudhale, Khaleda. "MUSIC AND MUSIC AND PSYCHOLOGY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3438.

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Music is a branch of psychology and musicology that aims to understand and explain musical behavior and musical experiences. At the same time, understanding how music is composed and how it reacts and how individuals adopt it in daily life.The psychology of morden music analyzes man's involvement with systemic observation. Its many areas are research and experimentation with execution (chamatvitundam) composition, education, criticism, medicine, etc. Music psychology helps in understanding social behavior by human intelligence, skill and functionality. संगीत मनोविज्ञान एवं संगीत शास्त्र

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

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

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Sunarto, Sunarto. "Pemikiran Hanslick tentang Estetika dan Kritik Musik." PROMUSIKA 3, no. 2 (2015): 163–73. http://dx.doi.org/10.24821/promusika.v3i2.1702.

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Approaching the mid‐19th century began the aesthetics of music, especially Western music aesthetics as an independent science apart from philosophy. In the development of musical aesthetics are always closely related between philosophy and the philosopher. Discussion on the aesthetics of music can not be separated from some of the theories that have been developed by philosophers. Eduard Hanslick is a figure in the history of musical aesthetics of music included in ʺGroup Autonomisʺ. This group believes that music is a world of sounds organized and stand alone without any. For him and the grou

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COX, GORDON, and STEPHANIE PITTS. "Editorial." British Journal of Music Education 23, no. 2 (2006): 133–34. http://dx.doi.org/10.1017/s0265051706006991.

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The extent to which musical learning takes place beyond the school curriculum presents a challenge to music teachers, requiring them to frame their classroom activities within the broader context of their students' diverse musical interests and experiences. At times, young people's self-directed musical education has been held up as a criticism of institutional approaches: the often-quoted comment from the 1963 Newsom Report that ‘out of school, adolescents are enthusiastically engaged in musical self-education’ was contrasted at the time with the view that classroom music was becoming increas

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Scott, J. P. E. "Elgar's Invention of the Human: Falstaff, Opus 68." 19th-Century Music 28, no. 3 (2005): 230–53. http://dx.doi.org/10.1525/ncm.2005.28.3.230.

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Falstaff, Elgar's tragic symphonic study, is at once program music, a minor piece of Shakespearean criticism, early modernist tonal and structural experiment, and a cynical musical commentary on humankind's "failings and sorrows." A satisfactory analysis of the work calls for a discussion of the program, the Shakespearean literary criticism that Elgar based his interpretation on and cited in his own published analysis of the work, and a structural analysis that can make sense both of a variety of generic implications (sonata, rondo, and multimovement deformations) as well as the complex associ

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PARK, JINHONG. "Exploration into Application Fields of Musical Criticism in Music Education Curriculum." Korean Society of Music Education Technology, no. 37 (October 16, 2018): 117–33. http://dx.doi.org/10.30832/jmes.2018.37.117.

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Kourbana, Stella. "The Birth of Music Criticism in Greece: The Case of the Historian Konstantinos Paparrigopoulos." Nineteenth-Century Music Review 8, no. 1 (2011): 85–100. http://dx.doi.org/10.1017/s1479409811000073.

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The birth of music criticism in Greece is connected with the creation of the Greek state and the consequent reception of opera in Athens, its capital. In the newly formed Greek society, opera was not only considered as a cultural fact, but also as the principal symbol of the European lifestyle, which stood as a model for the new citizens of the European community. The young Konstantinos Paparrigopoulos, before becoming the principal founder of the Greek nationalist historiography, published a number of music reviews on the opera performances in Athens in 1840, eager to contribute to the musica

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

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

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Busch, Regina. "On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (I)." Tempo, no. 154 (September 1985): 2–10. http://dx.doi.org/10.1017/s0040298200021434.

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‘His Own Attempts at Explanation, just like his compositional work, lend themselves to misunderstanding’. This opinion dominates Webern literature now as in the past, though naturally not always in this formulation of Dohl's. Sometimes we read of contradictions, of imprecisions; errors of fact or of mental processes can be ‘demonstrated’; and, depending on the particular author's field of interest and study, these are treated with indulgence or gentle annoyance, with indignation or knowing dismissal. Who could expect of a composer—a composer, moreover, like Webern: naive, at times culpably nai

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Babak, Evgenia A. "V. V. Stasov, A. N. Serov: Historical Milestones on the Way to Musical Enlightenment." Musical Art and Education 8, no. 1 (2020): 149–63. http://dx.doi.org/10.31862/2309-1428-2020-8-1-149-163.

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The article is devoted to the complex path of two prominent representatives of Russian musical culture of the XIX century – V. V. Stasov and A. N. Serov – to understanding music enlightenment as a necessary criterion for the development of national musical art and music education among the broad national masses. The characteristic of the original musical environment in the Imperial School of Jurisprudence is given, which contributes to the disclosure of musical abilities of pupils and stimulates their needs in communicating with music. Special attention is paid to the correspondence of Vladimi

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Lett, Jacob. "Divine Roominess: Spatial and Music Analogies in Hans Urs von Balthasar and Robert Jenson." Pro Ecclesia: A Journal of Catholic and Evangelical Theology 28, no. 3 (2019): 267–77. http://dx.doi.org/10.1177/1063851219846681.

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Hans Urs von Balthasar and Robert Jenson both spatialize God by depicting the triune life as “roomy”. Theologians have employed spatial analogies readily since the inception of the “trinitarian revival” of the 20th century. In recent days, however, theologians have begun critiquing divine spatial imagery. In particular, the spatialized grammar of Balthasar’s trinitarian theology has attracted criticism. In this article, I review Balthasar’s divine spatial analogies and show how “bodily” readings of them have provoked criticism. I then repair Balthasar by applying Jenson’s musical rendition of

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Coombes, Timothy F. "The Nursery as Circus: Dancing the Childlike to Fauré's Dolly Suite, 1913." Journal of the Royal Musical Association 142, no. 2 (2017): 277–325. http://dx.doi.org/10.1080/02690403.2017.1361174.

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ABSTRACTIn 1913, at the Théâtre des Arts in Paris, a controversial but highly successful ballet choreographed a circus-style pantomime to the music of Fauré's Dolly Suite. With its apparently incongruent relation of dance to music, the ballet displayed, as one reviewer put it, ‘criticisms in action’. This article investigates how we might conceive the production as an act of musical and cultural criticism, by examining its close relation with contexts such as early comic film, music-hall entertainment, the children's literature market, medical and anthropological theories, and surrealist thoug

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Joubert, Estelle. "Maria Antonia of Saxony and the Emergence of Music Analysis in Opera Criticism." Cambridge Opera Journal 25, no. 1 (2013): 37–73. http://dx.doi.org/10.1017/s0954586712000341.

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AbstractThe Enlightenment witnessed the rise of a public whose role as sovereign arbiter of operatic taste irreversibly changed the processes by which fame and renown were bestowed upon composers. The public sphere – a conceptual space in which texts (including music) were disseminated and debated – emerged as an expansive intellectual forum in which composers, performers and works could be evaluated. In spite of opera's long-standing association with fame and renown, its role in the processes leading to ascriptions of musical value and fame in the Enlightenment public sphere is a significant

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CEBALLOS, SARA GROSS. "FRANÇOIS COUPERIN,MORALISTE?" Eighteenth Century Music 11, no. 1 (2014): 79–110. http://dx.doi.org/10.1017/s1478570613000389.

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ABSTRACTAt the turn of the eighteenth century Jean de La Bruyère and many contemporary authors in diverse literary genres undertook intense studies of character that moved beyond popular portraiture to level moral critiques of the social dissimulation rampant in the era. The literary works from François Couperin's personal library and his musical character studies suggest that he too was intrigued with moral issues surrounding character. While musicologists have suggested connections between the character pieces of Couperin and the character studies of La Bruyère, existing comparisons between

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Fahnøe, Preben. "Music Education in Teacher Training in Denmark." British Journal of Music Education 4, no. 3 (1987): 259–62. http://dx.doi.org/10.1017/s0265051700006100.

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From time to time the standard and content of musical education in Danish Teacher Training Colleges has been the subject of strong criticism. It has been argued that the courses are out of date; that they should be modernised, and that the quality of instruction should be improved. Yet the criticism is often imprecise – possibly because those who make it are not themselves sufficiently well-informed about the details of the existing courses and the problems faced by those who have to teach and administer them. The author, a very experienced musician, author of numerous music-education publicat

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Taylor, Benedict. "Sullivan, Scott andIvanhoe: Constructing Historical Time and National Identity in Victorian Opera." Nineteenth-Century Music Review 9, no. 2 (2012): 295–321. http://dx.doi.org/10.1017/s1479409812000316.

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Arthur Sullivan's Walter Scott-based operaIvanhoe, despite attaining great success at its 1891 premiere, has since quickly fallen from musicological grace. Substantive criticism of this work in the twentieth century has concentrated on the static, tableau-like dramaturgy of the opera, a lack of dramatic coherence, and its undeniably conservative musical language. Taking its bearings from such criticisms this paper explores Sullivan's problematicmagnum opusfrom the perspective of its relationship with time, understood from multiple levels – his opera's musical-dramaturgical, historical, and mus

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Vasic, Aleksandar. "Two views on the Yugoslav ideology in Serbian music periodicals between the two world wars." Muzikologija, no. 17 (2014): 155–66. http://dx.doi.org/10.2298/muz1417155v.

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This study explores the relationship between the Yugoslav ideology as exhibited in Serbian music magazines published between the two world wars. These are the following journals: Music (1928-1929), Bulletin of the Music Society ?Stankovic? (1928-1934, 1938-1941; in January 1931 it was renamed The Musical Gazette), The Sound (1932-1936), Herald of the South Slavic Choral Union (1935-1936, 1938), Slavic music (1939-1941) and Review of Music (1940). I have excluded the magazine Musical Gazette (1922) from consideration because I have already discussed its ideological aspects in an earlier article

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Cvejić, Žarko. "From men to machines and back: Automata and the reception of virtuosity in European instrumental art music, c.1815-c.1850." New Sound, no. 48-2 (2016): 65–80. http://dx.doi.org/10.5937/newso1648065c.

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In most histories of Western music, the 1830s and 40s are typically described as "the age/era of virtuosity and/or virtuosi". Indeed, major contemporary sources, including leading musical journals of the time, teem with reports on the latest exploits of Liszt and his rivals and in much of this body of criticism, piano and violin virtuosi were commonly celebrated for pushing the limits of humanly conceivable excellence in musical performance. However, a significant number of these critical responses were also negative, critiquing individual virtuosi for playing not like humans, but like automat

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

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

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Modini, Francesca. "The Cyclops’ Revenge." Greek and Roman Musical Studies 7, no. 1 (2019): 51–69. http://dx.doi.org/10.1163/22129758-12341334.

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Abstract Taking issue with the Gorgias and its dismissal of fifth-century Athenian rhetoricians and statesmen, in his Reply to Plato in Defence of the Four (Or. 3) the imperial sophist Aelius Aristides finds himself dealing with Plato’s condemnation of New Music, which in the Gorgias had gone hand in hand with the censure of rhetoric. In a brilliant display of new musical ‘revisionism’ so far ignored by scholars, Aristides presents in a positive light the notorious new dithyrambist Philoxenus of Cythera, so that Plato’s influential criticism of New Music, and especially of its political implic

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Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 1 (2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.

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Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the person

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Duţică, Luminiţa. "3. Quo Vadis the Contemporary Music Criticism? (The First International Workshop of Journalism in Kalv, Sweden. Reflection, Orientation, Persuasion)." Review of Artistic Education 19, no. 1 (2020): 17–20. http://dx.doi.org/10.2478/rae-2020-0003.

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AbstractAnnually, in Kalv is organized one of Sweden’s most innovative festivals for Contemporary Music. For the first time, on 8-11 August 2019 took place a workshop in Music Journalism field. In this study we intend to show working methods used in Western Journalism and the impact of current music on the cultural level Kalv’s rural population. Together with the mentor Andreas Engström from Berlin, we attended concerts, seminars, we interviewed more artists and musicians across the globe, also we wrote different texts, essays and chronicles for publication. To conclude, organising a Musical J

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