Relevant bibliographies by topics / Musical canon

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

Academic literature on the topic 'Musical canon'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Musical canon"

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Dowd∗, Timothy J., Kathleen Liddle, Kim Lupo, and Anne Borden. "Organizing the musical canon." Poetics 30, no. 1-2 (May 2002): 35–61. http://dx.doi.org/10.1016/s0304-422x(02)00007-4.

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Yankus, Alla I. "J.S. Bach’s Canons BWV 1087: More on Musical Emblematics." Contemporary Musicology, no. 1 (2022): 78–104. http://dx.doi.org/10.56620/2587-9731-2022-1-078-104.

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The article focuses on 14 canons by J.S. Bach, BWV 1087, written by the composer in the printed copy of the Clavierübung IV (Goldberg Variations) under the title Various Сanons on the First Eight Foundation Notes of the Preceding Aria. The article compares this cycle with the canons from the Goldberg Variations. In particular, it explores the information accompanying the canons. Every third Goldberg Variation is called Canon. This first group of canons is marked by an imitative sequential form of variation with a completely open and fixed musical text. The second group of Fourteen Canons is marked by specific encryption. Here, the notation does not contain the complete melodic material: the melodic material given is the foundation for the full text of the composition to be derived by means of, inter alia, titles and a set of signs that serve as a guide to their reading. Each of the 14 encrypted canons features an eight-sound soggetto as an initial construction of the bass melody from the Goldberg Variations theme, the Aria. As a canon-forming voice on the whole, in part or as a cantus firmus, an eight-sound theme is the audible and visible basis of all the canons in question. Due to its brevity and constructive isolation, the theme is perceived entirely and at once. The analysis of the encrypted canons BWV 1087 revealed parallels to the three constituent parts of an emblem: the word (a motto) is the soggetto, the image is the musical text of the canon as a voluminous and polysemantic entity subject to decoding, and, finally, a signature that allows you to “read the depicted”. The latter, in case of the canons, implies hearing the decrypted whole and understanding the accompanying signs and explanations.
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Galán Montemayor, Carmen Fernández, and Karen Arantxa Padilla Medina. "EMBLEMAS MUSICALES: CANON Y RESONANCIA." Laboratorio de Arte, no. 35 (2023): 43–56. http://dx.doi.org/10.12795/la.2023.i35.02.

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La emblemática como tipo textual híbrido articula múltiples códigos visuales y escritos en una estructura tripartita establecida en Alciato. En este trabajo se presenta la teorización de un cuarto código que se integra al género tradicional: la música, y que se manifestó en la alquimia y en los libros de facistol. La emblemática musical eleva el funcionamiento de la redundancia y el doble anclaje semántico con la idea de resonancia. El canon como forma cíclica en un contexto ritual y pedagógico confiere al libro de facistol más de una función. Para explicar los itinerarios de lectura se toma el ejemplo de Juan del Vado en su obra para Carlos II.
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Lorraine, Renee Cox, and Marcia J. Citron. "Gender and the Musical Canon." Notes 51, no. 2 (December 1994): 550. http://dx.doi.org/10.2307/898861.

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Howard, Patricia, and Marcia Citron. "Gender and the Musical Canon." Musical Times 135, no. 1811 (January 1994): 36. http://dx.doi.org/10.2307/1002831.

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Weber, William. "The Intellectual Origins of Musical Canon in Eighteenth-Century England." Journal of the American Musicological Society 47, no. 3 (1994): 488–520. http://dx.doi.org/10.2307/3128800.

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A canon of old musical works first appeared in public performance in eighteenth-century England. Its intellectual origins can be traced to a new mode of empirical musical thinking that focused upon musical practice rather than philosophical or scientific theory. Canonic judgments and repertories developed as a source of authority within this intellectual framework. While developments either in canonic thinking or in repertories of old works appeared in many European countries during the eighteenth century, only in England did both aspects develop significantly in the period. Although a general reconstitution of canons was taking place within the arts at the time, the changes that came about in musical culture took their own particular direction.
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Slim, H. Colin. "Dosso Dossi's Allegory at Florence about Music." Journal of the American Musicological Society 43, no. 1 (1990): 43–98. http://dx.doi.org/10.2307/831406.

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An examination of a dozen paintings and several woodcuts by the Ferrarese artist Dosso Dossi (ca. 1490-1542) suggests that he belongs to the select company of other doubly gifted painters of the sixteenth century who were also musicians. The evidence rests on the accuracy of Dosso's depictions of musical instruments, his knowledge of their symbolism, and above all, from his inclusion of two canons, one circular and the other triangular, in a painting (ca. 1524-1534) once at the Este castle in Ferrara, and now in the Museo Horne, Florence. Whereas the composer of the former canon remains unknown, that of the latter is Josquin Desprez. The work is Josquin's celebrated proportional canon from the Agnus Dei of his Mass, L'homme armé super voces musicales. Musical aspects of Dosso's complex allegory reside not only in the relationships of the two canons on the right side of the picture to three hammers belonging to a blacksmith on the left side, but also in the tablets of stone on which the canons are inscribed. A brief notice of the changing relationships between music and painting at this period sets the stage for a more thorough examination of statements by Leonardo da Vinci concerning both arts, statements that help provide a conceptual framework for Dosso's allegory of music.
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Citron, Marcia J. "Gender, Professionalism and the Musical Canon." Journal of Musicology 8, no. 1 (January 1, 1990): 102–17. http://dx.doi.org/10.2307/763525.

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Citron, Marcia J. "Gender, Professionalism and the Musical Canon." Journal of Musicology 8, no. 1 (January 1990): 102–17. http://dx.doi.org/10.1525/jm.1990.8.1.03a00050.

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Weber, William. "The Eighteenth-Century Origins of the Musical Canon." Journal of the Royal Musical Association 114, no. 1 (1989): 6–17. http://dx.doi.org/10.1093/jrma/114.1.6.

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Joseph Kerman has suggested a distinction crucial in defining the meaning of ‘canon’ in musical culture: repertory, he argues, was simply the performance of old works; canon, by contrast, is their reverence on a critical plane and in a literary context. The distinction is a fertile one, for it challenges us to define when works were not just offered by convention, but when they functioned as models for musical taste critically and aesthetically. The distinction can be extremely fruitful in tracing the early history of the canon – its origins in repertory and gradual evolution into its modern form. What I would like to show here is how repertories grew up originally without true status as canon; before canon there was repertory, and that is where the whole tradition began. In inquiring just where the modern practice of performing old music regularly came about we can look into some of the most fundamental social and intellectual bases upon which the tradition was established.
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Dissertations / Theses on the topic "Musical canon"

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Hanlon, Ann-Marie. "Satie and the French musical canon : a reception study." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2124.

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Satie was the first French composer to completely reject the musical tradition of Romanticism in all its forms: technically, aesthetically and ideologically. The methods through which Satie attacked tradition were highly unorthodox and often presented in an aphoristic and humorous fashion, an approach that caused his pivotal role in the emergence of the early French avant-garde to be neglected. The primary research question that informs this thesis asks what were the mechanisms by which Satie was consistently excluded from the canon during his public career (1911-1925)? Within a primary framework of canon theory, this reception study challenges the dominance of the canon on discourses surrounding Satie during his lifetime and lays the foundations for a reassessment of his role as an avatar of French modernism. This study addresses the canon in explicit terms and challenges canonic influence over methodology, terminology and ideology in musical discourse. In doing so many traditional beliefs and images concerning Satie are re-examined, for example: that analyses of his music are a futile pursuit as the musical ideas were considered more important than the music itself. The historicity of various images of Satie that collectively formed his public identity in the press are examined and, where necessary, re-evaluated. Through an analysis of a wide range of primary sources, including concert programmes and critical reviews, this research addresses the themes that predominate in Satie’s reception and impacted significantly on his reputation: professionalism, humour, gender, nationalism, class politics and religion. Particular attention is given to the role of humour and various methods are suggested for directly dealing with the comic in Satie’s music. The canonic implications of programming practices and Satie’s involvement in inter-art events are also explored. Through a direct confrontation of the canon, an alternative historiographic model for this period of French musical history is proposed.
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Eisner, Sagüés Federico Ernesto. "Alturas de Machu Picchu como hecho musical : estilos, canon y lugar en la musicalización del poema como lectura crítica." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/130619.

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Magíster en artes, mención musicología
Este proyecto de investigación nace del interés por comprender ahondar y aportar a una de las dimensiones de la música que más me apasiona y ocupa; su relación con la palabra y en especial con la poesía. Interés en principio vago que nace de mi práctica musical y literaria, sobre todo inclinada a la experimentación sonora, a la improvisación musical-poética y a la composición y arreglo de canciones.
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Iafelice, Carlos Henrique Cascarelli. "O conceito das protoformas do cânone : aspectos históricos, terminológicos e processos composicionais no século XVI /." São Paulo, 2015. http://hdl.handle.net/11449/134238.

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Orientador: Marcos Pupo Nogueira
Banca: Mônica Lucas
Banca: Vitor Gabriel
Resumo: Fundamentado a partir de três eixos do conhecimento da polifonia (teórico, prático e especulativo), este trabalho apresenta o 'conceito das protoformas do cânone', que consiste em cinco matrizes ou formas-base que sintetizam as variadas manifestações do cânone durante os séculos XIII ao XVI. Para a fundamentação da pesquisa, são considerados primariamente aspectos relacionados à periodicidade motívica em tratados e exemplos musicais do séc. XIII, limitando-se à compreensão do termo como apresentado nos tratados práticos do séc. XVI, propiciando assim, materiais e indícios que apontam as variadas etapas do desenvolvimento e realização do cânone. Ao longo da exposição do estudo, uma série de comentários de excertos diretamente ligados às fontes primárias são apresentados, resultando em uma contribuição teórica às questões terminológicas e conceituais concernentes à sua história
Abstract: Based from three axes of polyphony's knowledge (theoretical, practical and speculative), this work presents the 'concept of the canon's protoforms', which consists of five matrices or formsbased synthesizing the varied manifestations of the canon during the 13th-16th centuries. In order to support the research, they are considered primarily aspects related to motivic periodicity in treatises and musical examples in 13th century, being limited on understanding of the term as presented in practical treatises in 16th-century, thus providing materials and evidences that link the various stages of development and realization of the canon. Throughout the study's exposition, a series of excerpts and comments directly related to the primary sources are presented, resulting in a theoretical contribution to the terminological and conceptual issues concerning they history
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Rizek, João Gabriel 1987. "Tradição e ruptura : Pierre Boulez e a formação do cânone no pós-guerra (1946-1954) /." São Paulo, 2014. http://hdl.handle.net/11449/111025.

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Orientador: Lia Vera Tomás
Banca: Mario Videira
Banca: Maurício Funcia de Bonis
Resumo: Dentro do âmbito artístico, os conceitos de cânone e tradição são basilares. São eles os responsáveis por orientar e restringir desde a prática até a concepção daquilo que tomamos por música clássica. Seus mecanismos moldam a prática e transformam a teoria. A partir do exame destes conceitos, tal como entendidos por uma seleção de abordagens advindas da musicologia, da filosofia e da teoria literária, investigaremos nesta dissertação como se formou um determinado cânone. Trata-se daquele pensado pelos compositores surgidos no pós-guerra europeu, sobretudo nos anos de 1946 a 1954. Encabeçados por Pierre Boulez, instituições musicais e compositores, publicações editoriais e programas de orquestra pareciam apontar apenas para um tipo de música: a música serial. Analisaremos aqui como Boulez a defendeu e mobilizou forças para que ela se tornasse a poética mais comentada e praticada nos anos seguintes à Segunda Guerra. Para tanto, analisaremos sobremaneira os textos contidos na sua coletânea de ensaiosApontamentos de Aprendiz. Como veremos, longe de ser uma postura arbitrária, a tentativa de manipulação do cânone levada a cabo por uma série de atores torna-se uma medida política, praticada por aqueles que possuem concepções e determinações do que a música, sua prática e o seu entendimento devem ser.
Abstract: The concepts of Canon and Tradition are of the most importance inside the artistic debate. Not only they shape our understanding of what music should be but also what we take as being classical music. Their mechanisms help us shape practices and transform what we take as being theories. Through the investigation of the canon's mechanisms, as exemplified by several notions ranging from musicology, philosophy and literary criticism, we will investigate in this dissertation how one particular canon took shape. It has to do with the music being created and played in the Post-war period, that is, serialism. Far from being the only music composed in those years, Pierre Boulez, among several musical institutions and publications, took every measure to guarantee its power among all the other artistic languages. We will analyze here how Boulez defended that music, being responsible for the dimension it has achieved in those years. In order to do that we will investigate more accurately Boulez's essays collected in Stocktakings from an Apprenticeship. As we will see, far from being an arbitrary solution, the manipulation of the canon has political implications, responsible for what governs our ways of understanding and practicing music.
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Dvorin-Spross, Miriam. "Tune, tot and kin : constructing music praxis in a humanities course for undergraduate nonmusic majors /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11405.

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Bach, Judit. "A tale of two piano trios Fanny and Felix Mendelssohn's Piano trios in D minor (op. 11, Op. 49); and how a woman composer's work should relate to the canon /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117648285.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 136 p.; also includes graphics Includes bibliographical references (p. 131-136). Available online via OhioLINK's ETD Center
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Calderon, Sabla Cristina. "El canon de compositoras de música académica de la generación del 50 en Lima, Perú." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/16861.

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Rizek, João Gabriel [UNESP]. "Tradição e ruptura: Pierre Boulez e a formação do cânone no pós-guerra (1946-1954)." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/111025.

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Dentro do âmbito artístico, os conceitos de cânone e tradição são basilares. São eles os responsáveis por orientar e restringir desde a prática até a concepção daquilo que tomamos por música clássica. Seus mecanismos moldam a prática e transformam a teoria. A partir do exame destes conceitos, tal como entendidos por uma seleção de abordagens advindas da musicologia, da filosofia e da teoria literária, investigaremos nesta dissertação como se formou um determinado cânone. Trata-se daquele pensado pelos compositores surgidos no pós-guerra europeu, sobretudo nos anos de 1946 a 1954. Encabeçados por Pierre Boulez, instituições musicais e compositores, publicações editoriais e programas de orquestra pareciam apontar apenas para um tipo de música: a música serial. Analisaremos aqui como Boulez a defendeu e mobilizou forças para que ela se tornasse a poética mais comentada e praticada nos anos seguintes à Segunda Guerra. Para tanto, analisaremos sobremaneira os textos contidos na sua coletânea de ensaiosApontamentos de Aprendiz. Como veremos, longe de ser uma postura arbitrária, a tentativa de manipulação do cânone levada a cabo por uma série de atores torna-se uma medida política, praticada por aqueles que possuem concepções e determinações do que a música, sua prática e o seu entendimento devem ser.
The concepts of Canon and Tradition are of the most importance inside the artistic debate. Not only they shape our understanding of what music should be but also what we take as being classical music. Their mechanisms help us shape practices and transform what we take as being theories. Through the investigation of the canon’s mechanisms, as exemplified by several notions ranging from musicology, philosophy and literary criticism, we will investigate in this dissertation how one particular canon took shape. It has to do with the music being created and played in the Post-war period, that is, serialism. Far from being the only music composed in those years, Pierre Boulez, among several musical institutions and publications, took every measure to guarantee its power among all the other artistic languages. We will analyze here how Boulez defended that music, being responsible for the dimension it has achieved in those years. In order to do that we will investigate more accurately Boulez’s essays collected in Stocktakings from an Apprenticeship. As we will see, far from being an arbitrary solution, the manipulation of the canon has political implications, responsible for what governs our ways of understanding and practicing music.
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Gampel, Alan. "Les indications musicales dans l’Orient chrétien du VIe au IXe siècle : l’apport des papyrus." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040160.

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Les trois parties de cette thèse forment une unité pour défendre l’hypothèse de la présence de signes musicaux dans la transmission d’hymnes chrétiennes liturgiques durant la deuxième moitié du premier millénaire, ce qui ferait remonter de plusieurs siècles la naissance de la notation musicale chrétienne, ordinairement située au IXe siècle. Dans une première partie, la présentation d’un corpus papyrologique démontre l’existence de trois genres d’indications musicales écrites, les hirmoi utilisés, dès le VIe siècle, comme strophes-modèles dans le canon poétique, les modes de l’octoechos et des signes interlinéaires non identifiés. Dans une deuxième partie, la tradition manuscrite des hirmologia datés du Xe au XIIIe siècle, en grec et en d’autres langues liturgiques, a été rassemblée et étudiée afin d’y retrouver les hirmoi identifiés dans les papyrus et d’en reconstituer les mélodies. Enfin, dans une troisième partie, ces mélodies et leurs notations neumatiques ont été superposées au schéma rythmique des hirmoi et les signes non identifiés y ont été positionnés. Cette suite de présentations de corpus et de comparaisons sémiologiques et musicologiques a préparé l’analyse et les propositions d’interprétation des signes jusqu’alors non-identifiés
The three parts of this doctoral dissertation combine to support the hypothesis that musical signs were used in the transmission of Christian hymns during the 5th – 10th centuries. In the first part, a papyrological corpus provides evidence of three types of musical indications: hirmoi, which were used as musical models for liturgical canon strophes, modal signs from the octoechos system and un-identified interlinear symbols. In the second part, several hirmoi identified in the papyri are located in hirmologia from the 10th – 13th centuries – liturgical books containing paleo-byzantine and medio-byzantine musical notations. The different versions of the melodies are compared and then transcribed into modern notation. In the final part, the strophe texts and unidentified symbols from the papyri are superimposed on the musical transcriptions in order to analyze and interpret the functions of the symbols
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Shintani, Joyce. "Gendertronics : toward a "lecture féminine" of emerging musical technologies and their aesthetics : gerhard Stäbler, Terre Thaemlitz, Miss Kittin." Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST0256.

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Depuis les années 80, le développement rapide des nouvelles technologies microélectroniques a donné naissance à une nouvelle génération d’oeuvres d’art musicales. Souvent, ces oeuvres profitent d’une approche analytique provenant de la théorie des médias. En même temps, de nouveaux courants dans la philosophie ainsi que dans les études culturelles ont engendré une nouvelle notion de genre (anglais : gender), qui vient s’établir dans la musicologie anglo-américaine et, de manière plus conscrite, dans la musicologie allemande ; jusqu’ici, elle ne s’établit guère dans la musicologie française. Cette thèse entreprend une investigation théorique d’oeuvres d’art électroniques, tout en utilisant la notion de gender : gender + electronic = gendertronics. Pour cette investigation, des notions sont employées dérivant de la lecture féminine : une approche pluridisciplinaire associée à l’écriture féminine d’Hélène Cixous (* 1937), écrivain et théoricienne poststructuraliste. Puisque ni la lecture féminine ni la théorie des médias ne prend en compte des éléments musicaux, cette investigation incorpore également des aspects de l’analyse musicale. Trois artistes sont considérées : Gerhard Stäbler (*1943), Terre Thaemlitz (*1968) et Miss Kittin (*1973). L’investigation trace le développement des notions de « sujet » et de « matériau musical » depuis la théorie poststructuraliste et la musique contemporaine jusqu’à des notions philosophiques émergentes du « corps ». Une considération particulière est le genre musical electronica, repérant ses antécédents dans la musique électronique expérimentale en Europe du vingtième siècle et dans les musiques populaires de danse aux Etats-Unis dans les années 80 et 90. L’investigation cherche à joindre les recherches récentes dans ces domaines. Elle ouvre de nouvelles pistes et propose des nouveaux outils pour explorer plus profondément le domaine émergent des gendertronics
Since the 1980s, rapid development of new micro-electronic technologies has spawned a new generation of musical art works employing electronic means. These artworks are often theoretically approached using media theory. Contemporaneously, new developments in philosophy and in cultural studies have given rise to the new notion of gender, which has since found its way into Anglo-American musicological and, to a more limited degree, into German musicology, though not at all into French. The present work undertakes a gendered theoretical investigation of electronic art works – gender + electronics = ‘gendertronics’. For the investigation, notions stemming from lecture féminine are employed, a pluralistic reading approach associated with écriture féminine of the poststructuralist theorist/writer Hélène Cixous (born 1937). Since neither lecture féminine nor abovementioned media theory takes musical elements into account, this investigation also draws on music analysis. Aspects of the works of three artists are considered: Gerhard Stäbler (born 1943), Terre Thaemlitz (born 1968), and DJ Miss Kittin (born 1973). The investigation traces the development of the topics ‘Subject’ and ‘musical material’ from poststructuralist and New Music theory of the 20th century to emerging new philosophical notions of the body. Particular attention is given to the development of the musical genre ‘electronica’, tracing its antecedents from European experimental electronic music of the 20th century and from American popular dance music of the 80s and 90s; subgenres treated include rave, glitch, clicks-and-cuts, electroclash, techno, electro, ambient, and house. The investigation complements recent research addressing lacunae in these areas and offers new paths and tools for future investigation in the emerging area of gendertronics
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Books on the topic "Musical canon"

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Castillo, Yorisel Andino. Discursos transgresores: Rupturas en el canon musical cubano. Santiago de Cuba: Ediciones Santiago, 2015.

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Wuidar, Laurence. Canons énigmes et hiéroglyphes musicaux dans l'Italie du 17e siècle. Bruxelles: P.I.E.-Peter Lang, 2008.

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Taneev, Sergeĭ Ivanovich. Die Lehre vom Kanon. Berlin: E. Kuhn, 1994.

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Böss, Reinhard. Die Kunst des Rätselkanons im Musikalischen Opfer. Wilhelmshaven: F. Noetzel, 1991.

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Boykan, Martin. The power of the moment: Essays on the Western music canon. Hillsdale, NY: Pendragon Press, 2011.

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Boykan, Martin. The power of the moment: Essays on the Western music canon. Hillsdale, NY: Pendragon Press, 2011.

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1554-1638, Bevin Elway ca, and Collins Denis 1965-, eds. A briefe and short instruction of the art of musicke. Aldershot, England: Ashgate, 2007.

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Plakhov, I︠U︡ N. Khudozhestvennyĭ kanon v sisteme professionalʹnoĭ vostochnoĭ monodii: Na materiale instrumentalʹnoĭ muzyki narodov Sredneĭ Azii. Tashkent: Fan, 1988.

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Wuidar, Laurence. Canons énigmes et hiéroglyphes musicaux dans l'Italie du 17e siècle. Bruxelles: P.I.E.-Peter Lang, 2008.

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Wuidar, Laurence. Canons énigmes et hiéroglyphes musicaux dans l'Italie du 17e siècle. Bruxelles: P.I.E.-Peter Lang, 2008.

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Book chapters on the topic "Musical canon"

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Schnettler, Paulina Andrade. "Canon, Gender, Power." In Musikalische Schrift und Gender, 135–56. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839470220-007.

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Paulina Andrade Schnettler explores in this essay what Vera, Sánchez and Mora describe as a "patriarchal musical institutionality" (2020, p. 61), emerged in Chile between the late 1920s and the 1940s. In response to this scenario, Chilean women composers resorted to what I understand as different mechanisms and strategies of authorship and self-representation. These strategies do not reveal a decided intention to enter the Chilean canon or to take part in its construction, but rather to leave a record of one's own creation and one's authorial identity by alternative means, several of them emerged through musical writing itself.
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Wolf, Stacy, Masi Asare, Rob Berman, Randall Eng, Eric M. Glover, David Savran, Georgia Stitt, Brandon Webster, and Sarah Whitfield. "What Do We Do with the Musical Theatre Canon?" In Troubling Traditions, 201–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003031413-14.

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Lundskaer-Nielsen, Miranda. "Staging the Canon: British Directors and Classic American Musicals." In Directors and the New Musical Drama, 121–40. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_9.

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Cox Jensen, Oskar. "8. ‘The Arethusa’: Slip Songs and the Mainstream Canon." In Cheap Print and Street Literature of the Long Eighteenth Century, 195–218. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0347.08.

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In the realm of cheap print, eighteenth-century musical culture was dominated by the slip song. In this chapter, the song ‘The Arethusa’ acts as a case study of this broader culture and is used to examine issues of authorship, performance, distribution, and consumption. It is argued that, although materially inextricable from the ‘cheap’ world of the street and the ballad printer, the slip as a format allowed songs to move easily between disparate social and geographical spheres. More broadly, the slip is conceived as being at the heart of a burgeoning musical mainstream, fuelled by the creativity of a loose ‘canon’ of middlebrow songwriters, primarily British in origin but in debt to Continental influences, whose compositions came to be ubiquitous across British society by means of the theatres, street printers, and singers – and an inveterate culture of piracy.
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Chelouche, Noga Rachel. "13. Futuring Classical Music through Contemporary Visual Art." In Classical Music Futures, 253–76. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.13.

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This chapter focuses on the alternative performance of classical compositions created in the works of the renowned contemporary artist Anri Sala (b. 1974). A visual artist, Sala uses music as a central element in his films, installations, and performances. He manipulates the music according to different artistic ideas, thus creating unconventional performances. Through his works, Sala enables different perspectives and new contexts which lead classical music through unpredictable paths. The chapter focuses on three seminal works created by Sala in the last decade: The Present Moment (2014), The Last Resort (2017), and If and Only If (2018). In each of these works, a classical Western composition (a movement or a whole piece by Schoenberg, Mozart or Stravinsky) is the point of departure. The analysis compares these works to conventional performances at the concert hall, and relates to elements such as space and architecture, extra musical contexts, the fidelity to the score, and the use of visual means and technology. The argument is that these artworks, in which well-known music from the canon is reinterpreted, may be experienced as unique and innovative musical performances detached from concert hall conventions.
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Dodds, Phil. "The Cultural Production of Scalability: Music, Colonialism and the Moravian Missionary Project." In Music and the Cultural Production of Scale, 77–102. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_5.

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AbstractAnalysis of the work of the music historian, composer, editor and Moravian missionary administrator Christian Ignatius Latrobe (1756–1836) enables a better understanding of the role of music in colonial expansion in the first half of the nineteenth century. In London, Latrobe received and circulated accounts of the missions’ supposed success in training disciplined and ‘sweet’ choirs of Christian singers from among formerly ‘heathen’ ‘barbarians’, and these accounts were taken to demonstrate the scalability of the ‘civilisation’ project of European colonialism, which suited both antislavery campaigners and colonial state officials. Latrobe sent standardised Christian hymn books, in English and German but also translated into indigenous languages, to mission stations around the world, from Suriname to Jamaica to Labrador to Greenland to Siberia to South Africa. He also sent musical instruments to accompany the hymn-singing, favouring the organ both aesthetically and for its ability to function in different climates. He also circulated specific instructions for training organists, with firm recommendations for a simple accompaniment style and learning hymns by heart. At the different stations, the policy increasingly became to train local members of the congregation according to Latrobe’s advice, so that the instrument, the canon of tunes and the performance conventions were exported uniformly from Europe, embodied in the organ and the organist. Crucially, this uniform and standardised imposition of music—although always resisted and never fully achieved—required the remaking of the cultural landscapes on which they were to be imposed, including through the violent outlawing of existing musical practices and styles. As such, key periods in the history of large-scale musical colonisation can be better understood when framed in terms of the cultural production of scalability, following Anna Tsing, with empirical attention to the efforts involved in musical scale-building projects that make claims about music’s universal qualities and that seek to propagate a standardised, common music around the world.
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Jas, Eric. "Multivoiced Canons attributed to Josquin." In Epitome musical, 593–603. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.em-eb.3.2722.

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Callender, Clifton. "Sturmian Canons." In Mathematics and Computation in Music, 64–75. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39357-0_5.

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Namoradze, Nicolas. "Tonal Procedures in Etude 18, Canon." In Computational Music Science, 139–79. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85694-6_5.

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"Canon." In The Musical Dilettante, 156–86. Cambridge University Press, 1992. http://dx.doi.org/10.1017/cbo9780511552465.014.

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Conference papers on the topic "Musical canon"

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Nakamoto, Misako, and Yasuo Kuhara. "Circle canon chorus system used to enjoy a musical ensemble singing "Frog Round"." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279840.

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Agafita, Mihail. "Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.

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Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.
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Weber, Raymond J., and Yikun Huang. "Analysis for Capon and MUSIC DOA estimation algorithms." In 2009 IEEE Antennas and Propagation Society International Symposium (APSURSI). IEEE, 2009. http://dx.doi.org/10.1109/aps.2009.5171460.

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Konrad, Ulrich. "Philologie und Digitalität. Perspektiven für die Musikwissenschaft im Kontext fächerübergreifender Institutionen." 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/10.25366/2020.90.

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Currently, the qualitative spectrum of methods in the philological sciences is being substantially expanded, with far-reaching implications, through the integration of the empirical, quantitative, and evaluative possibilities of the Digital Humanities. The example of the planning and establishment of „Kallimachos,“ the Center for Philology and Digitality (ZPD) at the University of Würzburg, demonstrates how a research center in the field of interplay between the humanities and cultural studies, digital humanities, and computer science can bring about a surge of change by providing in-depth insights into each other‘s subjects and ways of thinking. It not only brings with it a new view of the epistemological interests of philology, its questions, its canon, and its key concepts, but also makes computer science aware of the ‚recalcitrance‘ of humanities subjects and thus confronts it with new tasks. The ZPD is the result of a systematic reflection on the digital transformation of philology, with its traditional focus on editing and analyzing, in order to advance this development both in terms of content and methodology. For example, the formation of linguistic conventions in speaking and writing about music in 19th-century composers‘ texts and in music journals would be an ideal subject for the application of digital methods of analysis and the development of new research questions based on them. Research networks that jointly develop and rethink methods on the level of data structures across disciplines are likely to be a proven means of preserving our own discipline in the future, even if this may occasionally be a relationship borne more by reason than by love.
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Wu, Jianxin, and Tong Wang. "Fast computation of real polynomial coefficients for spectral Capon/MUSIC rooting algorithm." In 2011 IEEE CIE International Conference on Radar (Radar). IEEE, 2011. http://dx.doi.org/10.1109/cie-radar.2011.6159543.

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Yuri, Nechaev, and Peshkov Ilia. "Performance study of beamspace processing DOA estimation by MUSIC and Capon methods." In 2015 International Siberian Conference on Control and Communications (SIBCON). IEEE, 2015. http://dx.doi.org/10.1109/sibcon.2015.7147173.

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Tayem, Nizar, Srdan Budimir, Vinay Reddy Veramareddy, and Ahmed A. Hussain. "Capon Root-MUSIC-like Direction of Arrival Estimation Based on Real Data." In 2021 IEEE 94th Vehicular Technology Conference (VTC2021-Fall). IEEE, 2021. http://dx.doi.org/10.1109/vtc2021-fall52928.2021.9625275.

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Nechaev, Yuri, and Ilia Peshkov. "Impact of beamspace processing on accuracy of DOA estimation using MUSIC and Capon methods." In 2015 38th International Conference on Telecommunications and Signal Processing (TSP). IEEE, 2015. http://dx.doi.org/10.1109/tsp.2015.7296307.

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Lombardini, Fabrizio, and Reza Bordbari. "Gen-Capon and Gen-Music Diff-Tomo for Non-Stationary Distributed Media: Exploration of Potential for Subcanopy Subsidence Monitoring." In IGARSS 2020 - 2020 IEEE International Geoscience and Remote Sensing Symposium. IEEE, 2020. http://dx.doi.org/10.1109/igarss39084.2020.9323675.

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Reports on the topic "Musical canon"

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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, August 2024. http://dx.doi.org/10.3384/9789180757638.

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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.
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