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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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DeNora, Tia. "Music sociology: getting the music into the action." British Journal of Music Education 20, no. 2 (July 2003): 165–77. http://dx.doi.org/10.1017/s0265051703005369.
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Music sociology has addressed the history of the musical canon, taste and social exclusion. It has also addressed issues of musical value and the perceptual politics of musical reputation. More recently, it has developed perspectives that highlight music's ‘active’ properties in relation to social action, emotion and cognition. Such a perspective dispenses with the old ‘music and society’ paradigm (one in which music was typically read as distanced from and ‘reflecting’ social structure) and points to core concerns in sociology writ large and to educational concerns with music's role as a socialising medium in the broadest sense of that term.
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Seminara, Graziella. "The ‘Theatralised Canon’—Aldo Clementi's Musical Dramaturgy." Contemporary Music Review 30, no. 3-4 (June 2011): 244–67. http://dx.doi.org/10.1080/07494467.2011.651279.
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Shayakhmetova, Alfia K. "The Artistic and Religious Canon in the Christian and Muslim Traditions." Observatory of Culture 18, no. 4 (October 11, 2021): 390–97. http://dx.doi.org/10.25281/2072-3156-2021-18-4-390-397.
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The article presents a comparative analysis of the musical component of the artistic and religious canon in the orthodox direction of Christianity (Orthodoxy) and Islam. The author considers the concept of canon in a broad sense as a special type of holistic artistic-style system. In a narrow sense, it is considered as an artistic method with its own specific musical and ritual code. The musical beginning is an integral component of a religious cult and, consequently, of the liturgical canon in the Muslim and Christian traditions. Studying music as an artistic component of a particular religious tradition is one of the most popular trends in modern musicology.Religious art is canonical regardless of the ideological differences between religious systems. A canon as an integral art system is characterized by a number of patterns that manifest themselves at all levels of its structure, thus acting as a norm of tradition and, at the same time, as a way of preserving and transmitting this norm, and this transmission is of a variable type. In the article, the term “canon” is understood in the context of the culturological concepts of canon revealed in the works of V.V. Bychkov, A.F. Losev, Yu.M. Lotman, Yu.N. Plakhov, P.A. Florensky. The canon is understood as an artistic method, on the one hand, and as a special artistic and stylistic system (a set of rules that exist virtually), on the other.The article clarifies the theoretical ideas about the canon as a carrier of the norm of tradition in relation to the field of art.
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Volkova, Polina S., Liyang Wu, and Xiangze Wu. "Musical Communication in the Aspect of Rhetorical Canon." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 146–58. http://dx.doi.org/10.33779/2782-3598.2022.2.146-158.
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Within the focus of the authors’ scholarly interest is the rhetorical canon, which was absorbed within the specific features of intercultural interaction of the “transmitter” of the artistic information and its “recipient” carried out within the art of music. Expressing their solidarity with the position according to which the rhetorical art presents a form of human communication, the authors presume that it is particularly the rhetorical canon in the triunity of Ethos, Logos and Pathos shall make it possible to study in all completeness the process of musical communication, stipulating the acquisition of personal meaning by the actors engaging in cooperation with the composer. Since every artistic discourse in reality tends rather to reflect the speech activity of its creator, corresponding to that national picture of the world to which it belongs, rather than to reality, it must be acknowledged: such a text initially presents itself as rhetorically organized. Such an approach turns out to be true in all circumstances, even when the creator expresses doubt concerning what he had thought previously about the rules of the rhetorical art at the moment of creation of his work. Noting the importance, in the conditions of musical communication of the musical text, by means of which the composer’s speech utterance is the transmitter and with which subsequently the participants of the communicative act interact, it becomes important to supplement the triad of “composer – performer – listener” with yet another link – the musical text. This results in the succession of: composer → text1 ↔ performer → text2 ↔ listener → text3. It is emphasized that in the resulting scheme of: text1, text2 and text3 – it remains all the same musical text, which differs from the original, first of all, by the type of speech (in the case of the composer it involves written “speech,” in the case of the performer it is oral, and in the case of the listener it may be perceived also as visual “speech,” acquiring the status of a written utterance and actualized oral or written verbal speech, as well as speech cognized on the level of the plasticity of the human body, etc.); and, second, by tints of meaning, which, being a subjective phenomenon, acquires an intersubjective character during the process of communication.
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Collins, Dennis, and W. Andrew Schloss. "An Unusual Effect in the Canon Per Tonos from J. S. Bach's Musical Offering." Music Perception 19, no. 2 (2001): 141–53. http://dx.doi.org/10.1525/mp.2001.19.2.141.
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We propose that the phrase repetitions in the canon per tonos from J. S. Bach's Musical Offering are not recognized by listeners as being successively upward. We examine possible causes for this effect and suggest that it may be due to Bach's use of chromatic harmony. To test this hypothesis, we conducted an experiment in which one group of listeners was presented with Bach's canon, while another group was presented with a modified version of the canon in which the harmonies were altered in order to make the upward phrase repetitions more apparent. We found that subjects recognized the ascending pattern in the modified canon with greater ease than they recognized the ascending pattern in Bach's canon. We also consider briefly why Bach may have wished to cause such an effect.
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Ammetto, Fabrizio. "Contraria contrariis curantur: el arte del canon y las habilidades mentales." DOCERE, no. 13 (December 11, 2015): 19–22. http://dx.doi.org/10.33064/2015docere131752.
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La frase en latín del título de este artículo Contraria contrariis curantur (“los contrarios se curan con los contrarios”) no hace referencia a la doctrina de “lo similar cura lo similar” del sistema de la homeopatía (medicina alternativa) creado por Samuel Hahnemann en 1796, sino que es el título de la décima composición musical incluida en la colección impresa Artificii musicali ne quali si contengono canoni in diverse maniere, contrapunti dopii, inventioni curiose, capritii e sonate, opus XIIIi (Modena, 1689) del violinista y compositor italiano Giovanni Battista Vitali (1632-1692).
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Knights, F. K. "Identity, Representation and the Canon in Classical Music." Journal of Controversial Ideas 3, no. 2 (October 31, 2023): 1. http://dx.doi.org/10.35995/jci03020003.
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Classical music has in recent years been under hostile investigation within society as never before: it is alleged to be elitist, sexist and racist, and has been left in a position where it seems unable or unwilling to defend itself. This article, from a British perspective, examines the imprecise but weighted vocabulary which drives the debate, and considers the complex and apparently unresolvable demographic issues around musical representation by identity classification, of whatever kind. The issue of legacy repertoires and quotas is discussed, as well as the concepts of fairness and decolonization, and some of the reasons which drive the selection of musical repertoires.
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Breitburg, Kimol A. "THE HISTORICAL PROTOTYPE OF THE AMERICAN CONCEPT MUSICAL." Arts education and science 1, no. 34 (2023): 64–71. http://dx.doi.org/10.36871/hon.202301064.
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The article considers one of the popular prototypes of the musical genre formed on the Broadway stage in the 1960s — 1970s. Its birth, which has received a terminological definition as a “concept musical”, is associated with a number of important socio-political events of the 1970s in the USA. Against the background of economic and social crisis that American society experienced during this period, a new social formation emerged, known today as the “Me” generation. The divided and largely fragmented social environment, the shift of young Americans away from social and political activism to personal concerns and individualism, could not but provoke a reaction from artists and cultural figures, as reflected in their work, including musicals created for the commercial musical theatre of Broadway. “Fiddler on the Roof”, “Cabaret”, “Hair”, “Company” all served as new genre models, samples which, as a result of an emerging trend, led musicals of this kind to a stable canon, establishing a certain prototype. This prototype was later defined as a “fragmentary” or “concept musical” The art of the musical has been actively developing throughout its century and a half history, becoming increasingly important in the cultural life of different countries, including Russia. This type of musical theatre is an ever adapting theatrical and entertainment form, which in turn is a product of a dynamically developing socio–cultural environment.
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Kuipers, Pieter. "Canon: A system for the description of musical patterns." Interface 15, no. 2-4 (January 1986): 257–69. http://dx.doi.org/10.1080/09298218608570481.
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Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)." British Journal of Music Education 37, no. 1 (November 16, 2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.
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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on canonic knowledge rather than skills-based learning. In musical terms, this has reinforced the value of ‘prescribed works’ in A-level music specifications.Thus far, little attention has been paid to the extent to which a kind of scholastic canon is maintained in the Western European Art Music section of the listening and appraising units in current A-level music specifications. Though directed in part by guidance from Ofqual (Office of Qualifications and Examinations Regulation, the regulatory body for qualifications in England), there is evidence of a broader cultural trend at work. The present article seeks to compare the historical evidence presented in Robert Legg's 2012 article with current A-level specifications. Such a comparison establishes points of change and similarity in the canon of composers selected for close study in current A-levels, raising questions about the purpose and function of such qualifications.
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Garaz, Oleg. "The Origin of the Concept of Style in European Musical Thinking." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 7–19. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.01.
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"Essentially, the emergence of the concept of style in European musical thinking is the consequence of the shift produced at the end of the Renaissance. The trend towards the simplification of language and musical expression and the subordination of both to the notional-poetic discourse determines the unimaginable: the hegemony of rhetoric and, implicitly, of style as a rhetorical sub-category having the function of organizing and controlling musical suggestiveness – the taxonomy of musically expressible emotions. It is also during the period of the musical Baroque that the practical insertion of the concept of style begins by cohabiting with the idea of genre in all its three forms: as a specific habitat for the performance of the musical act, as a composition coefficient and equally as a type of ethos. This confusion will persist for the entire period of use of the concept of style, which gradually fades as the insertion of postmodernism gathers momentum. As a tool for functional and semantic dislocation, style also acts in relation to the term canon, the only value reference until the shift from the mathematical-cosmic quadrivium to the discursive-philological trivium (the Del Bene moment, 1586). Apart from taking over the attributions from the concept of genre, style also claims the function of canon as the exclusive value reference. Starting with the Baroque, we already speak of the stylistic canon. The complete absorption of the canonical function by style takes place during the Viennese Classicism, when style becomes a personalizing-biological reference, attached to the musical thinking of a prominent personality (Wilhelm von Lenz, Beethoven et ses trois styles, 1855). Musical Romanticism raises the understanding of style to the level of an almost absolute exclusivity, on a par with the transcendentalism displayed by the genius-musician (the Liszt-Wagner paradigm). The dissipation of Romanticism determines the return to the identification through ethos: verism, expressionism, impressionism-symbolism and naturalism, so that it is only during the first musical modernism (1900-1914) that we witness the return to the purely technical Renaissance acceptance: the atonal style, during the second modernism (1918-1939) – the dodecaphonic style, the serial style, and further, during the third modernism (1946-1968) – the style of stochastic music, the style of aleatoric music, the minimalist style etc. The uselessness of the concept of style as a procedure of identification through differentiation (Boris Asafiev) and obviously as a meta-narrative is already revealed in musical postmodernism, with all the three anti-metanarrative “ideologies” of postmodernism: the ideology of distrust, the ideology of the fragment and the ideology of recovery. Keywords: history of style, stylistic canon, style as a genre, style as a metanarrative, liberation from style "
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Barr, Lindsey R. "‘Waving through a window’: Nostalgia and prosthetic memory in Dear Evan Hansen." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 313–20. http://dx.doi.org/10.1386/smt_00044_1.
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Dear Evan Hansen, a popular Broadway musical whose narrative centres on connectivity and the protagonist’s social anxiety, offers a disruptive potential to the otherwise standard nostalgic leanings of the contemporary American musical. Operating dramaturgically, nostalgia offers the audience an opportunity to recall an idealized past that imbues the musical they are witnessing with their own positive affect. Dear Evan Hansen’s use of prosthetic memory disrupts the nostalgic tradition of the contemporary musical. Using dramaturgical analysis to identify the narrative operation of nostalgia and prosthetic memory, this article situates the disruptive potential of Dear Evan Hansen as an intervention into the American musical theatre canon writ large.
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Junchaya Rojas, Rafael Leonardo. "¿No sabéis lo que es un canon? Retos para la formación de un canon sinfónico peruano." Antec: Revista Peruana De Investigación Musical 7, no. 2 (December 23, 2023): 124–38. http://dx.doi.org/10.62230/antec.v7i2.203.
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En la descripción del canon musical presentada por Marcia Citron, la existencia de características y agentes es imprescindible para su formación. Para el caso de la música sinfónica u orquestal en el Perú, estos agentes y características presentan peculiaridades que establecen retos, algunos de los cuales no son simples de superar, que condicionan, cuando no restringen, la formación de semejante canon en el Perú. En este texto se describen y analizan tales retos bajo el modelo de canon establecido por Citron, mostrando cuán complicada es la tarea, la que se encuentra aún en proceso de formación, al menos desde el punto de vista de la academia.
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CHOWRIMOOTOO, CHRISTOPHER. "‘Britten Minor’: Constructing the Modernist Canon." Twentieth-Century Music 13, no. 2 (July 25, 2016): 261–90. http://dx.doi.org/10.1017/s1478572216000037.
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AbstractIn the last few decades, established narratives of twentieth-century music – with Schoenberg and his disciples at the centre and others on the periphery – have come under considerable fire: some have denounced the modernist canon itself as narrow and esoteric, while others have sought to restore marginalized ‘minor’ composers to a supposedly rightful centrality. In this article, I revisit the mid-century process of canon formation in order to excavate a deeper, less divisive understanding of its history. Using Benjamin Britten as a case study, I sketch a more ambivalent and reciprocal relationship between major and minor composers than has often been suggested. After illuminating key tropes in Britten's mid-century reception, I examine how the composer and his critics fashioned his canonical minority and, in the process, helped to construct the ‘majority’ of his modernist counterparts. I argue that, far from marginalizing his oeuvre, Britten's ambivalent, peripheral, and even diminutive relationship with the ‘major’ figures of musical modernism was central both to his mid-century appeal and his enduring place in the canon. Ultimately, I suggest that attending to Britten's complex and self-conscious canonical negotiations can teach us a lot not just about his own role in history, but also about the wider ways that twentieth-century canons are negotiated, mediated, transmitted, and performed.
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Eatock, Colin. "The Crystal Palace Concerts: Canon Formation and the English Musical Renaissance." 19th-Century Music 34, no. 1 (2010): 87–105. http://dx.doi.org/10.1525/ncm.2010.34.1.087.
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Abstract This article examines the role of London's Crystal Palace in the popularization of ““classical music”” in Victorian Britain, and in the creation of the orchestral canon in the nineteenth century. The Crystal Palace was originally built in Hyde Park for the Great Exhibition of 1851 and was reconstructed in the London suburb of Sydenham in 1854. This popular attraction assumed a musical prominence in British culture when the ambitious conductor Augustus Manns established an orchestra there in 1855, and presented a series of Saturday Concerts until 1900. Central to this discussion of the significance of the Crystal Palace concerts are two audience plebiscites that Manns conducted, in 1880 and 1887, which shed much light on Victorian popular taste and musical values. As well, particular attention is given to his involvement in the ““English Musical Renaissance”” in both of its aspects: as a campaign to raise British composers to canonic stature (to construct a ““British Beethoven””); and as an effort to securely embed classical music within British culture.
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Hillman, Jessica. "Tradition or Travesty?: Radical Reinterpretations of the Musical Theatre Canon." Theatre Topics 20, no. 1 (2010): 1–10. http://dx.doi.org/10.1353/tt.0.0084.
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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 (October 1994): 488–520. http://dx.doi.org/10.1525/jams.1994.47.3.04x0015o.
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Laskowska, Anna Maria. "Euklidesowy traktat Podział kanonu i pitagorejska harmonika." Argument: Biannual Philosophical Journal 11, no. 2 (December 24, 2021): 509–24. http://dx.doi.org/10.24917/20841043.11.2.10.
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The Euclidean ‘Division of the canon’ and Pythagorean harmonics: The article presents the first Polish translation of a short Ancient Greek treatise entitled The division of the canon, which is commonly dated to the 3rd century BC, with a doubtful assumption that the author of the treatise is Euclid himself. It is the oldest surviving text derived from the mathematical school of harmonics, which combined the mathematical theory of proportion with the musical laws of harmony. The main purpose of this Euclidean treatise is to describe the instrument called canon (or monochord), which consists in determining the successive notes of the Greek musical system by means of mathematical principles. The treatise essentially consists of two distinct parts: an introduction and twenty propositions in the style of Euclid’s Elements. To bring this highly esoteric text closer to the modern reader, the translation is preceded by a brief introduction, which deals with the basic issues of the transmission of the text, its structure, and the problem of authorship. The philosophical problems of the treatise and its basic concepts are also discussed. An underlying idea of both the introduction and the work on the translation is that The division of the canon is an eminently Pythagorean text, which both expressed and proved their conviction about the mathematical structure of the universe.
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Moniz, Justin John. "The Changing Face of Opera in America: Musical Theatre on the American Operatic Stage." Journal of Singing 78, no. 2 (October 21, 2021): 171–76. http://dx.doi.org/10.53830/gndz3859.
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To address the opera industry’s ongoing struggle to maintain self-sustaining business models, more and more major opera companies turn to musical theater to build audiences and revenue. This article identifies challenges successfully met by several specific opera companies, discusses opportunities for programming music theater on the operatic stage, including effects on the casting process, and looks toward a promising future that is inclusive of both opera and musical theater in one canon or repertoire.
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Logunova, Anastasia A. "“Mir ist so wunderbar”: Considering Opera Traditions Interaction in “Fidelio” by Beethoven (Modern Musicologists on the Quartet’s Genesis)." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 205–23. http://dx.doi.org/10.21638/spbu15.2022.110.
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The canon in the first act of “Fidelio” was generally regarded as one of the best moments in the opera from the very beginning of its hard scenic life. While 19th century critics admired the quartet, scholars in the 20th century showed true scientific interest in this ensemble. This attention made Beethoven’s quartet one of the most famous canons in music. The article represents an attempt to summarize modern musicology’s views on the first act quartet of Beethoven’s “Fidelio”. On this basis in the paper are considered the reasons for including such composition in “Fidelio”, its stylistic background, and in general the origins of Viennese late 18th century’s practice of vocal and opera canons as the context for analysis of Beethoven’s quartet. The author lists operas of the Viennese repertoire 1780–1800 with canons (among them, operas by Martíny Soler, Salieri, Mozart, Paёr, and Cherubini) as hypothetical models for Beethoven and also traces the continuation of this tradition in Italian and Russian 19th century opera. Connection of the musical form of canon with ideas of the Enlightenment and figurative and meaningful interpretation of its pastoral tone is considered on the basis of works by Heinrich Schwab, Dorothea Link, and Larisa Kirillina. It is remarkable that the pastoral of the quartet allows a Christian interpretation that makes the “Benedictus” of “Fidelio” genuine. “Mir ist so wunderbar” is considered as an example of Beethoven’s contemplative lyric on the basis of experience of its philosophical-aesthetic comprehension, presented in Russian musicology. In the quartet, Leonore appears in the opera for the first time, and so this article accentuates the central role of this canon for understanding the main figure with all richness of her literary and mythological genealogy.
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Münnich, Stefan. "FAIR for whom? Commentary on Hofmann et al. (2021)." Empirical Musicology Review 16, no. 1 (December 10, 2021): 151–53. http://dx.doi.org/10.18061/emr.v16i1.8154.
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In this commentary on Hofmann et al. (2021), the notion of ethnomusicology and some of its underlying biases are questioned and reflected in the light of applying FAIR data principles to musicological research data from outside a Western canon and its musical practices.
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DOE, JULIA. "TWO HUNTERS, A MILKMAID AND THE FRENCH ‘REVOLUTIONARY’ CANON." Eighteenth Century Music 15, no. 2 (September 2018): 177–205. http://dx.doi.org/10.1017/s1478570618000040.
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ABSTRACTLarge-scale programming studies of French Revolutionary theatre confirm that the most frequently staged opera of the 1790s was not one of the politically charged, compositionally progressive works that have come to define the era for posterity, but rather a pastoral comedy from mid-century:Les deux chasseurs et la laitière(1763), with a score by Egidio Duni to a libretto by Louis Anseaume. This article draws upon both musical and archival evidence to establish an extended performance history ofLes deux chasseurs, and a more nuanced explanation for its enduring hold on the French lyric stage. I consider the pragmatic, legal and aesthetic factors contributing to the comedy's widespread adaptability, including its cosmopolitan musical idiom, scenographic simplicity and ready familiarity amongst consumers of printed music. More broadly, I address the advantages and limitations of corpus-based analysis with respect to delineating the operatic canon. In late eighteenth-century Paris, observers were already beginning to identify a chasm between their theatre-going experiences and the reactions of critics: Was a true piece of ‘Revolutionary’ theatre one that was heralded as emblematic of its time, or one, likeLes deux chasseurs, that was so frequently seen that it hardly elicited a mention in the printed record?
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Boffone, Trevor, and Danielle Rosvally. "Aggressively Millennial: A dialogue on & Juliet." Studies in Musical Theatre 17, no. 1 (April 3, 2023): 25–33. http://dx.doi.org/10.1386/smt_00113_1.
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The authors of this dialogue, two Millennial theatre scholars, spill the tea on the West End and Toronto productions of & Juliet on the eve of its transfer to Broadway. This conversation considers the successes and challenges of & Juliet as a contemporary jukebox musical, and includes analyses of the integration of Max Martin’s songbook and David West Read’s libretto. The authors discuss audience reception in London and Toronto while signalling why Millennial audiences might be drawn to the musical. This dialogue questions & Juliet’s role as a critical piece of popular culture, musical theatre history and Shakespearian adaptation, while considering what & Juliet offers to the canon of Shakespearean remixes.
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Symes, Colin. "The Paradox of the Canon: Edward W. Said and musical transgression." Discourse: Studies in the Cultural Politics of Education 27, no. 3 (September 2006): 309–24. http://dx.doi.org/10.1080/01596300600838751.
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Binder, Daniel A. "The Case for Expanding the Canon in Teaching Western Musical History." Listening 27, no. 3 (1992): 222–39. http://dx.doi.org/10.5840/listening19922737.
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Portillo, Ana Marìa. "Los conservatorios de San Juan (Argentina) entre 1916 y 1920, como capital simbólico de legitimación social y artística en el campo musical sanjuanino." CAMINHOS DA EDUCAÇÃO diálogos culturas e diversidades 4, no. 2 (August 29, 2022): 01–19. http://dx.doi.org/10.26694/caedu.v4i2.2937.
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San Juan, provincia del centro oeste argentino, entre 1916 y 1920, período marcado por el centenario de la independencia, florece en su vida cultural y artística en teatros, biógrafos, veladas literarios-musicales y retretas. Los conservatorios se convierten en espacios musicales educativos, con importante inserción en la vida social, laboral y artística sanjuanina. Con este trabajo, propongo estudiar el campo musical de los conservatorios en San Juan; las relaciones de estos con las sedes centrales de Buenos Aires, su incipiente filiación a escuelas pianísticas; como así también los repertorios abordados, las evaluaciones finales y los títulos otorgados. Asimismo, indago la trascendencia de la actividad pedagógica de estas instituciones a través de los conciertos y la inserción laboral de los alumnos en el medio cultural sanjuanino, buscando sus agentes el capital simbólico de la legitimación social, artística y económica. Mi enfoque teórico está basado en la microhistoria, en la sociología de Bourdieu (2002, 2003), en los aportes sobre canon musical de Beltramino (2008) y Corrado (2004) y el estudio sobre escuelas pianísticas en Argentina de Dora de Marinis (2010). Utilizo como fuentes principales la prensa periódica, algunos testimonios de ex -alumnas de conservatorios, como así también trabajos sobre la actividad musical sanjuanina.
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Waksman, Steve. "Live Recollections: Uses of the Past in U.S. Concert Life <br> doi:10.5429/2079-3871(2010)v1i1.9en." IASPM Journal 1, no. 1 (April 8, 2010): 1–16. http://dx.doi.org/10.5429/325.
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As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1920s and 1930s, when early jazz concerts referenced the past to highlight the music's progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape.
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Янкус, А. И. "Bach’s Canon BWV 1079/4i in the Autograph of Alexander K. Glazunov." OPERA MUSICOLOGICA, no. 2022 (September 12, 2022): 64–88. http://dx.doi.org/10.26156/om.2022.14.3.004.
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Статья посвящена публикуемой впервые рукописи Александра Константиновича Глазунова (фонд 187 Отдела рукописей Российской национальной библиотеки, № 569). Автограф содержит запись канона И. С. Баха из «Музыкального приношения» BWV 1079/4i, который в Oригинальном издании снабжен надписью “Quærendo invenietis”. Прямой и инверсионный варианты мелодии в разных ключах, указание на время вступления риспост, наконец, работа над двумя бесконечными канонами с противоположных краев нотного листа — специфические средства оформления обсуждаемого автографа. Инструкция, данная в выпуске № 18 Всеобщей музыкальной газеты за 1806 год, выглядит как руководство к выполнению инверсионного преобразования, используя которое Глазунов получил бы результат, близкий рукописи Ф. 187 № 569. Оформление канона в автографе № 569 не совпадает в полной мере ни с одним из источников, которые могли быть в распоряжении композитора. Фактически рукопись Глазунова содержит запись зашифрованных вариантов канона BWV 1079/4i, расшифрованного в Приложении к 31-му тому Собрания сочинений И. С. Баха (1885). Анализ автографа позволяет определить разновидность данной рукописи как специфический вид учебной работы, фиксирующей осмысление загадочного канона, которая в иных условиях могла представлять собой отбор примеров к трактату или учению о композиции, — формы деятельности, нехарактерной для творчества А. К. Глазунова. The article is devoted to one of the manuscripts by Alexander Glazunov (Fund 187 of the Manuscripts Department, Russian National Library, No. 569). The autograph contains recording of J. S. Bach’s canon from the Musical Offering BWV 1079/4i, entitled “Quærendo invenietis” in the Original Edition. Both recto and inverso versions of its melody, an indication of the risposta entry point, and finally, recording of two endless canons on two opposite sides of the sheet — are the specific means of designing the autograph under discussion. The instruction given in the issue No. 18 of the Universal Musical Gazette for 1806 looks like a guide to deciphering the canon, and Glazunov using it, would have obtained the result similar to the recording of the manuscript f. 187 No. 569. In terms of design, the canon of the autograph No. 569 does not fully coincide with any of the sources that could have been at the composer's disposal. In fact, Glazunov's manuscript offers the encrypted version of the canon BWV 1079/4i, transcribed in the Appendix of the 31st volume of the Collected Works by J. S. Bach. An analysis of the autograph allows us to define the type of this manuscript as a specific kind of educational work that generalizes the understanding of the enigmatic canon, which in other conditions could be an essay / collection of examples for a treatise or the doctrine of composition — a form of activity uncharacteristic for the work of Alexander K. Glazunov.
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Milanovic, Biljana, and Marija Maglov. "Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)." Muzikologija, no. 27 (2019): 221–50. http://dx.doi.org/10.2298/muz1927221m.
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Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers? works were going to be (repeatedly) present in its catalogue consequently had significant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer figure of Serbian music, Stevan Stojanovic Mokranjac, was represented in this catalogue. Research methods were based primarily on analysis of archive material gathered in documentation of the label itself, data on recordings available via online music databases, and recordings themselves, while relying on theoretical notions of canon in music, with the accent on the performing canon.
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Courtis, Sarah. "‘Beauty is power, longing a disease’: Asexuality and disability readings of Passion." Studies in Musical Theatre 17, no. 3 (December 1, 2023): 245–53. http://dx.doi.org/10.1386/smt_00137_1.
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Stephen Sondheim’s 1994 musical Passion is rarely discussed or deconstructed, more often relegated to a footnote within his collected works. However, it poses many important questions about disability and sexuality, which remain largely unexplored as themes within the musical theatre canon. In this article, I consider my own readings and reactions to this text from two moments in time: 2014 and 2023. My approach to this text is framed by my intersectional understanding of the labels I use to identify myself: asexual, disabled and female-presenting. I explore my own response to the musical in relation to these labels, and discuss how my growing understanding of myself was aided by my first viewing and complicated by the second viewing.
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Currey, Nancy E. "History in Contemporary Practice: Syria’s Music Canon." Middle East Studies Association Bulletin 36, no. 1 (2002): 9–19. http://dx.doi.org/10.1017/s0026318400044023.
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A consideration of the contemporary musical soundscape in Syria provides unique insights into how Syrians of multiple classes and generations discriminate between critical points in their own past, who they perceive they are today, and how they might think about their future. This review, based on fieldwork in Syria conducted between 1997 and 2001, suggests that people in Syria can use music to negotiate the following complex issues: 1) the struggle between an identity rooted in the modern nation-state of Syria and one rooted in the more traditional concept of ‘Bilad al-Sham’ (roughly ‘the lands governed from Damascus,’ a region that included all of modern Lebanon, as well as portions of Turkey, Palestine, and Jordan); 2) the struggle between a Syrian identity and an Arab identity; and 3) the maintenance of a strongly Arab and necessarily anti-Western canon.
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DENORA, TIA. "EDITORIAL." Eighteenth Century Music 3, no. 1 (March 2006): 3–6. http://dx.doi.org/10.1017/s1478570606000467.
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Most of our modern Western institutions and precepts – democracy, individualism, subjectivity, secularism, science, the nation state and the modern apparatus of war – began to germinate in the ‘long’ eighteenth century. In musical life too these were formative years. The emergence of the canon, with the associated idea of the musical ‘work’, was one such development. The rise of the virtuoso and the transformation of audiences from unwieldy and fitfully attentive to enthralled, disciplined and devout, two more. And with these developments, music’s role as a medium of social differentiation was both enhanced and qualitatively revised.
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Rusu, Iulian. "Heterophony as a Way of Organizing of the Musical Syntax." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (June 10, 2024): 111–22. http://dx.doi.org/10.24193/subbmusica.2024.1.08.
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In this article we intend to present some aspects related to the origin of the concept of heterophony and the theoretical concerns of some Romanian and foreign composers on this subject. As a practical application model, we present an analysis of a musical text based on the model proposed by Teodor Tutuianu in his book Eterofonii in partituri Bachiene, the book underlying the Spectromorphy course that the author, as a professor, held at the National University of Music in Bucharest. Keywords: Heterophony, musical syntax, Teodor Tutuianu, heterophonic wave, canon, imitation, superposition, singularity, plurality.
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Fan, Jui-Chia, Ke-Yun Chao, Chia-Chun Wu, and Yi-Nuo Shih. "The Effect of Listening to Pachelbel’s Canon in D Major on Anxiety Level during Pulmonary Rehabilitation: A Pilot Study." Taiwanese Journal of Psychiatry 38, no. 2 (April 2024): 81–85. http://dx.doi.org/10.4103/tpsy.tpsy_17_24.
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Abstract Objective: Many patients with chronic obstructive pulmonary disease (COPD) feel anxious during the pulmonary rehabilitation process. How to reduce the anxious level in patients with COPD is a worthy issue for mental health. Johann Pachelbel’s Canon is a commonly used musical material in clinical practice. In this pilot study, we intended to investigate the effectiveness of using Pachelbel’s Canon in D major as a music therapy to reduce anxiety levels in patients receiving pulmonary rehabilitation for chronic obstructive pulmonary disease (COPD). Methods: Fifty patients with COPD receiving pulmonary rehabilitation from a hospital in New Taipei City. They were randomly assigned in blocks for two groups, control group in a quiet environment, and experimental group listened to the Pachelbel’s canon in D major. Results: A significant difference in the anxiety score during pulmonary rehabilitation between the experimental group and the control group was found through an independent sample t-test in this study (p < 0.05). Conclusion: Listening to the music of Pachelbel’s canon in D Major decreased the anxiety level of patients with COPD during pulmonary rehabilitation.
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Anderson, Michael Alan. "The One Who Comes After Me." Journal of the American Musicological Society 66, no. 3 (2013): 639–708. http://dx.doi.org/10.1525/jams.2013.66.3.639.
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Abstract Studies of the past two decades have shown that late medieval and Renaissance composers participated in a culture of symbolic representation by inscribing Christian figures and concepts into musical design. One figure who has been overlooked in this line of scholarship is John the Baptist, the precursor of Christ. This essay outlines the Baptist's historical impact on the conception of Christian temporality and proceeds to demonstrate some distinct experiments in fourteenth- and fifteenth-century music for John that express his predecessory character through emblematic manipulations of temporal parameters. By the sixteenth century, several inscriptions found in Vatican manuscripts reveal that the Baptist was associated with a particular musical craft that controls masterfully the unfolding of time: the art of canon. Drawing heavily on Scripture (especially John 1:15, 27, 30) to articulate the compositional conceits, the rubrics likened the leader (dux) and follower (comes) of a canon to the relationship between John (the forerunner saint) and Jesus. The analogy intensified around the papal chapel choirbook Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 38.
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Montondo, Mark. "‘Moments in the Woods’: Gay cruising, Into the Woods and AIDS." Studies in Musical Theatre 15, no. 3 (December 1, 2021): 249–55. http://dx.doi.org/10.1386/smt_00073_1.
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Using drag performance as a tool to recuperate the meaning of queer subtext and readings, this article explores thematic intersections between staging coded queerness and the offstage queer practice of cruising in James Lapine and Stephen Sondheim’s 1987 musical Into the Woods. Though the temporal correlation of the musical’s 1987 Broadway production and the AIDS crisis raises the stakes of comparisons between cruising practices and the setting of the musical, this article does not aim to argue a subjectification of Into the Woods as AIDS parable; rather it asserts the necessity of performances that deliberately queer the canon.
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Franseen, Kristin M. "‘Onward to the End of the Nineteenth Century’: Edward Prime-Stevenson’s Queer Musicological Nostalgia." Music and Letters 101, no. 2 (February 26, 2020): 300–320. http://dx.doi.org/10.1093/ml/gcz108.
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Abstract Relatively little known today, Edward Prime-Stevenson (1858–1942) was a man of hidden depths. Despite success as a music critic, Prime-Stevenson left the United States around the turn of the century to pursue (in his words) ‘studies in a branch of sexual psychology’ in Europe. Following this move, he published two books on homosexuality under the pseudonym Xavier Mayne. While ‘Mayne’s’ work has been analysed in depth by LGBTQ+ literary scholars in the past twenty years, Prime-Stevenson’s musical writings have received substantially less attention. This article considers the intertextual relationships between his musical and sexological writings—in particular, his approach to secret messages in instrumental music, musings on musical intimacy, and attempts at queer canon-building—as both a scholarly attempt at creating a proto-‘queer musicology’ through sheer force of will and a deeply personal voicing of queer musical nostalgia.
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Wilson, Pat H. "Singing Our Songs: Celebrating Australian Music Theatre repertoire." Australian Voice 22 (2021): 9–15. http://dx.doi.org/10.56307/bxzp3343.
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Although live theatrical performances combining music, spoken dialogue, songs, acting and dance have existed since ancient times, modern Western musical theatre (colloquially, “musicals”) emerged in the 19th century. There is an increasing interest in analysing, understanding and researching American musicals. British and European music theatre is also gathering a stronger profile academically. However, it is less well-known that Australia has a large and richly varied music theatre history. Singing teachers, vocal coaches and singers working in music theatre constantly seek to expand repertoire, especially solo material suitable for use in auditions. Lack of research attention and a dearth of readily available published scores have resulted in few performances of solo songs from the growing canon of Australian music theatre. A serious investigation, interrogating suitability and availability of the scores of Australian music theatre works, is long overdue. This paper seeks, in some small way, to commence the process.
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Kruse, Adam J., and Donna J. Gallo. "Rethinking the Elementary “Canon”: Ideas, Inspirations, and Innovations from Hip-Hop." Music Educators Journal 107, no. 2 (December 2020): 58–65. http://dx.doi.org/10.1177/0027432120975089.
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This article offers perspectives on disrupting the typical elementary school “canon” through providing considerations and pedagogical orientations for including hip-hop. Three issues of critical importance in elementary music education are addressed: decentering Whiteness in elementary music, understanding hip-hop in relation to culturally responsive teaching, and establishing new pathways for musical creativity through hip-hop. Engaging with hip-hop both as a genre and the product of a culture offers music educators opportunities to meaningfully reconsider their practices.
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Pollack, Howard. "Singing Finnegans Wake: A Key to Samuel Barber’s “Nuvoletta”." Journal of Singing 78, no. 3 (December 29, 2021): 319–25. http://dx.doi.org/10.53830/nfox9256.
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Samuel’s Barber’s 1947 “Nuvoletta,” the only freestand-ing song of the composer’s maturity, derives its text from the most famously arcane novel in the literary canon, James Joyce’s Finnegan’s Wake. Musicologist Pollack dissects the text in a literary analysis, but also showing how its vivid imagery and lyric resonance is treated in Barber’s musical setting, thus offering performers crucial preparation for its performance.