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Journal articles on the topic 'Musical criticism'
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1
Swanwick, Keith. "Musical Criticism and Musical Development." British Journal of Music Education 8, no. 2 (July 1991): 139–48. http://dx.doi.org/10.1017/s026505170000824x.
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Musical criticism lies at the heart of music education. It is argued that there are five fundamental dimensions of musical criticism: control of sonorities; expressive characterisation; structural relationships; personal evaluation; historical and technical context. The first four of these – those directly concerned with response to a musical object or event – are the essential modes of criticism and these can be seen unfolding in the musical development of children. Following the publication in 1986 by Swanwick and Tillman of a musical development model, further research in Cyprus gives supportive results; showing strong agreement between judges on the use of critical criteria for assessing children's compositions and articulating the same sequential order of development. A random selection of children's compositions drawn from over 600 items collected in Cyprus is assessed by independent judges. There are correlations between assigned critical criteria and the age of the children. Thus the pattern of musical development can be seen to parallel a critical hierarchy. From these data we can also assume that, although the sequential order of development may be confirmed, the compositions of the UK children in our sample appear generally to be more advanced than those of their Cyprus peers. The quality and consistency of music education provision seems therefore to have a positive role in the development of critical powers. There are implications for music curriculum development, for assessment procedures and for further work on musical development, and on the relationship of composing to performing and of both to audience listening.
2
Duchesneau, Michel. "French Music Criticism and Musicology at the Turn of the Twentieth Century: New Journals, New Networks." Nineteenth-Century Music Review 14, no. 1 (February 7, 2017): 9–32. http://dx.doi.org/10.1017/s1479409816000264.
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This article examines the efforts of French musicologists to create a specialized journal at the turn of the twentieth century that would clearly associate music criticism and musicology. Using as case study a set of music journals, from La Revue d’histoire et de critique musicales to the Mercure musical and the Revue S.I.M. that followed, I establish the connections that brought together the nascent musicological milieu, the musical press and the artistic affinities among the principal actors in their attempt to create a new network of music critics guided by musicological exigencies. Jules Combarieu, Romain Rolland, Louis Laloy, Jean Marnold, Émile Vuillermoz and Jules Écorcheville are some of the musicologists engaged in this project between 1900 and 1914. But historical contingencies make this project a relative utopia, and requirements of the young musicology hardly meet that of a music criticism divided between disciplinary tradition and the necessity to support contemporary music. After the war, with the founding of a new Revue musicale, René Prunières, prudently, would not hire musicologists to develop a music criticism. Instead, he took up the characteristically Republican project of promoting musical culture, and thus responding to the interests of both the cultivated bourgeoisie and the musical, literary and artistic milieus through diffusion of music knowledge.
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Swanwick, Keith. "Musical Criticism and Music Education." Revista Música 2, no. 2 (November 1, 1991): 134. http://dx.doi.org/10.11606/rm.v2i2.55030.
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I am concerned here with the concept of musical analysis and its role in school and college education. My starting point is simply that musical analysis is the most important branch of musical criticism. By criticism I mean any discourse about music involving judgement or appraisal at any level. Critical statements that have analytical force must by definition say something about how a particular piece of music functions. All analysis is musical criticism but not all criticism is analysis. Analysis cannot be simply an expression of preference or a statement about the social or historical context of a piece of music. Critical statements that are simple expressions of preference or statements about context are not particularly helpful to the process of music education. For this reason I shall confine myself to the branch of criticism we call analysis. Analysis is essentially discourse concerned with the internal functioning of a specific musical object. It is about the integrity of a particular work. To be more accurate, analysis is discourse about our perceptions of a musical object. From an educational perspective it is not helpful to conduct musical analysis as though a work existed independently of individual perceptions of it and in classrooms we have to conduct musical analysis in a way that involves students engaging with music in his or her own way.
4
Herzog, Patricia. "Music Criticism and Musical Meaning." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 299. http://dx.doi.org/10.2307/431355.
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HERZOG, PATRICIA. "Music Criticism and Musical Meaning." Journal of Aesthetics and Art Criticism 53, no. 3 (June 1, 1995): 299–312. http://dx.doi.org/10.1111/1540_6245.jaac53.3.0299.
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Julich-Warpakowski, Nina. "Motion Expressions in Music Criticism." arbeitstitel | Forum für Leipziger Promovierende 8, no. 1 (April 2, 2020): 34. http://dx.doi.org/10.36258/arbeitstitel.v8i1.3310.
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Music is commonly and conventionally described in terms of motion: melodies fall and rise, and motifs may follow a harmonic path. The thesis explores the motivation of musical motion expressions in terms of conceptual metaphors (Lakoff & Johnson 1999). Specifically, it analyses whether musical motion expressions are based on the time is motion metaphor (Johnson & Larson 2003, Cox 2016). Furthermore, the thesis investigates whether musical motion expressions are perceived as low in metaphoricity because of their conventionality in music criticism, and because of a more general association of music with motion, given that people often literally move when they make music and when they listen to music.
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Gooley, Dana. "Hanslick and the Institution of Criticism." Journal of Musicology 28, no. 3 (2011): 289–324. http://dx.doi.org/10.1525/jm.2011.28.3.289.
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This article surveys Hanslick’s statements about the purpose and practice of criticism to argue that he viewed music criticism as a medium with the potential to effect political and social change, and not as a practical application of aesthetic principles. Hanslick took up the Enlightenment model of criticism—–which stressed the critic’s role in fostering the public’s independence of judgment through the exercise of reason—–and adapted it to the historical circumstances of post-1848 Vienna. The Enlightenment model had originated from an impetus to emancipate a civil public from top-down, absolute forms of authority. It resonated powerfully with Hanslick because he believed that artistic, social, and political life in Vienna after 1848 was gradually liberating itself from the paralyzing, passive, and repressive ethos of Vormärz, and that the critic could contribute to this historical emancipation. Hanslick thus broke his earlier identification with the Left Hegelian “philosophical” model of criticism, which did not share the Enlightenment’s optimistic conception of the public sphere. His commitment to the critic's public mission manifested as an effort to position his voice as the “silent” inner conscience of the average educated listener. His self-consciousness about aligning his voice with that of the public came to the surface in reviews where his opinion did not match the audience response. Many of Hanslick’s criteria for musical judgment were aimed at defending the listener’s freedom from the interference of external critical authorities as well as from composers and whose musical ideas were turgid or unclear. In service to these freedoms he was willing to criticize composers such as Beethoven, Schumann, and Brahms, as well as conservative classicists and music historians.
8
Majer-Bobetko, Sanja. "Croatian Musical Journals between the Two World Wars and the Musical Criticism." International Review of the Aesthetics and Sociology of Music 23, no. 2 (December 1992): 177. http://dx.doi.org/10.2307/837014.
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Kogler, Susanne. "Adorno as Critics – Mozart, Wagner and Strauss in the Light of the Aesthetic Theory." Musicological Annual 41, no. 1 (December 1, 2005): 45–57. http://dx.doi.org/10.4312/mz.41.1.45-57.
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There is no doubt, that Adomo's critical monographs and essays on Wagner and Strauss, as well as the text on Sibelius, number among the most controversially discussed parts of his oeuvre. One important reason for this controversial reception is the fact that these writings combine philosophical and musical views. As far as the musicologists are concerned, the texts lack a detailed analytical perspective; from the philosophical point of view on the other hand, the deliberations are too much dominated by musical phenomena. This text, which was written for a lecture held at the Musicology Department of the University of Ljubljana in April 2005, aims at placing Adorno's music criticism in the context of his critical aesthetics and in his musical philosophy respectively, which he summed up in his Aesthetic Theory. By doing so the most important criteria, which refer directly to the critical perspective of his thought concerning language and culture in general, shall be focused upon. The article consists of four parts: The first part will focus on Adorno's ideas on 20th century art in general, for these theoretical thoughts constitute the basis of his thoughts on music and musicians. In the second part, Adorno's demands of musical criticism are placed in the centre of interest. The third part discusses Adorno's critique of Wagner by comparing it to his views on Mozart. The fourth and last part provides a detailed analysis of Adorno's two essays on Richard Strauss. Beside Adorno's Aesthetic Theory his writings on music criticism, in particular the paper held in 1967 at the Institute for Musical Criticism and Aesthetical Research of the former Music Academy in Graz entitled »Reflections on musical criticism«, his Essay on Wagner and his two papers on Richard Strauss written in 1924 and 1964 serve as textual basis for the following consideration.
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Qurrota Ayun, Hafizh. "Kritik Sastra Arab Pada Masa Jahilyah." `A Jamiy : Jurnal Bahasa dan Sastra Arab 11, no. 2 (September 18, 2022): 434. http://dx.doi.org/10.31314/ajamiy.11.2.434-444.2022.
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This study discusses the phenomenon of Arabic literary criticism that occurred during the period of ignorance. By knowing the critical phenomena that existed during the jahiliyyah period, it will be known how the character of Arabic literary criticism at that time was. Literary criticism during the jahiliyyah period was still very simple, namely by determining good and bad or comparing works with one another based on their natural literary taste. The result can be seen in the phenomenon of Muallaqa>t in which some of the best poems from various tribes are placed. The forms of literary criticism during the jahiliyyah period were generally in four forms, namely linguistic criticism, meaning criticism, musical criticism, and poet strata criticism. Linguistic criticism is criticism of the misuse of language. Meaning criticism is a criticism that judges the merits of a poem in terms of meaning. There are three basics in the critique of its meaning, namely its relevance to the life of the Arab community, the compatibility between the word and the meaning that shows it, and the aesthetic value or beauty of the meaning contained in the poem. Musical criticism is literary criticism seen from the good or bad standards of arud that exist in poetry. Criticism of the poet's strata is criticism based on the level of the poet during the jahiliyyah period.
11
Kramer, Lawrence. "Dangerous Liaisons: The Literary Text in Musical Criticism." 19th-Century Music 13, no. 2 (1989): 159–67. http://dx.doi.org/10.2307/746653.
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Majer-Bobetko, Sanja. "Croatian Musical Criticism between the Two World Wars." International Review of the Aesthetics and Sociology of Music 18, no. 1 (June 1987): 75. http://dx.doi.org/10.2307/836907.
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Kramer, Lawrence. "Dangerous Liaisons: The Literary Text in Musical Criticism." 19th-Century Music 13, no. 2 (October 1989): 159–67. http://dx.doi.org/10.1525/ncm.1989.13.2.02a00050.
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Lin, Yii-Jan. "Musical Performance Practice and New Testament Textual Criticism." Early Christianity 11, no. 1 (2020): 71. http://dx.doi.org/10.1628/ec-2020-0008.
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FRY, KATHERINE. "Elaboration, Counterpoint, Transgression: Music and the Role of the Aesthetic in the Criticism of Edward W. Said." Paragraph 31, no. 3 (November 2008): 265–80. http://dx.doi.org/10.3366/e0264833408000278.
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This article examines the role of the aesthetic in the criticism of Edward Said through a reading of two lesser-explored texts, Musical Elaborations (1991) and On Late Style (2006). It explores how, by drawing upon ideas from Gramsci and Adorno, Said advocates a convergence of social and aesthetic approaches to musical analysis and criticism. Although critical of some of the tensions arising from Said's varying perspectives on music and society, the article suggests that we can nonetheless detect a distinctive ideology of the aesthetic in Said's writings on music. It argues that Said's ideas on the temporal or narrative structure of certain musical works or performances function, within his wider thinking, as an aesthetic paradigm for undermining fixed identity and linear or totalizing narratives. Thus Said's reflections on music do not simply retreat from social and political concerns, but rather elaborate a utopian thinking regarding the interface between criticism and the aesthetic.
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CAPLAN, LUCY. "“Strange What Cosmopolites Music Makes of Us”: Classical Music, the Black Press, and Nora Douglas Holt's Black Feminist Audiotopia." Journal of the Society for American Music 14, no. 3 (August 2020): 308–36. http://dx.doi.org/10.1017/s1752196320000218.
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AbstractThis article examines the music criticism of Nora Douglas Holt, an African American woman who wrote a classical music column for the Chicago Defender (1917–1923) and published a monthly magazine, Music and Poetry (1921–1922). I make two claims regarding the force and impact of Holt's ideas. First, by writing about classical music in the black press, Holt advanced a model of embodied listening that rejected racist attempts to keep African Americans out of the concert hall and embraced a communal approach to knowledge production. Second, Holt was a black feminist intellectual who refuted dominant notions of classical music's putative race- and gender-transcending universalism; instead, she acknowledged the generative possibilities of racial difference in general and blackness in particular. I analyze Holt's intellectual commitments by situating her ideas within the context of early twentieth-century black feminist thought; analyzing the principal themes of her writing in the Chicago Defender and Music and Poetry; and assessing her engagement with a single musical work, Tchaikovsky's Symphony No. 4 in F Minor, op. 36. Ultimately, Holt's criticism offers new insight into how race, gender, and musical activity intersected in the Jim Crow era and invites a more nuanced and capacious understanding of black women's manifold contributions to US musical culture.
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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.
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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.
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Kerman, Joseph. "Round Table VIII: Analysis and Interpretation in Musical Criticism." Acta Musicologica 59, no. 1 (January 1987): 28. http://dx.doi.org/10.2307/932861.
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Pereira de Sá, Simone. "Notas sobre a indústria do entretenimento musical e identidade no Brasil." Comunicação Mídia e Consumo 1, no. 2 (September 15, 2008): 35–49. http://dx.doi.org/10.18568/cmc.v1i2.12.
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O artigo aborda questões ligadas à indústria de música de massa no Brasil, articuladas à identidade e à crítica jornalística.
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The article focus on questions about the massive musical industry on Brazil, articulated to identity
and journalism criticism.
Palavras-chave: indústria cultural; música massiva; identidade; crítica jornalística
Key-words: cultural industry; massive music; identity; journalistic criticism
20
Fulka, Josef. "Lévi-Strauss, Schaeffer, Wagner: hudební struktura mýtu." Teorie vědy / Theory of Science 31, no. 2 (November 11, 2009): 119–40. http://dx.doi.org/10.46938/tv.2009.19.
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The aim of the present paper is to analyse briefly the complicated references to musical composition in the work of Claude Lévi-Strauss. In his monumental tetralogy entitled Mythologiques, Lévi-Strauss considers the musical composition as a paradigm for structural analysis of myths. In this respect, the author compares Lévi-Strauss’ position with that of Pierre Schaeffer whose project of the “concrete music” is strongly criticised by Lévi-Strauss. In the second part of the text, Lévi-Strauss’ structural analysis of Wagner’s operas are examined, as well as the criticism ad dressed to Lévi-Strauss by Jean-Jacques Nattiez – universalist pretension and vagueness of the method based upon binary oppositions seems to represent weak points of Lévi-Strauss’ impressive effort to set new bases for human sciences.
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McManus, Laurie. "Feminist Revolutionary Music Criticism and Wagner Reception." 19th-Century Music 37, no. 3 (2014): 161–87. http://dx.doi.org/10.1525/ncm.2014.37.3.161.
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Abstract Histories of progressive musical politics in mid-nineteenth-century Germany often center on the writings of Richard Wagner and Franz Brendel, relegating contributors such as the feminist and author Louise Otto (1819–95) to the periphery. However, Otto's lifelong engagement with music, including her two librettos, two essay collections on the arts, and numerous articles and feuilletons, demonstrates how one contemporary woman considered the progressive movements in music and in women's rights to be interrelated. A staunch advocate of Wagner, Otto contributed to numerous music journals, as well as her own women's journal, advising her female readers to engage with the music of the New German School. In the context of the middle-class women's movement, she saw music as a space for female advancement through both performance and the portrayals of women onstage. Her writings offer us a glimpse into the complex network of Wagner proponents who also supported women's rights, at the same time providing evidence for what some contemporary conservative critics saw as a concomitant social threat from both Wagnerian musical radicalism and the emancipated woman.
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Kramer, Lawrence. "Culture and musical hermeneutics: The Salome complex." Cambridge Opera Journal 2, no. 3 (November 1990): 269–94. http://dx.doi.org/10.1017/s0954586700003281.
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From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies and behaviour of women. The present paper revisits this well-known episode in cultural history with two distinct aims in mind, one interpretative, the other methodological. The interpretative aim is to offer a feminist approach to the fin-de-sièclecompulsion to retell the Salome story with lavish attention to misogynist imagery - those quivering female bodies and gory male heads. The methodological aim is to find a meeting ground for literary criticism and musicology as both disciplines aspire to become vehicles of a more comprehensive criticism of culture.
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Lett, Jacob. "Divine Roominess: Spatial and Music Analogies in Hans Urs von Balthasar and Robert Jenson." Pro Ecclesia: A Journal of Catholic and Evangelical Theology 28, no. 3 (May 7, 2019): 267–77. http://dx.doi.org/10.1177/1063851219846681.
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Hans Urs von Balthasar and Robert Jenson both spatialize God by depicting the triune life as “roomy”. Theologians have employed spatial analogies readily since the inception of the “trinitarian revival” of the 20th century. In recent days, however, theologians have begun critiquing divine spatial imagery. In particular, the spatialized grammar of Balthasar’s trinitarian theology has attracted criticism. In this article, I review Balthasar’s divine spatial analogies and show how “bodily” readings of them have provoked criticism. I then repair Balthasar by applying Jenson’s musical rendition of “divine roominess” to Balthasar’s spatial analogies, suggesting that musical conceptions of space resolve some of the concerns theologians raise with Balthasar’s trinitarian theology in particular and spatial analogies in general.
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Bagdanov, Kristin George. "Atomic Afrofuturism and Amiri Baraka's Compulsive Futures." Oxford Literary Review 41, no. 1 (July 2019): 51–67. http://dx.doi.org/10.3366/olr.2019.0265.
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In 1984, the same year that scholars were gathering at Cornell University to theorise ‘Nuclear Criticism,’ Amiri Baraka was formulating his own version of nuclear futurity in Primitive World: An Anti-Nuclear Jazz Musical. Baraka's musical manifests and conceptualises atomic afrofuturism, a historically specific affirmation of black existence that was forged while facing nuclear apocalypse. Nuclear Criticism, which lost much of its exigency after the end of the Cold War, needs to evolve to account for the present nuclear era, as its focus on totalities leaves it ill-equipped for incorporating the disparate lived experiences of those who have already experienced the apocalypse and for whom nuclear apocalypse is a repetition or extension of white supremacy's agenda of extinction. This article offers a genealogy of atomic afrofuturism, examining how throughout the cold war period African American artists like Sun Ra, Langston Hughes and Amiri Baraka were exploring the post-apocalyptic conditions of black existence, including its conflicting temporalities and tenses, while much of America still believed the apocalypse was imminent, not immanent. And so it is Derrida's anti-apocalyptic missives together with Baraka's anti-nuclear musical that can offer the framework Nuclear Criticism so desperately desires for imagining the unimaginable.
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Eatock, Colin. "Classical Music Criticism at the Globe and Mail: 1936-2000." Canadian University Music Review 24, no. 2 (March 8, 2013): 8–28. http://dx.doi.org/10.7202/1014580ar.
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This article is a study of developments in classical music criticism at the Toronto-based Globe and Mail newspaper from its inception in 1936 to the year 2000. Three distinct time-periods are identified, according to content, style and ideology: 1936-1952, a period of boosterism, when critics often saw it as their role to support Toronto's musicians and musical institutions; 1952-1987, when (during the lengthy tenure of critic John Kraglund) the newspaper took a more detached, non-partisan stance towards musicians and musical activities in the city; and 1987-2000, when critics began to address social, political, and economic issues governing classical music, and to question inherited cultural assumptions about the art form.
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Yudina, Vera I. "The Musical Culture of the Russian Province in the Mirror of Prerevolutionary Periodicals." Problemy muzykal'noi nauki / Music Scholarship, no. 3 (2023): 47–57. http://dx.doi.org/10.56620/2782-3598.2023.3.047-057.
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From the positions of systemic analysis, the author of the article determines the role of periodical press as an important source of research of the musical culture of the prerevolutionary Russian province. Against the background of the development of humanitarian knowledge, the studies of the musical provinces actualize the issue of the base of its scholarly field related to source studies. Particularly periodical press contains the basic information about the musical life of the prerevolutionary period of Russian history in all of its diversity. The periodical publications — from the capital cities and the periphery, the general and the specialized varieties — are specified on the basis of an elaborated classification. Emphasis is given to various printed material, different in its indication of genre, devoted to musical life in various cities of the Russian Empire — analytic sketches, survey correspondence, articles on music history, and informational-advertising production. The question is broached of the genre-related and stylistic transformation of musical journalism from descriptive overviews to articles of a problem-based culturological character. The participation of the activists of musical culture from a number of Russian cities in the formation of the areal tradition of musical criticism, the intensification of artistic connections between the provinces and the two Russian capital cities, the evolution of musical life in different cities (for example, in Odessa, Tiflis, Kharkov, etc.) — all of these are disclosed in the article. The musical periodical press of various provincial regions of Russia, represented by materials that are diverse in their genre and territorial affiliation, which has undergone a significant transformation of its content during the course of the entire 19th and the early 20th century, has made a significant contribution to the formation and the development of Russian music criticism and Russian musical culture in general.
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Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.
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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other arts. Also, musical metaphors in Chinese aesthetics evidently work as guiding principles in individual art theories.
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Popa, Florinela. "Aspects of Nationalist Propaganda in the Late Nineteenth-Century Romanian Musical Press." Nineteenth-Century Music Review 14, no. 3 (December 2017): 339–65. http://dx.doi.org/10.1017/s1479409817000155.
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In the last decades of the nineteenth century, two widely different attitudes regarding local music were evident in the Romanian musical press. One viewpoint had an obviously nationalist character, and was manifested in an apologetic idealization of Romanian music – especially folklore – but also in calls for the improvement of composition and performance in the local music scene. The other attitude revealed a pronounced inferiority complex connected to everything that contemporary Romanian music represented. This was manifested especially in the (sometimes harsh) criticism of Romanian musical life, and in a hostile position towards or ignorance of Romanian musicians, composers or interpreters, except when they attained success and recognition abroad – and sometimes not even then. The two extreme attitudes are not mutually exclusive, but complement each other; essentially, they can be seen to be in a cause–effect relationship.These two faces of nationalist propaganda are reflected by publications such as Lyra română – foaie musicală şi literară, a weekly magazine published between 2 December 1879 and 31 October 1880, and România musicală, which appeared twice a month between 1 March 1890 and 28 December 1904.
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kang, sun ha. "The Problems an Improvement Direction of High School Music Appreciation and Criticism Textbook." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 17 (September 15, 2023): 1–15. http://dx.doi.org/10.22251/jlcci.2023.23.17.1.
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Objectives This study examines the problems in the contents of high school textbook Music Appreciation and
Criticism, and proposes improvement directions accordingly.
Methods For this purpose, the 2015 revised textbook Music Appreciation and Criticism's unit composition, organization,
and Gugak contents were analyzed.
Results The problems of high school music appreciation and criticism education are, first, that Gugak is not universally
covered in music. Second, the majority of music pieces overlapped with general Music textbooks, and
third, the fact that the description of Gugak was remarkably lacking compared to Western music history, and
fourth, there was no concept and critical awareness of Gugak criticism. Since music appreciation and criticism education
is a special subject for students majored in music, it should have more advanced content than general
Music textbooks, but there was room to instill musical prejudice.
Conclusions The improvement direction for these problems is, first, to understand Korean traditional music
universally. Second, a critical mind about the criticism of Gugak will be preceded. Third, future-oriented education
with the context of the times was to be pursued. Fourth, appreciation music was to be presented in a more diverse
way and learning contents were to be converged. When these suggestions for improvement are fully considered
and improved, the appreciation and criticism of Gugak can also develop in a creative direction.
30
COX, GORDON, and STEPHANIE PITTS. "Editorial." British Journal of Music Education 23, no. 2 (June 29, 2006): 133–34. http://dx.doi.org/10.1017/s0265051706006991.
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The extent to which musical learning takes place beyond the school curriculum presents a challenge to music teachers, requiring them to frame their classroom activities within the broader context of their students' diverse musical interests and experiences. At times, young people's self-directed musical education has been held up as a criticism of institutional approaches: the often-quoted comment from the 1963 Newsom Report that ‘out of school, adolescents are enthusiastically engaged in musical self-education’ was contrasted at the time with the view that classroom music was becoming increasingly out-dated and irrelevant – a charge that subsequent generations have also been called to answer.
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Goatly, Andrew. "Locating stylistics in the discipline of English studies: a case study analysis of A.E. Housman’s ‘From Far, from Eve and Morning’." Journal of Literary Semantics 50, no. 2 (October 1, 2021): 127–49. http://dx.doi.org/10.1515/jls-2021-2034.
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Abstract Literary stylistics, whose subject matter is literary language, straddles the disciplines of literary criticism and linguistics, as Henry Widdowson pointed out 45 years ago. Since then, developments in discourse analysis and multimodal studies have had the potential to expand the map of the interactions between different disciplines. This case study performs a traditional stylistic analysis of the poem ‘From Far, from Eve and Morning’ from A E Housman’s A Shropshire Lad but also demonstrates the potential for a multimodal perspective on stylistics by relating it to a musical analysis of Vaughan-Williams’ setting of the poem. It begins with a linguistic analysis of phonology, graphology and punctuation, lexis, phrase structure, clause structure and clausal semantics. It proceeds to a discourse analysis of pragmatics and discourse structure. And it ends by relating the linguistic and discoursal analysis to the music through music criticism. By way of conclusion, it suggests that both linguistic analysis and appreciation of musical structure and mood are useful ways into Spitzer’s philological circle, by which linguistic analysis and musical appreciation can pave the way for literary appreciation.
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Scott, J. P. E. "Elgar's Invention of the Human: Falstaff, Opus 68." 19th-Century Music 28, no. 3 (2005): 230–53. http://dx.doi.org/10.1525/ncm.2005.28.3.230.
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Falstaff, Elgar's tragic symphonic study, is at once program music, a minor piece of Shakespearean criticism, early modernist tonal and structural experiment, and a cynical musical commentary on humankind's "failings and sorrows." A satisfactory analysis of the work calls for a discussion of the program, the Shakespearean literary criticism that Elgar based his interpretation on and cited in his own published analysis of the work, and a structural analysis that can make sense both of a variety of generic implications (sonata, rondo, and multimovement deformations) as well as the complex associations between keys, motives, persons, and ideas in the work, together with its overall tonal structure. As this multilayered piece is examined from these different angles, Elgar's interpretation of the character of Sir John Falstaff (as presented by or inferable from Shakespeare) is revealed as an idiosyncratically gloomy view of human relationships and existential possibilities. It is also an intensely personal exploration of late-tonal musical language, its symbolic potential, its structural logic, and its relation to the musical tradition--Elgar's most complex, adventurous, and rewarding.
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BRACKETT, DAVID. "Improvisation and Value in Rock, 1966." Journal of the Society for American Music 14, no. 2 (April 24, 2020): 197–232. http://dx.doi.org/10.1017/s1752196320000073.
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AbstractThe mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white, male, middle-class demographic. This article demonstrates that rock's prestige rests simultaneously on maintaining this narrow demographic profile while locating aesthetic and spiritual value in musical practices coming from elsewhere (in terms of geography, race, or cultural hierarchy): blues, Indian classical music, jazz. The socio-musical transformation in which improvisation played such an important role is explored through a survey of recordings and an analysis of the development of rock criticism in 1966, the year in which a new constellation of aesthetics, politics, and musical style crystallized.
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SHAPOVALOVA, LIUDMYLA, NATALIYA GOVORUKHINA, VIKTORIIA ZINCHENKO, NADIIA VARAVKINA-TARASOVA, and LARYSA DERKACH. "THE “CHERUBIM SONG” GENRE IN UKRAINIAN MUSICAL CULTURE." AD ALTA: 13/01-XXXII. 13, no. 1 (January 31, 2023): 148–53. http://dx.doi.org/10.33543/130132148153.
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The genre of the Cherubim song is considered in the art criticism and socio-cultural (spiritual) planes. The study of variations of the Cherubic Hymn proposed by various authors from the liturgy of John Chrysostom to contemporary compositions by Lesya Dichko – was carried out. In general, the study was conducted in the landscape of Ukrainian sacred choral music and Christian spirituality emboedied in church music.
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Lalonde, Amanda. "Flowers over the Abyss: A Musical Uncanny in Nineteenth-Century Criticism." 19th-Century Music 41, no. 2 (2017): 95–120. http://dx.doi.org/10.1525/ncm.2017.41.2.95.
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The term unheimlich (uncanny) comes into usage in German music criticism in the nineteenth century and is often used to describe instrumental music, particularly sections of works featuring the ombra topic. While the idea that instrumental music can be uncanny regardless of text or program is not novel, this work differs from most existing scholarship on the musical uncanny in that it presents a possible precursor to the twentieth-century psychoanalytic uncanny. Instead, it examines Schelling's definition of the uncanny in the larger context of his ideas in order to form a basis for theorizing a version of this aesthetic category that is active in the nineteenth-century critical discourse about music. In the early nineteenth century, music becomes uncanny because it discloses what should remain hidden from finite revelation. Critics understand passages of instrumental ombra music as uncanny moments when music calls attention to itself as the sensuous manifestation of the Absolute. They remark on these passages’ effacing of boundaries and sense of becoming, residues of eighteenth-century uses of the topic in operatic supernatural scenes and as part of a chaos-to-order narrative in symphonic music. The article concludes with the reception of the opening of Beethoven's Ninth Symphony and the finale of Schubert's Octet, D. 803, using critics’ comments as a basis for extrapolating, through new analyses, as to the features that might make the particular works remarkable as examples of music's uncanny power made manifest.
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Cvejić, Žarko. "From men to machines and back: Automata and the reception of virtuosity in European instrumental art music, c.1815-c.1850." New Sound, no. 48-2 (2016): 65–80. http://dx.doi.org/10.5937/newso1648065c.
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In most histories of Western music, the 1830s and 40s are typically described as "the age/era of virtuosity and/or virtuosi". Indeed, major contemporary sources, including leading musical journals of the time, teem with reports on the latest exploits of Liszt and his rivals and in much of this body of criticism, piano and violin virtuosi were commonly celebrated for pushing the limits of humanly conceivable excellence in musical performance. However, a significant number of these critical responses were also negative, critiquing individual virtuosi for playing not like humans, but like automata. My claim in this article, documented with a detailed perusal of contemporary music criticism, is that this line of anti-virtuosic critique was part of the larger 19th-century suspicion of virtuosity as super but also, perhaps, non-humanly accomplished, automatic technique, devoid of all emotion, expression, that is, of human presence and content. Also, I propose to interpret this line of criticism with reference to the even broader 19th-century anxiety over the issue of human subjectivity, that is, its freedom, evident not only in contemporary philosophy (Schelling, Schopenhauer, Novalis, etc.), but also in literature. Such narratives and, as I argue in this paper, much of contemporary criticism of virtuosity were shaped by the uncanny feeling that the human subject, too, like automata and "automatic" virtuosi, may not be free, contrary to the Enlightenment view of the human subject in Rousseau, Kant, and others, but actually under the power of mechanisms beyond itself, operating automatically and not of its own accord. In contemporary criticism of virtuosity, the elusive notions of expression, expressivity, expressive playing and the like, which were deliberately kept under-explained, were then marshalled to preserve the supposedly ineffable or at least ineffably human core of musical performance, in line with the contemporary Romantic view of music as the only means of expressing what is otherwise inexpressible, that is, ineffable.
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Krueger, Joel. "Musical Manipulations and the Emotionally Extended Mind." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 208. http://dx.doi.org/10.18061/emr.v9i3-4.4496.
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I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.
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PARK, JINHONG. "Exploration into Application Fields of Musical Criticism in Music Education Curriculum." Korean Society of Music Education Technology, no. 37 (October 16, 2018): 117–33. http://dx.doi.org/10.30832/jmes.2018.37.117.
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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.
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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
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Klan, Maria. "Feministyczne tropy w „Obiecującej Młodej Kobiecie” Emerald Fennell." Studia Filmoznawcze 41 (January 19, 2022): 119–30. http://dx.doi.org/10.19195/0860-116x.41.8.
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The article is an attempt to analyze the film Promising Young Woman directed by Emerald Fennell. It contains references to feminist film criticism and other works on this subject. It largely focuses on the visual and musical layer of production.
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Joubert, Estelle. "Maria Antonia of Saxony and the Emergence of Music Analysis in Opera Criticism." Cambridge Opera Journal 25, no. 1 (March 2013): 37–73. http://dx.doi.org/10.1017/s0954586712000341.
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AbstractThe Enlightenment witnessed the rise of a public whose role as sovereign arbiter of operatic taste irreversibly changed the processes by which fame and renown were bestowed upon composers. The public sphere – a conceptual space in which texts (including music) were disseminated and debated – emerged as an expansive intellectual forum in which composers, performers and works could be evaluated. In spite of opera's long-standing association with fame and renown, its role in the processes leading to ascriptions of musical value and fame in the Enlightenment public sphere is a significant dimension of canon formation that has yet to be fully investigated. This article offers a case study of Electress Maria Antonia of Saxony (1728–1780), whose mutually beneficial relationship with the Breitkopf firm, coupled with its redesigned ‘movable type’ in 1755, prompted a new mode of opera criticism, one that focused sharply on the music itself. Maria Antonia's Il trionfo della fedeltà (1754) and Talestri (1762) were the first operas to receive reviews featuring in-text musical examples, fuelling the public's quest to monumentalise Maria Antonia as celebrated composer. Ultimately, the inclusion of musical excerpts in opera criticism was an important step toward the construct of the work as separate from individual localised performances.
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Lofton, Kathryn. "Pausing on a Sunday: Sondheim and the Composition of the Secular in the American Musical." Modern Drama 65, no. 3 (October 1, 2022): 355–80. http://dx.doi.org/10.3138/md.65-3-1199.
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The abundance of Bible story–based plots and preponderance of Jewish lyricists in musical theatre suggests religion should play a central role in its study. Yet religion is not a major theme in musical theatre criticism. This article suggests this silence is a symptomatic forgetfulness of the default secular operative in American musical theatre and its analysts in theatre studies. Focusing on Stephen Sondheim (1930–2021) as an artist of particular accomplishment within the raced, gendered, and religious aesthetic of the American musical’s secularism, it examines “Sunday,” the Act One closer to Sunday in the Park with George (1984), as a climax of such expression. “Sunday” is an instruction manual on what the secular is, conveying in its lyrics, compositional location, and author’s autobiography the story of religion’s hiddenness in the American musical. Sondheim’s “Sunday” is a way to see how musical theatre regulates religion on stage.
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Camargo, Luciano de Freitas. "Shostakovich’s Topics." Per Musi, no. 40 (June 14, 2021): 1–14. http://dx.doi.org/10.35699/2317-6377.2020.24661.
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The study of musical signification constitutes an important key for the comprehension of Shostakovich’s music. This becomes particularly evident when one observes that social and political background plays an important role in his compositional process through the configuration of specific musical topics on structural positions of his music. These specific topics have arisen after cultural and social events during the establishment of the Soviet Union and became typical elements of the Soviet Music. This paper aims to show the function of these elements as compositional roots in the creative concept of Shostakovich’s music. The rising of the concept of musical topic after Leonard Ratner (1980) has opened new paths for a consistent comprehension of the musical discourse, identifying social and cultural signs that may articulate ideas which go beyond the music itself: ideology, criticism and politics became elements of musical expression, composing a new soundscape of music in Revolutionary Russia.
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Summers, Tim. "‘Sparks of Meaning’: Comics, Music and Alan Moore." Journal of the Royal Musical Association 140, no. 1 (2015): 121–62. http://dx.doi.org/10.1080/02690403.2015.1008865.
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ABSTRACTComics have become a significant part of modern popular culture. This article examines the ways in which music is involved with comics, and develops methods for analysing musical moments in comic books. The output of the writer Alan Moore (b. 1953) is used as the domain for examining music and comics. This popular author's works are notable for their sophisticated use of music and their interaction with wider musical culture. Using case studies from the comic books V for Vendetta (1982–9), Watchmen (1986–7) and the second and third volumes of The League of Extraordinary Gentlemen (2002–12), the article demonstrates that the comic can be a musically significant medium (even to the point of becoming a piece of virtual musical theatre), and argues that music in comics serves to encourage readers to engage in hermeneutic criticism of musical and musical-literary texts.
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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.
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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.
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Kourbana, Stella. "The Birth of Music Criticism in Greece: The Case of the Historian Konstantinos Paparrigopoulos." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 85–100. http://dx.doi.org/10.1017/s1479409811000073.
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The birth of music criticism in Greece is connected with the creation of the Greek state and the consequent reception of opera in Athens, its capital. In the newly formed Greek society, opera was not only considered as a cultural fact, but also as the principal symbol of the European lifestyle, which stood as a model for the new citizens of the European community. The young Konstantinos Paparrigopoulos, before becoming the principal founder of the Greek nationalist historiography, published a number of music reviews on the opera performances in Athens in 1840, eager to contribute to the musical cultivation of his compatriots. According to his opinion, opera, thanks to its aesthetic quality, but mainly because of its universal influence (which goes beyond nations and classes) was the appropriate means to ‘mould’ the musical taste of the Greek nation. Paparrigopoulos’ insistence on Italian opera as the vehicle which could introduce the Greeks to the musical profile of European civilization is significant for his ideas on the cultural identity of his nation. In these early writings of the future historian we can distinguish the main topics of his later theory.
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Perković, Ivana, and Anđelka Zečević. "Computational Research of Music Criticism between 1878 and 1941 in Serbian." Musicological Annual 58, no. 2 (December 27, 2022): 81–105. http://dx.doi.org/10.4312/mz.58.2.81-105.
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The article deals with the critical writing on music in the digitized newspapers in the Svetozar Marković University Library in Belgrade. The multidisciplinary research aims to connect the quantitative and qualitative analysis of the musical critics in Serbian in the period between 1878 and 1941, and to explore how to combine both the computational and traditional musicological approaches.
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Taylor, Benedict. "Sullivan, Scott andIvanhoe: Constructing Historical Time and National Identity in Victorian Opera." Nineteenth-Century Music Review 9, no. 2 (December 2012): 295–321. http://dx.doi.org/10.1017/s1479409812000316.
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Arthur Sullivan's Walter Scott-based operaIvanhoe, despite attaining great success at its 1891 premiere, has since quickly fallen from musicological grace. Substantive criticism of this work in the twentieth century has concentrated on the static, tableau-like dramaturgy of the opera, a lack of dramatic coherence, and its undeniably conservative musical language. Taking its bearings from such criticisms this paper explores Sullivan's problematicmagnum opusfrom the perspective of its relationship with time, understood from multiple levels – his opera's musical-dramaturgical, historical, and music-historical temporalities. Starting from Michael Beckerman's insightful analysis of what he terms the ‘iconic mode’ in Sullivan's music,Ivanhoecan be viewed as an attempt at creating a different type of dramaturgical paradigm that emphasizes stasis and stability located in the past – highly apt for a work seeking both to crystallize past history and to found a new tradition for future English opera. Moreover, investigating this work and the composer's stated aesthetic concerns more closely reveal a conscious desire to opt out of continental European narratives of musical progress and build a composite, pageant-like vision of English history, therefore inevitably partaking in a process of constructing national identity. These features are teased out in the context of Scott's impact on the Victorian mind and their affinities with other historicist tendencies in the arts such as the Pre-Raphaelite movement.
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Cervera Salinas, Vicente. "La clave crítica bien temperada: Baquero Goyanes en su partitura." Monteagudo, no. 28 (May 10, 2023): 59–78. http://dx.doi.org/10.6018/monteagudo.550791.
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his article traces an itinerary through the critical work of Mariano Baquero Goyanes from his recognized love of the art of music. Since his first investigations in the fifties, as in "Tiempo en tempo en la novela" (1954), the references to musical techniques and forms as well as to the history of music fertilize and illuminate his scientific contribution in an original and pioneering way. to literary criticism. The pages devoted to musical structures in contemporary novels, already in the seventies, reveal his critical maturity and the breadth of the field of vision of the artistic phenomenon. Este artículo traza un itinerario por la obra crítica de Mariano Baquero Goyanes desde su reconocida afición al arte de la música. Desde sus primeras investigaciones en los años cincuenta, como en "Tiempo en tempo en la novela" (1954), las referencias a las técnicas y formas musicales así como a la historia de la música fecundan e iluminan de modo original y precursora su aportación científica a la crítica literaria. Las páginas dedicadas a las estructuras musicales en la novelística contemporánea, ya en los años setenta, revelan su madurez crítica y la amplitud del campo de visión del fenómeno artístico.
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FRY, KATHERINE. "Variations on the Musical Sublime." Journal of the Royal Musical Association 147, no. 2 (November 2022): 645–53. http://dx.doi.org/10.1017/rma.2022.23.
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It can sometimes seem as if musicology is perpetually running late. At least, that is the impression that emerges from two new histories of music and the discourse of the sublime in European culture and aesthetics. Both books stress an imbalance between music and other scholarly fields as a premise for revisiting the long history of the sublime, charting its rise to prominence in the late-seventeenth century with the reception of Peri Hupsous (On Sublimity, attributed to the Greek critic Longinus), to its dominant place in British, German, and French aesthetics and criticism in the late-eighteenth and the nineteenth centuries. During this period, the sublime was debated by critics, literary writers, theologians, philosophers and musicians, and used to evoke multiple meanings and applications. Put simply: the sublime was more than a set of intrinsic qualities – such as elevation, grandeur, excess, power, persuasion, innovation and so on – to be located in an external object, style, or mode of expression. It was also an experience and state of mind identified with the (usually male) perceiving subject, an emotional and cognitive confrontation with that which is overwhelming, unknowable, or indescribable.1