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Books on the topic 'Musical experimentation'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

The archaeology of music in ancient China: 2000 years of acoustical experimentation, 1400 B.C.-A.D. 750. Paragon House, 1990.

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2

Fonseca, Susan Campos, and Julianne Graper. Noise, Sonic Experimentation, and Interior Coloniality in Costa Rica. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0009.

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This chapter explores how conceptual disputes over genre boundaries, noise, and music open a window into a society that debates and constructs its own contemporaneity, in dialogue with conceptions about what is meant by indigeneity, music, musical composition, musicality, and experimentalism in the twenty-first century. The chapter inquires into how discourses about experimentation and innovation coming from the realm of Noise are constructed under specific technological assumptions; it also explores how these discourses might play out within the Costa Rican artistic scene. On an aesthetic lev

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3

Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.

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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new t

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4

Sapiro, Ian. The Pop-Music Industry and the British Musical. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.13.

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This chapter discusses the intersection of the pop music industry and the British musical through the genre of the rock opera. In the late 1960s British artists started using the LP to create longer songs and projects, and theatrical practice began to move away from a reliance on narrative linearity and towards increased spectacle. The result of this experimentation was the concept album, and where such albums contained narratives they were termed rock operas. This chapter considers Tommy (1969) and Jesus Christ Superstar (1970)—two works fundamental to the establishment of rock opera—as well

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5

Wells, Elizabeth. After Anger. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.10.

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The late 1950s saw an astonishing emergence of iconoclastic and modernistic approaches to the genre of the British musical. Directors like Joan Littlewood and her Theatre Workshop company produced a number of dark, cynical, and experimental musicals in the late 1950s that provided British theatre professionals and audiences alike with an alternative to the dominant American style. Many attempted to bring this new and particularly British voice to the West End. An investigation of the musical, dramatic, and cultural context of the exceptional and important ‘Soho’ shows, which include Expresso B

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6

Tucker, Joshua. Peruvian Cumbia at the Theoretical Limits of Techno-Utopian Hybridity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0005.

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This essay analyzes the transformation of Peruvian chicha, an adaptation of Colombian cumbia, from an unassuming working-class music into a central feature in new nationalist discourses that seek to overcome older elitist and racist models of national identification from transnational perspectives. As part of this discussion, the chapter considers the work of intellectual cosmopolitans who appeal to notions of electronic experimentation, psychedelic playfulness, and musical agency, thus resignifying chicha as an aesthetic solution for the intellectual shortcomings of an earlier era. Chicha mus

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7

Herrera, Eduardo. Elite Art Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190877538.001.0001.

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Between 1962 and 1971, the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Di Tella Institute in Buenos Aires became the central hub of Latin American avant-garde music. With the support of the Rockefeller Foundation and the wealthy Di Tella family, CLAEM offered two-year fellowships to some of the most recognized young composers of the region to undertake graduate studies in a unique privileged setting under the direction of Alberto Ginastera and with permanent and visiting faculty that included Gerardo Gandini, Francisco Kröpfl, Mario Davidovsky, Iannis Xenakis, Luigi Nono,

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8

Onsman, Andrys, and Burke Robert. Experimentation in Improvised Jazz. Taylor & Francis Group, 2020.

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9

Weiss, Naomi. Hearing the Syrinx in Euripidean Tragedy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0007.

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References to the syrinx are mostly absent from extant tragedy until the late fifth century BC, when the instrument suddenly starts appearing in Euripides’ plays, especially in the choral odes. This chapter demonstrates that the syrinx is almost always mentioned alongside the aulos, the double pipe that accompanied dramatic choreia, or in such a way that the aulos is strongly suggested, so that the one instrument is meant to be heard as the other. Such instrumental mimesis in Euripides’ tragedies does more than just show off his own skill and engagement with contemporary musical trends and dis

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10

Artistic Experimentation in Music: An Anthology. Leuven University Press, 2014.

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11

Bouteneff, Peter C., Jeffers Engelhardt, and Robert Saler, eds. Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.001.0001.

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Scholarly writing on the music of Arvo Pärt is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Pärt: Sounding the Sacred focuses on the representational dimensions of Pärt’s music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as hi

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12

Experimentations: John Cage in music, art, and architecture. 2016.

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13

What would Jesus sing?: Experimentation and tradition in church music. Church Pub., 2007.

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14

(Editor), Marilyn L. Haskel, and John Bell (Introduction), eds. What Would Jesus Sing?: Experimentation and Tradition in Church Music. Church Publishing, 2007.

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15

Acosta, Rodolfo. Experimentation and Improvisation in Bogotá at the End of the Twentieth Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0013.

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This chapter explores how experimentation and improvisation became meaningful within the Colombian Western academic tradition. Acosta provides a musicological report of the evolution of experimental composition, interpretation, and improvisation in Bogotá toward the end of the twentieth century. The rise of atonality, electroacoustic and mixed music, indeterminacy, and other avant-garde movements from the late 1950s onward, are sketched as direct precedents for the rise of experimental improvisational practices since the 1980s. These tendencies grew into a rich field within Colombian music thr

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16

Tkaczyk, Viktoria, Mara Mills, and Alexandra Hui, eds. Testing Hearing. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197511121.001.0001.

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Testing Hearing: The Making of Modern Aurality argues that the modern cultural practices of hearing and testing have emerged from a long interrelationship. Since the early nineteenth century, auditory test tools (whether organ pipes or electronic tone generators) and the results of hearing tests have fed back into instrument calibration, human training, architecture, and the creation of new musical sounds. Hearing tests received a further boost around 1900 as a result of injury compensation laws and state and professional demands for aptitude testing in schools, conservatories, the military, a

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17

Comentale, Edward P. ( ). University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037399.003.0006.

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This chapter concerns the formal silence that pervades pop music in the late modern era, which both allows for greater experimentation in music and preserves, in the face of complete commercial appropriation, the utopian possibility of some more subtle form of engagement with modernity. It argues that Buddy Holly's music represents the moment when popular music became “pop music,” and moreover that both John Cage and Holly pursued silence to the point of freeing song (and specifically lyrical song) from the expressive demands of identity and tradition. The chapter then draws from Jacques Derri

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18

Winkler, Kevin. An Anecdotic Revue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0008.

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This chapter describes Pippin, the first of Bob Fosse’s two book musicals from the 1970s (Chicago being the second). Both shows engaged with cultural and social currents and were constructed around self-conscious, quasi-Brechtian staging concepts that emphasized their show business frameworks. Pippin was his most deliberately theatrical and nonrealistic show yet. This loose, revue-like look at the life of the son of Charlemagne in eighth-century France was set in a permanent limbo, told by an anachronistic troupe of players. It sported a contemporary edge as it followed the quest of the ideali

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19

Crist, Stephen A. Dave Brubeck's Time Out. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190217716.001.0001.

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This book is the first full-length study of Time Out by the Dave Brubeck Quartet, one of the most commercially successful albums in the history of jazz. Although the music of Time Out is exceedingly well known, and it remains a vital element of the American soundscape, it has received very little scholarly investigation until now. A central group of chapters examines the project’s seven cuts from several different points of view. The Quartet’s creative process is charted, from Brubeck’s earliest compositional sketches and drafts through multiple takes of the recording sessions in 1959. Other t

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20

Rogers, Holly, and Jeremy Barham, eds. The Music and Sound of Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.001.0001.

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This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisua

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21

Yaari, Nurit. The Classical Tradition in University Theatre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0011.

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This chapter surveys the history of classical Greek drama productions at the Department of Theatre Arts of Tel Aviv University as the basis for an exploration of the issue of theatre and art education. By analysing the students’ approach to classical Greek drama, we can see how they deal with the interpretative reading, translation, and performance of such texts on stage. We also see how the ancient works invite the students to delve more deeply into their distinctive content and forms; to draw links between theory and practice, and between text and context; to gain a deeper understanding of t

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22

Solomon, William. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040245.003.0001.

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This introductory chapter traces a process of cultural transformation that, beginning in the early decades of the twentieth century, led to the rise after World War II of the phenomenon called slapstick modernism. Manifesting itself in literature, (underground) film, and popular music, the rise of slapstick modernism signaled the coalescence in cultural practice of the artistic experimentation associated with high modernism, and the socially disruptive lunacy linked to the comic film genre. However, the concept of slapstick modernism has yet to receive adequate theorization; this is partly due

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23

Clarke, Eric F., Mark Doffman, David Gorton, and Stefan Östersjö. Fluid practices, solid roles? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0009.

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This chapter investigates the relationship between the fluid practices that frequently characterize the work of contemporary musicians, and the more solid roles of performer and composer that continue to hold sway in contemporary music. Focusing on a case study of the collaborative creation of Forlorn Hope for eleven-string alto guitar and electronics, by Gorton and Östersjö, the chapter analyses the processes that lead from research and experimentation with particular guitar tunings and playing techniques, through a more conventionally compositional phase, to the first public performance of t

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24

Marks, Peter. Literature of the 1990s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474411592.001.0001.

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Placing literary creativity within a changing cultural and political context that saw the end of Margaret Thatcher and rise of New Labour, this book offers fresh interpretations of mainstream and marginal works from all parts of Britain. Based on a framework of thematically-structured accounts, the individual chapters cover national identity, ethnicity, sexuality, class, celebrity culture, history and fantasy in literature from Wales, Scotland, Northern Ireland and England. It offers its readers a comprehensive view of the changing and challenging literary landscape in this period, critically

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25

Winner, Ellen. How Art Works. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863357.001.0001.

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This book is an examination of what psychologists have discovered about how art works—what it does to us, how we experience art, how we react to it emotionally, how we judge it, and what we learn from it. The questions investigate include the following: What makes us call something art? Do we experience “real” emotions from the arts? Do aesthetic judgments have any objective truth value? Does learning to play music raise a child’s IQ? Is modern art something my kid could do? Is achieving greatness in an art form just a matter of hard work? Philosophers have grappled with these questions for ce

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26

Howe, Justine. Honoring the Prophet, Performing American Islam. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190258870.003.0005.

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This chapter demonstrates the dynamic and improvisational character of ritual performance in third spaces, focusing on the performance of mawlids in the Webb community in 2011 and 2014. These rituals highlight Webb’s appeal to a broader network of Chicago’s Muslims across multiple generations. Webb mawlids build on traditions of female authority in domestic performance to elevate women’s participation and leadership in a public space. Within the framework of Webb as a third space, the mawlid is among the most important rituals for the construction of female religious authority. Shifts in ritua

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27

Szkárosi, Endre. The Spatial Expansion of Language in Sound Poetry of Western and Eastern Europe. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.46.

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This chapter offers an analysis of the process in which Hungarian poetry “takes back” (recuperates) the vocal and sonic dimensions of language in the second half of the twentieth century. Together with its actional parallels and consequences, this progress implicates a powerful functionalization of the performativity in poetry, which, for various reasons, was neglected in historical avant-garde poetry in Hungary. New avant-garde and experimental waves in art and influences of radical pop music were much more productive in this sense from the 1960s on, and several inspirations of Western cultur

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28

Giles, Paul. The Planetary Clock. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.001.0001.

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The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on issues of Indigeneity and the Anthropocene, The Planetary Clock off

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