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Books on the topic 'Musical interplay'
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1
Johnston, Ian H. Measured tones: The interplay of physics and music. Bristol: Institute of Physics Publishing, 1989.
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2
Measured tones: The interplay of physics and music. 3rd ed. Boca Raton: CRC Press, 2009.
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3
Measured tones: The interplay of physics and music. 2nd ed. Bristol: Institute of Physics Pub., 2002.
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4
Johnston, Ian. Measured tones: The interplay of physics and music. Bristol: Hilger, 1989.
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5
Story and song: A postcolonial interplay between Christian education and worship. New York: Peter Lang, 2013.
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6
Ho, Wai-Chung. Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463729932.
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Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China examines the recent developments in school education and music education in Greater China – Mainland China, Hong Kong, and Taiwan – and the relationship between, and integration of, national cultural identity and globalization in their respective school curriculums. Regardless of their common history and cultural backgrounds, in recent decades, these localities have experienced divergent political, cultural, and educational structures. Through an analysis of the literature, official curriculum documents, approved music textbooks, and a survey questionnaire and in-depth interviews with music teachers, this book also examines the ways in which policies for national identity formation and globalization interact to complement and contradict each other in the context of music education in respect to national and cultural values in the three territories. Wai-Chung Ho’s substantive research interests include the sociology of music, China’s education system, and the comparative study of East Asian music education. Her research focuses on education and development, with an emphasis on the impact of the interplay between globalization, nationalization, and localization on cultural development and school music education.
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Voicing the Ineffable: Musical Representations of Religious Experience (Interplay (Hillsdale, N.Y.), No. 3.). Pendragon Press, 2002.
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8
O’Neill, Sinéad, and John Sloboda. Responding to performers. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0023.
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Musical performance is an irreducibly social phenomenon, manifested through the multiple relationships between performers and audience. In live contexts, the nature and meaning of performance encompass the two-way interplay between performers and audience. This chapter surveys a range of research, from the philosophical to the empirical, into the parameters of this interplay, both during and after performances, focusing most specifically on those aspects that have implications for the creative practice of the musician. These aspects go beyond sound parameters to features of the performance often seen as ‘extra-musical’, such as the visual and gestural aspects of performance, the architecture of the performance space and perceived norms of behaviour within the concert context. Consideration is given to how these elements contribute to different levels of experience, from the ‘basic’ appreciation of structural elements through to the ‘peak’ experiences which music performance sometimes engenders. Also considered is audience feedback, both formal and informal, and how it may have an impact on creative performance.
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De Souza, Jonathan. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0001.
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This introduction outlines three methodological strands that are central to the book: music theory, phenomenology, and cognitive science. It argues that interdisciplinary blending is characteristic of much music-theoretical research. At the same time, music analysis offers distinctive ways of examining musical data—or, indeed, musical evidence. In this book, such methods are used to investigate body-instrument interaction in diverse musical styles. The book combines performance analysis with philosophical and psychological insights on embodiment, highlighting an interplay of technique and technology that shapes instrumentalists’ musical experience.
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Ingalls, Monique M. Making Jesus Famous. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190499631.003.0002.
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Chapter 1 examines the worship concert, a mass gathering marked by participatory engagement that differentiates it from a “mere” concert, as a lens to investigate the interplay between pop-rock performance conventions and evangelical congregational singing. It identifies the range of performative strategies whereby a contemporary worship-music concert crowd becomes authenticated as a concert congregation united in worship. Through musical style, song lyrics, and discourse about music-making, many of the activities associated with rock concerts are reframed as acts of worship. This reframing has musical and political consequences: understanding the concert gathering as worship shapes evangelical expectations of the “worship experience,” which in turn influences what evangelicals expect from worship music in their local church congregations. The desire to realize these ideals fuels the sale of worship-related music commodities produced by the Christian recording industry.
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Anderson, Crystal S. Soul in Seoul. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.001.0001.
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Soul in Seoul: African American Popular Music and K-pop examines how K-pop cites musical and performative elements of Black popular music culture as well as the ways that fans outside of Korea understand these citations. K-pop represents a hybridized mode of Korean popular music that emerged in the 1990s with global aspirations. Its hybridity combines musical elements from Korean and foreign cultures, particularly rhythm and blues-based genres (R&B) of African American popular music. Korean pop, R&B and hip-hop solo artists and groups engage in citational practices by simultaneously emulating R&B’s instrumentation and vocals and enhancing R&B by employing Korean musical strategies to such an extent that K-pop becomes part of a global R&B tradition. Korean pop groups use dynamic images and quality musical production to engage in cultural work that culminates the kind of global form of crossover pioneered by Black American music producers. Korean R&B artists, with a focus on vocals, take the R&B tradition beyond the Black-white binary, and Korean hip-hop practitioners use sampling and live instrumentation to promote R&B’s innovative music aesthetics. K-pop artists also cite elements of African American performance in Korean music videos that disrupt limiting representations. K-pop’s citational practices reveal diverse musical aesthetics driven by the interplay of African American popular music and Korean music strategies. As a transcultural fandom, global fans function as part of K-pop’s music press and deem these citational practices authentic. Citational practices also challenge homogenizing modes of globalization by revealing the multiple cultural forces that inform K-pop.
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Gjerdingen, Robert O. Child Composers in the Old Conservatories. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.001.0001.
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The original music conservatories were orphanages. Through innovative teaching methods the masters of these old institutions were able to transform poor and often illiterate castoffs into elite musicians, many of whom became famous in the history of classical music. The book tells the story of how this was done. It shows what the lessons were like, what a typical day was like for an orphan, and how children progressed from simple lessons to ones more advanced than any seen today in colleges and universities. Recent rediscoveries of thousands of the old lessons have allowed us to understand how children’s minds were systematically developed to be able to “think” in music. That is, the lessons slowly built up the mental ability to imagine the interplay of two or more voices or instruments. Today we think of Mozart as having a miraculous ability to imagine musical works in his head, but in truth many of the conservatory graduates of that era had attained a similar level of controlled musical imagination. They could improvise for hours at the keyboard, and they could quickly compose whole works for ensembles. The book is accompanied by 100 YouTube videos so that readers can hear what the lessons sounded like.
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Decker, Gregory J., and Matthew R. Shaftel, eds. Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.001.0001.
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Singing in Signs is a collection of essays from prominent opera scholars that explores the rich interplay of symbols in the operatic genre, while simultaneously providing perspective on the state of opera study. Each author, whether explicitly or implicitly, uses the powerful tools of semiotics (the study of signs) to construct interpretations and discover relationships among music, lyrics, and drama. Authors in this collection use a combination of traditional and emerging methodologies to engage composer-constructed and work-specific music-semiotic systems, broader sociocultural music codes, and narrative strategies. Many of the essays have implications for performance and staging. Singing in Signs answers the call—through the lens of semiotics—to embrace opera on its own terms and to engage all of its constituent elements in interpretation. The purpose of the present volume is to “resurrect” serious musical study of opera—not because it has not been taking place—but in a larger sense as a multifaceted, interpretive discipline, by collecting some of these efforts in one volume. The essays here focus on the musical, dramatic, cultural, and performative in opera and demonstrate how these modes can create an intertext that informs interpretation. Operas explored in this volume span the late Baroque period through the present day, including composers from Handel to Wagner to Britten.
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Hudson, Dale. Conclusion: History and Hollywood, Mashed-Up. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0009.
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The conclusion pulls into focus the interplay of aspirations about democratizing media and realities of democratizing the United States as they coalesce on race and the presidency by focusing on the viral video Barackula: The Musical (2008) and theatrical feature Abraham Lincoln: Vampire Hunter (2012). In them, US presidents or future-presidents are represented as vampire hunters and enduring icons of US exceptionalism. Amateur and astroturfed grassroots internet memes demonize the first and only nonwhite president of the United States by employing the animalistic and dehumanizing iconography of Nosferatu, thus signaling afterlives of race in self-authorized acts of racism that can now be distributed via social media to larger audiences than classical Hollywood ever dared imagine.
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Historical Interplay in French Music and Culture, 1860-1960. Taylor & Francis Group, 2017.
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18
Washburne, Christopher. Latin Jazz. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.001.0001.
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Latin Jazz: The Other Jazz is an issue-oriented historical and ethnographic study that focuses on key moments in the history of the music in order to unpack the cultural forces that have shaped its development. The broad historical scope of this study, which traces the dynamic interplay of Caribbean and Latin American musical influence from eighteenth- and nineteenth-century colonial New Orleans through to the present global stage, provides an in-depth contextual foundation for exploring how musicians work with and negotiate through the politics of nation, place, race, and ethnicity in the ethnographic present. Latin jazz is explored both as a specific subgenre of jazz and through the processes involved in its constructed “otherness.” Latin Jazz: The Other Jazz provides a revisionist perspective on jazz history by embracing and celebrating jazz’s rich global nature and heralding the significant and undeniable Caribbean and Latin American contributions to this beautiful expressive form. This study demonstrates how jazz expression reverberates entangled histories that encompass a tapestry of racial distinctions and blurred lines between geographical divides. This book acknowledges, pays tribute to, and celebrates the diversity of culture, experience, and perspectives that are foundational to jazz. Thus, the music’s legacy is shown to transcend far beyond stylistic distinction, national borders, and the imposition of the black/white racial divide that has only served to maintain the status quo and silence and erase the foundational contributions of innovators from the Caribbean and Latin America.
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Neo-Mythologism in Music: From Scriabin And Schoenberg to Schnittke And Crumb (Interplay: Music in Interdisciplinary Dialogue) (Interplay: Music in Interdisciplinary Dialogue). Pendragon Pr, 2006.
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20
Johnston, Ian. Measured Tones: The Interplay of Physics and Music, Third Edition. Taylor & Francis Group, 2009.
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21
Mozart's Music of Friends: Social Interplay in the Chamber Works. Cambridge University Press, 2016.
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22
Klorman, Edward. Mozart's Music of Friends: Social Interplay in the Chamber Works. Cambridge University Press, 2017.
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23
Moten, Fred. Jurisgenerative grammar (for alto). Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.017.
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“Jurisgenerative Grammar” is concerned with the interplay of legality and criminality in the generation of language and music. It examines how a kind of fugitive poetics is enacted in the fall into what Martin Heidegger refers to as thecommercium, a social space marked by the propensity for song, chatter, and idle talk. This essay argues that thecommerciumis, in fact, a place for thought and thoughtful creation. Its aesthetic sociality animates the compositional and improvisational practices in which Anthony Braxton is engaged in the making of his “language musics,” even when such music is given in solo performance.
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Music and the Road: Essays on the Interplay of Music and the Popular Culture of the American Road. Bloomsbury Publishing Plc, 2017.
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25
Horowitz, Joshua. The Klezmer Accordion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037207.003.0010.
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This chapter takes a closer look at the role of the accordion in klezmer music. Like the pioneering Italian American virtuoso accordionists, Jewish musicians felt equally at home playing classical and folk music. The select analysis of early accordion playing styles and stylistic characteristics sheds light on the interaction and interplay of klezmer musicians with their surrounding worlds—Old and New. A distinctive feature of the early “klezmer sound” was the accordion's imitation of the human voice heard in liturgical, paraliturgical, and Yiddish song. By the late 1930s, the accordion was often used for chordal accompaniment (rather than as a solo instrument). It was an integral element of the popular Hasidic bands of the 1960s and the “klezmer ensembles” that embraced the new Israeli music as well as earlier “Palestinian” music. Although it was often deemed “an outsider,” for the revivalists of the 1980s and beyond, the accordion has been characteristic of the klezmer style.
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Campbell, Jennifer L. Dancing Marines and Pumping Gasoline. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0007.
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This essay offers close readings of two of Depression-era ballets that arts impresario Lincoln Kirstein developed for his troupe The Ballet Caravan. Because of Kirstein’s integrated method of ballet creation, pairings of ballet components, specifically dance and visual art and dance and music, should be closely evaluated for their queer semiotic freight, and so the chapter examines Filling Station and Time Table, teasing out the queering of masculine codes that occurs within these pieces. Furthermore, it argues that in these works the interplay between working-class characters, cartoonish costumes, suggestive choreography, and campy burlesque music alludes to an underlying subtext that reflected aspects of homosexual behavior as practiced in New York during the first half of the twentieth century.
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Gaut, Berys. Film. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0037.
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Today the philosophy of film is in a thriving state. Indeed, for quality, variety, and interest of the work being carried out, the philosophy of film is arguably rivalled among the philosophies of the individual arts only by the philosophy of music. It also exhibits a striking feature which, if not unique among the philosophies of the arts, is at least highly unusual: many philosophers and film theorists are interacting with each others' work and learning from each other. Much, though certainly not all, of the work of philosophers has been critical of aspects of film theory, but the interaction has been fruitful for both disciplines. This interplay is witnessed by several anthologies in which both film theorists and philosophers of film are included.
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Otter, Monika. Music by Tristan. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0010.
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This chapter considers the interplay between medieval Tristan romances and Tristan songs, music closely associated with the romances and indeed attributed to the character Tristan himself. In particular, the chapter looks at Marie de France’s lai ‘Chevrefoil’, and the anonymous thirteenth-century lai ‘Kievrefuel’, which is quite distinct from Marie’s narrative poem but evokes it in some particulars. The multiple relationships between different Tristan poems and Tristan tunes, intertwined and mutually evoking each other, allows us to ‘think [of] Romance’ as a larger, modular experience, a cultural game that can transcend an individual text and generate potentially limitless further texts. It also suggests a twelfth-century way of ‘thinking [with] Romance’ in a playful, creative way that both erases and accentuates the fictionality of the romance world and its characters.
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Milbank, Alison. ‘Beyond the Awful Veil’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824466.003.0005.
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Radcliffe’s Anglican orthodoxy is established in Chapter 4, along with her attempt through her fiction to offer a theology of mediation and participation. She works with Shaftesbury’s Platonic moral realism in contrast to Mrs Barbauld’s associationist view of taste and develops a mode of mystical ascent through the interplay of vertical and horizontal experiences. The sublime allows ascent through an awareness of one’s created nature, which is linked to Shaftesbury’s taxonomy of forms. It is an inherently social and virtuous experience, as in James Thomson’s Seasons, and centred on melancholy—an awareness of fallenness, which again allows for a mediation through this distantiation. Twilight’s veiling inbetweenness restores a sense of the lost Eden, while music and liturgy offer humanity’s articulate praise as an example of a Shaftesburian ‘form that forms’. Radcliffe’s explained supernatural is revisioned as a false idolatrous sublime that mistakes an effect for a cause and refuses the mystical ascent.
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Smigel, Eric. Sights and Sounds of the Moving Mind. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0006.
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American experimental filmmaker Stan Brakhage revolutionised independent cinema by cultivating a new poetic idiom designed to document the subjective vision of the eye behind the camera. Committed to an inclusive account of the lived visual experience, he augmented the cinematic vocabulary by including components such as hallucination, dreams, closed-eye images and optical feedback, capturing these ephemeral elements using a wide variety of ‘home-made’ modifications to the filming process, including erratic hand-held camera movement, distortion of focus and changing camera speeds. Although most of his projects are silent, he corresponded with composer James Tenney to explore intersections between cinema (“moving visual thinking”) and music (“sound equivalent of the mind’s moving”). When employing a soundtrack, Brakhage gravitated towards musique concrète, which he regarded as an audio analogy for cinematic montage, and he devised a unique brand of audiovisual counterpoint based on the rhythmic interplay of the psychophysiological processes of sight and sound.
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Smuts, Malcolm, ed. The Oxford Handbook of the Age of Shakespeare. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.001.0001.
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This handbook presents a broad sampling of current historical scholarship on Shakespeare’s period that it is hoped will prove useful to scholars of his poems and plays. Rather than attempting to summarize the historical ‘background’ to Shakespeare, individual chapters explore numerous topics and methodologies at the forefront of current historical research. An initial cluster shows how political history has expanded beyond a traditional focus on relations between Crown and Parliament to encompass attention to attempts by the government to manage opinion; military challenges; problems in subduing Ireland and mediating relations between the British kingdoms; and the interplay between national affairs and local factions and concerns. Additional chapters deal with relationships between intellectual culture and political imagination, with detailed attention to varieties of early modern historical thought and the emergence of a ‘public sphere’. Other contributors examine facets of religious and social history, including scriptural translation, concepts of the devil, cultural attitudes concerning honour, shame and emotion, and life in London. A final section deals with vernacular architecture, Renaissance gardens, visual culture and theatrical music.
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Mildenberg, Ariane, and Patricia Novillo-Corvalán, eds. Virginia Woolf, Europe, and Peace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979350.001.0001.
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Virginia Woolf, Europe, and Peace: Transnational Circulations enlarges our understanding of Virginia Woolf’s pacifist ideology and aesthetic response to the World Wars by re-examining her writings and cultural contexts transnationally and comparatively through the complex interplay between modernism, politics, and aesthetics. The “transnational” paradigm that undergirds this collection revolves around the idea of transnational cultural communities of writers, artists, and musicians worldwide who were intellectually involved in the war effort through the forging of pacifist cultural networks that arose as a form of resistance to war, militarism, and the rise of fascism. The book also offers philosophical approaches to notions of transnational pacifism, anti-war ethics, and decolonization. Presenting the perspectives of a range of significant scholars and critics, the chapters in this volume engage with mobile and circulatory pacifisms, highlighting the intersections of modernist inquiries across the arts (art, music, literature, and performance) and transnational critical spaces (Asia, Europe, and the Americas) to show how the convergence of different cultural and linguistic horizons can significantly expand and enrich our understanding of Woolf’s modernist legacy.
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Gailus, Andreas. Forms of Life. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749803.001.0001.
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This book argues that the neglect of aesthetics in most contemporary theories of biopolitics has resulted in an overly restricted conception of life. The book insists we need a more flexible notion of life: one attuned to the interplay and conflict between its many dimensions and forms. The book develops such a notion through the meticulous study of works by Kant, Goethe, Kleist, Nietzsche, Wittgenstein, Benn, Musil, and others. It shows that the modern conception of “life” as a generative, organizing force internal to living beings emerged in the last decades of the eighteenth century in biological thought. At the core of this vitalist strand of thought, the book maintains, lies a persistent emphasis on the dynamics of formation and deformation, and thus on an intrinsically aesthetic dimension of life. The book brings this older discourse into critical conversation with contemporary discussions of biopolitics and vitalism, while also developing a rich conception of life that highlights, rather than suppresses, its protean character. It demonstrates that life unfolds in the open-ended interweaving of the myriad forms and modalities of biological, ethical, political, psychical, aesthetic, and biographical systems.
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Finstuen, Andrew, Grant Wacker, and Anne Blue Wills, eds. Billy Graham. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190683528.001.0001.
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For more than six decades, Billy Graham played a prominent role in shaping Americans’ outlook on the critical religious, political, and cultural issues of the day. By drawing on new sources and by asking new questions of old sources, Billy Graham: American Pilgrim offers groundbreaking accounts of Graham’s storied career. The distinguished contributors offer fresh perspectives on the major changes Graham brought to American Christianity, World Christianity, church and state, the Cold War, race relations, American manhood and family, intellectual life, religious media, Christian relief work, and Christian music. Charting his titanic career provides a many-paned window for viewing the history and character of our present and recent past while also attending to Graham’s personal evolution and complexity on these issues. Yet Graham stayed true to evangelical precepts, as he addressed contemporary questions of religion, politics, and culture, as well as perennial questions of spiritual and daily life, that stretched his tradition to its limits. The volume presents this interplay of change and continuity in the life of Graham as a pilgrimage. But Graham lived his journey on an international stage, influencing the world around him in ways large and small—ways that still echo in today’s religious, political, and cultural arenas.
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Williams, Gavin, ed. Hearing the Crimean War. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916749.001.0001.
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This book addresses the sounds of the Crimean War, along with the many ways nineteenth-century wartime is aurally constructed. It examines wide-ranging experiences of listeners in Britain, France, Turkey, Russia, Italy, Poland, Latvia, Daghestan, Chechnya, and Crimea, illustrating the close interplay between nineteenth-century geographies of empire and the modes by which wartime sound was archived and heard. This book covers topics including music in and around war zones, the mediation of wartime sound, the relationship between sound and violence, and the historiography of listening. Individual chapters concern sound in Leo Tolstoy’s wartime writings, and his place within cosmopolitan sensibilities; the role of the telegraph in constructing sonic imaginations in London and the Black Sea region; the absence of archives for the sounds of particular ethnic groups, and how songs preserve memories for both Crimean Tatars and Polish nationalists; the ways in which perceptions of voice rearranged the mental geographies of Baltic Russia, and undermined aspirations to national unity in Italy; Italian opera as a means of conditioning elite perceptions of Crimean battlefields; and historical frames through which to understand the diffusion of violent sounds amid everyday life. The volume engages the academic fields of musicology, ethnomusicology, history, literary studies, sound studies, and the history of the senses.