Relevant bibliographies by topics / “new” musicology

Contents

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

Academic literature on the topic '“new” musicology'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "“new” musicology"

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Potter, Pamela M. "Musicology under Hitler: New Sources in Context." Journal of the American Musicological Society 49, no. 1 (1996): 70–113. http://dx.doi.org/10.2307/831954.

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Recognizing musicology's demonstrated potential to contribute to its ideological aims, the Nazi government took immediate steps to centralize music scholarship and, along with the SS, to subsidize relevant research projects. Alfred Rosenberg's ideological watchdog organization recruited musicologists for a variety of tasks, including the plundering of musical treasures in occupied territories and the assessment of the receptivity of occupied populations to Germany's eventual takeover of cultural life. Meanwhile, many scholars contributed to the press with music historical justifications for all of Germany's current military and diplomatic actions. Born in an era preoccupied with the creation of the German nation-state, musicology had embraced a Germanocentric focus, dating back to Forkel, that the Nazi propaganda machine fully exploited. This nationalism also infiltrated American musicology with the arrival of German émigré scholars.
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Nikolić, Sanela. "Orientalism and New musicology." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 581–93. http://dx.doi.org/10.31724/rihjj.44.2.17.

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The aim of this paper is to outline the history of the concept of Orientalism in the field of New musicology and to point out that musicological discussions of Orientalism significantly changed disciplinary profile of musicology in the direction of interdisciplinary or contextual musicology. The area of Postcolonial studies has been recognized by New musicology as a possible starting point for theorizing the new issues related to the questions of music, race, ethnic and national otherness, and European colonialism. In 1991, with the publication of Ralph P. Locke’s text “Constructing the Oriental ‘Other’: Saint-Saëns’s Samson et Dalila” in Cambridge Opera Journal, the musicological research of the European professional music tradition from the aspects of postcolonial theories has been institutionalized and the concept of Orientalism has been introduced into the field of research objects of musicology. What is present as the common aspects of all musicological studies that address the issue of musical representations of the Orient are interdisciplinarity and contextuality. Contrary to the reduction of the complex Western European music practices to the idea of an autonomous work of music devoted to an aesthetic enjoyment, postcolonial musicology proposed poststructuralist analytical models of text and discourse and affirm the interest in the context of work of music. In that manner, musicology has been updated as a discipline that autocritically approaches Western European professional music practice by seeing it/ self as only one of the possible historical formations of culture/knowledge in which there are visible clusters, conflicts, and aspirations to present (Western) European capitalist patriarchal politics as a universal economic, political and cultural power.
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Middleton, Richard. "Popular music analysis and musicology: bridging the gap." Popular Music 12, no. 2 (May 1993): 177–90. http://dx.doi.org/10.1017/s0261143000005547.

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Since their beginnings, popular music studies have conducted an implicit (sometimes explicit) dialogue with musicology. To be sure, the musicological side of this conversation has more often than not been marked by insult, incomprehension or silence; and popular music scholars for their part have tended to concentrate on musicology's deficiencies. But musicology is changing (more about this later); at the same time, recent work on popular music suggests a new confidence, manifesting itself in part in a willingness to engage with and adapt mainstream methods. I believe each needs the other.
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Chua, Daniel. "Global musicology." New Sound, no. 50-2 (2017): 12–16. http://dx.doi.org/10.5937/newso1750012c.

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How do we think globally as musicologists? Recent attempts to write global histories of music raise various issues about how we should relate as scholars in a global community, and question whether as scholars we truly understand the nature of music given the new global perspective. Thinking globally is a key challenge. There is a strong possibility that we may fail, but taking up the challenge is like to spur our discipline forward in unexpected ways.
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Tucker, Mark. "Musicology and the New Jazz Studies." Journal of the American Musicological Society 51, no. 1 (1998): 131–48. http://dx.doi.org/10.2307/831899.

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Kapusta, John. "Pauline Oliveros, Somatics, and the New Musicology." Journal of Musicology 38, no. 1 (January 1, 2021): 1–31. http://dx.doi.org/10.1525/jm.2021.38.1.1.

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This article examines the connections between experimental composer Pauline Oliveros, the US somatics movement, and the new musicology. While scholars tend to position Oliveros’s work within the familiar framework of women’s liberation and queer activism, we should instead understand Oliveros as a somatic feminist for whom somatic practice was synonymous with women’s liberation. Oliveros helped instigate an influential movement to integrate somatic discourse and practice into US musical culture—including music scholarship. Scholars of the so-called new musicology concerned with issues of embodiment also applied somatic concepts in their work. Oliveros and the new musicology share a history rooted in US popular culture of the 1970s. Across this period and beyond, US composers, performers, and scholars alike worked within and alongside the somatics movement to legitimize the performing body as a source of musical knowledge.
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Stefanija, Leon. "Musicology: The Key Concepts." Musicological Annual 53, no. 1 (June 23, 2017): 249–53. http://dx.doi.org/10.4312/mz.53.1.249-253.

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Van Elferen, Isabella. "Ludomusicology and the New Drastic." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 103–12. http://dx.doi.org/10.1525/jsmg.2020.1.1.103.

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In a rereading of Carolyn Abbate's seminal article “Music—Drastic or Gnostic?” this article proposes that the study of game music not only presents us with new research themes but, moreover, has the potential to inspire a major disciplinary reform. Game music studies and ludomusicology can lead to a New Drastic Musicology: an intellectual engagement with video game music that is just as rooted in immediacy, interactivity, and playfulness as the object with which it concerns itself. The New Drastic, I shall argue, can engender significant critical, epistemological, thematic, and analytical innovations in the discipline of musicology. Fundamentally, my argument is that playing with music invites “playing” with critical music theory.
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Potter, Pamela M. "Musicology under Hitler: New Sources in Context." Journal of the American Musicological Society 49, no. 1 (April 1996): 70–113. http://dx.doi.org/10.1525/jams.1996.49.1.03a00030.

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Griffiths, Christian. "New Jerusalem: Musicology and the Marxist Aesthetics." Transcultural Studies 8, no. 1 (2012): 117–28. http://dx.doi.org/10.1163/23751606-00801008.

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Dissertations / Theses on the topic "“new” musicology"

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Johnson, Samuel Converse. "Carnal Musicology in a New Edition ofLuigi Boccherini’s Cello Concerto in D major G. 478." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587821737858238.

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Tramontina, Leonardo Salomon Soares. "A apropriação dos discursos da New Musicology por três didáticas norte-americanas de ensino de história da música." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-14032013-104135/.

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O recrudescimento das críticas aos paradigmas teórico-conceituais e ao próprio modus operandi da musicologia histórica, a partir da década de 1980, fomentou seu reposicionamento em direção a processos, temas e métodos característicos das disciplinas não musicais, tais como a antropologia, linguística, etnomusicologia, crítica literária e a teoria cultural, dente outras. Como a Historiografia da segunda metade do século XX, tenta desenvolver uma crítica aos seus enunciados e práticas baseada na consciência de suas formas de construção e significação e da historicidade de seus postulados. Tal fenômeno de inquirição ontológica deu-se, majoritariamente, nos países de língua inglesa, onde recebeu o nome de New Musicology. Sob este contexto, portanto, será analisado como três didáticas de ensino de História da Música, amplamente utilizadas nos cursos de graduação em música dos Estados Unidos, têm se apropriado destes discursos críticos. Tratar-se-á, pois, de desvelar como um material comumente caracterizado por uma postura historiográfica mais tradicionalista, cuja tendência é apresentar uma História da Música que coaduna contextualização geopolítica, \"evolução\" dos estilos, gêneros e formas musicais a aspectos biográficos das \"grandes personalidades\", tem inserido e articulado em suas narrativas e estratégias pedagógicas as propostas da New Musicology.
The upsurge of the critics on historical musicology as a discipline, since the 1980s, fostered its repositioning towards processes, themes and methods belonging to non-musical disciplines such as anthropology, linguistics, ethnomusicology, literary criticism and cultural theory, among others. In the same way as historiography did from the second half of twentieth-century, it criticizes its own practices and ideas based on awareness of its construction and meaning models, as well as of the historicity of its postulates. This ontological inquiry took place, mainly, in Englishspeaking countries, where it was called New Musicology. Under this context, therefore, the intent of this text is to analyze how three widely used Music History textbooks had adopted this critical discourses into their texts. In other words, this dissertation intend to reveal how books who, normally, has a traditional and noncritical approach regarding music history, insert in their textual narratives and pedagogical strategies the ideas of New Musicology.
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Garlitz, Dustin Bradley. "Philosophy of new jazz : reconstructing Adorno." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002213.

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Johnsson, Stefan. "Skapande av musik förr och nu : Vad innebär vår tids teknologi för skapandeprocessen." Thesis, Örebro University, Örebro University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1745.

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In which ways have composing processes in music appeared over the past 300 years? How may composing processes work today? What does new technology do to this processes?

The key purpose of this study is to investigate various composing processes. A further purpose is also to gain an awareness of how we use modern technology by computers and their notation programmes.

The research design of this thesis includes a display of literature related to composing processes. along with an analysis of the writer’s own experiences in the area. Therefore, included in this thesis, is a score and a recording of a new composition together with an analysis of the writer’s own composing process. The results of the writer’s composing process of this piece, are furthermore discussed with three of the writer’s colleauges.

This study deliberately focuses on Western classical music and jazz improvisation as these are genres where the writer has his own musical background. He will therefore be able to reflect upon his own experiences in the area.

Today the computer and its programs is a natural component in the musical process, however, it might tempt us to take ’short cuts’ in parts of the creating process. The findings of this study point towards the idea that in order to create a sense of inspiration in a composition or in a performance, the process has to be rooted physically in the body, without any use of ’short cuts’.

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Pantelidis, Christopher. "Understanding Reification in the Composition of New Concert Music." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85346.

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This thesis explores the relationships that exist between reification, the conceptualisation of music, and the composition of new concert music. In general terms, reification can be described as the mental process of conceiving abstract concepts as tangible and concrete things. The problem of reification in the conceptualisation of musical works is one that exists between a rock and a hard place: we rely on something like reification in order to gain any sense of meaning from our experiences of the abstract aspects of musical works, but treating the reified understanding of these aspects as if they are what makes musical works meaningful ignores the emergent and transitory aspects of our interactions with musical works as being inherently meaningful in and of themselves. Through a variety of ethnographic, phenomenological and narrative methods, this thesis aims to challenge the long-held notions of meaning construction within the field of analytical aesthetics. It also aims provide a conceptual framework with which composers can use to practically study, collect data and analyse the conceptualisation of meaning in their compositions, as well as apply this understanding to audiences’ conceptualisation of meaning in musical works. The results of this thesis project culminate in the creation and presentation of three artistic outcomes: a new and original work for chamber ensemble, and two audio papers that explore the synthesis of interview responses and recordings of musical works within the framework of an audio-based discourse. Semi-structured interviews in the form of stimulated recall sessions were conducted as a means of obtaining data from participants about their interpretation of meaning in musical works. The use of metaphors as a conceptual framework with which to code and analyse data collected from these sessions allowed for the linguistic conceptualisation of musical meaning that avoided the theory construction and analytical aesthetic tendencies of modern music philosophy. This conceptual framework was also applied in the coding and analysis of a compositional perspective of the new work in order to compare and contrast the similarities and differences between composers and audiences in their interpretations of musical meaning. While this thesis does not purport to offer a “theory” for the conceptualisation of meaning in musical works (such an exercise is both impossible and pointless), the findings presented in the analysis of the new composition and audio papers allows for a conceptual framework that takes into account the everyday use of language in communicating the experiences of composers and audience members in their conceptualisation of meaning in musical works.
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Sewell, Stacey. "The sampling of bodily sound in contemporary composition : towards an embodied analysis." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1399.

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The listener’s experience as an embodied subject is at the centre of this work. Embodied experience forms the basis for analyses of three contemporary compositions that sample bodily sound, in order to question how such works represent and mediate the body. The possible applications of this embodied methodology are illustrated through three case studies: Crackers by Christof Migone (2001), A Chance to Cut is a Chance to Cure by Matmos (2001) and Ground Techniques (2009) by Neil Luck. The findings of each analysis are placed within discussion of critical and theoretical concerns related to the (re)presentation, mediation and manipulation of the body both as materiality and as social construct, using, in particular, work by Hansen (2004) and Wegenstein (2006). The sampling practices of these works lead to the fragmentation of the represented bodies, in which margins between bodily interiors and exteriors are frequently crossed, bringing about a reconfiguration of the musical subject. Furthermore, the celebration of the bodily origins of these works complicates notions of recorded sound as disembodied. The analytical methodology developed in this thesis derives from a consideration of approaches in a number of fields: feminist musicology, music psychology, embodied cognition, phenomenology, music and gesture and new media theory. The sensations and affective responses of the listening body are discussed alongside an examination of how listening is shaped by processes of technological mediation. This thesis attends to both the body that is listening and the body that is listened to. I argue that it is not adequate to understand the works studied as merely representing the body, but suggest it would be more appropriate to understand the relationship between work and body as multi-faceted, conceptualising the body and recorded sound as mutually framing. This uncovers not only technology as mediation, but also the body as mediation. Finally, the case studies are used to reflect upon the limits of the embodied analysis methodology and its potential for wider application.
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Ottum, Joshua J. "Anthropogenic Moods: American Functional Music and Environmental Imaginaries." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1458123106.

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Thurston, Donna. "Irish music in Wellington : a study of a local music community : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1258.

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Ruiz, Mestre Hermelindo. "GUITAR ARRANGEMENTS OF SELECTED DANZAS OF JUAN F. ACOSTA, WITH NEW CONSIDERATIONS OF HIS MUSIC AND MUSICAL LIFE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/125.

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Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown. This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that he led in various towns. This practice of modifying his works for different instruments, as well as the importance of the guitar in Latin America, underpins the author’s choice to arrange his piano music for varied types of guitar combinations, including solo, duo, trio, and quartet. The five works are Bajo la sombra de un pino, Mercedes, Eres una santa, Dulce María, and In memoriam. The guitar arrangements of these five danzas are preceded by important information on the composer within the Puerto Rican music world, with emphasis on the intersections of the band and danza traditions. To enhance the study of these works, this document discusses basic stylistic features, including a comparison of forms, rhythms, and dance characters, and relates Acosta's treatment of the danza puertorriqueña to approaches of his Puerto Rican contemporaries. This document also includes performance guidelines to introduce Acosta's danza style to student and professional players. Based on primary biographical and musical sources, this study presents a foundation for a clearer understanding of the life and works of Acosta upon which further research, analysis, and criticism can be conducted. The arrangements offer a fresh look at new guitar repertoire using the peculiarities of rhythms and traditions of Puerto Rican and Carribean heritage. The arrangements also serve a pedagogical purpose by adding to the existing repertoire of ensemble music for the classical guitar.
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Robb, Hamish James Alexander. "Organicism, motivic parallelism, and performance in Beethoven's piano sonata Op. 2 No. 3 : a thesis submitted to the New Zealand School of Music in fulfillment of the requirements for the degree of Master of Music in Musicology." Massey University, 2008. http://hdl.handle.net/10179/1000.

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This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).
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Books on the topic "“new” musicology"

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Philip, Brett, Wood Elizabeth 1939-, and Thomas Gary 1944-, eds. Queering the pitch: The new gay and lesbian musicology. New York: Routledge, 1994.

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The Oxford handbook of the new cultural history of music. New York City: Oxford University Press, 2011.

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Burnett, Henry. Composition, chromaticism, and the developmental process: A new theory of tonality. Aldershot, Hampshire, England: Ashgate, 2007.

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Burnett, Henry. Composition, chromaticism, and the developmental process: A new theory of tonality. Aldershot, Hampshire, England: Ashgate, 2007.

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Schenker, Heinrich. Counterpoint: A translation of Kontrapunkt, volume 2 of New musical theories and fantasies. New Yorker: Schirmer, 1987.

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Schenker, Heinrich. Counterpoint: A translation of Kontrapunkt, volume 2 of New musical theories and fantasies. New York: Schirmer, 1987.

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Sublette, Ned. A story of New Orleans. Chicago, Ill: Chicago Review Press, 2009.

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H, Simon Allen, and Bynes Brian H, eds. Explorations: A new approach to music fundamentals. Mountain View, Calif: Mayfield Pub. Co., 1991.

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Kolosick, J. Timothy. Explorations: A new approach to music fundamentals. 2nd ed. Mountain View, Calif: Mayfield Pub. Co., 1998.

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Sublette, Ned. The year before the flood: Music, murder, and a homecoming in New Orleans : a memoir. Chicago, Ill: Chicago Review Press, 2009.

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Book chapters on the topic "“new” musicology"

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Ulhôa, Martha. "Musicology of Listening – New Ways to Hear and Understand the Musical Past." In Popular Music Studies Today, 291–98. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_30.

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Wilfing, Alexander. "›Autonomania‹ und ›Ideology of Autonomy‹. Die Autonomie-Diskussion in der analytischen Musikästhetik und der New Musicology." In Von der Autonomie des Klangs zur Heteronomie der Musik, 179–210. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04654-3_11.

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Smith, Kenneth M. "The psychodynamics of neo-Riemannian theory." In Music—Psychoanalysis—Musicology, 66–83. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315596563-4.

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"NEW MUSICOLOGY." In Musicology: The Key Concepts, 196–243. Routledge, 2016. http://dx.doi.org/10.4324/9781315647463-13.

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"A New Musicology?" In The Discourse of Musicology, 5–40. Routledge, 2016. http://dx.doi.org/10.4324/9781315615523-2.

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"Epilogue. Neume, new music, new musicology." In A Question of Balance, 223–56. University of California Press, 1998. http://dx.doi.org/10.1525/9780520920132-011.

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Smith, F. Joseph. "Musicology in Need of New Horizons." In The Experiencing of Musical Sound, 143–64. Routledge, 2019. http://dx.doi.org/10.4324/9781315025315-6.

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Welch, Graham, and Adam Ockelford. "Introduction." In New Approaches in Applied Musicology, 1–12. Routledge, 2020. http://dx.doi.org/10.4324/9781315597867-1.

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Ockelford, Adam, and Angela Voyajolu. "The development of music-structural cognition in the early years." In New Approaches in Applied Musicology, 13–63. Routledge, 2020. http://dx.doi.org/10.4324/9781315597867-2.

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Ockelford, Adam. "Extending the Sounds of Intent model of musical development to explore how people with learning difficulties engage in creative multisensory activities." In New Approaches in Applied Musicology, 64–107. Routledge, 2020. http://dx.doi.org/10.4324/9781315597867-3.

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Conference papers on the topic "“new” musicology"

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Fadyeyeva, Kateryna. "METHODS OF ARTIFICIAL INTELLIGENCE IN THEORETICAL MUSICOLOGY: HISTORICAL AND CONTEMPORARY PROJECTIONS." In Scientific Development of New Eastern Europe. Publishing House “Baltija Publishing”, 2019. http://dx.doi.org/10.30525/978-9934-588-13-6-4.

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Yang, Ling, and Shengdong Yue. "Exploration and Practice of New Curriculum System Construction of Musicology." In Proceedings of the 2019 5th International Conference on Social Science and Higher Education (ICSSHE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icsshe-19.2019.232.

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Ballance, Joshua. "The Path to the New Note." In DLfM '21: 8th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3469013.3469021.

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AMOROSO, RICHARD L. "Introduction to Conscious-Quantum Computer Musicology: New Genres, Technology and Ontology of Experience." In Unified Field Mechanics II: Preliminary Formulations and Empirical Tests, 10th International Symposium Honouring Mathematical Physicist Jean-Pierre Vigier. WORLD SCIENTIFIC, 2017. http://dx.doi.org/10.1142/9789813232044_0054.

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Carvalho, Nádia, Sara Gonzalez-Gutierrez, Javier Merchan Sanchez-Jara, Gilberto Bernardes, and Maria Navarro-Cáceres. "Encoding, Analysing and Modeling I-Folk: A New Database of Iberian Folk Music." In DLfM '21: 8th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3469013.3469023.

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Oancea, Theodora, Joachim Pollmann, and Jonas Spieker. "Kollaborateure – Involvierte – Profiteure. Erarbeitung eines Online-Lexikons zur Musik in der NS-Zeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.67.

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Since 2018 a group of musicology students at the Department of musicology of the University of Paderborn and the University of Music Detmold has been developing an online database called Kollaborateure – Involvierte – Profiteure. Musik in der NS-Zeit. Integral part of this database are articles on musicians, composers, employees in ministries and organisations affiliated to the party, musicologists, music editors and publishers from the Nazi era. In addition to the source-based biographical key data, the prosography focuses on the current research situation related to the respective person, a detailed description of the networks in the denazification processes and presents comprehensive lists of all writings, musical works, speeches and a list of his or her memberships. In future, further authors are to be won over to the project in order to create new articles or to update existing ones.
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7

"A Tearful Mood, Eventually Falling into a Fragrance——On Ye Xiaogang’s Opera “Song of Farewell” from the Perspective of New Musicology." In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.046.

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8

Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.

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The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make their magazines more attractive. Moreover, it showed a clear fragmentation of the market. After ’89, popular music magazines began to prevail; there are also many specialist journals devoted to a specific topic. A look at cultural transformation from the perspective of the music press is therefore an innovative idea, combining knowledge from the borderline of musicology, cultural studies, and press studies.
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9

Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.

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Abstract:
The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make their magazines more attractive. Moreover, it showed a clear fragmentation of the market. After ’89, popular music magazines began to prevail; there are also many specialist journals devoted to a specific topic. A look at cultural transformation from the perspective of the music press is therefore an innovative idea, combining knowledge from the borderline of musicology, cultural studies, and press studies.
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10

Bolya, Mátyás. "A BTK Zenetudományi Intézet digitális archívum koncepciója az oktatás és a tudomány szolgálatában." In Networkshop. HUNGARNET Egyesület, 2021. http://dx.doi.org/10.31915/nws.2021.13.

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The article introduces a unique Hungarian folklore database. Its design and operation were implemented within the framework of the new digital archive conception of the Institute for Musicology. This concept seeks to keep pace with the development of digital technology. I will briefly present aspects along which our strategy was developed, assessing how the database can be utilized in the fields of education and research. Hungarian folk music research, marked by the names of Bartók and Kodály, has a very strong tradition. Huge amounts of valuable material have been accumulated. Effects of this tradition are strongly felt even today. The connection between the archival background, folk music education and the performing arts is very strong. We are currently converting the heritage of our greatest researchers into digital knowledge. Results of this approach effect many areas of culture, creating an extremely complex system embedded in the communication space. Thorough knowledge of the context is essential to be able to design effective online systems.
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