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Books on the topic '“new” musicology'

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

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1

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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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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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9

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

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10

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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11

Guenther, Roy J. AMS saluts NEH on the twentieth anniversary of the National Endowment for the Humanities: A representative listing of projects in music, 1966-1986. [New York: American Musicological Society, 1986.

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12

Balboni, Paolo. Sillabo di riferimento per l’insegnamento dell’italiano della musica. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-270-3.

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Nel 2015 il Ministero degli Esteri dedicò l’anno alla riflessione mondiale sul rapporto tra lingua italiana e musica. La prima cosa che emerse, passando dai ‘proclami’ sull’importanza dell’italiano della musica alla progettazione di linguistica educazionale, fu l’assenza di una visione sistemica e scientifica del concetto di ‘italiano della musica’ e del suo insegnamento. La Società Dante Alighieri e i Laboratori Itals e LabCom di Ca’ Foscari hanno avviato un approfondimento su questo tema: il risultato della ricerca, affidata a Paolo E. Balboni, è questo sillabo di italiano per strumentisti, cantanti d’opera, direttori, compositori e musicologi, con ampie differenziazioni tra questi diversi gruppi. Il sillabo è gratuitamente a disposizione di autori di manuali, di insegnanti, di enti certificatori e formatori.
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13

1946-, Ewans Michael, Halton Rosalind, and Phillips John, eds. Music research: New directions for a new century. Amersham: Cambridge Scholars, 2004.

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14

Masculinity In Opera Gender History And New Musicology. Taylor & Francis Ltd, 2013.

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15

Philip, Brett, Wood Elizabeth 1939-, and Thomas Gary 1944-, eds. Queering the pitch: New gay and lesbian musicology. Routledge, 1993.

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16

1936-, Laske Otto E., and Tabor Jerry, eds. Otto Laske: Navigating new musical horizons. Westport, Conn: Greenwood Press, 1999.

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17

Philip, Brett, Thomas Gary, and Wood Elizabeth, eds. Queering the pitch: The new gay and lesbian musicology. London: Routledge and Paul, 1994.

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18

Brett, Philip. Queering the Pitch: The New Gay and Lesbian Musicology. Routledge, 1994.

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19

Philip, Brett, Wood Elizabeth 1939-, and Thomas Gary 1944-, eds. Queering the pitch: The new gay and lesbian musicology. 2nd ed. New York: Routledge, 2006.

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20

Brett, Philip, and Elizabeth Wood. Queering the Pitch: The New Gay and Lesbian Musicology. Routledge, 1994.

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21

Kassler, Jamie. Metaphor: A Musical Dimension (Musicology (New York, N.Y.), V. 15.). Routledge, 1994.

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22

(Editor), Elizabeth Wood, and Philip Brett (Editor), eds. Queering the Pitch: The New Gay and Lesbian Musicology, 2nd edition. Routledge, 2006.

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23

(Editor), Gary C. Thomas, Elizabeth Wood (Editor), and Philip Brett (Editor), eds. Queering the Pitch: The New Gay and Lesbian Musicology, 2nd Edition. Routledge, 2006.

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24

S, Brook Barry, Downes Edward 1911-, Van Solkema Sherman, and City University of New York., eds. Perspectives in musicology: The inaugural lectures of the Ph.D. program in music at the City University of New York. New York, N.Y: Pendragon Press, 1985.

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25

Downes, Edward O. D., and Barry S. Brook. Perspectives in Musicology: The Inaugural Lectures of the Ph.D. Program in Music at the City University of New York. Pendragon Pr, 1985.

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26

Wright, Josephine. New Perspectives on Music: Essays in Honor of Eileen Southern (Detroit Monographs in Musicology/Studies in Music, No. 11) (Detroit Monographs in Musicology). Harmonie Park Pr, 1992.

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27

New Approaches in Applied Musicology: A Common Framework for Music Education and Psychology Research. Taylor & Francis Group, 2020.

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28

Ockelford, Adam, and Graham Welch. New Approaches in Applied Musicology: A Common Framework for Music Education and Psychology Research. Taylor & Francis Group, 2020.

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29

Ockelford, Adam, and Graham Welch. New Approaches in Applied Musicology: A Common Framework for Music Education and Psychology Research. Taylor & Francis Group, 2020.

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30

Ockelford, Adam, and Graham Welch. New Approaches in Applied Musicology: A Common Framework for Music Education and Psychology Research. Taylor & Francis Group, 2020.

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31

Ockelford, Adam, and Graham Welch. New Approaches in Applied Musicology: A Common Framework for Music Education and Psychology Research. Taylor & Francis Group, 2020.

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32

Fulcher, Jane F. Oxford Handbook of the New Cultural History of Music. Oxford University Press, Incorporated, 2013.

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33

Rehding, Alexander. Hugo Riemann and the Birth of Modern Musical Thought (New Perspectives in Music History and Criticism). Cambridge University Press, 2003.

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34

Cook, Susan C. Opera for a New Republic: The Zeitopern of Krenek, Weill, and Hindemith (Studies in Musicology, 96). Univ of Rochester Pr, 1987.

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35

Opera for a New Republic: The Zeitopern of Krenek, Weill, and Hindemith (Studies in Musicology, No 96). Univ of Rochester Pr, 1989.

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36

Composition, Chromaticism and the Developmental Process: A New Theory of Tonality. Ashgate Publishing, 2007.

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37

Burnett, Henry, and Roy Nitzberg. Composition, Chromaticism and the Developmental Process: A New Theory of Tonality. Taylor & Francis Group, 2016.

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38

Simon, Allen, and J. Timothy Kolosick. Explorations: A New Approach to Music Fundamentals. 2nd ed. McGraw-Hill Humanities/Social Sciences/Languages, 1997.

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39

Paul, David C. Ives at Century’s Turn. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037498.003.0007.

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This chapter examines how Charles E. Ives has been affected by the transformations in American musicology over the last twenty-five years. It begins with a discussion of Maynard Solomon's accusation that Ives had engaged in a “systematic pattern of falsification” to safeguard his claims at the patent-house of musical modernism. It then considers how Solomon's criticisms served as the catalyst for an explosion of scholarly activity centered on Ives in the 1990s. In particular, it describes the approaches taken by musicologists to rebut Solomon, including those associated with “New Musicology.” It also explores the etiology of the myth that Ives was a patriarch of a lineage of composers known as the American Mavericks, along with the vicissitudes of Ives scholarship at the turn of the twentieth century.
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40

Dillon, Emma. Song and the Soundscape of Old French Romance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0009.

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This chapter examines the presence of song and sound in romance, with a particular focus on the traditions of Old French romance from its incarnation in the 1170s, in the works of Chrétien de Troyes, to the earliest examples of romances interpolated with song (romans à chansons) which date from the first decades of the thirteenth century. Romance’s emergence coincided with a period of extraordinary creativity in the realm of vernacular song, most notably with the emergence of a northern lyric tradition of the trouvères, with the continued cultivation of their Occitan inspiration in the lyrics of the troubadours, and with the earliest efforts at codification of both, in songbooks or chansonniers, the earliest examples of which date from the 1230s. Drawing on approaches from musicology, literary studies, and sound studies, my chapter explores how sound manifests in this tradition, and proposes ways to listen to romance. Listening to romance in turn permits new ways to reframe song culture, particularly in the period prior to its notated codification, and the chapter has implications, too, for what musicology may learn from the sonic aspect of romance.
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41

Patteson, Thomas. Instruments for New Music: Sound, Technology, and Modernism. University of California Press, 2015.

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42

Instruments for new music: Sound, technology, and modernism. 2016.

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43

Cooley's Anemia Symposium 2005 Lake Buen and Elliott P. Vichinsky. Neurosciences and Music II: From Perception to Performance (Annals of the New York Academy of Sciences). New York Academy of Sciences, 2006.

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44

Lewis, George E., and Benjamin Piekut, eds. The Oxford Handbook of Critical Improvisation Studies, Volume 1. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195370935.001.0001.

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Improvisation informs a vast array of human activities, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. These volumes gather scholarship on improvisation from a similarly wide range of perspectives, with contributions from more than 60 scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.
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45

Piekut, Benjamin, and George E. Lewis, eds. The Oxford Handbook of Critical Improvisation Studies, Volume 2. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199892921.001.0001.

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Improvisation informs a vast array of human activities, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. These volumes gather scholarship on improvisation from a similarly wide range of perspectives, with contributions from more than 60 scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.
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46

Koelsch, Stefan, Luisa Lopez, and Maria Majno. The Neurosciences and Music II: From Perception to Performance (Annals of the New York Academy of Sciences). Blackwell Publishing Limited, 2006.

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47

Ó Briain, Lonán. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0008.

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The conclusion summarizes the findings of the book and outlines a new paradigm for research on the cultural practices of Vietnam’s ethnic minorities. It opens with a description of two contrasting approaches to this research. Certain strategies for presenting results in public fora are shown to promote unhelpful stereotypes on these people. The author attempts to bridge the gap between contrasting methodologies and ideologies by promoting constructive dialogue between these groups of scholars within the fields of anthropology, ethnology, and musicology This dialogue is stimulated by identifying and working towards a shared goal: the sustainability of intangible cultural heritage in a rapidly urbanizing society.
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48

Holt, Fabian. Introduction. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.1.

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This chapter introduces new analytical framings of popular music in the Nordic countries and the implications therefore for broader discussions of the region’s uniqueness and global presence. The introduction first develops a broad interpretative narrative a broad interpretative narrative grounded in social science and considers its implications for existing cultural and disciplinary narratives. The second part closes in on more detailed issues of musical knowledge, drawing from the intellectual history of music, particularly musicology, while also integrating lessons from other disciplines such as geography. The specific focal points of the second part are the three thematic dimensions of the handbook—geography, history, and identity. Moreover, the literatures on Nordic popular music are discussed in detail. The final section introduces the individual chapter contributions.
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49

Musica & ricerca nel Friuli Venezia Giulia. Udine: Pizzicato, 2003.

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50

Franco, Colussi, ed. Musica & ricerca nel Friuli Venezia Giulia. Udine: Pizzicato, 2003.

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