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Journal articles on the topic 'Philosophie du muséal'
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1
Guichard, Charlotte. "Le Marché au Cœur de L’Invention Muséale?" Revue de Synthèse 132, no. 1 (March 2011): 93–117. http://dx.doi.org/10.1007/s11873-010-0142-z.
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Giles, Roseen H. "The Inaudible Music of the Renaissance: From Marsilio Ficino to Robert Fludd." Renaissance and Reformation 39, no. 2 (July 27, 2016): 129–66. http://dx.doi.org/10.33137/rr.v39i2.26857.
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This article revaluates the significance of musical treatises written by the Ficinian physician Robert Fludd (1574–1637). By reconsidering the implications of Fludd’s interpretation of Marsilio Ficino’s musical philosophy, I propose that his “reconstruction” of the Renaissance outlook in the seventeenth century is not merely a backward-looking oddity, but is rather indicative of a long-standing and pervasive history of inaudible music (i.e., the “silent” harmony of the universe and of the human body). Music played a central role in Fludd’s polemics with the scientists Johannes Kepler (1571–1630) and Marin Mersenne (1588–1648), regarding not the composition of art music but rather the understanding of the composition of the universe itself. The societal tensions evident in Fludd’s musical books reveal that it is not only musical practice but also broad scientific, medical, and philosophical conceptions of sound that comprise musical understanding in the early seventeenth century.
Cet article propose de réévaluer la signification des traités de musique du médecin ficinien Robert Fludd (1574–1637). En reconsidérant ce qu’implique l’interprétation par Fludd de la philosophie musicale de Marsile Ficin, il avance que cette « reconstruction » d’une perspective issue de la Renaissance au XVIIe siècle ne correspond pas seulement à un excentrique retour en arrière; elle réfère plutôt à la longue et omniprésente histoire de cette musique inaudible qu’est l’harmonie des sphères (comprise comme harmonie silencieuse de l’univers et du corps humain). La musique a en effet joué un rôle important dans les échanges polémiques entre Fludd, Johannes Kepler (1571–1630) et Marin Mersenne (1588–1648), qui ne portent pas tant sur la composition musicale que sur la compréhension de la composition de l’univers lui-même. Les tensions sociétales, bien perceptibles dans les traités de musique de Fludd, montrent qu’au delà de la pratique musicale, c’est une conception scientifique générale, médicale et philosophique qu’engage la pensée musicale du début du XVIIe siècle.
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Crepeau, Richard C., and James N. Giglio. "Musial: From Stash to Stan the Man." Journal of American History 89, no. 1 (June 2002): 297. http://dx.doi.org/10.2307/2700911.
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Soulez, Antonia. "Phrases musicales." Circuit 17, no. 1 (December 7, 2007): 27–47. http://dx.doi.org/10.7202/016772ar.
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L’auteure examine ici la portée du paradigme musical dans la philosophie de Wittgenstein. Le cadre de cet examen est l’approche à partir de Wittgenstein de ce que les philosophes ont aujourd’hui à dire de la signification musicale. Deux styles d’approche sont suggérés, l’un projectif bien marqué par l’idée de « musikalische Gedanke » dans le Tractatus et révélateur d’une filiation à laquelle appartient Wittgenstein, et l’autre horizontal suivant l’axe grammatical du rapport esthétique d’appropriation du geste de l’oeuvre à travers une écoute active. Cette conception intègre une exploration de la résonance des aspects, dans une troisième phase qui ne sera pas développée. Comment Wittgenstein remplit-il certains critères d’appartenance à ce que Lydia Goehr appelle « la quête formelle de l’autonomie du musical » est une question qui conduit l’auteure à re-situer le nouage musique et société chez Wittgenstein, par contraste avec Adorno, en mettant en relief les conditions auxquelles une compréhension interne d’un « contenu formel » (Granger) peut se combiner ici avec le contexte d’une pratique. Soulez met donc l’autonomie musicale selon Wittgenstein à l’épreuve du contexte des formes de vie, dans une phase où dominent les « jeux » d’une grammaire comparative motivée par l’analogie de la compréhension d’une phrase du langage avec celle de la compréhension d’une phrase musicale. Mettant l’accent sur le caractère actif de la compréhension, doublée d’une performance, l’auteure entend montrer comment Wittgenstein pense la musique avec la société autrement qu’Adorno, donc sans référence dialectique. La clef est une connexion inédite entre immanentisme de la signification musicale à l’échelle d’une phrase, comme le pense Wittgenstein et ses contemporains de l’École de Vienne, et un schéma esthético-pragmatique de « context-dependency ». De là s’ensuit une forme d’autonomie compatible avec la sphère extramusicale. Si « tout un monde se tient dans une phrase musicale », comme le dit Wittgenstein, c’est bien au sens où un motif répercute certains aspects d’un « monde » auquel nous contribuons en le « faisant ».
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Etienne, Noémie. "Un « Artiste Connaisseur» ? L’Expertise du Restaurateur Dans L’Institution Muséale à la Fin du XVIIIe Siècle." Revue de Synthèse 132, no. 1 (March 2011): 75–91. http://dx.doi.org/10.1007/s11873-010-0141-4.
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Suan, Chong Lee. "Why the Ancient Musical Essence is Still Retained in Dusun Tindal's Instrumental Music within its Modern Community?" GATR Global Journal of Business Social Sciences Review 3, no. 3 (August 23, 2015): 24–31. http://dx.doi.org/10.35609/gjbssr.2015.3.3(3).
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Objective - This paper examines Dusun Tindal's instrumental music practice within the context of modernity of the society in Tenghilan, a town that is located on northwest Sabah. The study looks into the driving modish musical styles and forms in the root of the ancient traditions especially in the aspects of musical natures, music compositions, musical functions, and philosophies. Methodology/Technique - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their young people, as well as to open up opportunities to venture into the exotic blooms of globalized musical festivals and tourism, their music is manifold and endeavoring in captive of the hearts of the global audience. Findings - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their young people, as well as to open up opportunities to venture into the exotic blooms of globalized musical festivals and tourism, their music is manifold and endeavoring in captive of the hearts of the global audience. Novelty - This study attempts to disclose the grounds and rationales behind the persistence of the Dusun Tindals in upholding their ancient musical essence until today Type of Paper - Empirical Keywords: Bamboo Orchestra; Dusun Tindal Contemporary Music; Dusun Tindal Music
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L’Écuyer, Sylvia. "La transcendance en musique selon John Burke : parcours et entretien." Circuit 21, no. 1 (March 11, 2011): 11–21. http://dx.doi.org/10.7202/1001159ar.
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Le labyrinthe, un symbole millénaire qui se retrouve encore aujourd’hui sur les sols de pierre des cathédrales, est devenu pour le compositeur John Burke une sorte de laboratoire pour trouver l’essence de la démarche de la musique classique occidentale. Dans sa recherche de la transcendance, il s’est intéressé au labyrinthe tel que décrit dans l’ouvrage de Lauren Artress, Walking the Path, dont il a suivi les ateliers à San Francisco. Influencé par les ouvrages du mythologue américain Joseph Campbell, en particulier The Hero’s Journey, il a également exploré cette autre conception du voyage intérieur. Sur les traces de musiciens du xxe siècle comme Stockhausen et Boulez qui ont voulu évacuer l’expérience du concert classique avec les musiciens d’un côté et le public de l’autre, John Burke propose donc un espace musical où son langage classique infusé de philosophie orientale invite les musiciens et le public à entreprendre un voyage musical et spirituel très personnel.
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Toma, Cosmin. "De trop – l’infini. À l’écoute de Raphaël Cendo avec Jean-Luc Nancy." Voix Plurielles 11, no. 2 (December 3, 2014): 9–19. http://dx.doi.org/10.26522/vp.v11i2.1096.
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Qu’est-ce qu’une musique de fin de monde ? Avec son Introduction aux ténèbres (2009), le compositeur français Raphaël Cendo nous donne à entendre l’excès infini de la fin des fins, en travaillant à la fois ce qu’il appelle la « saturation » et l’« infrasaturation » du son à travers une partition où l’inachèvement est redéfini comme ce qui, dans l’art musical, est de trop, c’est-à-dire ce qui passe outre la création du monde. Une telle conception de la musique rappelle certains textes-clé du philosophe Jean-Luc Nancy (dont À l’écoute, TROP et « De l’œuvre et des œuvres »), où l’art des sons est repensé comme « ressentir » exemplaire, c’est-à-dire comme la structure même de la réflexion ou vibration d’un sens à la limite d’un monde finissant, jusqu’à l’excès d’une sorte de résurrection d’où le nom de Dieu a été évacué au nom de la musique des ténèbres.
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What does music sound like at world’s end? With his Introduction aux ténèbres (Introduction to Darkness, 2009), French composer Raphaël Cendo scores the infinite excess of the end-all, simultaneously foregrounding what he calls the “saturation” and “infrasaturation” of sound. Indeed, his work redefines unfinishedness as that which lies in excess, overriding the creation of the world. This conception of music recalls some of French philosopher Jean-Luc Nancy’s key writings on the matter (most notably Listening, TROP and “De l’œuvre et des œuvres”), which rethink the art of sound as a particularly significant and intense kind of “feeling” or “sense”. More specifically, what is at stake here is the very structure that reflects meaning or sense when it reaches its end—the end of the world—sounding and resounding its way towards a kind of nameless, “godless” resurrection, where the music of darkness is all that’s left.
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Pope, David A., and James P. Mick. "How Positive Festival Results Impact a Music Program." Music Educators Journal 105, no. 1 (September 2018): 33–38. http://dx.doi.org/10.1177/0027432118792071.
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Adjudicated festival ratings can affect developing musicians, ensemble directors, and music programs long after festival performances end. With prior research demonstrating that adjudicators provide an abundance of positive ratings at festivals, this article discusses how ratings—both appropriate and inappropriate—may influence students’ musical development and the growth of music programs, as well as ensemble directors’ professional development. Based on their personal teaching philosophies and the discussion points in this article, directors are encouraged to determine whether their current adjudicated festivals stimulate or obstruct the development of their students, their music programs, and themselves.
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Pastor Comín, Juan José. "Eugenio Trías al Encuentro de Anton Bruckner: Lecturas Fronterizas de la Misa en mi menor (WAB 27)." Philosophy of Music 74, no. 4 (December 30, 2018): 1213–54. http://dx.doi.org/10.17990/rpf/2018_74_4_1213.
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El canto de las sirenas (2007) and La imaginación sonora (2010) are the last two works that Eugenio Trías has devoted to the study of musical experience –both from the perspective of expression and perception– as a form of knowledge –gnosis– where reason appears powerless. This essay will examine how the instruments of historical, harmonic, formal or aesthetic analysis are not sufficient to understand the significance of musical discourse. To achieve this end, we will first set out the bases of his musical thought within the broad framework of the theory of the limit; secondly, we will confront the musical categories proposed by Trias with the Mass in E minor (WAB 27) composed by Anton Bruckner –one of the composers to whom he devoted most attention. We will therefore try to see how the system proposed by the philosopher helps us to understand the ontological and transcendent dimension of a musical work that is still alive, recently performed in the Spanish music scene, and not explicitly mentioned in philosopher’s writings.
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Hilson, Jeff. "The God-Awful Small Affair of the Invisible Organist: David Bowie Translated." English: Journal of the English Association 69, no. 267 (December 1, 2020): 346–62. http://dx.doi.org/10.1093/english/efaa042.
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Abstract Following the sudden death of David Bowie in January 2016, perhaps the least expected tributes were the various organ renditions of his 1973 single ‘Life On Mars’ played by the organists of St Albans Cathedral, Kelvingrove Art Gallery in Glasgow and Dublin’s St Joseph’s Church. Becoming instant social media sensations, what are we to make of these different versions of Bowie’s song played on the pipe organ, the so-called ‘King of Instruments’, and why did the organists choose ‘Life On Mars’ over any other Bowie song? In this essay, I consider these and other related questions from a range of theoretical perspectives, initially drawing on philosopher and musicologist Peter Szendy’s notion of the musical arrangement as translation, whilst also conceding that as a translation, something in the process of arrangement is lost. What might that ‘something’ be? Understanding him to be one of the most conspicuous musical artists of our time, I go on to employ media philosopher Sybille Kramer’s transmission theory of communication, positing Bowie as a messenger-translator who is also a powerful cultural interferer. As such, he is the antithesis of the church organist who, like the person of the textual translator as outlined by translation theorist Lawrence Venuti, has occupied a marginal if not abject space within musical history. Given this relegated position, how does Bowie’s own use of the organ sit with its use as an instrument of elegy in the various renditions referred to above, and can it tell us anything else about translation?
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Brooks, Jeanice. "Music as Erotic Magic in a Renaissance Romance*." Renaissance Quarterly 60, no. 4 (2007): 1207–56. http://dx.doi.org/10.1353/ren.2007.0367.
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AbstractThis study examines the musical writings of the occult philosopher Jacques Gohory, particularly his musical additions to his version of book 11 of the serial romance Amadis de Gaule. Although music and romance were often treated by contemporaries as, at best, trivial occupations for leisure hours, Gohory saw both as potential triggers for beneficial self-transformation: music and romance fully participate in the therapeutic and spiritual goals that motivate his more overtly philosophical and medical works. His use of romance as a vehicle for occult philosophy was an important means of disseminating concepts of music as natural magic beyond intellectual circles into the wider milieu of the French court, where occult understandings of music gained substantial currency by 1600.
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Desjardins, Pierre. "La musique contemporaine s’est embrouillée." Positions 7, no. 1 (February 25, 2010): 70–73. http://dx.doi.org/10.7202/902161ar.
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En réponse à Michel Gonneville, le philosophe reprend les arguments de sa première intervention sur la déshumanisation de la musique contemporaine et sa quête de l’originalité à tout prix. Il insiste sur la spécificité du langage musical et la nécessité pour l’auditeur d’être en mesure de capter un message. Il se désole de voir les jeunes compositeurs se vautrer dans l’ignorance. Il considère que les grands noms du XXe siècle sont, non pas Boulez, mais Ravel, Stravinski, Prokofief ou Bartòk et fait l’éloge des musiques populaires et rythmiques, rock ou jazz, dont il explique le succès par le respect des normes traditionnelles.
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Baatarnaran, Tsetsentsolmon. "The Features of Musical Folklore in Mongolian Shamanic Chanting." Inner Asia 9, no. 1 (2007): 109–17. http://dx.doi.org/10.1163/146481707793646601.
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AbstractThis paper explores the specific features of musical folklore in Mongolian Shamanic tradition through the four essential features of folk art works, selectivity, existence, continuity and complexity. Adopting the systematic theory of Mongolian folklore including folk music which was developed by Jamtsyn Badraa, Mongolian folklorist, on the basis of Indian philosopher Nagarjuna’s Eightfold Negation, the author examines the chanting ways (formation or improvisation), functions (non- or multifunctional), learning process (transmission), and authorship (collectivity and individuality) of Mongolian Shamanic chanting.
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Flusser, Victor. "An ethical approach to music education." British Journal of Music Education 17, no. 1 (March 2000): 43–50. http://dx.doi.org/10.1017/s0265051700000139.
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Reflecting upon the relationship between people and music, the author is led to adopt a new position on musical education. His ideas are based on the work of the philosopher Hannah Arendt, the pedagogue and paediatrician, Janusz Korczak, and the composer R. Murray Schafer – all of whom focus upon the ‘dialogue’ of education. From Korczak is borrowed the idea of the child as ‘a present-state being’ rather than a ‘future-state being’; from Arendt the concepts of labour, work and action; and from Schafer his ‘Wolf Project’ for a musical community. On the basis of these three influences, the author advocates a ‘new manner of enacting music’ instead of ‘simply enacting new music’, basing pedagogic practice on a psycho-analytical approach to education. The pupil–teacher relationship turns on identification and projection. Teachers must nurture pupils' aesthetic choices and opinions as well as their commitment, so that ethical and aesthetic considerations can be brought together in the same musical act. Only in this way can musical education be worthwhile.
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Thorley, Peter. "Acting and Collecting: Imagining Asia through material culture and musical theatre." Museum and Society 13, no. 3 (July 1, 2015): 356–68. http://dx.doi.org/10.29311/mas.v13i3.335.
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This paper explores the link between Asian-inspired material culture and musical theatre through the collections of Anglo-Australian performer Herbert Browne (1895-1975). Brown played lead roles in 1920s Australian musical theatre productions of The Mikado and Chu Chin Chow and re-lived his connection with oriental theatre by collecting and responding to objects performatively in the Chinoiserie room of his Melbourne home. Oriental musical theatre blended exotic cultures and locales in visually spectacular productions which bore little resemblance to reality. The taste for escapist fiction in the theatre took place against a backdrop of museum collecting which aimed to reproduce authentic Asian and Other cultures. In this paper, I draw on French philosopher Merleau-Ponty’s observations on the relationship between thought and the body’s interaction with space to interpret the influence of Browne’s theatricality on collecting choices. From this perspective, objects materialize particular understandings of the world which originate in the body and the body’s performative engagement with space.
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Nguyen, Fryderyk. "Sequelizm jako strategia twórcza współczesnej muzyki popularnej." Literatura i Kultura Popularna 25 (July 28, 2020): 511–26. http://dx.doi.org/10.19195/0867-7441.25.29.
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The term Sequelism defines the strategy of creating the second and subsequent parts of a piece of art. The article is an attempt to apply this category to contemporary popular music. In releases from the 21st century there is a noticeable tendency to continue aesthetics taken from the nearest past. One of the musical manifestations of sequelism is hauntology, connected with the philosophic-al idea of Jacques Derrida. Firstly, it had been present in avant-garde trends, and then adapted to the mainstream in recent years. The best example is Lana Del Rey’s album Born to Die, which shows that sequelism can reveal new creative perspectives for popular music nowadays.
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Nelson, William Javier. "The Haitian Political Situation and its Effect on the Dominican Republic: 1849-1877." Americas 45, no. 2 (October 1988): 227–35. http://dx.doi.org/10.2307/1006786.
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The Dominican Republic, which has once again exhibited the fragility of its political institutions by taking over two weeks to ascertain a winner in its last presidential election, is, in many ways, a land of shared commonalities with other peoples. Its merengue rhythms point to a common musical bond with West Africa; its language and cultural institutions suggest a heavy Spanish stamp and its affiliations with other regional entities such as Puerto Rico and Venezuela are well known. Unfortunately for the Dominicans, however, they share their own island with another society — a decidely unique situation, especially since this schism represents an antipathic clash between different languages, histories and racial philosophies.
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Iselin, Laurence. "L’art outdoor comme facteur de modification de l’espace-temps urbain." Nouvelles perspectives en sciences sociales 13, no. 2 (September 5, 2018): 111–43. http://dx.doi.org/10.7202/1051113ar.
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Cet article propose une analyse philosophique des implications de l’implantation d’oeuvres d’art dans l’espace-temps urbain, par opposition à leur devenir au sein de l’espace muséal. En effet, le musée est un espace où nous plaçons des objets à l’abri de la corruption du temps. De ce point de vue, l’oeuvre d’art peut se définir comme un objet qui dure (Arendt, 1972). Notre hypothèse consiste donc à soutenir que les oeuvres d’art se définissent par une temporalité propre, ce qui, lorsqu’elles sont implantées dans l’espace public urbain, entraîne des modifications de sa temporalité et de ses usages. Après avoir déterminé la temporalité propre à l’oeuvre d’art, nous examinons dans quelle mesure l’implantation d’oeuvres d’art dans l’espace urbain modifie cet espace lui-même ainsi que l’expérience et les usages que nous en faisons. Enfin, nous nous demandons si le développement de l’art dans l’espace urbain n’occasionne pas un changement de paradigme, la notion d’accessibilité laissant place à celle de participation.
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Ellison, E. John. "The Role of Law and Legislation in the Philosophical Politics of Plato’s Republic." Polis: The Journal for Ancient Greek and Roman Political Thought 36, no. 2 (June 28, 2019): 242–65. http://dx.doi.org/10.1163/20512996-12340209.
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Abstract Law, often neglected in treatments of the Republic, is essential to the philosopher-kings’ rule. Only law accomplishes the partial divinization of citizens at which philosophical politics aims. Socrates’ interrogation of Thrasymachus and Glaucon reveals law to be a command whereby citizens participate in philosophical knowledge and limit the pleonexia congenital to humanity. Law does so primarily by instilling in souls a true opinion resistant to pleonectic passion, producing a state of political virtue. This primary work is supported by the musical and poetical education, itself shaped by law for the sake of law. Law persuades and compels the soul by appealing to both reason and spiritedness, enabling them to overcome the appetites. The soul’s consequent acceptance of truth and resistance to the passions indeed makes it resemble divinity. In so transforming the citizens through the law, the philosopher-king also unifies the city and makes it happy under his rule.
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Esclapez, Christine. "Sémiotique, sens et démocratie. Oeuvres musicales et dispositifs participatifs." Recherches sémiotiques 37, no. 1-2 (September 24, 2018): 89–108. http://dx.doi.org/10.7202/1051477ar.
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Il s’agira dans cette contribution de questionner le sens du musical à partir de l’ancienne notion de « parole » issue de la linguistique saussurienne et de l’élargir à celle de « participation » qui connaît à l’heure actuelle un intérêt croissant dans notre monde contemporain. Cet arrière-fond théorique s’incarnera dans une « situation » particulière : le développement des dispositifs interactifs scène-artiste-public qui est progressivement devenu, depuis le début du XXIe siècle, le lieu d’une expérience artistique à échelle collective. Dans le champ musical, ces situations sont particulièrement effectives dans les concerts participatifs qui sont de véritables expériences, émotionnellement intenses car vécues collectivement en live. À la suite des travaux de la philosophe Joëlle Zask (2011), nous proposerons un protocole sémiotique qui permette d’analyser ces dispositifs sous l’angle de la réappropriation individuelle de la langue, de son individuation, de sa création ou re-création. Nous nous donnerons ainsi l’opportunité de retravailler notre rapport à la démocratie en considérant les concerts participatifs comme de possibles zones d’apprentissage (ou de réapprentissage) de notre engagement (ou ré-engagement) personnel.
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Louth, Paul. "There's madness in your method: a philosophical exploration into the thought of Paul Feyerabend and its implications for music education." British Journal of Music Education 31, no. 1 (August 28, 2013): 69–83. http://dx.doi.org/10.1017/s0265051713000211.
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Drawing on the work of the philosopher of science Paul Feyerabend, this paper argues that the popular yet mistaken notion of scientific method has had a deleterious effect on music education by discouraging us from embracing conflict or pursuing counterinductive ways of thinking about music. Feyerabend argues that knowledge advances not according to principles traditionally associated with scientific method, but rather as a result of ad hoc hypotheses, counterinduction, and contradictions that are recognised between partly overlapping theories that are mutually inconsistent. Ignoring this truth results in the erasure of all but abstract forms of knowledge acquired through methodical investigation, which occurs when educators put all of their faith in method and ignore musical knowledge that escapes articulation or measurement. Yet tacit or informal musical knowledge can be seen as the artistic equivalent of the ad hoc propositions that are required, ultimately, to advance knowledge.
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El Sakka, Abaher. "Revendication identitaire et représentations sociales : émergence d’un nouveau mode d’expression artistique de groupes de jeunes Palestiniens." Cahiers de recherche sociologique, no. 49 (March 28, 2011): 47–62. http://dx.doi.org/10.7202/1001411ar.
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Le mouvement artistique rap et hip-hop palestinien est un support de revendications, conscientisation ou moralisation, informatif, pédagogique, parfois politique ou religieux. Il aspire à l’élaboration et la reconnaissance d’une identité plurielle et particulière. La surcharge de sens, caractéristique du travail symbolique, se situe aussi au niveau émotionnel. La communication sociale, en effet, n’est pas toujours purement instrumentale ni froidement fonctionnelle. Les symboles, socialement efficaces, ont pour caractéristique de mobiliser l’attention sur divers registres affectifs. « Il y a donc symbole là où se manifeste une capacité à provoquer chez les agents sociaux des projections émotionnelles, positives ou négatives, ou des mécanismes d’allégeance identitaire ». Elles paraissent essentielles à la promotion de la cohésion d’un groupe et pour la diffusion de ses valeurs et des éléments centraux de son idéologie. Le phénomène hip-hop est devenu incontournable dans le paysage musical et culturel contemporain palestinien. Le hip-hop n’est pas seulement un genre musical, il est aussi un art de vivre, une mode vestimentaire, une philosophie, une posture sociale. Les interviewés se voient comme créateurs de nouvelles formes d’expression musicale. Véritable culture de rue, le hip-hop a un langage, un état d’esprit, des signes de reconnaissance, une mémoire, un sentiment d’appartenance revendiquée ou attribuée.
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Stein, Robert. "BBC Proms Premieres: Dusapin, Weir, Larcher." Tempo 72, no. 283 (December 19, 2017): 89–90. http://dx.doi.org/10.1017/s0040298217001000.
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Pascal Dusapin is a French intellectual – he cites the philosopher Gilles Deleuze as a particular inspiration – whose generation (he was born just a few months before Michel Houellebecq) are now to the fore following the death of Pierre Boulez. A student of Xenakis in Paris, he sometimes gives the titles of his works a linguistic quirkiness, as in for example, Ici, Iti, Incisa and Indeed. His comment on Outscape, his second cello concerto, that ‘it's difficult for me to explain my work because the substance of thought is confused with the flow of music’ is – given his musical pedigree and cultural milieu – unsurprising.
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Guerra-Valiente, Juan José. "Layering lines and thoughts: A study of musical time through drawing." Journal of Writing in Creative Practice 13, no. 2 (February 1, 2020): 201–17. http://dx.doi.org/10.1386/jwcp_00004_1.
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Through the analysis of the drawing Sans Titre (Apres P. B. Notations) (2017), the following article seeks to explore the role of writing in my own artistic practice, which is concerned with the relation between music and drawing. This article examines the creative process that is carried out in relation to drawing with a musical composition, in this case Pierre Boulez’s Notations (1945), and how the imbrication of text influences and shapes the process and outcome of the artwork. In addition, this article analyses how the text engages with a wider theoretical approach of time, through ‘Chronos’ and ‘Aion’, two categories of time developed by French philosopher Gilles Deleuze primarily in The Logic of Sense ([1969] 2004), and the way they relate to drawing and opening up new ways of understanding it. Thus, the research will look at the role of the spiral line or helix as a visual model that could lend shape to musical time constituting the main frame of the drawing.
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Morooka, Hiroyo. "méditation comme moyen de synthèse culturelle dans les œuvres du compositeur Yoshihisa Yaïra." ALTERNATIVE FRANCOPHONE 2, no. 9 (April 13, 2021): 72–85. http://dx.doi.org/10.29173/af29425.
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Le compositeur Yoshihisa Taïra (1937-2005) cherche – dans sa composition – à réaliser une synthèse culturelle entre la France, où il s’est formé et a vécu, et le Japon, son pays d'origine. Il utilise alors la méditation comme thème musical pour se libérer de l’intellectualisation et de la verbalisation de la musique, et ce, dans le but de revenir à l’écoute en tant qu’essence musicale. En utilisant le concept du ma (vide), en s’inspirant de la pensée bouddhiste zen, Taïra réussit à trouver une position équilibrée avec le contexte esthétique de la postmodernité française représentée par Jean-François Lyotard.
Cet article creuse donc ce en quoi la méditation est la synthèse culturelle pour Taïra, en analysant du point de vue musical et philosophique, la possibilité de l’existence d’un croisement idéologique entre ces deux cultures qui inciterait le compositeur à retourner vers l’inspiration de la culture japonaise, à l’aide de la pensée issue de Logique du lieu de Kitarô Nishida.
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Mikalonytė, Elzė Sigutė, and Vilius Dranseika. "Intuitions on the Individuation of Musical Works. An Empirical Study." British Journal of Aesthetics 60, no. 3 (March 21, 2020): 253–82. http://dx.doi.org/10.1093/aesthj/ayz051.
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Abstract Philosophers often consider better compliance with prevalent pre-theoretical intuitions to be an advantage of a theory of ontology of musical works. However, despite many predictions of what these intuitions on relevant questions might be, so far there is only one experimental philosophy study on the repeatability of musical works by Christopher Bartel. We decided to examine the intuitions concerning the individuation of musical works by creating scenarios reflecting the differences in the positions of musical ontologists: pure and timbral sonicism, instrumentalism, and contextualism. The results show that emotional expressivity, instrument, timbre, and images evoked in the listeners were not considered as properties individuating musical works. However, the musical works were held to be different if the composers were different. In most cases, the participants had clear intuitions. Pure sonicism, complemented with additional stress on significance of the composer’s creativity, seems to be the most intuitive position.
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McKinley, Maxime. "Faisceaux imaginaires et cool medias : This Will Not Be Televised de Nicole Lizée." Circuit 23, no. 2 (September 25, 2013): 49–77. http://dx.doi.org/10.7202/1018450ar.
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L’imaginaire de la compositrice Nicole Lizée transforme en les rapprochant des éléments hétéroclites provenant principalement du cinéma, de la philosophie, des arts visuels, ainsi que de médias et de musiques populaires, avec un goût marqué pour les années 1960 à 1980 et l’effet fantomatique de ces emprunts. Cet article illustre ce processus de création à partir d’une des oeuvres marquantes de Lizée : This Will Not Be Televised (2005-2007), pour DJ et sept instruments. L’analyse s’attache à illustrer comment les faisceaux imaginaires de la compositrice se réifient au sein d’un même langage musical, basé ici sur une partie de DJ précisément notée et prolongée par l’ensemble instrumental, et qui fait appel à des stratégies de traitements d’objets culturels, de déploiements répétitifs, de montages par juxtapositions et superpositions, et à une forme continue où les rappels assurent la cohésion. Par cette approche, la compositrice s’intéresse aux liens tissés par la mémoire et la subjectivité de l’auditeur, au « blanc à remplir » caractéristique des cool medias de McLuhan.
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OSMOND-SMITH, DAVID, and BEN EARLE. "Masculine Semiotics: the Music of Goffredo Petrassi and the Figurative Arts in Italy during the 1930s." Twentieth-Century Music 9, no. 1-2 (March 2012): 11–37. http://dx.doi.org/10.1017/s1478572212000187.
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AbstractDuring the 1930s a particular emphasis was placed within fascist Italy upon cultural evolution towards the ‘new man’. Although this was in part articulated verbally by a fascist philosopher such as Giovanni Gentile, this new masculine sensibility received much of its most persuasive embodiment through the visual arts and music. Unsurprisingly, major musical figures of the era such as Alfredo Casella and the youthful Goffredo Petrassi were strongly aware of sympathies and complementarities between the two media – and the same is true of painters such as Enrico Prampolini and Fortunato Depero, or a sculptor such as Ernesto Thayaht, all of whose work is called upon in this study. (DO-S).
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Killin, Anton. "Fictionalism about musical works." Canadian Journal of Philosophy 48, no. 2 (2018): 266–91. http://dx.doi.org/10.1080/00455091.2017.1357993.
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AbstractThe debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism.
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Тетяна Младенова. "ORIENT В. А. МОЦАРТА: ВІД АЛЮЗІЇ ДО ЕТИКО- ЕСТЕТИЧНОЇ СТИЛЬОВОЇ МОДЕЛІ." World Science 2, no. 4(56) (April 30, 2020): 14–20. http://dx.doi.org/10.31435/rsglobal_ws/30042020/7028.
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Throughout the history of music, the dialogue of cultures in the West- East discourse has produced various Orientalism models. Introducing a fashion for oriental decorations in Europe, using new instruments, borrowing modes of musical expression, as well as alluding to signs and symbols of oriental religions and philosophies gave rise to reshaping European musical aesthetics as early as the 18th century. At that time, Wolfgang Amadeus Mozart and his work were undoubtedly pivotal for the art. One can retrospectively observe that Turkish Janissary musical traditions significantly freshened and enriched the composer's instrumental thinking. This can be seen most in the orchestration of Mozart's oriental operas – namely, his singspiels Zaide and The Abduction from the Seraglio. Being a synthetic genre by its nature, opera is primarily related to literary activity; therefore, its oriental colour and imagery need to be immersed in the philosophical world of oriental narratives and storylines that were very popular in baroque and classicism art. Moreover, on the example of The Magic Flute, Mozart's last opera, we can observe how the semiosis of Sufi texts explicitly present in this singspiel libretto gives the work new – Romantic – features. These new characteristics are not limited to the surface aesthetic level of decorations. As an opera reformer, Mozart reshapes the aesthetics of musical language, concurrently refining the ethical component of the genre. Thus, when analysing some instrumental, especially opera pieces by Mozart – namely, Zaide, The Abduction from the Seraglio and The Magic Flute singspiels, one can affirm that the synergy between all orientalism features in the composer’s works and established traditions of the European musical art resulted in the Viennese master creating a new ethical and aesthetic style model, which became seminal for the upcoming epochs.
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CORTÉS GARCÍA, Manuel. "Algunas consideraciones sobre estética musical árabe." Revista Española de Filosofía Medieval 6 (October 1, 1999): 131. http://dx.doi.org/10.21071/refime.v6i.9665.
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At the beginning, the poetry was considered as the genesis of the arabic art, and after then the prose of adab, both of them appeared with the idea of the "beauty science". This idea would be projected on the music. On the other hand, the greek heritage of the classic arabic philosophy legacy was reflected during the first manuscripts of the arabic philosophers and musical theoreticians as al-Kindf (s.IX) and al-Farabf (s.X), as a result appeared a new conception of the "beauty" and "aesthetic". By this way, taking as a point of reference the greek classical world, the new parameters would appear as an result of this own reality and idiosyncrasy. Their poetry and musical legacy, joined to the philosopher and religious mind would complete the work of the "aesthetic musical art". The study of the arabic middle music prove that the harmony in the poetry, lingüistic and rhitmycal contents, go in parallel with the melodic content until it reached a harmonic relation and in definitive cosmic, and as a result an "aesthetic ideal". This ideal was based on "beauty" and the "aesthetic emotion" produced by the art and all that as reflet to the harmonic until the corp and the spirit and oriented to the spherical work and to the divinity.
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Jalón, Mauricio. "Robert Musil frente a Ernst Mach." Asclepio 62, no. 1 (June 30, 2010): 251–68. http://dx.doi.org/10.3989/asclepio.2010.v62.i1.304.
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CLARK, KATELYN. "‘OF THE TEMPERAMENT OF THOSE MUSICAL INSTRUMENTS’: CONSIDERING TIBERIUS CAVALLO AND THE SCIENTIFIC OBSERVATION OF MUSICAL SOUNDS IN LATE EIGHTEENTH-CENTURY LONDON." Eighteenth Century Music 15, no. 1 (March 2018): 47–51. http://dx.doi.org/10.1017/s1478570617000392.
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The connection of music to scientific exploration in late Enlightenment London can be considered from various perspectives, perhaps most evidently through the binary of amateur–professional. These two realms intersected within natural philosophical observation, a practice that often served concurrently as entertainment and as study. The development of scientific instruments for the observation of various phenomena appeared in both professional and amateur contexts, contributing to technological growth and research. Natural philosopher Tiberius Cavallo (1749–1809) and his 1788 article on musical temperament (‘Of the Temperament of Those Musical Instruments, in Which the Tones, Keys, or Frets, are Fixed, as in the Harpsichord, Organ, Guitar, &c’) provide a captivating example of amateur interest overlapping effectively with the professional domain; as an amateur musician and professional scientist, Cavallo observed equal temperament in both mathematical and aesthetic terms. Consideration of his work promotes a more nuanced view of London as a place where scientific and musical ideas could meet and be ‘instrumentalized’, emphasizing the city's status as a vibrant arena for the interaction of scientific exploration, artistic endeavour and professional identities. In this sense, Cavallo's work on temperament was not merely a scientific activity; it reflected technological change during a stimulating period of scientific and musical progress in late eighteenth-century London. For example, instrument builders were actively developing ways to improve pitch control and tuning stability, as witnessed by numerous British patents for harp mechanisms, the addition of flute keys and keyboard construction.
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Vist, Torill, and Ellen Os. "Music education through the lens of ITERS-R: Discussing results from 206 toddler day care groups." Research Studies in Music Education 42, no. 3 (March 27, 2019): 326–46. http://dx.doi.org/10.1177/1321103x19828785.
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This article presents results from a large-scale Norwegian study that examines the quality of early childhood education and care, using the research tool ITERS-R. Although ITERS-R consists of 39 items, this article focuses solely on results within music education in Item 18. Music and movement. According to ITERS-R, results from 206 toddler day care groups reveal that the quality of music education in Norwegian day care is low. Our in-depth study of a single item reveals that a lack of musical toys and instruments is what yields such a low score. The quality of singing and the use of recorded music, however, scores better. These results point to a music education philosophy in ITERS-R that diverges somewhat from contemporary music education philosophies and curricula. The article therefore also discusses some potential consequences of this difference.
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Brown, Rebekah Ann, and Elizabeth Ivanoff Holborn. "The Colour Strings Method for the Young Violinist." American String Teacher 44, no. 2 (May 1994): 53–57. http://dx.doi.org/10.1177/000313139404400222.
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Violinist Rebekah Ann Brown is director of the Columbus School of Music and the Violin School of Bloomington, Indiana. At Indiana University, she specializes in violin pedagogy. She conducts psychoacoustic research in measurements of expressive intonation by recording artists and performs comparative studies of holistic philosophies. She has studied Colour Strings in this country and in London and has a Suzuki certificate from Matsumoto, Japan. Brown has taught in private studios, public schools, and universities and has been a musical director of youth symphonies. Her expertise is sought in clinics and seminars and by artists-in-residence who are working with students and teachers. She uses both orchestral literature and American fiddle music with students for developing technique. She has also cataloged an extensive list of twentieth-century music for technical studies at all levels of proficiency.
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Parsons, Laurel. "Music and Text in Elisabeth Lutyens's Wittgenstein Motet." Canadian University Music Review 20, no. 1 (May 16, 2013): 71–100. http://dx.doi.org/10.7202/1015648ar.
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Although Elisabeth Lutyens (1906-83) was a pioneer of British twentieth-century music, her work is relatively unknown in North America. This article begins with an introduction to her life and compositions, before going on to a detailed analysis of text-music relations in selected passages of her Motet, op. 27 (1953). The analysis forms the basis for a discussion of the concept of text as representation of music: Lutyens began to compose the music of the Motet first, and chose its text—excerpts from the Tractatus logico-philosophicus (1921) by the Austrian-born English philosopher Ludwig Wittgenstein (1889-1951)—because it seemed a fitting expression of the musical ideas that had already begun to develop.
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Jurić Janjik, Monika. "Nicolo Vito di Gozze (Nikola Vitov Gučetić, 1549-1610) and the Role of Music in Renaissance Dubrovnik." English version, no. 10 (October 22, 2018): 308–20. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.308.
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Renaissance politician and philosopher Nicolò Vito di Gozze treated music subjects in three among his works: Dialogo della bellezza (Dialogue on Beauty, 1581), Governo della famiglia (The Governing of the Family, 1589) and Dello stato delle republiche (On the State of the Republics, 1591). Although in these works Gozze mentioned music in a number of shorter passages, it is possible to perceive three larger topics he discussed in more detail: musical instruments, musico-theoretical ideas and the functions and effects of music. Gozze’s thoughts on music had been mostly influenced by ancient Greek thinkers, Plato and Aristotle, thus Gozze pointed out the importance of role of music in society, especially within the educational system and the process of learning.
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Overland, Corin T. "Music Education, Inc." Music Educators Journal 104, no. 1 (September 2017): 55–61. http://dx.doi.org/10.1177/0027432117719462.
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Today’s students live in the center of a rich, interconnected system of public, philanthropic, and for-profit entities that support the act of music teaching and learning. Students are not limited to the kinds of musical instruction available to them in their schools. Provided they have the means and the access, the musically curious can supplement or supplant their in-school musical lives with extracurricular and cocurricular activities, private studio lessons, community ensembles, or religious services. The for-profit music education industry in particular has grown in popularity and commercial success since the global recession, encouraged in part by what appears to be an increasing demand for instruction in popular genres that is not being met in the public schools. Corporate entities that sell music instruction have reached unprecedented levels of cultural saturation and student interest. With their successes have come a number of new teaching models, philosophies, and innovative ways for students to engage with music. However, these experiences may come at a cost, particularly to equal access by disadvantaged populations who might not be able to pay for said services. This article examines the popular music education (PME) franchise and its budding relationship with public school music education.
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Renero, Adriana. "Experiencia y conciencia: un enriquecimiento de la noción de comprensión musical." Crítica (México D. F. En línea) 41, no. 121 (January 7, 2009): 23–46. http://dx.doi.org/10.22201/iifs.18704905e.2009.963.
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En desacuerdo con la afirmación de Jerrold Levinson: que ser consciente de la forma musical a gran escala no es esencial para comprender la música, sostendré que nuestra conciencia de la estructura musical es significante para alcanzar comprensión. Mostraré que el modelo experiencial no es incompatible con el modelo analítico y que ambos pueden ser reconciliados mediante una noción de comprensión más amplia. Después de llevar a cabo está reconciliación mediante la nueva concepción que propongo, concluiré discutiendo algunas razones para aceptar una noción de comprensión musical enriquecida que incluye niveles y grados de comprensión.
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White, Bob W. "Notes sur l’esthétique de la rumba congolaise." Circuit 21, no. 2 (July 21, 2011): 101–10. http://dx.doi.org/10.7202/1005275ar.
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La rumba congolaise de la musique populaire de la République démocratique du Congo est devenue en quelque sorte une musica franca pour une bonne partie de l’Afrique sub-saharienne. Les Congolais d’aujourd’hui aiment dire que leur musique a colonisé le continent, mais cette musique, fortement influencée par ses racines afro-cubaines, a subi un nombre important de transformations esthétiques depuis son émergence sous le régime de la colonie belge. Bien que ce genre musical ait une longue histoire, il y a relativement peu de recherche à son sujet, surtout en ce qui concerne ses aspects esthétiques. En mettant l’accent sur certaines caractéristiques de ces chansons, cet article tente d’expliquer comment la musique populaire à Kinshasa vise à transcender la crise économique et politique que le pays vit depuis plusieurs générations : la conjoncture. En s’inspirant de la philosophie herméneutique de Gadamer, la métaphore de l’écoute est proposée pour nous faire prendre conscience que l’impossibilité d’entendre la musique de l’Autre de son point de vue à lui ne devrait pas nous empêcher d’essayer d’écouter.
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Almeida, Adriana Mortara. "O contexto do visitante na experiência museal: semelhanças e diferenças entre museus de ciência e de arte." História, Ciências, Saúde-Manguinhos 12, suppl (2005): 31–53. http://dx.doi.org/10.1590/s0104-59702005000400003.
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Destaca-se, neste artigo, o desenvolvimento de pesquisas que elucidem não só o perfil socioeconômico do visitante e do não-visitante de museus, mas também seus hábitos culturais, interesses gerais de lazer e percepções de arte, ciência e outros temas tratados por essas instituições. Quanto mais soubermos sobre o contexto pessoal do visitante, mais poderemos aperfeiçoar sua experiência museal, de modo a instigar sua ida e seu retorno aos museus, nos quais terá suas expectativas, seus desejos e necessidades mais amplamente respondidos. Enfatiza-se, também, a importância da cultura local para a formação do contexto pessoal e para a construção de cada experiência museal. Apresentam-se exemplos da bibliografia sobre o tema, com destaque para os trabalhos desenvolvidos no Brasil e as contribuições que pesquisas em museus de arte podem trazer para os museus de ciências.
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ALWARD, PETER. "Multiplicity, Audibility, and Musical Continuity." Dialogue 59, no. 1 (February 12, 2020): 101–21. http://dx.doi.org/10.1017/s0012217320000074.
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ABSTRACTMusical works are both multiple — they have a plurality of instances — and audible — they can be heard by listening to their instances. Two prominent approaches to musical ontology designed to explain these features of musical works are the type-token model and the continuant-stage model. Julian Dodd has argued that the type-token model has an advantage over the continuant-stage model because it can offer a direct explanation of the audibility of musical works in terms of their ontological category. In this paper, I defend the continuant-stage model against Dodd's argument by invoking a work-unifying continuity relation.
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Szabados, Béla. "Wittgenstein and Musical Formalism." Philosophy 81, no. 4 (October 2006): 649–58. http://dx.doi.org/10.1017/s0031819106318062.
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I argue that Wittgenstein was no lifelong musical formalist. I further contend that the attribution of musical formalism obscures, while the break with it I propose explains, the role that music played in the development of his philosophy of language. What is more, I sketch a perspective on the later Wittgenstein’s remarks on the music and musical understanding that supports my claims. Throughout my discussion, rather than assimilating Hanslick’s and Wittgenstein’s views on music, I point to similarities and differences between them, suggesting that taking snapshots and putting them side by side sheds more light on how they are related to each other.
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Wright, David. "Louis Andriessen: Polity, Time, Speed, Substance." Tempo, no. 187 (December 1993): 7–14. http://dx.doi.org/10.1017/s0040298200003235.
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Timeo danaos et dona ferentes is usually construed as the old tag that warns against Greeks who came bearing gifts. But shouldn't we be just as suspicious of contemporary music bearing classical texts, whether they be Greek and authoritarian in tone, or the Latin speculations of a Philosopher Saint? Particularly when the composer in question, Louis Andriessen, is a radical who espouses Anarchist politics but also writes works which feature extensive stylistic reference to Boogie-Woogie. Clearly this combination represents a curiously individual – even bizarre – viewpoint, but does it need to be taken very seriously? After all, it's open to any composer to incorporate chunks of Plato and St Augustine as an intellectual gloss or as a form of recondite titivation – added flavours in the musical recipe, expressly designed to convey gravitas. So do Andriessen's own raids on classical philosophy (among others) amount to more than a questionable sort of opportunism? And if the purpose is demonstrably serious, is the musical result able to bear the weight of the issues it seeks to deal with? In this article I shall focus on three ‘concept’ pieces by Andriessen (De Staat, 1972–76; De Tijd, 1980–81, De Snelheid, 1982–83, rev. 1984) which, together with De Materie (Parts I–IV, 1985/8) occupy a central place in his oeuvre. I shall attempt to outline the nature of the relationship in these works between the background philosophical issues and the musical result, while discussing how their musical idiom responds to the compositional challenges posed by their subject matter.
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Liduma, Anna. "FACILITATION OF THE CHILD CREATIVITY THROUGH MUSICAL ACTIVITY AT PRESCHOOL." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 26, 2016): 426. http://dx.doi.org/10.17770/sie2016vol2.1413.
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The theoretical substantiation of the scientific article develops from the notion of fantasy by philosopher P. Dāle, the activity theory by A. Špona, the theory of five minds for future by H. Gardner, the three creativity aspects by R. Bebre. The essence of creativity structure components, human creativity holistic development, possibilities for creativity development stimulation at the sensitive preschool period have been established. The empirical research discovered that the child through musical reproductive activity accumulates self-experience due to the teacher’s support and realizes it as a self-dependent creative activity while listening to, singing, creatively manifesting the contents by movements and colours. The creativity promotion aids at preschool are the child’s spontaneous vocal and instrumental improvisation, integrative improvisation of sonorous gestures and movements.
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Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.
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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other arts. Also, musical metaphors in Chinese aesthetics evidently work as guiding principles in individual art theories.
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Sunarto, Sunarto. "Pemikiran Hanslick tentang Estetika dan Kritik Musik." PROMUSIKA 3, no. 2 (November 23, 2015): 163–73. http://dx.doi.org/10.24821/promusika.v3i2.1702.
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Approaching the mid‐19th century began the aesthetics of music, especially Western music aesthetics as an independent science apart from philosophy. In the development of musical aesthetics are always closely related between philosophy and the philosopher. Discussion on the aesthetics of music can not be separated from some of the theories that have been developed by philosophers. Eduard Hanslick is a figure in the history of musical aesthetics of music included in ʺGroup Autonomisʺ. This group believes that music is a world of sounds organized and stand alone without any. For him and the group, the music is not the language of emotions or feelings. He then gave a sharp criticism against some composers include Richard Wagner and Anton Bruckner as a representative ʺGroup Heteronomisʺ who argue that music can be a means of expressing feelings, expressing ideas, or a certain atmosphere. According to the aesthetics of music is ʺabsoluteʺ (to the music itself). With absolutismenya, Hanslick criticized mercilessly composers heteronomis deems to have abused the music to be ʺprogramaʺ (music for something) ‐which he regarded as ʹcheap musicʹ. The rivalry between the two camps stream music aesthetics was known as The Great Debate.
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PERCHARD, TOM. "New Riffs on the Old Mind-Body Blues: “Black Rhythm,” “White Logic,” and Music Theory in the Twenty-First Century." Journal of the Society for American Music 9, no. 3 (August 2015): 321–48. http://dx.doi.org/10.1017/s175219631500019x.
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AbstractContemporary music historians have shown how taxonomic divisions of humanity—constructed in earnest within European anthropologies and philosophies from the Enlightenment on—were reflected in eighteenth- and nineteenth-century theories of musical-cultural evolution, with complex and intellectualized art music forms always shown as transcending base and bodily rhythm, just as light skin supposedly transcended dark. The errors of old and now disreputable scholarly approaches have been given much attention. Yet scientifically oriented twenty-first-century studies of putatively Afro-diasporic and, especially, African American rhythmic practices seem often to stumble over similarly racialized fault lines, the relationship between “sensory” music, its “intelligent” comprehension, and its analysis still procedurally and politically fraught. Individual musical sympathies are undermined by methods and assumptions common to the field in which theorists operate. They operate, too, in North American and European university departments overwhelmingly populated by white scholars. And so this article draws upon and tests concepts from critical race and whiteness theory and asks whether, in taking “black rhythm” as its subject, some contemporary music studies reinscribe what the sociologists Tukufu Zuberi and Eduardo Bonilla-Silva have called “white logic”: a set of intellectual attitudes, prerogatives, and methods that, whatever the intentions of the musicologists concerned, might in some way restage those division practices now widely recognized as central to early musicology.
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Wells, Elizabeth A. "15. Whose Music? Diversity in a First-Year Foundation Course." Collected Essays on Learning and Teaching 2 (June 13, 2011): 89. http://dx.doi.org/10.22329/celt.v2i0.3209.
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Students come to university with diverse tastes, experiences, and backgrounds, yet we often want them to embrace a body of aesthetics, philosophies, and ideologies that reflect the material we and our established disciplines value as central. However, by using their own backgrounds as a basis for exploration, discovery, and sharing, students can learn a great amount from each other’s tastes and experiences. Two assignments designed for a first-year foundation course in music history and literature draw on personal backgrounds. Personal Music History and Music Repertoire Assignment allow students to bring the music they know and love, as well as their life experiences to the study of a new body of musical literature. Although music-specific, these assignments can be tailored to virtually any field of study within a first-year foundation course. Engagement on a personal level with course-related material makes the transition from high school to a university-level course smoother.