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Books on the topic 'Realism in music'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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1

1964-, Bek Mikuláš, Chew Geoffrey, and Macek Petr 1967-, eds. Socialist realism and music. Praha: KLP, 2004.

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2

Realism in nineteenth-century music. Cambridge [Cambridgeshire]: Cambridge University Press, 1985.

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3

Opera in the age of Rousseau: Music, confrontation, realism. Cambridge: Cambridge University Press, 2012.

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4

Musical theatre, realism and entertainment. Farnham, Surrey, England: Ashgate, 2012.

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5

Zwischen Romantik und Restauration: Musik im Realismus-Diskurs der Jahre 1848 bis 1871. Stuttgart: Metzler, 2001.

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6

Vihavainen, Timo, writer of added commentary, ed. The struggle for control of Soviet music from 1932 to 1948: Socialist realism vs. Western formalism. Lewiston: The Edwin Mellen Press, 2012.

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7

Musiciens français dans la guerre froide (1945-1956): L'indépendance artistique face au politique. Paris: L'Harmattan, 2000.

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8

La chanson réaliste: Sociologie d'un genre : le visage et la voix. Paris: L'Harmattan, 2004.

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9

La chanson réaliste: For Anthony. Paris, France: L'Harmattan, 1996.

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10

Solodovnikov, G. I. Sot͡s︡ialisticheskiĭ realizm i muzyka sot͡s︡ialisticheskogo obshchestva. Moskva: "Muzyka,", 1985.

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11

Green, Jonathan. Music stars. London: Sunbird Penguin, 2013.

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12

Loring, William C. An American romantic-realist abroad: Templeton Strong and his music. Lanham, Md: Scarecrow Press, 1996.

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13

Furi on music island. London: Ladybird, 2013.

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14

Graziano, Maddalena. Oltre il romanzo: Racconto e pensiero in Musil e Svevo. Roma: Carocci editore, 2013.

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15

Svec, Henry Adam. American Folk Music as Tactical Media. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984943.

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American folk music has long presented a problematic conception of authenticity, but the reality of the folk scene, and its relationship to media, is far more complicated. This book draws on the fields of media archaeology, performance studies, and sound studies to explore the various modes of communication that can be uncovered from the long American folk revival. From Alan Lomax's cybernetic visions to Bob Dylan's noisy writing machines, this book retrieves a subterranean discourse on the concept of media that might help us to reimagine the potential of the networks in which we work, play, and sing.
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16

So wirklich ist die Möglichkeit: Friedrich Nietzsche, Robert Musil und Niklas Luhmann im Vergleich. Frankfurt am Main, Germany: P. Lang, 1998.

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17

Robert Musil, mystique et réalité: L'énigme de "L'homme sans qualités". Paris: Cerf, 2006.

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18

Kroker, Arthur. SPASM: Virtual reality, android music, and electric flesh. New York: St. Martin's Press, 1993.

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19

Lehtonen, Tuomas, and Linda Kaljundi, eds. Re-forming Texts, Music, and Church Art in the Early Modern North. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089647375.

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Our historical understanding of the Reformation in northern Europe has tended to privilege the idea of disruption and innovation over continuity - yet even the most powerful reformation movements drew on and exchanged ideas with earlier cultural and religious practices. This volume attempts to right the balance, bringing together a roster of experts to trace the continuities between the medieval and early modern period in the Nordic realm, while enabling us to see the Reformation and its changes in a new light.
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20

Identitäten aus der Starfabrik: Jugendliche Aneignung der crossmedialen Inszenierung "Starmania". Opladen: Budrich UniPress, 2008.

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21

Adapting idols: Authenticity, identity and performance in a global television format. Farnham: Ashgate, 2012.

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22

Milieux Sonores = Klangliche Milieus: Klang, Raum und Virtualität. Bielefeld: Transcript, 2010.

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23

Dead sexy: A novel. New York: Atria Books, 2004.

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24

Love songs and other lies. New York, NY: Tor, 2018.

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25

Lewis, Hannah. Source Music and Cinematic Realism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0006.

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Chapter 5 focuses on the role of diegetic music in early poetic realist films. Poetic realism, the filmmaking genre that emerged out of the politics of the mid-1930s, had its roots in transition-era films by filmmakers such as Jean Grémillon, Julien Duvivier, Jacques Feyder, and perhaps most notably, Jean Renoir. The soundtracks of these filmmakers tended to favor a “realistic” incorporation of music into the narrative, an aesthetic decision grounded in a broader preference for direct recording, and frequently featured popular songs and street musicians to enhance the realism of a film’s setting. But diegetic music in early poetic realist films was multivalent, revealing the emotions or thoughts of characters, providing narrative commentary, and at times going against the expectations of a scene’s mood or actions. Considering diegetic music in early poetic realist sound films shows the ways in which audiovisual realism and stylization worked hand in hand.
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26

Opera in the Age of Rousseau: Music, Confrontation, Realism. University of Cambridge ESOL Examinations, 2015.

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27

Taylor, Millie. Musical Theatre, Realism and Entertainment. Taylor & Francis Group, 2016.

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28

Ernst, Kuhn, ed. Schräg zur Linie des Sozialistischen Realismus?: Prokofjews spätere Sonaten sowie Orchester und Bühnenwerke : ein internationales Symposium = an international symposium. Berlin: E. Kuhn, 2005.

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29

Pop Music and Hip Ennui: A Sonic Fiction of Capitalist Realism. Bloomsbury Publishing Plc, 2019.

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30

Music and Aesthetic Reality: Formalism and the Limits of Description. Taylor & Francis Group, 2017.

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31

Music and Aesthetic Reality: Formalism and the Limits of Description. Routledge, 2015.

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32

Saylor, Eric. Race, “Realism,” and Fate in Frederick Delius’s Koanga. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0005.

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This chapter examines how race intersects with questions of “realism” and fate in Frederick Delius's Koanga, which features black characters as its protagonists as well as examples of African American folk music. Based on an episode from George Washington Cable's novel The Grandissimes, Koanga is a nineteenth-century story of love, jealousy, and betrayal centered on Koanga, an enslaved West African prince and voudon priest, and Palmyra, a quadroon maidservant. This chapter first provides a background on Koanga's genesis and textual variations before discussing its seeming contradiction: the dramatic portrayal of Koanga and Palmyra as a reflection of period beliefs about the Otherness of blacks; and its treatment of the exoticism of “blackness,” both physical and musical, as an attractive quality integral to achieving its dramatic and musical aims. It argues that Koanga revives many familiar tropes of racial exoticism and manifests troubling new resonances concerning questions of destiny and free will.
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33

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

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This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the United States through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, remediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological and aesthetic tropes in film media traversing the work of early pioneers such as Walter Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of VJing.
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34

Wieczorek, Slawomir. On the Music Front. Socialist-Realist Discourse on Music in Poland, 1948 To 1955. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2020.

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35

Wieczorek, Slawomir. On the Music Front. Socialist-Realist Discourse on Music in Poland, 1948 To 1955. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2020.

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36

On the Music Front. Socialist-Realist Discourse on Music in Poland, 1948 To 1955. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2020.

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37

Wieczorek, Slawomir. On the Music Front. Socialist-Realist Discourse on Music in Poland, 1948 To 1955. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2020.

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38

Xiao, Ying. Chinese Rock ‘n’ Roll Film and Cui Jian on Screen. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0006.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. During the 1980s and 1990s, China experienced an explosion of films for youth, imbued with the aesthetic and ethic of rock ‘n’ roll. This chapter examines a variety of films, from the countercultural to the more mainstream, focusing on the voice, image, persona, and iconography of Cui Jian, and offering an audiovisual perspective on urban youth cinema and Chinese rock. The emergence and development of Chinese rock ‘n’ roll film from the late 1980s to the twenty-first century resulted from widespread, multifaceted transformations in postsocialist China. At the core of this rock imaginary is the aesthetic of cinema vérité and postsocialist realism. In sync with the kaleidoscopic manifestation of the cityscape and long tracking shots of protagonists roaming the metropolis, rock music and the hand-held mobile camera seek to document a reality of postmodern life and capture a feeling of postsocialist anxiety-a concern for realism articulated through dialogue and ambient sound.
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39

Conway, Kelley. Chanteuse in the City: The Realist Singer in French Film. University of California Press, 2004.

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40

Conway, Kelley. Chanteuse in the City: The Realist Singer in French Film. University of California Press, 2004.

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41

Chanteuse in the City: The Realist Singer in French Film. University of California Press, 2004.

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42

Conway, Kelley. Chanteuse in the City: The Realist Singer in French Film. University of California Press, 2004.

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43

Strong, Templeton. An American Romantic Realist Abroad: Templeton Strong & his Music (Composers of North America , No. 4). The Scarecrow Press, Inc., 1995.

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44

Toles, George. Words and Music: The Magnolia Crisis. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040368.003.0001.

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This chapter describes a considered, thematic, and stylistic account of the viewing experiences of three films by Paul Thomas Anderson and their backgrounds—Punch-Drunk Love (2002), There Will Be Blood (2007), and The Master (2012). Writer Geoffrey O'Brien, in his essay on The Master, captures the feel of Anderson's recurring landscape of disconnection. He goes on to speak of the expressionist treatment of milieu in the films, as though in each narrative there is an attempt both to acknowledge the claims of material reality and at the same time to reconfigure the real. The chapter also examines the contradictory pressures at work in the avowedly autobiographical, densely verbal Magnolia, which may have necessitated a change in Anderson's method and technique in the films that followed.
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45

Stowe, David W. Religion and Race in American Music. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.4.

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Religious music functions both to create group identities and to dissolve social boundaries. Historically, American music has been characterized by racial and religious crossover. While many ethnic groups have participated in constituting American music, the most seminal crossovers have occurred between African and European Americans. Jazz was shaped largely by the interactions of Jews and African Americans. Gospel music developed from the interaction of vernacular slave spirituals, Protestant hymns, and the secular blues. Christian hymns have been thoroughly indigenized by many Native American groups. Compared to Buddhists and Jews, American Hindus and Muslims have made few musical adaptations of their worship music, but their music has been widely sampled in American popular styles. In recent decades, mainline Protestant hymnals have come to reflect the deeply multicultural reality of American sacred song.
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46

Kellman, Noah. The Game Music Handbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.001.0001.

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Writing music for games is an art that requires conceptual forethought, specialized technical skill, and a deep understanding of how players interact with games and game audio. The Game Music Handbook embarks on a journey through numerous soundscapes throughout video game history, exploring a series of concepts and techniques that are key to being a successful game music composer. This book organizes key game music scoring concepts into an applicable methodology, describing them with memorable distinctions that leave readers with a clear picture of how to apply them to creating music and sound. Any music composer or musician who wishes to begin a career in game composition can pick up this text and quickly gain a solid understanding of the core techniques for composing video game music, as well as the conceptual differences that separate it from any other compositional field. Some of these topics include designing emotional arcs for nonlinear timelines, the relationship between music and sound design, discussion of the player’s interaction with audio, and more. There is also much to be gained by advanced readers or game audio professionals, who will find detailed discussion of game state and its effect on player interaction, a composer-centric lesson on programming, how to work with version control, information on visual programming languages, emergent audio, music for virtual reality (VR), procedural audio, and other indispensable knowledge about advanced reactive music concepts. The text often explores the effect that music has on a player’s interaction with a game. It discusses the practical application of this interaction through the examination of various techniques employed in games throughout video game history to enhance immersion, emphasize emotion, and create compelling interactive experiences.
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47

Gentry, Caron E. Creatively Engaging the Political. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190901264.003.0003.

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This chapter establishes feminist Christian realism in IR as focused upon addressing power structures and articulating a rigorous creative response to anxiety. A creative response to injustice recognizes not just the ability of love to operate in political contexts but the absolute need for it to do so. Creativity has been reduced to an egotistical proposition, glorifying human ingenuity and genius. It tends to focus on the people who are well recognized and therefore set apart from the rest of population for their contributions to society: whether this is written or spoken word, music, visual arts, or inventions. There is an alternative perspective on creativity, one that is not located within human ingenuity per se but rather on relationships, community, and agape—one that is cognizant of mutual vulnerability.
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48

Spracklen, Karl. Developing a Cultural Theory of Music Making and Leisure. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.2.

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People listen to music in their leisure time, in leisure spaces, as a supposedly free act of agency. Yet social and cultural theorists show that leisure choices and spaces are constrained by hegemonic power, and that cultural forms such as music are products of commodification. This chapter explores these key claims for the use of music and the consumption of music in leisure spaces. It uses the work of Baudrillard on simulacra to explore the potential meaning and purpose of music in the lives of makers, listeners and fans—as a key device in constructing alternative hyperrealities to the capitalized reality of late modernity.
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49

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

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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.
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50

Bell, Adam Patrick. Mastering the Multitrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190296605.003.0008.

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Chapter 8 discusses the significance of the studio as musical instrument and its implications for music education. The stories of Michael, Tara, Tyler, and Jimmy depict a music education with DIY studios that is largely devoid of teachers and schools. Their collective quest to make new music and realize new sonic textures by their own volition has spawned an approach to making music that is typified by trial-and-error learning. Their end goal is to make music, implying that learning occurs tacitly as a by-process. On the surface, trial-and-error learning appears cumbersome and inefficient, but it is a time-honored practice in music production, and the likes of Michael, Tara, Tyler, and Jimmy are continuing its evolution. Music education would do well to follow in their footsteps.
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