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Journal articles on the topic 'Twentieth-century music analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Peters, Penelope M., and Jonathan Dunsby. "Models of Musical Analysis: Early Twentieth-Century Music." Journal of Music Theory 39, no. 1 (1995): 186. http://dx.doi.org/10.2307/843904.

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van den Toorn, Pieter C., and Jonathan Dunsby. "Models of Musical Analysis: Early Twentieth-Century Music." Music Analysis 14, no. 2/3 (1995): 340. http://dx.doi.org/10.2307/854018.

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Mark, Christopher, and Allan Moore. "Editorial." Twentieth-Century Music 1, no. 1 (2004): 3–4. http://dx.doi.org/10.1017/s1478572204000039.

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To start with the obvious: journals come into being for specific reasons. And if one regards the most influential titles born during the last thirty years or so, it seems that one of the principal motivating factors has been interventionist – an attempt to kick-start a particular subdiscipline, or to promote a hitherto neglected or insufficiently examined field. Thus Music Analysis (Basil Blackwell, 1982) sought to place on a fully professional footing a subdiscipline which, whilst recognized in North America (as Music Theory), was at that time underdeveloped in the UK, while 19th Century Musi

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Guigue, Didier. "Sonic Object: A model for twentieth‐century music analysis." Journal of New Music Research 26, no. 4 (1997): 346–75. http://dx.doi.org/10.1080/09298219708570734.

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Hyde, Martha M. "Twentieth-Century Analysis during the Past Decade: Achievements and New Directions." Music Theory Spectrum 11, no. 1 (1989): 35–39. http://dx.doi.org/10.1525/mts.1989.11.1.02a00060.

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NIELSEN, KRISTINA F. "Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles." Yearbook for Traditional Music 52 (November 2020): 127–46. http://dx.doi.org/10.1017/ytm.2020.18.

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Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisi

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Martin, Henry. "Seven Steps to Heaven: A Species Approach to Twentieth-Century Analysis and Composition." Perspectives of New Music 38, no. 1 (2000): 129. http://dx.doi.org/10.2307/833591.

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Martins, José Oliveira. "Scalar Dissonance and the Analysis of Polytonal/Modal Mismatch in Twentieth-Century Music." Musurgia XXVI, no. 3 (2019): 49. http://dx.doi.org/10.3917/musur.193.0049.

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Smoliak, Oleg S., Anatoliy M. Bankovskyi, Oksana Z. Dovhan, Halyna S. Misko, and Natalia M. Ovod. "Stanyslav Lyudkevych’s Contribution to the History of Ukrainian Folk Music Research at the Beginning of the Twentieth Century." Musicological Annual 57, no. 1 (2021): 177–200. http://dx.doi.org/10.4312/mz.57.1.177-200.

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The article explores and analyzes the activities of the famous Ukrainian composer, musical folklore collector and researcher Stanyslav Lyudkevych in the early twentieth century. The article presents an analysis of the ethnographic collection Halytsko-ruski narodni melodii (Galician-Rus Folk Melodies), which contributed to the emergence of a new direction in Ukrainian folk music ethnographic research – comparative musicology. In particular, this analysis explores structural and typological characteristics of Ukranian folk music.

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Bashford, Christina. "Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain." Journal of the American Musicological Society 63, no. 2 (2010): 291–360. http://dx.doi.org/10.1525/jams.2010.63.2.291.

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Abstract A persistent idea in chamber music historiography is that nineteenth-century Britain lacked a significant, serious domestic chamber-music culture of the type so prevalent in Austro-Germany. Such activity is assumed to have dried up ca. 1800, along with indigenous chamber-music composition, to be replaced by music making at the parlor piano and attendance at public concerts. This essay challenges that view and suggests a continuing, coherent subculture of private chamber music spread across Britain, often in unexpected settings and in communities of upper- and middle-class males. Under

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COVEY, PAUL MICHAEL. "Selling “The Things Money Can't Buy”: Piano Advertising in the Mid-Twentieth Century." Journal of the Society for American Music 13, no. 1 (2019): 54–77. http://dx.doi.org/10.1017/s1752196318000524.

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AbstractThis study explores piano advertising strategies after 1940 by examining ads printed in Etude, the Music Magazine between then and 1957, when it discontinued publication. Aware of the emerging US consumer culture, piano companies experimented throughout this period with more aggressive marketing techniques than they had previously used. Because Etude’s intended audience included musicians and enthusiasts of every skill and experience level, it was approached accordingly by advertisers. Thus, we can trace in its pages the development of methodologies that, owing to an increasingly sophi

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Ronyak, Jennifer. "Schubert’s “Ständchen” in the Voice of the Cinematic Amateur." 19th-Century Music 42, no. 3 (2019): 157–83. http://dx.doi.org/10.1525/ncm.2019.42.3.157.

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Scholars who have analyzed performances of Schubert’s Lieder have generally focused on the voices of masterful professionals, whether looking at performances before or during the age of sound recordings. This tendency overlooks one historically important group of performers: the amateurs who made up the broad marketplace for the genre during Schubert’s lifetime and throughout the nineteenth century. Studying this group of performers with any level of aesthetic particularity is, however, difficult: documentary evidence of particular singers in this group in the nineteenth century and even the e

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LALITTE, PHILIPPE. "Towards a semiotic model of mixed music analysis." Organised Sound 11, no. 2 (2006): 93–100. http://dx.doi.org/10.1017/s1355771806001348.

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In this paper I try to outline a model that can bring out the meaningful relationships between ‘the instrumental’ and ‘the electronics’ in mixed music. The model is based on the semiotic square which is considered in semiotics as a powerful conceptual framework to examine the relationships between two terms (S1/S2) and their negative (non-S1/non-S2), terms which can be characters, situations, actions, concepts, etc. Two paradigmatic axes represent the relations between the actors of mixed music: the sources (instrumental and electronic) on the one hand, and the manipulations (real-time process

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Parsons, Laurel. "Music and Text in Elisabeth Lutyens's Wittgenstein Motet." Canadian University Music Review 20, no. 1 (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 Wittg

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Samigullina, Rufina Ildarovna. "Features of musical enlightenment in Russia in the second half of the twentieth century." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 8 (2018): 205–11. http://dx.doi.org/10.18844/prosoc.v4i8.3051.

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Musical enlightenment is an actual problem of modern education. It involves dissemination of knowledges among the audience, the development of artistic needs, interest in music. By the second part of the 20th century, Russia has accumulated a wealth of experience of musical enlightenment activities. The Russian experience in the training of musicians has become an example for other countries, the concept of mass musical education developed by Kabalevsky, is the basis of many contemporary programs in music, various forms of musical education (people's universities, television & radio concer

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Roeder, John. "A Declarative Model of Atonal Analysis." Music Perception 6, no. 1 (1988): 21–34. http://dx.doi.org/10.2307/40285414.

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Most computational models of musical understanding have focused on procedural aspects of analysis, suggesting techniques for parsing, comparing, and transforming various representations of a piece, or adapting discovery procedures of artificially intelligent (AI) inference systems, which plan and follow agendas and goals. Much contemporary AI research, however, also focuses on declarative aspects of knowledge, attempting to define data representations and relations that are commensurate with human cognition. Naturally, musical analysis has both procedural and declarative aspects: the declarati

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Jorgensen, Estelle R. "Percy Scholes on Music Appreciation: Another View." British Journal of Music Education 4, no. 2 (1987): 139–56. http://dx.doi.org/10.1017/s0265051700005908.

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Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to

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Milanovic, Biljana, and Marija Maglov. "Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)." Muzikologija, no. 27 (2019): 221–50. http://dx.doi.org/10.2298/muz1927221m.

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Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers? works were going to be (repeatedly) present in its catalogue consequently had significant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer figure of Serbian music, Stevan Stojanovic Mokranjac, was represented in th

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BORN, GEORGINA. "On Musical Mediation: Ontology, Technology and Creativity." Twentieth-Century Music 2, no. 1 (2005): 7–36. http://dx.doi.org/10.1017/s147857220500023x.

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This article develops a theoretical analysis of music and mediation, building on the work of Theodor Adorno, Tia DeNora and Antoine Hennion. It begins by suggesting that Lydia Goehr’s account of the work concept requires such a perspective. Drawing on Alfred Gell’s anthropology of art, the article outlines an approach to mediation that incorporates understandings of music’s social, technological and temporal dimensions. It suggests that music’s mediations have taken a number of historical forms, which cohere into assemblages, and that we should be alert to shifts in the dominant forms of music

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Kubíček, Jiří. "From Kerman to Merzbow: Notes on the metamorphoses of music analysis at the turn of the millennium." New Sound, no. 56-2 (2020): 23–46. http://dx.doi.org/10.5937/newso2055023k.

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This paper aims to delineate changes in the approach to music analysis over the last decades of the nineteenth century and to examine different possibilities in analysing works which have a characteristic that virtually excludes the use of traditional methods. The starting point is Joseph Kerman's criticism of music analysis, formulated in the 1980s, which - together with successive discussions - reflects a tendency towards abandoning the excessively academic and formalizing approach to analysis, moving from an attempt at an objective analysis of a work towards an interpretation that also focu

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Delalande, François. "The technological era of ‘sound’: a challenge for musicology and a new range of social practices." Organised Sound 12, no. 3 (2007): 251–58. http://dx.doi.org/10.1017/s1355771807001926.

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AbstractThe ‘technological revolution’ that took place in music during the twentieth century is equivalent to the revolution that took place between the twelfth and fourteenth century, which transformed musical notation into applications of technology related to creation. This second revolution, as well as the first one, concerns not only musical form, but also the social organisation related to music. The aesthetic of sound is the key factor (in all the genres of contemporary music), which is a major challenge for musical analysis. Society is reorganising itself, favouring the appropriation a

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Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.

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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century develo

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Wai-Chung, Ho. "A Historical Review of Popular Music and Social Change in Taiwan." Asian Journal of Social Science 34, no. 1 (2006): 120–47. http://dx.doi.org/10.1163/156853106776150216.

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AbstractThis article considers the relationship between popular music and the power of the state through an analysis of the history of Taiwan and the settings within which popular music was constructed and transformed by contentious political and social groups in the twentieth century. The historical formation of Taiwanese society falls into three distinct stages: Japanese colonization between 1895 and 1945; the Kuomintang's (KMT) military rule between 1947 and 1987; and the period from the end of martial law in 1987 to the resurgence of Taiwanese consciousness in the early 2000s. The evolutio

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Fjeldsøe, Michael. "The Leipzig Model and its Consequences: Niels W. Gade and Carl Nielsen as European National Composers." Studia Musicologica 59, no. 1-2 (2018): 71–78. http://dx.doi.org/10.1556/6.2018.59.1-2.6.

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The article discusses how the concept of “national composer” was established and developed in Central and Northern Europe by looking into the attempted international careers of two Danish composers in the nineteenth and early twentieth centuries. The analysis focuses on the appropriation of national composers in relation to international recognition in order to reflect on how this changing relationship might have influenced the conditions for international recognition of Zoltán Kodály. In the 1840s, Leipzig was the place to obtain international reputation. It was in Leipzig that Niels W. Gade

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Тарасова, Н. Ю., та Б. Ю, Москальов. "The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)". Музикознавча думка Дніпропетровщини, № 15 (4 листопада 2019): 171–85. http://dx.doi.org/10.33287/221914.

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The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmon

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Mylnikova, Ekaterina A. "Typical bridge tunes in jazz music 1920–1960s." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 145–50. http://dx.doi.org/10.30725/2619-0303-2021-1-145-150.

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One of the most important components that determine the level of professional competence of a modern musician specializing in jazz music performance is mastering the basic laws of the art of improvisation, based on knowledge and understanding of the laws of traditional harmonic structures and stylistic features of jazz music of the 20–60s of the XX century. A qualified performer and teacher must have knowledge of the skills and abilities of this type of musical practice, which are aimed not so much at improving various techniques of playing the instrument, as at the competent use of stylistic

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MÓRICZ, KLÁRA. "Shadows of the Past: Akhmatova’s Poem Without a Hero and Lourié’s Incantations." Twentieth-Century Music 5, no. 1 (2008): 79–108. http://dx.doi.org/10.1017/s1478572208000613.

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AbstractArthur Vincent Lourié (1891–1966), futurist, communist commissar of music, and close friend of Stravinsky in Paris in the 1920s, was an important member of avant-garde Russian artistic circles in the first three decades of the twentieth century. Yet by the 1950s he seems to have faded into obscurity. This article attempts to fill the gap left by the lack of discussion of the strange permutations of Lourié’s career after his emigration in 1922 by way of an analysis of his miniature 1961 song cycle Zaklinaniya (‘Incantations’). The cycle consists of five settings of lines from Anna Ahkma

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Fisk, Charles. "Nineteenth-Century Music?? The Case of Rachmaninov." 19th-Century Music 31, no. 3 (2008): 245–65. http://dx.doi.org/10.1525/ncm.2008.31.3.245.

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Abstract In two of Rachmaninov's last works, the Rhapsody on a Theme of Paganini of 1934 and the first of the Symphonic Dances of 1940, a stylistic contrast between an opulently scored lyrical theme and the more angular, dissonant music that surrounds that theme throws into relief the extent that Rachmaninov's musical language had changed and developed since his first great successes thirty years earlier with the Second Piano Concerto and the Second Symphony. The words that motivate a similar stylistic contrast in the song Son (Sleep), composed in 1917, near the end of his most compositionally

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Djurkovic, Misa. "Ideological and political conflicts about popular music in Serbia." Filozofija i drustvo, no. 25 (2004): 271–84. http://dx.doi.org/10.2298/fid0525271d.

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The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements (such as asymmetric rhythmic patterns and melismatic singing) and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all of the theories are ideologic

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Gopinath, Sumanth, and Anna Schultz. "Sentimental Remembrance and the Amusements of Forgetting in Karl and Harty's “Kentucky”." Journal of the American Musicological Society 69, no. 2 (2016): 477–524. http://dx.doi.org/10.1525/jams.2016.69.2.477.

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In the 1940s “Kentucky” was the greatest hit of Karl and Harty, one of radio's most popular country music duos during the heyday of live hillbilly music in Chicago. Soon after it was released in 1941, aspects of “Kentucky” were already being forgotten—indeed, were predicated on forgetting outmoded racial formations and modes of song transmission—though the song is explicitly about remembering the lost spaces of rural, southern youth. The nostalgic sentimentality of “Kentucky” occludes a secondary stratum of musical and textual qualities that evoke racialized modes of dance and entertainment. T

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Pritchard, Matthew. "‘A Heap of Broken Images’? Reviving Austro-German Debates over Musical Meaning, 1900–36." Journal of the Royal Musical Association 138, no. 1 (2013): 129–74. http://dx.doi.org/10.1080/02690403.2013.771976.

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AbstractThis article examines a range of writings on the status of musical interpretation in Austria and Germany during the early decades of the twentieth century, and argues their relevance to current debates. While the division outlined by recent research between popular-critical hermeneutics and analytical ‘energetics’ at this time remains important, hitherto neglected contemporary reflections by Paul Bekker and Kurt Westphal demonstrate that the success of energetics was not due to any straightforward intellectual victory. Rather, the images of force and motion promoted by 1920s analysis w

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Mańczak, Aleksandra. "The Ecological Imperative: Elements of Nature in Late Twentieth-Century Art." Leonardo 35, no. 2 (2002): 131–36. http://dx.doi.org/10.1162/00240940252940496.

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The author draws attention to visual artworks of the 1980s and 1990s in which artists, drawing upon diverse trends, disciplines and artistic generations, applied materials directly from the surrounding environment in pieces called eco-installations. The text attempts to explain certain creative postures and artistic decisions in the context of our advanced civilization—its achievements and threats alike. The eco-installations—subtle, subdued, gentle, fragile, fleeting, whose finite existence (like that of living organisms doomed to pass away) reflects the artists' own decisions—are in urgent n

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Cook, Nicholas. "Performance Analysis and Chopin's Mazurkas." Musicae Scientiae 11, no. 2 (2007): 183–207. http://dx.doi.org/10.1177/102986490701100203.

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Reporting on work carried out in conjunction with Andrew Earis and Craig Sapp, this paper introduces recently developed approaches to the analysis of recorded music, illustrating them in terms of selected Chopin mazurkas. Topics covered include the stylistic characterisation and aesthetic values of Paderewski's playing of Op. 17 No. 4, contrasted with performances from the last quarter of the twentieth century, as well as relationships between different pianists' interpretations of Op. 68 No. 3. A possible performance genealogy of performances of the latter is proposed, in which recordings by

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Rodríguez-Lorenzo, Gloria A. "The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí." Studia Musicologica 60, no. 1-4 (2020): 243–62. http://dx.doi.org/10.1556/6.2019.00012.

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The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, to

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CARTER, DALE. "Beyond the Stars and Stripes: charting Van Dyke Parks' new world musical voyage." Popular Music 28, no. 2 (2009): 197–216. http://dx.doi.org/10.1017/s0261143009001780.

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AbstractDuring the early 1970s the American songwriter, musician and producer Van Dyke Parks completed work on a series of albums exploring the musical contours of the circum-Caribbean region and, through them, broader patterns and issues in twentieth-century US–Caribbean relations. Focusing on the connections between the United States and the (former) British colony of Trinidad and Tobago as articulated via the latter's calypso and steel band traditions, these recordings (two solo albums and two productions) not only explore the grammar, vocabulary and subject matter of a new world music befo

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Ozsvárt, Viktória. "Folklorism and Classical Tradition in László Lajtha's Late String Quartets." Studia Musicologica 59, no. 3-4 (2018): 323–44. http://dx.doi.org/10.1556/6.2018.59.3-4.5.

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Abstract The gains from the folk music collection movement initiated by Béla Bartók and Zoltán Kodály in the first decade of the twentieth century set a path for Hungarian music theory that continued to influence the approach to composition in later decades. Placing folklore material in composed, classical works is complicated by tonal and formal problems and by political overtones. For quotations or thematic material from folk music may introduce complex implications and associations. So the way a composer imbues folk music calls for more than mere technical skill – it embodies an artistic st

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Schmitt, Natalie Crohn. "‘So Many Things Can Go Together’: the Theatricality of John Cage." New Theatre Quarterly 11, no. 41 (1995): 72–78. http://dx.doi.org/10.1017/s0266464x00008903.

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John Cage (1912–1993) is widely regarded as one of the most pervasively influential figures in the arts in the latter half of the twentieth-century. Although best known as a composer, Cage expanded perceptions of what could constitute theatrical performance, and in this essay Natalie Crohn Schmitt assesses the nature and significance of Cage's intermedia performances and their immediate influence on other such work. Natalie Crohn Schmitt's Actors and Onlookers: Theater and Twentieth-Century Scientific Views of Nature (Northwestern UP, 1990) is an analysis of contemporary theatre based on Cage'

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Marsden, Alan. "New Prospects for Information Theory in Arts Research." Leonardo 53, no. 3 (2020): 274–80. http://dx.doi.org/10.1162/leon_a_01860.

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Information Theory provoked the interest of arts researchers from its inception in the mid-twentieth century but failed to produce the expected impact, partly because the data and computing systems required were not available. With the modern availability of data from public collections and sophisticated software, there is renewed interest in Information Theory. Successful application in the analysis of music implies potential success in other art forms also. The author gives an illustrative example, applying the Information-Theoretic similarity measure normalized compression distance with the

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Constantiniu, Theodor. "Folklore and Dialectical Materialism. A Case Study of Ethnomusicological Research in Communist Romania." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 259–75. http://dx.doi.org/10.24193/subbmusica.2020.2.17.

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"Romanian ethnomusicology has a series of less discussed and, implicitly, less understood topics. One of them is the relatively vast literature that addresses the new folklore that appeared after the installation of the communist regime and the folk music of artistic ensembles performed on stage. Most of the texts written on these subjects display a strong political and ideological pressure. Consequently, they are either forgotten or superficially perceived as evidence of a repressive regime, adding to the general belief that the communist regime turned peasant art into an instrument of propag

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Lie, Siv B. "Genre, Ethnoracial Alterity, and the Genesis of jazz manouche." Journal of the American Musicological Society 72, no. 3 (2019): 665–718. http://dx.doi.org/10.1525/jams.2019.72.3.665.

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Based on the music of legendary guitarist Django Reinhardt, jazz manouche is a popular genre that emerged during the late twentieth century. This article examines the historical development of jazz manouche in relation to ideologies about ethnoracial identity in France. Jazz manouche is strongly associated with French Manouches, the subgroup of Romanies (“Gypsies”) to which Reinhardt belonged. In the decades following Reinhardt's death in 1953, some Manouches adopted his music as a community practice. Simultaneously, critics, promoters, and activists extolled the putative ethnoracial character

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Hess, Carol A. "Copland in Argentina." Journal of the American Musicological Society 66, no. 1 (2013): 191–250. http://dx.doi.org/10.1525/jams.2013.66.1.191.

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Abstract Perhaps more than any other US composer, Aaron Copland is associated with Pan Americanism, a contradictory and often unbalanced set of practices promoting North-South economic and affective ties since the nineteenth century. Copland visited Latin America on behalf of the US government four times over the course of his career. He also befriended and taught Latin American composers, wrote about Latin American music, and composed several Latin-American—themed works, including the well-known El salón México. Focusing on one such encounter—Copland's three visits to Argentina (1941, 1947, 1

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COLLINS, SARAH. "The Composer as ‘Good European’: Musical Modernism,Amor fatiand the Cosmopolitanism of Frederick Delius." Twentieth-Century Music 12, no. 1 (2015): 97–123. http://dx.doi.org/10.1017/s1478572214000164.

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AbstractThis article argues that early twentieth-century debates about both musical modernism and the idea of Europe were conditioned by prevailing attitudes towards autonomy. It will challenge the current rendering of modernist autonomy as depoliticized by showing how the attribution of ‘cosmopolitan’ characteristics to the music and persona of Frederick Delius indicated both an absence of affiliation and a definitive marker of Englishness. Underpinning this argument is the idea that attending to the dialectical interplay between independence and cooperation in the notion of ‘rooted cosmopoli

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Teneriello, Susan. "Short Reviews." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 129–30. http://dx.doi.org/10.1162/pajj_r_00325.

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Gabriele Brandstetter's Poetics of Dance has remained unavailable to English-language readers until now. Widely considered a landmark book of dance scholarship when it first appeared in Germany in 1995, this provocative analysis of the early twentieth-century avant-garde in Europe is sure to continue to influence a new audience. The book's initial publication advanced the application of critical theory and interdisciplinary approaches to dance that now constitute the field of critical dance studies. Caringly translated by Elena Polzer with Oxford Studies in Dance Theory series editor Mark Fran

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Cherkasov, Vladimir. "Number 13 / Part I. Music. 8. The Development of Music-Pedagogical Education of Ukraine in The 60's –70-ies of The XX Century." Review of Artistic Education 13, no. 1 (2017): 66–78. http://dx.doi.org/10.1515/rae-2017-0008.

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Abstract The article has analyzed and systematized the development of musical-pedagogical education in Ukraine in the 60's -70-ies of XX century. It has summarized the experience of training of specialists with higher musical-pedagogical education at the faculties of Humanities, where the 50's - 60's graduates received diplomas of philologists, historians, geographers with additional qualification of a teacher of music and singing. It has also been grounded the establishment of the first musical-pedagogical faculties at educational institutions in different regions of Ukraine (Kyiv, Luhansk, D

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Hepokoski, James. "Beyond the Sonata Principle." Journal of the American Musicological Society 55, no. 1 (2002): 91–154. http://dx.doi.org/10.1525/jams.2002.55.1.91.

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Abstract This essay provides a concept-history, a close examination, and a testing of the much invoked “sonata principle” (Edward T Cone, 1967-68), while also introducing a new, contrasting mode of analysis (“Sonata Theory”) for sonata-form compositions from the decades around 1800. Within these compositions it was a common expectation that (nontonic) secondary- and closing-material from the exposition would normally be restated in the tonic in the corresponding place in the recapitulation. In mid- and late-twentieth-century English-language analysis (in response to shifting analytical paradig

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Gutkin, David. "The Modernities of H. Lawrence Freeman." Journal of the American Musicological Society 72, no. 3 (2019): 719–79. http://dx.doi.org/10.1525/jams.2019.72.3.719.

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H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,”

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González, Jordi Roquer. "Media discourses and marketing strategies in the advertising of the pianola." Popular Music 40, no. 1 (2021): 42–57. http://dx.doi.org/10.1017/s0261143021000106.

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AbstractAs a phenomenon of great social relevance between 1900 and 1930, the graphic advertising of the pianola must be considered as one of the first great mass media platforms linked to musical activity and, therefore, the analysis of its discourse offers valuable information about the social construction of the musical world during the first decades of the twentieth century. This article shows the results of an analysis of 200 historical advertisements through which it is possible to trace the origins of some of the current advertising rhetoric and also some of our current ideas about music

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Kovalenko, A. S. "Development of music education in Ukraine in the early twentieth century: historical and pedagogical analysis (on the example of guitar art)." Pedagogical sciences reality and perspectives, no. 76 (2020): 89–92. http://dx.doi.org/10.31392/npu-nc.series5.2020.76.19.

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STRACHAN, JEREMY. "Canavangard, Udo Kasemets'sTrigon, and Marshall McLuhan: Graphic Notation in the Electronic Age." Twentieth-Century Music 14, no. 2 (2017): 209–43. http://dx.doi.org/10.1017/s1478572217000214.

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AbstractComposer Udo Kasemets (1919–2014) emigrated to Canada in 1951 from Estonia following the Second World War, and during the 1960s undertook a number of initiatives to mobilize experimental music in Toronto. This article investigates Canavangard, Kasemets's publication series of graphic scores which appeared between 1967 and 1970. Influenced by Marshall McLuhan's spatial theory of media, Kasemets saw the transformative potential of non-standard notational practices to recalibrate the relationships between composer, performer, and listener. Kasemets's 1963 compositionTrigon, which was freq

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Symon, Peter. "Music and national identity in Scotland: a study of Jock Tamson's Bairns." Popular Music 16, no. 2 (1997): 203–16. http://dx.doi.org/10.1017/s0261143000000374.

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The subject of his article reflects what Robert Crawford has called ‘a growing wariness of notions of an essentialist Scotland’ (1994, p. 57). The article has been written partly as a contribution to the critique of ‘essentialist’ notions of national identity in gerneral and ‘Scottishness’ in particular. I share the concern of Stuart Hall (1990; 1995) and others (Massey 1991; Rose 1995) to challenge ideas which reproduce notions of the ‘boundedness’ or ‘purity’ of territorial and national identities; whilst recognising that such identities are, by definition, only likely to change slowly (Ther

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