Bibliografie tematiche / Soul music – History and criticism

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Letteratura scientifica selezionata sul tema "Soul music – History and criticism"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 13 febbraio 2022

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Articoli di riviste sul tema "Soul music – History and criticism"

1

BERNSTEIN, LAWRENCE F. "““Singende Seele”” or ““unsingbar””? Forkel, Ambros, and the Forces behind the Ockeghem Reception during the Late 18th and 19th Centuries." Journal of Musicology 23, no. 1 (January 1, 2006): 3–61. http://dx.doi.org/10.1525/jm.2006.23.1.3.

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ABSTRACT In 1868, Wilhelm Ambros lauded a number of compositions by Johannes Ockeghem, including the triple canon Prenez sur moy. Emphasizing the expressive qualities of this music, he suggested that its composer had breathed into it a ““singing soul.”” Some decades earlier, Johann Forkel also focused on Prenez sur moy, dismissing it, however, as ““unsingable.”” The present study examines the cultural and intellectual forces that gave rise to these strikingly contradictory assessments. Enlightenment historians are generally thought to have charted the flow of history according to a progressive
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2

Farkas, Márton. "Lukács in Self-Translation: The Necessity of Contingency in The Soul and the Forms." October 161 (August 2017): 23–41. http://dx.doi.org/10.1162/octo_a_00302.

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A series of meditations on history and criticism, György Lukács's The Soul and the Forms appeared first in Hungarian in 1910 and then in German in 1911—arguably having been translated by the author himself, as a work of mourning. Despite renewed interest in the work, English-language editions have been taken from the German translation and barely consider the Hungarian version. This essay argues that an exemplary skirmish takes place in translation between the Hungarian and the German texts, as Lukács shifts from an Epicurean-Lucretian to a Stoicist view of causality. Not unlike in the early n
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3

Watkins, Holly. "From the Mine to the Shrine: The Critical Origins of Musical Depth." 19th-Century Music 27, no. 3 (2004): 179–207. http://dx.doi.org/10.1525/ncm.2004.27.3.179.

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In recent years, the analytical concept of structural depth has been subjected to intense critical scrutiny. But amid debates over the relative merit of depth- and surface-oriented modes of listening and analysis, surprisingly little attention has been devoted to the history of the two terms in music journalism. Focusing on the period around 1800, this article examines the entry of the term "depth" into German literature on music and explores the metaphorÕs diverse, even contradictory, meanings. Writers like Wilhelm Heinrich Wackenroder and E. T. A. Hoffmann endorsed the idea, prominent in Ger
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4

Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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5

Desrosiers, Diane, and Jean-Philippe Beaulieu. "L’écriture féminine à la Renaissance française sous le regard des chercheurs canadiens." Renaissance and Reformation 37, no. 4 (April 30, 2015): 3–18. http://dx.doi.org/10.33137/rr.v37i4.22637.

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Au cours des dernières décennies, un travail considérable a été accompli par les chercheurs canadiens dans l’exhumation et la réhabilitation des textes des femmes de lettres de la Renaissance française. En raison de leur positionnement géographique à l’intersection des États-Unis et de l’Europe, ces chercheurs participent à la fois des avancées de la recherche française en matière d’érudition et des percées théoriques de la réflexion nord-américaine, enrichie par les gender studies et les études culturelles. Cela explique en partie le caractère original de leur contributio
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Valiquette Moreau, Nina. "Musical Mimesis and Political Ethos in Plato’s Republic." Political Theory 45, no. 2 (August 3, 2016): 192–215. http://dx.doi.org/10.1177/0090591715591587.

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This essay argues that Plato’s Republic includes a widely overlooked meditation on the affective dimension of political judgment. This meditation occurs in the passages on music. In music, Plato identifies the possibility of an extra-rational aesthetic activity that prepares the soul for reasoned judgment: he makes musical mimesis the precondition to logos (speech, reasoned account) because of its ability to actualize in the soul the very ethos required of sound judgment. Music is able to do this because it is not imagistic; music does not produce mediated representations but rather produces a
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Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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Buell, Arthur. "CALIFORNIA SOUL: MUSIC OF AFRICAN AMERICANS IN THE WEST." Oral History Review 28, no. 2 (September 2001): 164–66. http://dx.doi.org/10.1525/ohr.2001.28.2.164.

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10

Jr., Waldo E. Martin, Jacqueline Cogdell DjeDje, and Eddie S. Meadows. "California Soul: Music of African Americans in the West." Journal of American History 86, no. 1 (June 1999): 308. http://dx.doi.org/10.2307/2567538.

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Tesi sul tema "Soul music – History and criticism"

1

Scannell, John School of Media Film &amp Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.

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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work
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Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.

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555 pages<br>This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date h
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3

Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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Sarmast, Ahmad Naser. "A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D." Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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Schmitz, Michael David. "Oriental influences in the piano music of Claude Achille Debussy." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187118.

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This paper explores the influences of Vietnamese and Indonesian music in the piano compositions of Claude Debussy. A brief background of Debussy's formative years and of pertinent social trends in Paris at the turn-of-the-century is provided. This paper then looks at two specific musical events that affected the way Debussy composed for the piano: the Javanese and Annamite exhibits at the Exposition Universelles de 1889 and 1900 in Paris. The musical styles and timbres of these two countries are explored, backed up by accounts of what Debussy actually experienced at the Expositions. Following
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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

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Libri sul tema "Soul music – History and criticism"

1

Haa, Erikka. Soul. New York: Friedman/Fairfax Publishers, 1995.

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Haa, Erikka. Soul. New York: Friedman/Fairfax Publishers, 1997.

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3

Pruter, Robert. Chicago soul. Urbana: University of Illinois Press, 1991.

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Chicago soul. Oxford: Bayou, 1991.

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Pruter, Robert. Chicago soul. Urbana: University of Illinois Press, 1991.

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Soul/R&B. Minneapolis: Twenty-First Century Books, 2013.

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7

The berimbau: Soul of Brazilian music. Jackson: University Press of Mississippi, 2010.

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Goaty, Frédéric. Black & soul. Paris: Layeur, 2004.

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Galm, Eric A. The berimbau: Soul of Brazilian music. Jackson: University Press of Mississippi, 2010.

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10

Molina, Ruben. Chicano soul: Recordings & history of an American culture. La Puente, Calif: Mictlan Publishing, 2007.

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Capitoli di libri sul tema "Soul music – History and criticism"

1

Wehrs, William. "Affect and Film Music: A Brief History." In The Palgrave Handbook of Affect Studies and Textual Criticism, 735–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63303-9_28.

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Dahl, Per. "Music Criticism in Norway." In The Cambridge History of Music Criticism, 392–407. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.021.

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Karnes, Kevin C. "MUSIC CRITICISM AS LIVING HISTORY." In Music, Criticism, and the Challenge of History, 48–76. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195368666.003.0003.

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Frey, Emily. "Music Criticism in Imperial Russia." In The Cambridge History of Music Criticism, 208–28. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.012.

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Watt, Paul. "British Music Criticism, 1890–1945." In The Cambridge History of Music Criticism, 371–91. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.020.

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Racz, Mark. "Jazz Criticism in America." In The Cambridge History of Music Criticism, 459–83. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.025.

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Frith, Simon. "Writing about Popular Music." In The Cambridge History of Music Criticism, 502–26. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.027.

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Dingle, Christopher. "Comparing Notes: Recording and Criticism." In The Cambridge History of Music Criticism, 249–71. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.014.

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Rose, Stephen. "German-Language Music Criticism before 1800." In The Cambridge History of Music Criticism, 104–24. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.007.

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Wilson, Alexandra. "Music Criticism in Nineteenth-Century Italy." In The Cambridge History of Music Criticism, 190–207. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.011.

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