Meaning and Value in Romantic Musical Aesthetics

2021 ◽  
pp. 183-198
Author(s):  
Alexander Wilfing
Keyword(s):  
Musical Aesthetics

Aseuk Hatong Antara Seni Berkomunikasi dan Teknologi: Studi Fenomenologi tentang Budaya Bertani Ladang Masyarakat Tatar Karang Priangan Kabupaten Tasikmalaya

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 332
Author(s):  
Samson CMS
Keyword(s):  
Rainy Season ◽  
Research Method ◽  
Technology Development ◽  
Appropriate Technology ◽  
Musical Aesthetics ◽  
Research Show

ABSTRAKTidak mampunya kita mendalami pengetahuan asli kita sendiri mengakibatkanterjadinya disharmoni teknologi dengan kebutuhan di lapangan, tidak terkecuali TeknologiTepat Guna (TTG) dalam pertanian ladang. Tujuan penelitian ini adalah untuk mengetahuiperanan Aseuk Hatong dalam tradisi pertanian ladang di masyarakat Tatar Karang PrianganKabupaten Tasikmalaya yang religius Islami, tapi masih mempertahankan tradisi tersebut.Metode penelitian ini menggunakan studi fenomenologi Schutz. Hasil penelitian menunjukkanbahwa 1) Seni berkomunikasi: (kakawihan) dalam tradisi Aseuk Hatong adalah upayaharmonisasi antara petani dengan alam yang sedang kemarau melalui senandung ringan yangkontekstual. 2) Teknologi Tani: (Aseuk Hatong) adalah suatu alat untuk mengolah untuk tanahladang pada musim kemarau yang dibalut dengan estetika musikal sederhana khas petaniladang, hasil pengembangan teknologi yang tepat guna, menyenangkan, inovatif, fungsional,terjangkau, murah, dan ramah lingkungan. Dengan demikian, dapat dirumuskan bahwa TradisiAseuk Hatong di Tatar Karang Priangan merupakan media persuasif bertani di kala ngahuma(berladang) tidak dibarengi musim penghujan. Tradisi Aseuk Hatong juga merupakanpengembangan teknologi yang sangat memperhitungkan kearifan lokal yang berlaku.Kata kunci: aseuk hatong, kawih, komunikasi seni, teknologi tani, pertanian ladangABST RACTOur inability to deepen our own original knowledge results in disharmony of technologywith the needs in the field, including the Appropriate Technology (TTG) in agriculture. It istherefore that in any development it is often not harmonious with the needs of society. Theobjective of the research is to know the role of Aseuk Hatong in the agricultural tradition in theTatar Karang Priangan community of Tasikmalaya Regency whicht is religiously Islamic yetstill maintains the tradition. The research method is Schutz phenomenology study. The resultsof research show that (1) the art of communicating (kakawihan) in Aseuk Hatong tradition isa harmonious effort between farmers and the dry nature through mild, contextual humming.(2) Farm technology (Aseuk Hatong)is a tool to cultivate the soil, plowing the fields during thedry season by wrapping with simple typical musical aesthetics of field farmers as the resultsof appropriate technology development, fun, innovative, functional, affordable, cheap, andenvironmentally friendly. As the conclusion, it can be said that Aseuk Hatong Tradition in TatarKarang Priangan as a persuasive media farming during ngahuma (farming) not accompaniedby rainy season is a technology development that takes into account local wisdom occur.Keywords: aseuk hatong, kawih, art communication, farming technology

Listening to Modernism: New Books in the History of Sound

2017 ◽  
Vol 26 (2) ◽  
pp. 385-395 ◽  
Author(s):  
CLARA HUNTER LATHAM
Keyword(s):  
Sound Studies ◽  
The Body ◽  
Musical Aesthetics ◽  
Modern Age ◽  
Science Technology ◽  
Scientific Certainty ◽  
Technological Developments ◽  
History Of ◽  
Sound Reproduction Technologies ◽  
Sound Technology

The rapid industrialisation and electrification that characterises the late nineteenth and early twentieth centuries involved the revolutionary and irreversible technologisation of sound. The ability to send sound great distances, through time and space, amplified the instability of sonic presence both inside and outside the body. Sound reproduction technologies such as gramophone and radio emphasise the questionable materiality of sound. Scholarship in the emerging field of sound studies has tended to focus on sound technologies that emerge in this period, promoting the axiom that the ear epitomises modern sensibility. Even before technological developments revolutionised sound, discourses surrounding the ear anticipated the collapse of scientific certainty that marks the modern age. Developments in sound technology can mask the severing of scientific measurement from musical aesthetics that coincided with the age of recording. If the study of sound in modernity has tended to focus on technological changes and bracket aesthetic questions, it is perhaps because the relationships among the science, technology and aesthetics of sound have not yet been adequately parsed.

scholarly journals Johann Georg Sulzer’s “Recitativ” and North German Musical Aesthetics

2017 ◽  
Vol 23 (2) ◽  
Author(s):  
Matthew L. Boyle
Keyword(s):  
Diverse Group ◽  
Musical Aesthetics ◽  
Georg Philipp Telemann ◽  
Poetic Texts ◽  
Technical Features ◽  
New Evidence

Johann Georg Sulzer’s “Recitativ” is a uniquely ambitious article in hisAllgemeine Theorie der schönen Künste. The longest music article in his encyclopedia and accompanied with over 100 musical examples, it describes the technical features and expressive functions of the genre of recitative through 15 rules. It also documents a regional dispute between Berlin and Hamburg over the composition of recitative. Georg Philipp Telemann and Johann Adolf Scheibe, composers associated with Hamburg, are chastised in “Recitativ” for their willingness to abandon Italianate formulas and adopt French or newly invented techniques. In contrast, the Berliner Carl Heinrich Graun is celebrated, with passages of his recitative used as stylistic exemplars. In the years before the publication of “Recitativ,” a diverse group of musicians in Berlin beginning with Graun expressed distaste for French-influenced recitative, including even the Francophile Friedrich Wilhelm Marpurg. The article is the product of collaboration between several Berliner authors who express their city’s Italianate taste in recitative, including Sulzer, Johann Abraham Peter Schulz, Johann Kirnberger, and Johann Friedrich Agricola. New evidence suggests that Agricola’s influence on the article is greater than previously acknowledged. Sulzer’s text is presented in a side-by-side translation that includes his 39 numbered musical examples, with added bibliographic commentary and translations of poetic texts (also downloadable as an Appendix).

Musical Aesthetics: A Review and Critique

1965 ◽  
Vol 51 (4) ◽  
pp. 69
Author(s):  
Abraham Schwadron
Keyword(s):  
Musical Aesthetics

The Catholic Church in Republican Musical Aesthetics

2021 ◽  
pp. 23-64
Author(s):  
Jennifer Walker
Keyword(s):  
Catholic Church ◽  
Sacred Music ◽  
Musical Aesthetics ◽  
Modern Music ◽  
Religious Music ◽  
French Music ◽  
Gabriel Faure ◽  
Compositional Styles ◽  
The Church ◽  
The Catholic Church

Debates concerning the appropriate nature of sacred music in France persisted throughout the nineteenth century. While many figures within the Catholic Church took the more traditional stance in their proclamation of plainchant as the genre of sacred music par excellence, other priests and church musicians insisted that more modern styles of composition were not only appropriate but necessary for French Catholics. This debate was not limited to the confines of the Church: Republican composers, for their part, also contributed their views on the matter, which largely stated that the realms of sacred and secular were not mutually exclusive. This chapter outlines the debate on both sides in order to reveal how Republican composers absorbed the numerous criteria involved in the composition of sacred music into their secular constructions of French music. It also reveals the discursive slippages between Catholic denigrations of “modern” religious music and “secular” compositional styles: more often than not, modern religious music was strikingly close to the Catholic ideal, even when it was written by a decidedly secular composer for non-liturgical use. A study of Contes mystiques, a collection of twelve mélodies written by such composers as Gabriel Fauré, Théodore Dubois, Henri Maréchal, and Pauline Viardot, reveals how Republican composers absorbed the numerous criteria involved in the composition of sacred music and how this modern music was strikingly similar to the Catholic ideal, even when written by “secular” composers for non-liturgical use.

scholarly journals “Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity

2020 ◽  
Vol 3 ◽  
pp. 205920432094906
Author(s):  
Aaron Carter-Ényì ◽  
Quintina Carter-Ényì
Keyword(s):  
19Th Century ◽  
Primary Source ◽  
Art Music ◽  
Musical Aesthetics ◽  
Linguistic Features ◽  
Music Practice ◽  
Interval Size ◽  
Two Measures ◽  
Tone Level ◽  
The 19Th Century

Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.

Friedrich Nietzsche’s Musical Aesthetics

Symposium ◽  
2013 ◽  
Vol 17 (1) ◽  
pp. 171-193
Author(s):  
Sophie Bourgault ◽  
Keyword(s):  
Musical Aesthetics
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