scholarly journals Editorial

2004 ◽  
Vol 1 (1) ◽  
pp. 3-4 ◽  
Author(s):  
Christopher Mark ◽  
Allan Moore
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Film Music ◽  
Music Analysis ◽  
Traditional Music ◽  
New Music ◽  
Motivating Factors ◽  
Popular Film ◽  
Twentieth Century Music ◽  
The Uk

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 Music (University of California Press, 1977) sought ‘to stimulate and focus work on what has for too long been American musicology’s lost century’. There is, however, little need to stimulate the study of twentieth-century music(s): if one includes (as we believe one must) popular music, jazz, film music, and twentieth-century developments in traditional musics, as well as ‘art’ or ‘classical’ music, activity in the field is burgeoning at an impressive rate. What is needed, rather, is a dedicated forum. Earlier journals specializing in twentieth-century music (such as Contact and Perspectives of New Music) tended to act as voices for particular constructions of the field. Established generalist journals have frequently found a place for twentieth-century classical music, and more recently (following the trajectory of musicology in general) have begun to widen their scope to include the discussion of popular, film, and traditional music. But as the first three meetings of the Biennial International Conference on Twentieth-Century Music have shown (the third, held in Nottingham, UK, in June 2003, is reviewed in these pages), forums dedicated to the whole range of twentieth-century music promote a synergy and crossfertilization that will inevitably escape generalist journals or those confined to one corner of the field. twentieth-century music aims to provide such a forum; and not the least of our hopes is that, through the contiguity of divergent topics in each issue, the journal will stimulate the creation of new perspectives by encouraging contact with areas and approaches that we might not, as individual scholars, otherwise think to engage with.

The Macroform in Post-Tonalmusic. Listening and Analysis

2003 ◽  
Vol 7 (2) ◽  
pp. 219-240 ◽  
Author(s):  
Mario Baroni
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Extreme Points ◽  
Musical Time ◽  
The Third ◽  
The Past ◽  
Hierarchical Levels ◽  
Twentieth Century Music ◽  
Recorded Performance ◽  
A Performance

Form in classical music is fundamentally a question of organising musical time in order to facilitate a listening corresponding to author's expectations. In the past this was obtained by coordinating different parameters towards a single goal. In twentieth century music, the more detached relationship between the composer and the listener meant that less importance was given to the idea of “correct” listening and to the coordination of parameters. This article is devoted to one of the extreme points in this process: A quartet by Bruno Maderna composed in 1956 under the influence of the ideologies of Darmstadt. The quartet was examined by three different groups of analysts. The first group examined the score of the quartet, while the third group only had a recorded performance at its disposal; the second group analyzed both the score and the performance. The three groups had to describe the form of the piece in terms of three hierarchical levels: Its microform {i.e. the organisation of minimal units not divisible into smaller parts); its macroform (i.e. its division into the minimum possible number of parts); the medium form {i.e. a collection of minimal units that could also be interpreted as an acceptable division of the parts at a macroformal level). Two basic criteria were used: Segmentation (local parametric discontinuity between two adjacent parts) and similarity (coherence between the parameters within each part). The results of the three analyses were somewhat diverse, thus demonstrating the tendency to relax the sense of form in such a quartet, as well as the presence of different procedures used when listening to a performance and analysing a score.

scholarly journals COEXISTENCE OF CLASSICAL MUSIC AND GUGAK IN KOREAN CULTURE

2020 ◽  
Vol 5 ◽  
pp. 67-99
Author(s):  
So Hyun Park
Keyword(s):  
Classical Music ◽  
Traditional Music ◽  
Musical Instruments ◽  
Colonial Period ◽  
New Music ◽  
Flowering Period ◽  
Korean Culture ◽  
Korean Traditional Music ◽  
Japanese Colonial

Classical music and Korean traditional music ‘Gugak’ in Korean culture try various ways such as creating new music and culture through mutual interchange and fusion for coexistence. The purpose of this study is to investigate the present status of Classical music in Korea that has not been 200 years old during the flowering period and the Japanese colonial period, and the classification of Korean traditional music and musical instruments, and to examine the preservation and succession of traditional Gugak, new Korean traditional music and fusion Korean traditional music. Finally, it is exemplified that Gugak and Classical music can converge and coexist in various collaborations based on the institutional help of the nation. In conclusion, Classical music and Korean traditional music try to create synergy between them in Korean culture by making various efforts such as new attempts and conservation.

Villanueva, María Cecilia (1964--)

2018 ◽  
Author(s):  
Mariano Etkin
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Latin America ◽  
Buenos Aires ◽  
The United States ◽  
New Music ◽  
Musical Analysis ◽  
La Plata ◽  
Twentieth Century Music ◽  
German Composer

María Cecilia Villanueva was born in 1964 in La Plata, Argentina. She studied composition with Mariano Etkin at the Universidad Nacional de La Plata, where she currently works as teacher in composition and researcher in musical analysis focused on twentieth-century music. She is considered one of the most notable figures of her generation, successfully mixing research and composition. Villanueva’s music is a testimony to her esthetic independence. She distinguishes herself from her colleagues by the originality of her technical approaches and her rendering of very personal ideas. The expressive density of Villanueva’s music develops around a complex elaboration of materials, which, in some cases, coexist with elements of extreme simplicity. Her music has been performed in many of the main festivals and new music cycles of Europe, the United States, and Latin America. She has also received recognition for her work on numerous occasions. She was awarded the German Forum JungerKomponisten 1989 (WDR) prize in Köln, and won the Elizabeth Schneider prize in 2001 in Freiburg, as well as the Premio de la Ciudad de Buenos Aires, Argentina, 2003. She has been the recipient of several prestigious German composer residences at the AkademieSchloss Solitude, Stuttgart (1994–95), the KünstlerhofSchreyahn (1996) and the KünstlerdorfSchöppingen (2003).

Hans Keller and the Media of Analysis

2021 ◽  
Author(s):  
William O’Hara
Keyword(s):  
Twentieth Century ◽  
Functional Analysis ◽  
Music Analysis ◽  
Media Theory ◽  
Dynamic Mode ◽  
Music Criticism ◽  
Philosophy Of Music ◽  
Early Twentieth Century ◽  
Twentieth Century Music ◽  
The Media

Developed in the late 1950s, Hans Keller’s method of “functional analysis” (FA) sought to analyze music in audible form, without verbal argument or conceptual labels. Keller composed analytical interludes which repeated, recontextualized, and recomposed recognizable thematic and rhythmic elements from the compositions he studied, and placed them in between the movements of those works in live performances or radio broadcasts. Drawing on early twentieth-century music analysis, mid-century media theory, and recent studies of analysis for performance, this chapter reads Keller’s early analyses against a series of annual updates he published, chronicling FA’s development from a polemical philosophy of music criticism to a dynamic mode of wordless musical argument.

scholarly journals The Film Music of Luboš Fišer

Musicalia ◽  
2021 ◽  
Vol 12 (1-2) ◽  
pp. 110-139
Author(s):  
Věra Šustíková
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Film Music ◽  
Source Material ◽  
Original Music ◽  
Television Series ◽  
Film Genre ◽  
Film Directors

Luboš Fišer (1935–1999) was a prominent and original composer of the twentieth century. All his life, he worked as a freelance composer of classical music and film music. He combined these two fields, and in both he won a number of Czech and international awards. The article surveys Fišer’s film music from four decades (1960s–1990s) in the context of the music of other Czech composers, and it relies on the collection of source material from Luboš Fišer’s estate kept at the Czech Museum of Music, which was subjected to continuous comparison with available film databases. Fišer collaborated with important Czech film directors and took part in making many television series. He was able to compose original music for any film genre and to make his music into a dramaturgically substantive, full-fledged component of a cinematographic work.

Anthony Pople, 1955–2003: an Appreciation

2004 ◽  
Vol 1 (2) ◽  
pp. 277-283 ◽  
Author(s):  
JONATHAN DUNSBY
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Alban Berg ◽  
Black Line ◽  
Twentieth Century Music ◽  
Western Classical Music

Death not only robbed Anthony Pople of more than two decades from his three score years and ten; it robbed a community dedicated to the study and promotion of western classical music, especially twentieth-century music, of one of its leading lights. Pople was a prolific thinker and doer, and quite a bit of his legacy is in the form of influence, as a teacher, of course, but also as an imaginative person of action who gave of his time and expertise in all sorts of ways – on committees, as an editor, examiner, adviser, studio producer – and, let us not forget, as a most gifted composer and performer of music. There is also the black-line legacy. His writings show, consistently, his rare talent for both clarity and depth of thought. I think he was one of those authors who wanted every piece to be special, shunning the routine as well as the speculative: and if that sentiment might remind us of the composer Alban Berg, it is no accident.

The Doctor Faustus Dossier

2018 ◽  
Author(s):  
Adrian Daub
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Primary Source ◽  
Music And Literature ◽  
Twentieth Century Music ◽  
Private And Public ◽  
Doctor Faustus ◽  
Public Lives ◽  
Nazi Era ◽  
The Impact

Arnold Schoenberg and Thomas Mann, two towering figures of twentieth-century music and literature, both found refuge in the German-exile community in Los Angeles during the Nazi era. This complete edition of their correspondence provides a glimpse inside their private and public lives and culminates in the famous dispute over Mann's novel Doctor Faustus. In the thick of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make him an enemy of both families. Gathered here for the first time in English, the letters are complemented by diary entries, related articles, and other primary source materials, as well as an introduction that contextualizes the impact that these two great artists had on twentieth-century thought and culture.

Sign in / Sign up

Export Citation Format

Share Document