Learning Old Music in a New Age of Digital Reproduction

2020 ◽  
pp. 311-324
Author(s):  
Robert O. Gjerdingen
Keyword(s):  
North America ◽  
Popular Music ◽  
Classical Music ◽  
New Age ◽  
Good Alternative ◽  
Recent Immigrants ◽  
The World ◽  
Digital Reproduction ◽  
Rich History

There are over four hundred genres of popular music known in North America, and many more if one includes the favourite musics of recent immigrants. Which of these should be singled out and taught to children? There is no good answer to that question. Classical European music is a good alternative, one that has a rich history and is known, at least a little, all over the world. But instead of teaching children just to reproduce what is written on a page of music, why don’t we teach them to make classical music—to improvise and compose it. The rediscovery of the lessons from the old conservatories shows us how improvisation and composition can be taught to ordinary children, leading to extraordinary results.

French classical music and Brazil: Beyond Franco-German rivalry

2014 ◽  
Vol 25 (3-4) ◽  
pp. 349-356
Author(s):  
Marcos Câmara de Castro
Keyword(s):  
Popular Music ◽  
Classical Music ◽  
Belle Epoque ◽  
The World ◽  
History Of ◽  
Belle Époque ◽  
Cultural Choices

One of the consequences of any colonisation is the emergence in the colonies of a dominant consular class, one of whose characteristics is cultural snobbery. This snobbery is manifested mainly in cultural choices that ignore local music or include it in an ensemble of strategies to participate in an alleged metropolitan cultural universalism. In Brazil, Villa-Lobos, the Batutas orchestra or the dancer known as Duque, who all enchanted France during the belle époque and who still arouse interest all over the world, were only the tip of an iceberg of popular music. This paper aims to demonstrate how the music and writings of Debussy and Ravel can be helpful in establishing the construction of a true history of classical music in Brazil, beyond the historical Franco-German rivalry.

THE BIOGEOGRAPHY OF CANADIAN GRYLLOPTERA AND ORTHOPTERA

1989 ◽  
Vol 121 (4-5) ◽  
pp. 389-424 ◽  
Author(s):  
V.R. Vickery
Keyword(s):  
North America ◽  
Fossil Record ◽  
Neotropical Region ◽  
Climatic Conditions ◽  
Land Bridge ◽  
Recent Immigrants ◽  
Extant Species ◽  
The World ◽  
Land Mass ◽  
Orthopteroid Insects

AbstractThe saltatorial orthopteroid insects did not originate in North America. Five avenues of entry were utilized in migration from other parts of the world. These were: (1) ancestral forms migrated to this region in Pangaean times when all continents formed a single land mass; (2) later in time, taxa migrated from Europe when Eurasia and North America were still joined, or later via an Atlantic land bridge; (3) ancestral forms migrated northward from the Neotropical region before the separation of the two continents or, much later, when the two continents became rejoined; (4) later arriving taxa entered North America during the Pleistocene via a Beringian land bridge; (5) some species are very recent immigrants, either because of the activities of man or by migration into Canadian territory from the south.The fossil record is very incomplete. It indicates past climatic conditions, but is of limited assistance concerning extant taxa.Pleistocene glaciation had a profound effect upon the distribution of extant species. Many species were forced to move southward to escape the advancing ice. Some species probably were eliminated. It is clear that most of the extant species have migrated northward since the recession of the Wisconsin glacier.

Notation and identity in contemporary popular music

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 215-234 ◽  
Author(s):  
H. Stith Bennett
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Classical Music ◽  
The Other ◽  
Other Hand ◽  
The World ◽  
Long Term Changes ◽  
Western European ◽  
Rock N Roll

Popular music, like all manifestations of popular culture, lives on in spite of recurring criticisms that cast it as somehow inauthentic. In fact, defences against this discounting are built into popular music (for example, the Rolling Stones' classic: ‘It's only rock 'n' roll but I like it’) and built in, as well, to the identities of those who make the music a part of their lives, be they players, producers, consumers or critics. On the other hand, so-called classical music, not unlike other manifestations of Western European art culture, lives on in spite of popular music and provides the touchstone of authenticity that creates the defensive popular response. The ideas I am advancing here are intended to allow the players in this authenticity contest to be recognised as evidence of unique historical circumstances: recognised, that is, not only as stock dramatists of ethnocentrism, but as indicators of long-term changes in music cultures in all parts of the world.

Beating up the classics: aspects of a compact discourse

Popular Music ◽  
1997 ◽  
Vol 16 (1) ◽  
pp. 81-95 ◽  
Author(s):  
Colin Symes
Keyword(s):  
Popular Music ◽  
Classical Music ◽  
Contemporary Music ◽  
Recording Industry ◽  
Large Measure ◽  
Music Practice ◽  
Mechanical Reproduction ◽  
Extensive Analysis ◽  
The World ◽  
Integral Element

Although much has been written about the changes wrought to art in the age of mechanical reproduction, these same changes as they have impacted on music through the phenomenon of the phonograph have not received equivalent attention or, if they have, then their discussion has been restricted to particular sectors of the music industry. This failure to address an important facet of contemporary music practice derives from a continuing tendency to abstract musical questions from their context and to obscure the material contributions that technology makes to such practice (Shepherd 1977, 1991; Scott 1990). With some musics this is more apparent than others. For instance, while there has been an extensive analysis of the degree to which the recording industry has influenced and been an integral element in the development of popular music, there has not been an equivalent analysis of its influence on classical music. This is because in the case of the former the links between the two have been somewhat more dramatic. The recording industry, particularly through its links with radio and television stations, has in large measure facilitated the spread of popular music across the world as a dominant element of a globalised culture, as one of its master codes.

Reflecting surfaces: the use of elements from Indian music in popular music and jazz

Popular Music ◽  
1988 ◽  
Vol 7 (2) ◽  
pp. 189-205 ◽  
Author(s):  
Gerry Farrell
Keyword(s):  
Popular Music ◽  
Classical Music ◽  
Indian Subcontinent ◽  
North India ◽  
Western Music ◽  
Pop Music ◽  
The World ◽  
The Sixties ◽  
Indian Music ◽  
Reflecting Surfaces

In this article I explore the manner in which elements from a non-Western music appear in pop music and jazz. The music under discussion is that of the Indian subcontinent and the classical music of North India in particular. The essay covers references to Indian music in pop, rock and jazz from the sixties to the present day but concentrates mainly on the sixties and seventies, and, in the world of pop, on the music of the Beatles. The influence of orientalism on Western music is not a recent phenomena, as Reck (1985) notes, but its appearance in pop during the sixties meant that it reached a larger audience than ever before.

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