scholarly journals Musical works’ repeatability, audibility and variability: A dispositional account

2019 ◽  
Vol 30 (1) ◽  
pp. 54-72
Author(s):  
Puy García-Carril
Keyword(s):  
Musical Performances ◽  
Dispositional Account ◽  
Musical Works ◽  
Aesthetic Properties ◽  
Suitable Explanation

This paper is devoted to face recent views in the ontology of music that reject that musical works are repeatable in musical performances. It will be observed that musical works? repeatability implies that they are audible and variable in their performances. To this extent, the aim here is to show that repeatability, audibility and variability are ontologically substantive features of musical works? nature. The thesis that will be defended is that repeatability, audibility and variability are dispositional non-aesthetic properties of musical works. The plausibility of the dispositional account of musical works? repeatability, audibility and variability will lead us to the conclusion that they are ontologically substantive features of musical works? nature, and consequently, any suitable explanation of the ontology of musical works must not ignore them.

Musical Expression among Deaf and Hearing Song Signers

2016 ◽  
Author(s):  
Anabel Maler
Keyword(s):  
Deaf Culture ◽  
Deaf People ◽  
Musical Expression ◽  
Musical Performances ◽  
Use Of Space ◽  
The Third ◽  
Musical Works ◽  
Musical Resources

Deaf people are often portrayed as living in a world of silence, cut off both from experiencing musical works and from musical expression. There are, however, many different forms of musical expression in Deaf culture, including “song signing.” This essay explores the idea that deafness, rather than being a disadvantage for musical expression, actually enables distinctive musical performances within the context of song signing. The first section surveys the different varieties of signed song performance, the second contains analyses of videos, and the third compares the Deaf and hearing song-signing communities. Analysis of multiple song-signing videos reveals that deaf and hearing song signers exploit different techniques in expressing themselves musically. The analyses explore the signers’ principal differences in terms of communication, use of space, and rhythmic techniques. The videos analyzed throughout the article reveal how both deafness and hearing can be musical resources in the context of song-signing performance.

Analytic Philosophy of Music

2020 ◽  
pp. 64-88
Author(s):  
David Davies
Keyword(s):  
Cognitive Science ◽  
Final Section ◽  
Analytic Philosophy ◽  
Philosophy Of Art ◽  
Historical Overview ◽  
Ontological Status ◽  
Philosophy Of Music ◽  
Musical Performances ◽  
Musical Works ◽  
Historical Tradition

Analytic philosophy of music is identified in terms of its being oriented towards, and drawing upon resources available in, a particular historical tradition. A brief historical overview of contemporary analytic philosophy of music is provided, beginning with the work of Goodman and Wollheim in philosophy of art more generally. Treatments of two central themes are explored in greater depth: the nature of musical expression, and the ontological status of musical works and the relationships in which they stand to musical performances. Platonist and materialist musical ontologies are surveyed, as is the significance of authentic performance in the classical paradigm. In the final section, actual and possible engagements between analytic philosophy of music and studies of music in other philosophical and disciplinary traditions are considered. Traditions discussed include phenomenology, “performance” philosophy, cognitive science, and musicology. Particular attention is paid to the importance of grounding philosophical reflections on music in the diversity of musical practice.

Mirrors of Heaven or Worldly Theaters?

2017 ◽  
Author(s):  
Jonathan E. Glixon
Keyword(s):  
Sixteenth Century ◽  
Sacred Music ◽  
Musical Instruments ◽  
Liturgical Music ◽  
Professional Musicians ◽  
Musical Performances ◽  
Patron Saint ◽  
Musical Works ◽  
Website Features ◽  
Sound Files

This book explores the musical world of the nuns of Venice and its lagoon, concentrating on the period from the sixteenth century to the fall of Venice around 1800. It looks at sacred music performed both by the nuns themselves and by professional musicians they employed. Following a historical introduction, the book considers the nuns as collective patrons, both of musical performances by professionals in their external churches, primarily for the annual feast of the patron saint, a notable attraction for both Venetians and foreign visitors, and of musical instruments, namely organs and bells. Next, the study examines the rituals and accompanying music for the transitions in a nun’s life, most importantly the ceremonies through which she moved from the outside world to the cloister. Then the book turns to liturgical music within the cloister, performed by the nuns themselves, from chant to simple polyphony, and to the rare occasions where more elaborate music can be documented. Two more chapters look at, respectively, the teaching of music to both nuns and girls resident in convents as boarding students, and at entertainment, musical and theatrical, by and for the nuns. Appendices include a calendar of musical events at Venetian nunneries, details on nunnery organs, lists of teachers, and inventories of musical and ceremonial books, both manuscript and printed. A companion website features editions of complete musical works, excerpts from which are included in the text as examples, along with sound files.

Musical Works, Musical Performances

1997 ◽  
Vol 138 (1854) ◽  
pp. 4 ◽  
Author(s):  
Peter Johnson
Keyword(s):  
Musical Performances ◽  
Musical Works

Gendering Emotions: Ṭarab, Women and Musical Performance in Three Biographical Narratives from ‘The Book of Songs’

2019 ◽  
Vol 8 (2) ◽  
pp. 164-183
Author(s):  
Karen Moukheiber
Keyword(s):  
Formative Period ◽  
Musical Performance ◽  
Ruling Elite ◽  
Islamic History ◽  
Musical Performances ◽  
Slave Women ◽  
Social Conduct ◽  
Literary Biographies ◽  
The One ◽  
The Book Of Songs

Musical performance was a distinctive feature of urban culture in the formative period of Islamic history. At the court of the Abbasid caliphs, and in the residences of the ruling elite, men and women singers performed to predominantly male audiences. The success of a performer was linked to his or her ability to elicit ṭarab, namely a spectrum of emotions and affects, in their audiences. Ṭarab was criticized by religious scholars due, in part, to the controversial performances at court of slave women singers depicted as using music to induce passion in men, diverting them from normative ethical social conduct. This critique, in turn, shaped the ethical boundaries of musical performances and affective responses to them. Abū l-Faraj al-Iṣfahānī’s tenth-century Kitāb al-Aghānī (‘The Book of Songs’) compiles literary biographies of prominent male and female singers from the formative period of Islamic history. It offers rich descriptions of musical performances as well as ensuing manifestations of ṭarab in audiences, revealing at times the polemics with which they were associated. Investigating three biographical narratives from Kitāb al-Aghānī, this paper seeks to answer the following question: How did emotions, gender and status shape on the one hand the musical performances of women singers and on the other their audiences’ emotional responses, holistically referred to as ṭarab. Through this question, this paper seeks to nuance and complicate our understanding of the constraints and opportunities that shaped slave and free women's musical performances, as well as men's performances, at the Abbasid court.

How Girls Generation Use Erotic Capital?

2019 ◽  
Author(s):  
Adib Rifqi Setiawan
Keyword(s):  
Sexual Harassment ◽  
Social Influence ◽  
Women's Studies ◽  
Negative Consequences ◽  
Feminist Scholarship ◽  
Musical Performances ◽  
Women’S Studies ◽  
Workplace Romance ◽  
Erotic Capital

We didn’t work like common women's studies work on sexuality that generally focuses on sexual harassment or workplace romance to the exclusion of strategic forms of erotic capital. However, we consider women’s strategic sexual performances as a form of social influence and address the positive and negative consequences that may follow. This review highlights the occurrence and complexities of erotic capital in Girls Generation’s musical performances and modelling career, then discusses the important implications of use their erotic capital (i.e. face and leg) to influence others or gain desired ends. In so doing, the findings highlight a need for rethinking traditional conceptualizations of empowerment and initiates a new direction for feminist scholarship in this regard.

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