Paul Griffiths: Geschichte der Musik. Vom Mittelalter bis in die Gegenwart. Michael Heinemann: Kleine Geschichte der Musik. Werner Keil: Musikg eschichte im Überblick. Richard Taruskin und Christopher Howard Gibbs: The Oxford History of Western Music. Arnold Werner-Jensen: Das Reclam-Buch der Musik

2020 ◽  
pp. 277-282
Author(s):  
Andreas Holzer
Keyword(s):  
Western Music ◽  
History Of ◽  
Paul Griffiths

scholarly journals The Orderliness of Music from the Perspective of Complex Information Systems

Proceedings ◽  
2020 ◽  
Vol 47 (1) ◽  
pp. 55
Author(s):  
Shan Zhang
Keyword(s):  
Information Systems ◽  
20Th Century ◽  
Natural Science ◽  
The Other ◽  
Western Music ◽  
Classical Period ◽  
20Th Century Music ◽  
Complex Information ◽  
History Of ◽  
The One

By applying the concept of natural science to the study of music, on the one hand, we can understand the structure of music macroscopically, on the other, we can reflect on the history of music to a certain extent. Throughout the history of western music, from the classical period to the 20th century, music seems to have gone from order to disorder, but it is still orderly if analyzed carefully. Using the concept of complex information systems can give a good answer in the essence.

scholarly journals The Rules of Engagement: Richard Taruskin and the History of Western Music

2007 ◽  
pp. 21-49
Author(s):  
Harry White
Keyword(s):  
German Idealism ◽  
Art Music ◽  
Western Music ◽  
Master Narrative ◽  
Tonal Music ◽  
Western Art ◽  
Radical Critique ◽  
Musical Discourse ◽  
History Of ◽  
Anglo American

The Oxford History of Western Music (2005) is a scrutiny of the ‘literate tradition’ of music in European and North American culture from the beginnings of notation to the end of the twentieth century. Richard Taruskin’s monumental and profoundly erudite engagement with a thousand years of western art music is animated from the outset by a radical critique of German idealism and the influence which this has exerted on the formation and transmission of European and American musical thought. Taruskin takes the view that as a result of this influence, the history of music has been seriously distorted, especially in regard to the contractual intelligibility of musical discourse in relation to society. The prestige of progressivism, as this is manifested in atonal and serial composition, in primitivism and neoclassicism, has enjoyed an excessive pre-eminence which eclipses in turn the narrative clarity of tonal music in the twentieth century.In this review essay, Taruskin’s indictment of historicism as a primary agent in the perpetuation of (German and Anglo-American) musicological orthodoxy is appraised in the context of his own obligations to narrative, musical analysis and the reception history of musical works. Taruskin’s identification of an historicist ‘master-narrative’ in earlier surveys of western music is considered in relation to a new master- narrative, of Taruskin’s own making, which condemns the hegemony of musical idealism at every turn. The tension which arises between this enduring preoccupation and the author’s sustained engagement with individual musical texts tends to confirm the autonomy of the musical work, not as an object immune (or indifferent) to history, but as a nexus of social, ideological and political expression which attains to a self-standing aesthetic integrity.

Rhythm Quantization: Notes on the History of a Technocultural Practice

2021 ◽  
pp. 340-365
Author(s):  
Landon Morrison
Keyword(s):  
Popular Music ◽  
Cognitive Processes ◽  
Western Music ◽  
Theoretical Knowledge ◽  
Music Culture ◽  
Apparent Contradiction ◽  
History Of ◽  
Musical Genres ◽  
Sound Technology

This chapter sketches a general history of rhythm quantization as a widespread practice in popular music culture. Quantization—a sound technology that automatically maps microrhythmic fluctuations onto the nearest beat available within a predefined metric grid—challenges traditional notions of musicking as an embodied activity that is grounded in the co-presence of human agents. At the same time, it encapsulates cultural and cognitive processes that are entirely human, fitting into a broader historical shift towards chronometric precision in Western music. Questions arising from this apparent contradiction are taken up in this chapter, which situates rhythm quantization as an emergent technocultural practice, examining its attendant technologies and requisite structures of music-theoretical knowledge, as well as its reception within the context of different musical genres.

The Nohkan and Oral Transmission

2020 ◽  
pp. 47-72
Author(s):  
Mariko Anno
Keyword(s):  
Western Music ◽  
Universal Method ◽  
Oral Transmission ◽  
History Of ◽  
Japanese Music ◽  
Comprehensive Study

This chapter discusses the three primary functions of the nohkan in a Noh play and focuses on comprehending the role of shōga and the importance and history of oral transmission. It offers an analysis of Issō Yukihiro singing the shōga of the ryo-chū-kan keishiki of the [Chū no Mai] using Western staff notation, followed by his performance of the ryo-chū-kan keishiki. It also talks about Issō Yukihiro as a professional nohgaku-shi and a nohkan performer, who has been actively promoting the nohkan by collaborating with musicians that play Western music and Japanese music. The chapter analyses how the nohkan failed to reach a level of popularity within or outside Japan due to the lack of comprehensive study on the nohkan and the challenges of oral transmission using shōga. It includes transcriptions of nohkan melodies in Western staff notation, which has become a universal method of notating music.

The Augustinian Ascent

2020 ◽  
pp. 183-240
Author(s):  
Michael Spitzer
Keyword(s):  
Relational Model ◽  
Western Music ◽  
Philosophy Of Love ◽  
History Of ◽  
Musical Styles ◽  
Early Opera

This chapter explores different pre-modern models of emotion. It surveys the sweep of pre-modern Western music, from chant to Monteverdi, in terms of four “flavors” of emotion: the Augustinian ascent, the Thomist descent, Neoplatonism, and Epicurianism. Augustine’s philosophy of love, epitomized by affection, resonated with the surges of chant. Aquinas’s relational model of emotion, based on reciprocity, chimes with “contrapuntal” models of emotion. Neoplatonism, exemplified by Ficino’s theories, resonated with the pneumatic flow of emotion through the cosmos. Petrarchan Epicurianism is reflected in the atomism of emotion, from madrigals to early opera. All told, the history of premodern emotion illuminates the changing musical styles from Hildegard, Machaut, Dufay, Ockeghem, Josquin, and Willaert, to Monteverdi.

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