Showing papers in "Notes in 1999"
TL;DR: In this paper, Small argues that music is not a thing, but rather an activity, a verb that encompasses all musical activity from composing to performing to listening to a Walkman to singing in the shower.
Abstract: Extending the inquiry of his early groundbreaking books, Christopher Small strikes at the heart of traditional studies of Western music by asserting that music is not a thing, but rather an activity. This new work outlines a theory of what Small terms "musicking, " a verb that encompasses all musical activity from composing to performing to listening to a Walkman to singing in the shower. Using Gregory Bateson's philosophy of mind and a Geertzian thick description of a typical concert in a typical symphony hall, Small demonstrates how musicking forms a ritual through which all the participants explore and celebrate the relationships that constitute their social identity. This trip through the concert hall will have readers rethinking every aspect of their musical worlds.
1,507 citations
TL;DR: Popular Music in Theory as mentioned in this paper provides a critical introduction to the key theoretical issues which arise in the study of contemporary popular music, and shows how popular music is created across a series of relationships that link together industry and audiences, producers and consumers.
Abstract: Popular Music in Theory provides a critical introduction to the key theoretical issues which arise in the study of contemporary popular music. The book is organized in a way that shows how popular music is created across a series of relationships that link together industry and audiences, producers and consumers. Starting from the dichotomy between production and consumption which characterizes much work on popular culture, Keith Negus explores the equally significant social processes that intervene between and across the production-consumption divide, examining the ways that popular music is mediated by a series of technological, cultural, historical, geographical, and political factors. This broad framework provides signposts to various tracks taken by the sounds and images of popular music, and also highlights distinctive theoretical routes into the study of contemporary popular music. This volume is intended mainly for undergraduate and postgraduate students taking courses in sociology, media and communication studies, and cultural studies. However, it will also appeal to those who enjoy thinking and talking about popular music and who might like to delve a little deeper.
307 citations
TL;DR: Dancing for Eels at Catherine Market The Blackface Lore Cycle Blame It on Cain Finding Jim Crow Notes Acknowledgments Index as discussed by the authors and the Blackface Myth Cycle Cycle.
Abstract: Dancing for Eels at Catherine Market The Blackface Lore Cycle Blame It on Cain Finding Jim Crow Notes Acknowledgments Index
230 citations
51 citations
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45 citations
TL;DR: Casting shadows: Fieldwork is dead! Long live fieldwork! : Introduction / Timothy J. Cooley and Gregory Barz -- Knowing fieldwork as mentioned in this paper, Jeffrey Todd Titon -- Toward a mediation of field methods and field experience in ethnomusicology.
Abstract: Casting shadows: Fieldwork is dead! Long live fieldwork! : Introduction / Timothy J. Cooley and Gregory Barz -- Knowing fieldwork / Jeff Todd Titon -- Toward a mediation of field methods and field experience in ethnomusicology / Timothy Rice -- Phenomenology and the ethnography of popular music: ethnomusicology at the juncture of cultural studies and folklore / Harris M. Berger -- Moving: from performance to performative ethnography and back again / Deborah Wong -- Virtual fieldwork: three case studies / Timothy J. Cooley, Katharine Meizel, and Nasir Syed -- Fieldwork at home: European and Asian perspectives / Jonathan P.J. Stock and Chou Chiener -- Working with the masters / James Kippen -- The ethnomusicologist, ethnographic method, and the transmission of tradition / Kay Kaufman Shelemay -- Shadows in the classroom: encountering the Syrian Jewish research project twenty years later / Judah Cohen -- What's the difference? Reflections on gender and research in Village India / Carol Babiracki -- (Un)doing fieldwork: sharing songs, sharing lives / Michelle Kisliuk -- Confronting the field(note) in and out of the field: music, voices, texts, and experiences in dialogue / Gregory Barz -- The challenges of human relations in ethnographic inquiry: examples from Arctic and Subarctic fieldwork / Nicole Beaudry -- Returning to the ethomusicological past / Philip V. Bohlman -- Theories forged in the crucible of action: the joys, dangers, and potentials of advocacy and fieldwork / Anthony Seeger.
39 citations
TL;DR: Anselm Gerhard explores the origins of grand opera, arguing that its aesthetic innovations reflected not bourgeois tastes, but changes in daily life and psychological outlook produced by the rapid urbanization of Paris as discussed by the authors.
Abstract: Anselm Gerhard explores the origins of \"grand opera, arguing that its aesthetic innovations (both musical and theatrical) reflected not bourgeois tastes, but changes in daily life and psychological outlook produced by the rapid urbanization of Paris. These larger urban and social concerns crucial to our understanding of nineteenth-century opera are brought to bear in fascinating discussions of eight operas composed by Rossini, Auber, Meyerbeer, Verdi, and Louise Bertin.\" \"\"An invaluable look at this fascinating genre.\" George W. Loomis, Opera News\"\
32 citations
TL;DR: A broad, representative selection of lyric compositions by the poet-musicians of 12th and 13th-century France: the Provencal troubadours of the south -the originators of "courtly love" - and their northern counterparts, the trouveres as discussed by the authors.
Abstract: This anthology offers a broad, representative selection of lyric compositions by the poet-musicians of 12th- and 13th-century France: the Provencal troubadours of the south - the originators of "courtly love" - and their northern counterparts, the trouveres. Using both musicological and philological expertise, the collection is a valuable resource for musical performers and students of early poetry. The audio CD has recordings of 12 pieces from the anthology.
TL;DR: The biology lessons of opera buffa: gender, nature, and Bourgeois society on Mozart's buffa stage Tia Denora as mentioned in this paper have been studied in the context of music theory.
Abstract: Notes on contributors Acknowledgements Introduction Mary Hunter and James Webster Part I. Historical and Literary Contexts: 1. Goldoni, opera buffa, and Mozart's advent in Vienna Daniel Heartz 2. Lo specchio francese: Viennese opera buffa and the legacy of French theatre Bruce Alan Brown 3. Il re alla caccia and Le roi et le fermier: Italian and French treatments of class and gender Marvin Carlson 4. Mozart and eighteenth-century comedy Paolo Gallarati Part II. Social and Generic Meanings: 5. The sentimental muse of opera buffa Edmund J. Goehring 6. The biology lessons of opera buffa: gender, nature, and Bourgeois society on Mozart's buffa stage Tia Denora 7. Bourgeois values and Opera Buffa in 1780's Vienna Mary Hunter 8. Opera seria? Opera buffa? Genre and style as sign Marita P. McLymonds 9. Figaro as misogynist: on aria types and aria rhetoric Ronald J. Rabin 10. The alternative endings of Mozart's Don Giovanni Michael F. Robinson 11. Don Giovanni: recognition denied Jessica Waldoff Part III. Analytical and Methodological Issues: 12. Analysis and dramaturgy: reflections towards a theory of Opera Sergio Durante 13. Understanding opera buffa: analysis = interpretation James Webster 14. Operatic ensembles and the problem of the Don Giovanni sextet John Platoff 15. Buffo roles in Mozart's Vienna: tessitura and tonality as signs of characterization Julian Rushton List of works cited Index.
TL;DR: Brockett as discussed by the authors discusses the changing status of black women vocalists in 19th-century America, Thomas L. Riis when Cairo met main street - little Egypt, Salome dancers, and the Worlds Fairs of 1893 and 1904, Charles Kennedy promoting the local product - Sherman and Hyde's review and the San Francisco musical press of 1874 inventing tradition - symphony and opera in progressive-era Los Angeles, Catherine P. Smith somewhere between beer and Wagner - the mannershoe societies of New Orleans and New York city, Mary Sue Morrow Mrs Poliphar at
Abstract: Why American art music first arrived in New England, Nicholas Tawa musical life in turn-of-the-century Indianapolis, Suzanne Snyder diaries of William Steinway and New York musical life, 1816-1871, Edwin M. Good concert singers, prima donnas, and entertainers - the changing status of black women vocalists in 19th-century America, Thomas L. Riis when Cairo met main street - little Egypt, Salome dancers, and the Worlds Fairs of 1893 and 1904, Charles Kennedy promoting the local product - Sherman and Hyde's review and the San Francisco musical press of 1874 inventing tradition - symphony and opera in progressive-era Los Angeles, Catherine P. Smith somewhere between beer and Wagner - the mannershoe societies of New Orleans and New York city, Mary Sue Morrow Mrs Poliphar at the opera - satire, idealsim and cultural authority in post-civil war New York, Karen Ahlquist Jacob Guth in Montrose band - a town band in central Pennsylvania, April-August 1889, Kenneth Kreitner music in Lancaster, Kentucky 1885-1910 - local talent, travelling tours and the opera house, Ben Arnold operattas of Charles Hutchison Gabriel, Clyde W. Brockett msiing title page - Dvorak and the American national song, John C. Tibbetts.
TL;DR: Bailey and McBride as discussed by the authors discuss the evolution of the twelve-tone method in Schoenberg's music and present a list of works from the beginning to the present day.
Abstract: Preface Context Changing Views of Schoenberg by Walter B. Bailey Biography by Walter B. Bailey Music List of Works by Walter B. Bailey and Jerry McBride Schoenberg's Tonal Beginnings by Walter B. Bailey The Atonal Period in Schoenberg's Music by Leonard Stein The Evolution of the Twelve-tone Method by Ethan Haimo The Mature Twelve-tone Method by Ethan Haimo The Late Twelve-tone Compositions by Ethan Haimo Schoenberg's Late Tonal Works by Jan Maegaard Legacy Schoenberg's Theory of Composition by Patricia Carpenter Schoenberg: The Analyst and the Analyzed by Bryan R. Simms Schoenberg as Teacher by Leonard Stein Schoenberg's Influence by Gunther Schuller Selective Bibliography by Jerry McBride Selective Discography by Jerry McBride Index
TL;DR: In this article, the authors investigated the entire Italian operatic tradition, approaching opera not only as a distinctive musical genre but also as a form of extravagant theatre and as a complex social phenomenon.
Abstract: This study investigates the entire Italian operatic tradition, approaching opera not only as a distinctive musical genre but also as a form of extravagant theatre and as a complex social phenomenon. The text traces the social, economic and artistic history of the production of opera from its origins around 1600 to contemporary stagings. Although it has always been a deficit-producing enterprise, opera has maintained unchallenged pre-eminence in the culture of all Italians for centuries. The first half of the book explores the central role of theatre impresarios in putting on these complex productions and in increasing the output of librettos and scores. The second half considers the roles of the three key figures in the creation of any opera: the librettist, the composer and the singer.
TL;DR: McLeod et al. as mentioned in this paper proposed a politique d'utilisation for the services d'Érudit, which is based on the loi sur le droit d'auteur.
Abstract: Citer cet article McLeod, K. (1999). Jonathan P. Wainwright. Musical Patronage in Seventeenth-Century England: Christopher, First Baron Hatton (1605-1670). Aldershot, Hants: Scolar Press, 1997. 470 pp. ISBN 1-85928-278-4 (hardcover). Canadian University Music Review, 20(1), 121–125. https://doi.org/10.7202/1015654ar Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. [https://apropos.erudit.org/fr/usagers/politique-dutilisation/]
TL;DR: The Australian Rock Music Scene by Susanna Agardy and Lawrence de Camargo as mentioned in this paper, and the music industry in Greece by Fouli T. Papageorgiou.
Abstract: Tables Preface Introduction The Australian Rock Music Scene by Susanna Agardy and Lawrence Zion Culture, Media and the Music Industry in Brazil by Nelly de Camargo The English Experience by Alison J. Ewbank Popular Music and the Music Industry in Greece by Fouli T. Papageorgiou A Brief History of Music Production in Hawaii by Elizabeth B. Buck Music in India: A Look at Something Different by Usha Vyasulu Reddy The Israeli Musical Environment: Cultural Heritage and Sociocultural Change by Hanna Adoni Local Musicians in Jamaica: A Case Study by Marlene Cuthbert and Avonie Brown Interactions of Imported and Indigenous Musics in Japan: A Historical Overview of the Music Industry by Toru Mitsui The Problem of Our Time: Culture or Industrial Culture? Musical Creation or Industrialized Musical Products? The Spanish Case by Blanca Munoz Seeking the Best Integration: Popular Music in Taiwan by Georgette Wang Visceral Vibes and a Place in the Sun: U.S. Popular Music by Deanna Campbell Robinson, Jack Banks, and Nancy Breaux Uruguayan Popular Music: Notes on Recent History by Carlos Alberto Martins and Carlos Dumpierrez Index
TL;DR: This article explored Verdi's work from three interlinked perspectives: studies of the original source material, cross-disciplinary analysis of musical and textual issues, and the relationship of performance practice to Verdi musical and dramatic conception.
Abstract: During the middle phase of his career, Guiseppe Verdi adopted new compositional procedures to create some of his best-known works. Focusing on the operas he composed during this period, this volume explores Verdi's work from three interlinked perspectives: studies of the original source material, cross-disciplinary analysis of musical and textual issues, and the relationship of performance practice to Verdi's musical and dramatic conception. In addition to offering new insights into operas such as "Il Trovatore", "La Traviata" and "Un Ballo in Maschera", this text also highlights works such as "Luisa Miller" and "Les Vepres Siciliennes".
Abstract: Foreword by Susan C. Cook Emma Lou Diemer Fantasy on OO Sacred HeadO (1967) Elena Firsova OWhat has caused my heart to feel songful,O from Three Poems by Osip Mandelstam (excerpt) (1991) Jennifer Fowler Blow Flute: Answer Echoes in Antique Lands Dying (1983) Sofia Gubaidulina Garten von Freuden und Traurigkeiten (1981) Barbara Heller Tagebuch fur Violine und Klavier, Teil II: Die Linien (1986) Andreiana Holszky Hangebrucken I: Streichquartett an Schubert (excerpt) (1989/90) Betsy Jolas Plupart du temps II (1989) Barbara Kolb Millefoglie (excerpt) (1985, revised 1987) Voyants (excerpt) (1990) Joan La Barbar Oto hear the wind roarO (1991) Libby Larsen How It Thrills Us (1900) Hope Lee Tangram (1992) Nicola LeFanu The Old Woman of Beare (excerpt) (1981) Tania LeoOn Momentum (1986) Alexina Louie ORitual on a Moonlit Plain,O from Music from NightOs Edge (1988) Elisabeth Lutyens Plenum I (1972) Babbie Mason Standing in the Gap for You (1993) Joni Mitchell OHejiraO (1976) Meredith Monk OAirport,O from the opera Atlas (1991) Undine Smith Moore Mother to Son (1955) Alice Parker OLethe,O from Songstream (1986) Dolly Parton Coat of Many Colors (1969) Marta Ptaszynaka OThorn Trees,O from Concerto for Marimba and Orchestra (1984-85) Shulamit Ran Symphony, Movement II (1990) Jean Ritchie The L and N DonOt Stop Here Anymore (1963) Lucy Simon and Marsha Norman OCome to My Garden,O from The Secret Garden (1993) Natalie Sleeth Hymn of Promise (1985) Grace Wiley Smith A Distant Dream (1995) Joan Tower Night Fields (1994-95) Nancy Van de Vate Chernobyl (1987) Judith Wier The Consolations of Scholarship (excerpts) (1985) Gillian Whitehead The Journey of Matuku Moana Mary Lou Williams OOur Father,O from Mary LouOs Mass (1969-71) Judith Lang Zaimont Parable: A Tale of Abram and Isaac (excerpt) (1986)