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Composing Women
This volume presents fifteen musicological perspectives on the creativity of women composers and the question of 'femininity' in Southeastern-European musical cultures from 1918 on. In the questions about and beyond a 'female aesthetics', socio-cultural approaches to the lives of creative women prove to be indispensable for contemporary musicological gender research, because highly complex facts of musical life and social realities in political systems cannot be separated from each other. By this means the exclusion and marginalization of women composers in the national and international music establishment, as well as strategies for overcoming these systems, are made visible and brought to consciousness. This volume therefore focusses on the social, cultural, and biological preconditions of cultural action, and intends to arouse curiosity for multi-layered realities; it aims to increase the reception of the compositional oeuvre of women composers from Southeastern Europe by the global music scene, the musicological discourse, and an engaged audience.
Sociology of Music
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Music from Both Sides
Matija Arko, po domače Hojer, rojen v Sodražici, se je v mladosti izselil v Ameriko in s seboj prinesel veselje do glasbe in harmonike. Glasba je postala pomemben del njegovega življenja in s svojo skupino Hoyer trio je postal zelo priljubljen med Slovenci v ZDA pa tudi med izseljenci drugih narodnosti. S prepletanjem slovenske ljudske glasbe in različnih oblik ameriške popularne glasbe tistega časa je postavil temelje t. i. polka glasbe, ki je zaradi privlačnosti prestopila etnične meje in pozneje dosegla vsesplošno popularnost. Veliko glasbe Matije Arka je dokumentirane in ohranjene na gramofonskih ploščah, ki nudijo vpogled v njegovo delo in zgodovino slovenske glasbe v ZDA. O Matiji Arku, v Ameriki bolj znanem kot Matt Hoyer, in o njegovem glasbenem ustvarjanju smo vedeli v Sloveniji zelo malo. S pričujočo knjigo, ki je angleški prevod slovenske knjige, želimo opozoriti nanj, na njegovo delovanje in na glasbo, ki je ohranjena na starih gramofonskih ploščah.
Sociology of Music
The textbook provides students with insight into and overview of the basics of social research on music. It addresses the Who, What, When, Where, Why, How of music research through four perspectives from the sociological study of music: a historical survey of the social study of music (when), theoretical points of view (what), and methodological (how), and pragmatic aspects (who, why & how). The other Ws (where and why) are included within the four main perspectives. The four perspectives – history, theory, methodology, and practice – are complementary. Some of the names included in the theory and practice of music are also listed as a part of the history of music sociology, and vice versa. In this way, the book encompasses what Howard S. Becker has conceptualized as an art world, Kurt Blaukopf as musical practice, and Christopher Small as musicking. Covering all the relevant detailsyet concise in structure, this book is ideal for students of the sociology of music, musical education, musicology and of arts and aethestics.
Perspectives on Contemporary Music Theory
Kevin Korsyn is a renowned music theorist, musicologist, and pedagogue who has taught at the University of Michigan since 1992. He has published widely and influentially in areas as diverse as Beethoven and Brahms studies, chromatic tonality, disciplinarity and metatheory, history of theory, musical meaning and hermeneutics, poststructuralism (deconstruction, intertextuality, etc.), and Schenkerian theory and analysis. Because of the scope and caliber of his published work, and also his legacy as a pedagogue, Korsyn has had a profound impact on the field of music theory, along with the related fields of historical musicology and aesthetics. This book, a festschrift for Korsyn, comprises essays that constellate around his numerous scholarly foci. Represented in the volume are not only familiar music-theoretical topics such as chromaticism, form, Schenker, and text-music relations, but also various interdisciplinary topics such as deconstruction, disability studies, German Idealism, posthumanism, and psychoanalysis. The book thus reflects the increasingly multifaceted intellectual landscape of contemporary music theory.
Psychological Perspectives on Musical Experiences and Skills
Psychology of Music is a flourishing area of research in the Western Balkans. However, much of its findings and insights have remained relatively unknown outside the region. Psychological Perspectives on Musical Experiences and Skills features recent research from the Western Balkans, foregrounding its specific topics, methods, and influences, and bringing it into productive conversation with complementary research from Western Europe and further afield. The essays in this collection investigate the psychology of listening and performance and their relevance to music practice. Employing a range of research methodologies, they address divergent themes, from a cross-cultural understanding of a...
The Land Between
"This is a history of a space - a space between the Panonian plain in the East and the most northernmost bay in the Adriatic in the West, from the eastern Alps in the North and the Dinaridic mountain area in the South. It is also a history of all the different people who lived in this area. The authors show that the Slavs did not settle an empty space and simply replace the Celto-Roman inhabitants of earlier times; they are, on the contrary, presented as the result of reciprocal acculturation. The authors show that the Slovenes made more than two important appearances throughout the entire feudal era; the same holds for later periods, especially for the twentieth century. This book offers a concise and complete history of an area that finally became an integral part of Central Europe and the Balkans."--Pub. desc.
Music in the Balkans
This book asks how a study of many different musics in South East Europe can help us understand the construction of cultural traditions, East and West. It crosses boundaries of many kinds, political, cultural, repertorial and disciplinary. Above all, it seeks to elucidate the relationship between politics and musical practice in a region whose art music has been all but written out of the European story and whose traditional music has been subject to appropriation by one ideology after another. South East Europe, with its mix of ethnicities and religions, presents an exceptionally rich field of study in this respect. The book will be of value to anyone interested in intersections between pre-modern and modern cultures, between empires and nations and between culture and politics.
Sound as Popular Culture
Scholars consider sound and its concepts, taking as their premise the idea that popular culture can be analyzed in an innovative way through sound. The wide-ranging texts in this book take as their premise the idea that sound is a subject through which popular culture can be analyzed in an innovative way. From an infant's gurgles over a baby monitor to the roar of the crowd in a stadium to the sub-bass frequencies produced by sound systems in the disco era, sound—not necessarily aestheticized as music—is inextricably part of the many domains of popular culture. Expanding the view taken by many scholars of cultural studies, the contributors consider cultural practices concerning sound not...
György Ligeti im Spiegel seiner Hamburger Kompositionsklasse
György Ligeti is a composer whose stance always extended into a multidimensional field. The old and the new in music, or, more generally, artistic and scientific thinking as a whole, were his closest and most inspiring companions and everything new had to be further developed. Yet for him, nothing could be really new without a deep relationship with the old. And the power of the old had to be woven into every new idea. This necessity to subsume what came before into all things new was also his "torture rack". His students in Hamburg experienced this great seeker, this indeed desperate seeker in a most intense way. And he imbued upon us the extreme necessity of taking the next steps, and challenged us to participate and challenged us as, in a great game, to join in the search. A great many of György Ligeti's students collaborated on this book. The result is a colorful bouquet of articles, some of which provide astonishing insights into the person, the teacher, the composer György Ligeti, and all in all include many aspects that would scarcely be accessible to a musicologist coming from outside this inner circle.
