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Darmstädter Beiträge zur neuen Musik
Der 26. Band der Darmstädter Beiträge zur Neuen Musik versammelt Vorträge und Texte der Ferienkurse der Jahre 2021 und 2023. Beitragende sind u. a. Mark Andre, Malin Bång, Sarah Nemtsov, Matthew Shlomowitz, Steven Takasugi und Jennifer Walshe.
The Composer, Herself
This edited volume presents 27 original essays by living composers from all around the globe, reflecting on the creation of their music. Coterminous to the recent worldwide resurgence in feminist focus, the distinctive feature of this collection is the “snapshots” of creative processes and conceptualizing on the part of women who write music, writing in the present day, from prominent early-career composers to major figures, from a range of ethnic backgrounds in the contemporary music field. The chapters step into the juncture point at which feminism finds itself: as binary conceptions of gender are being dissolved, with critiques of the attendant gender-based historical generalizations ...
John Cage's Concert for Piano and Orchestra
Looking at one of the twentieth century's most notorious musical masterpieces, John Cage's Concert for Piano and Orchestra examines Cage's compositional process, its infamous performance history, and its influence on philosophical ideas of what music actually is.
The European Alternative Investment Fund Managers Directive (AIFMD)
The European Alternative Investment Fund Managers Directive (AIFMD) has been formulated as a response to the global financial crisis, which climaxed in the collapse of Lehman Brothers on 15 September 2008. The securitisation of real estate risks that came about by launching financial innovations such as asset-backed securities (ABS), mortgage-backed securities (MBS), collateralised debt obligations (CDO) or structured investment vehicles (SIV) contributed particularly to the fast worldwide circulation of ‘poisoned’ papers. Assuming that the financial crisis of 2008/2009 was the consequence of wrongfully set incentives that primarily concerned the fund managers’ remuneration, the Europe...
Music and Digital Media
Anthropology has neglected the study of music and this needs to be redressed. This book sets out to show how and why. It does so by bringing music to the subfield of digital anthropology, arguing that digital anthropology has much to gain by expanding its horizons to music – becoming more interdisciplinary by reference to digital/media studies, music and sound studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the ‘digital’ assume clamouring audib...
Living Genres in Late Modernity
Living Genres in Late Modernity rehears the American 1970s through the workings of its musical genres. Exploring stylistic developments from the late 1960s through the early 1980s, including soul, funk, disco, pop, the nocturne, and the concerto, Charles Kronengold treats genres as unstable constellations of works, people, practices, institutions, technologies, money, conventions, forms, ideas, and multisensory experiences. What these genres share is a significant cultural moment: they arrive just after “the sixties” and are haunted by a sense of belatedness, loss, or doubt, even as they embrace narratives of progress or abundance. These genres give us reasons—and means—to examine our culture’s self-understandings. Through close readings and large-scale mappings of cultural and stylistic patterns, the book’s five linked studies reveal how genres help construct personal and cultural identities that are both partial and overlapping, that exist in tension with one another, and that we experience in ebbs and flows.
The Cambridge Companion to Composition
This wide-ranging guide offers insights for musicians and students on how to be a composer.
A Century of Composition by Women
This book presents accounts of creative processes and contextual issues of current-day and early-twentieth century women composers. This collection of essays balances narratives of struggle, artistic prowess, and of "breaking through" the obstacles in the profession. Part I: Creative Work – Then and Now illuminates historical and present-day women’s composition and various iterations and conceptions of the “feminine voice”; Part II: The State of the Industry in the Present Day provides solutions from the frontline to sector inequities; and Part III: Creating; Collaborating: Composer and Performer Reflections offers personal stories of current creation in music. A Century of Composition by Women: Music Against the Odds draws together topical issues in feminist musicology over the past century. This volume provides insight into the professional and compositional procedures of creative women in music and stands to be relevant for composers, performers, industry professionals, students, and feminist and musicological scholars for many years to come.
New Music and Institutional Critique
While institutional critique has long been an important part of artistic practice and theoretical debate in the visual arts, it has long escaped attention in the field of music. This open access volume assembles for the first time an array of theoretical approaches and practical examples dealing with New Music’s institutions, their critique, and their transformations. For scholars, leaders, and practitioners alike, it offers an important overview of current developments as well as theoretical reflections about New Music and its institutions today. In this way, it provides a major contribution to the debate about the present and future of contemporary music.
Contemporary Opera in Flux
In twelve essays, Contemporary Opera in Flux discusses a series of shifts that, taken together, have radically redefined the production and reception of opera. Focusing on productions involving late twentieth- and twenty-first century scores and libretti, the contributors draw on conversations with members of creative teams and studies of archival material, dipping into a historical record that remains in flux as composers, librettists, directors, and designers revisit existing work and create anew. The contributors to this volume push the boundaries of contemporary opera scholarship by examining works that disrupt operatic conventions; tackle sociopolitical issues such as drug trafficking, ...
