INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC最新文献_第10页

Music Research Libraries, Archives and Collections in Croatia 克罗地亚的音乐研究、图书馆、档案和收藏

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1992-12-01 DOI: 10.2307/837010

Stanislav Tuksar

引用次数: 1

"Sediljke" ou "besede" (soirees ou cercles) a Zagreb en 1844. Caracteres socio-historiques et musicaux 1844年萨格勒布的“sediljke”或“besede”（夜晚或圆圈）。社会历史和音乐特征

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1992-12-01 DOI: 10.2307/837013

Dubravka Frankovic, Goran Bikić

引用次数: 0

Patterns of Textual Recurrence in Kiganda Song 基干达歌语篇重复模式

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1992-06-01 DOI: 10.2307/836957

Catherine T. Gray

引用次数: 6

Nature and Artifice in G.B. Doni's thought 多尼思想中的自然与技巧

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1992-06-01 DOI: 10.2307/836953

M. Padoan

引用次数: 0

Music and Text: Critical Inquiries 音乐与文字:批判性探究

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1992-06-01 DOI: 10.2307/836959

Richard C. Littlefield, S. Scher

{"title":"Music and Text: Critical Inquiries","authors":"Richard C. Littlefield, S. Scher","doi":"10.2307/836959","DOIUrl":"https://doi.org/10.2307/836959","url":null,"abstract":"List of figures List of contributors Preface Steven Paul Scher Acknowledgments Part I. Institutional Dimensions and the Contexts of Listening: 1. Music and literature: the institutional dimensions John Neubauer 2. Privileging the moment of reception: music and radio in South Africa Charles Hamm 3. Chord and discourse: listening through the written word Peter J. Rabinowitz Part II. Literary Models for Musical Understanding: Music, Lyric, Narrative and Metaphor: 4. Lyrical modes Paul Alpers 5. Origins of modernism: musical structures and narrative forms Marshall Brown 6. Metaphorical modes in nineteenth-century music criticism: image, narrative, and idea Thomas Grey 7. Narrative archetypes and Mahler's Ninth Symphony Anthony Newcomb Part III. Representation, Analysis and Semiotics: 8. Music and representation: the instance of Haydn's Creation Lawrence Kramer 9. Musical analysis as stage direction David Lewin 10. Poet's love or composer's love? Edward T. Cone 11. The semiotic elements of a multiplanar discourse: John Harbison's setting of Michael Fried's 'Depths' Claudia Stanger Part VI. Gender and Convention: 12. Whose life? The gendered self in Schumann's Frauenliebe songs Ruth A. Solie 13. Operatic madness: a challenge to convention Ellen Rosand 14. Commentary: form, reference, and ideology in musical discourse Hayden White Index.","PeriodicalId":42533,"journal":{"name":"INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC","volume":"23 1","pages":"102"},"PeriodicalIF":0.0,"publicationDate":"1992-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/836959","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68729065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 52

Mozart und Kitsch: "Ein musikalischer SpaSS"? "音乐乐趣"?

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1992-06-01 DOI: 10.2307/836955

V. Kalisch

引用次数: 2

Musik als Botschaft 音乐作为信息

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1992-06-01 DOI: 10.2307/836958

Constantin Floros

引用次数: 3

The Decline of Improvisation in Western Art Music: An Interpretation of Change 西方艺术音乐中即兴创作的衰落:对变化的解读

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1992-06-01 DOI: 10.2307/836956

Robin D. Moore

{"title":"The Decline of Improvisation in Western Art Music: An Interpretation of Change","authors":"Robin D. Moore","doi":"10.2307/836956","DOIUrl":"https://doi.org/10.2307/836956","url":null,"abstract":"Resume This paper addresses itself to the gradual disappearance of improvisation from Western art music during the latter half of the nineteenth and early twentieth centuries. It confronts the puzzling fact that improvisatory performance has ceased to interest a majority of conservatory-trained musicians, despite the fact that performers of European art music in previous centuries exhibited considerable interest in improvisation, and continued to consider it an important musical skill until at least 1840. Related analysis provides a number of explanations for the reasons why improvisation has tended to disappear in terms of social change in the nineteenth century, and the ways in which such change has affected how art music is taught and heard today. The paper concludes with speculation about the implications of the recent disappearance of improvisation from art music, and suggests how it might once again be reincorporated into musical performance. >[I]t is difficult to understand why in certain repertories [of Western art music] some images and constructions dominate, [and] why others are prohibited, unless one has a strong sense of social history. The kind of history musicology has typically adopted is that of chronology. There are no power struggles in such histories, to say nothing of sensitive issues such as gender or sexuality. It is in part because history is presented as orderly, settled, and unproblematic that it has appeared to be largely irrelevant to the ways music itself is organized.< [Suzan McCLARY (1991:28)] Anyone who has had occasion to pursue the study of non-Western musics, or to involve themselves in the performance of various Western popular or folk musics, will attest to the surprising number of traditions in which improvisation plays a central role. Scholars of these musics have recently shown a great deal of interest in improvisation, as illustrated by the numerous articles circu61 R. MOORE, THE DECLINE OF IMPROVISATION..., IRASM 23 (1992) 1, 61-84 lating today devoted to the study of its manifestations in various culture areas.' Contrasted with these traditions, our current approach to the performance of Western art music may seem surprisingly restricting and rigid. Especially in the interpretation of canonized, largely 18thand 19th-century derived repertoire our schools and institutions tolerate little deviation from the guidelines of the score. Similar attitudes restrict the performer's interpretation of many modern works. Music historians today agree that modern notions governing the performance of art music, and specifically those disallowing improvisation, are a relatively recent phenomenon. The few scholars of improvisation in Western music over the past seventy five years have stressed the frequency with which descriptions of musical embellishment, ornamentation, alteration, and even freer forms of improvisation are found in historical documents. Ernst Ferand, considered by many to have been the foremost scholar i","PeriodicalId":42533,"journal":{"name":"INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC","volume":"23 1","pages":"61"},"PeriodicalIF":0.0,"publicationDate":"1992-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/836956","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68728935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 76

Literacy, Orality, and the Parry-Lord "Formula": Improvisation and the Afro-American Jazz Tradition 读写能力、口语和派对主“公式”:即兴创作和美国黑人爵士传统

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1991-12-01 DOI: 10.2307/836922

Luke O. Gillespie

引用次数: 13

Music and the New Scientific Theories 音乐与新科学理论

3区艺术学

INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC Pub Date : 1991-12-01 DOI: 10.2307/836925

Bruno Deschênes

引用次数: 3