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Books > Arts & Architecture > Music > Non-Western music, traditional & classical
Theological Stains offers the first in-depth study of the
development of art music in Israel from the mid-twentieth century
to the turn of the twenty-first. In a bold and deeply researched
account, author Assaf Shelleg explores the theological grammar of
Zionism and its impact on the art music written by emigrant and
native composers. He argues that Israeli art music, caught in the
tension between a bibliocentric territorial nationalism on the one
hand and the histories of deterritorialized Jewish diasporic
cultures on the other, often features elements of both of these
competing narratives. Even as composers critically engaged with the
Zionist paradigm, they often reproduced its tropes and symbols,
thereby creating aesthetic hybrids with 'theological stains.'
Drawing on newly uncovered archives of composers' autobiographical
writings and musical sketches, Shelleg closely examines the
aesthetic strategies that different artists used to grapple with
established nationalist representations. As he puts the history of
Israeli art music in conversation with modern Hebrew literature, he
weaves a rich tapestry of Israeli culture and the ways in which it
engaged with key social and political developments throughout the
second half of the twentieth century. In analyzing Israeli music
and literature against the backdrop of conflicts over territory,
nation, and ethnicity, Theological Stains provides a revelatory
look at the complex relationship between art and politics in
Israel.
The journey that The Beatles made to India in 1968 is considered
one of the key events for western pop culture. The journey that The
Beatles made to India in 1968 caused an enormous stir in the
international media and was fundamental in spreading a certain
interest for the East that influenced music, literature, cinema,
fashion and customs at the close of that decade. The title, Nothing
Is Real, is a famous lyric in The Beatles' song Strawberry Fields
Forever, inviting people to search beyond appearances with a
spiritual and metaphysical tension. The book invokes that
extraordinary moment through reports from the period, historical
photographs, artworks by international artists such as Ettore
Sottsass, Alighiero Boetti, Francesco Clemente, Luigi Ontani, Aldo
Mondino and Julian Schnabel, as well as through album, book and
magazine covers..
For the past four decades, the concept of hypermeter has been
routinely applied to eighteenth-century music. But was this concept
familiar in the eighteenth century? If so, how is it reflected in
writings of eighteenth-century music theorists? And how does it
relate to their discussion of phrase structure? In this book, a
follow-up to the award-winning Metric Manipulations in Haydn and
Mozart, author Danuta Mirka unearthes a number of cues that point
to eighteenth-century recognition of what today is called
hypermeter, and retraces the line of tradition that led from
eighteenth-century music theory to the emergence of the modern
concept of hypermeter in the twentieth century. Mirka describes the
proto-theory of hypermeter developed by German music theorists,
recounts the recent history of this concept in American music
theory, evaluates contributions made to it by authors working
within different theoretical traditions, and introduces a dynamic
model of hypermeter which allows the analyst to trace the effect of
hypermetric manipulations in real time. This model is applied in
analyses of Haydn's and Mozart's chamber music for strings, which
shed a new light upon this celebrated repertoire, but the aim of
this book goes far beyond an analytical survey of specific
compositions. Rather, it is to offer a systematic classification of
hypermetrical irregularities in relation to phrase structure and to
give a comprehensive account of the ways in which phrase structure
and hypermeter were described by eighteenth-century music
theorists, conceived by eighteenth-century composers, and perceived
by eighteenth-century listeners.
Our day-to-day musical enjoyment seems so simple, so easy, so
automatic. Songs instantly emanate from our computers and phones,
at any time of day. The tools for playing and making music, such as
records and guitars, wait for us in stores, ready for purchase and
use. And when we no longer need them, we can leave them at the
curb, where they disappear effortlessly and without a trace. These
casual engagements often conceal the complex infrastructures that
make our musical cultures possible. Audible Infrastructures takes
readers to the sawmills, mineshafts, power grids, telecoms
networks, transport systems, and junk piles that seem peripheral to
musical culture and shows that they are actually pivotal to what
music is, how it works, and why it matters. Organized into three
parts dedicated to the main phases in the social life and death of
musical commodities - resources and production, circulation and
transmission, failure and waste - this book provides a concerted
archaeology of music's media infrastructures. As contributors
reveal the material-environmental realities and political-economic
conditions of music and listening, they open our eyes to the hidden
dimensions of how music is made, delivered, and disposed of. In
rethinking our responsibilities as musicians and listeners, this
book calls for nothing less than a reconsideration of how music
comes to sound.
Shortlisted for the 2021 Prime Minister's Literary Award for
Australian History. Representing Australian Aboriginal Music and
Dance 1930-1970 offers a rethinking of recent Australian music
history. In this open access book, Amanda Harris presents accounts
of Aboriginal music and dance by Aboriginal performers on public
stages. Harris also historicizes the practices of non-Indigenous
art music composers evoking Aboriginal music in their works,
placing this in the context of emerging cultural institutions and
policy frameworks. Centralizing auditory worlds and audio-visual
evidence, Harris shows the direct relationship between the limits
on Aboriginal people's mobility and non-Indigenous representations
of Aboriginal culture. This book seeks to listen to Aboriginal
accounts of disruption and continuation of Aboriginal cultural
practices and features contributions from Aboriginal scholars
Shannon Foster, Tiriki Onus and Nardi Simpson as personal
interpretations of their family and community histories.
Contextualizing recent music and dance practices in broader
histories of policy, settler colonial structures, and
postcolonizing efforts, the book offers a new lens on the
development of Australian musical cultures. The ebook editions of
this book are available open access under a CC BY-NC-ND 4.0 license
on bloomsburycollections.com. Open access was funded by Australian
Research Council.
Music in North India is a volume in the Global Music Series, edited by Bonnie Wade and Patricia Campbell. This volume, appropriate for use in undergraduate, introductory courses on world music or ethnomusicology, introduces the musical traditions of North India. Through the vivid eyewitness accounts of performances and retelling of conversations with performers, this volume not only describes the form, structure, and expression of North Indian music, but also illuminates its pronounced religious and cultural significance.
From the mid-20th century to present, the Brazilian art,
literature, and music scene have been witness to a wealth of
creative approaches involving sound. This is the backdrop for
Making It Heard: A History of Brazilian Sound Art, a volume that
offers an overview of local artists working with performance,
experimental vinyl production, sound installation, sculpture, mail
art, field recording, and sound mapping. It criticizes universal
approaches to art and music historiography that fail to recognize
local idiosyncrasies, and creates a local rationale and discourse.
Through this approach, Chaves and Iazzetta enable students,
researchers, and artists to discover and acknowledge work produced
outside of a standard Anglo-European framework.
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