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This volume seeks to offer a new approach to the study of music
through the lens of recent works in science and technology studies
(STS), which propose that facts are neither absolute truths, nor
completely relative, but emerge from an intensely collective
process of construction. Applied to the study of music, this
approach enables us to reconcile the human, social, factual, and
technological aspects of the musical world, and opens the prospect
of new areas of inquiry in musicology and sound studies. Rethinking
Music through Science and Technology Studies draws together a wide
range of both leading and emerging scholars to offer a critical
survey of STS applications to music studies, considering topics
ranging from classical music instrument-making to the ethos of DIY
in punk music. The book's four sections focus on key areas of music
study that are impacted by STS: organology, sound studies, music
history, and epistemology. Raising crucial methodological and
epistemological questions about the study of music, this book will
be relevant to scholars studying the interactions between music,
culture, and technology from many disciplinary perspectives.
This volume seeks to offer a new approach to the study of music
through the lens of recent works in science and technology studies
(STS), which propose that facts are neither absolute truths, nor
completely relative, but emerge from an intensely collective
process of construction. Applied to the study of music, this
approach enables us to reconcile the human, social, factual, and
technological aspects of the musical world, and opens the prospect
of new areas of inquiry in musicology and sound studies. Rethinking
Music through Science and Technology Studies draws together a wide
range of both leading and emerging scholars to offer a critical
survey of STS applications to music studies, considering topics
ranging from classical music instrument-making to the ethos of DIY
in punk music. The book's four sections focus on key areas of music
study that are impacted by STS: organology, sound studies, music
history, and epistemology. Raising crucial methodological and
epistemological questions about the study of music, this book will
be relevant to scholars studying the interactions between music,
culture, and technology from many disciplinary perspectives.
Rising out of the American art music movement of the late 1950s and
1960s, minimalism shook the foundations of the traditional
constructs of classical music, becoming one of the most important
and influential trends of the twentieth century. The
emergence of minimalism sparked an active writing culture around
the controversies, philosophies, and forms represented in the
music’s style and performance, and its defenders faced a
relentless struggle within the music establishment and beyond.
Focusing on how facts about music are constructed, negotiated, and
continually remodeled, We Have Always Been Minimalist retraces the
story of these battles that—from pure fiction to proven
truth—led to the triumph of minimalism. Christophe Levaux’s
critical analysis of literature surrounding the origins and
transformations of the stylistic movement offers radical insights
and a unique new history.
Rising out of the American art music movement of the late 1950s and
1960s, minimalism shook the foundations of the traditional
constructs of classical music, becoming one of the most important
and influential trends of the twentieth century. The emergence of
minimalism sparked an active writing culture around the
controversies, philosophies, and forms represented in the music's
style and performance, and its defenders faced a relentless
struggle within the music establishment and beyond. Focusing on how
facts about music are constructed, negotiated, and continually
remodeled, We Have Always Been Minimalist retraces the story of
these battles that-from pure fiction to proven truth-led to the
triumph of minimalism. Christophe Levaux's critical analysis of
literature surrounding the origins and transformations of the
stylistic movement offers radical insights and a unique new
history.
From the Tin Pan Alley 32-bar form, through the cyclical forms of
modal jazz, to the more recent accumulation of digital layers,
beats, and breaks in Electronic Dance Music, repetition as both an
aesthetic disposition and a formal property has stimulated a
diverse range of genres and techniques. From the angles of
musicology, psychology, sociology, and science and technology, Over
and Over reassesses the complexity connected to notions of
repetition in a variety of musical genres. The first edited volume
on repetition in 20th- and 21st-century popular music, Over and
Over explores the wide-ranging forms and use of repetition - from
large repetitive structures to micro repetitions - in relation to
both specific and large-scale issues and contexts. The book brings
together a selection of original texts by leading authors in a
field that is, as yet, little explored. Aimed at both specialists
and neophytes, it sheds important new light on one of the
fundamental phenomena of music of our times.
From the Tin Pan Alley 32-bar form, through the cyclical forms of
modal jazz, to the more recent accumulation of digital layers,
beats, and breaks in Electronic Dance Music, repetition as both an
aesthetic disposition and a formal property has stimulated a
diverse range of genres and techniques. From the angles of
musicology, psychology, sociology, and science and technology, Over
and Over reassesses the complexity connected to notions of
repetition in a variety of musical genres. The first edited volume
on repetition in 20th- and 21st-century popular music, Over and
Over explores the wide-ranging forms and use of repetition - from
large repetitive structures to micro repetitions - in relation to
both specific and large-scale issues and contexts. The book brings
together a selection of original texts by leading authors in a
field that is, as yet, little explored. Aimed at both specialists
and neophytes, it sheds important new light on one of the
fundamental phenomena of music of our times.
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