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takes a retrospective look at the theories of media and mass
culture which were elaborated during Adorno's exile; a historical
approach is used to reconstruct the philosophical and sociological
origins of the texts that Adorno dedicated to these topics.
Investigating Musical Performance considers the wide range of
perspectives on musical performance made tangible by the
cross-disciplinary studies of the last decades and encourages a
comparison and revision of theoretical and analytical paradigms.
The chapters present different approaches to this multi-layered
phenomenon, including the results of significant research projects.
The complex nature of musical performance is revealed within each
section which either suggests aspects of dialogue and contiguity or
discusses divergences between theoretical models and perspectives.
Part I elaborates on the history, current trends and crucial
aspects of the study of musical performance; Part II is devoted to
the development of theoretical models, highlighting sharply
distinguished positions; Part III explores the relationship between
sign and sound in score-based performances; finally, the focus of
Part IV centres on gesture considered within different traditions
of musicmaking. Three extra chapters by the editors complement
Parts I and III and can be accessed via the online Routledge Music
Research Portal. The volume shows actual and possible connections
between topics, problems, analytical methods and theories, thereby
reflecting the wealth of stimuli offered by research on the musical
cultures of our times.
It is undeniable that technology has made a tangible impact on the
nature of musical listening. The new media have changed our
relationship with music in a myriad of ways, not least because the
experience of listening can now be prolonged at will and repeated
at any time and in any space. Moreover, among the more striking
social phenomena ushered in by the technological revolution, one
cannot fail to mention music's current status as a commodity and
popular music's unprecedented global reach. In response to these
new social and perceptual conditions, the act of listening has
diversified into a wide range of patterns of behaviour which seem
to resist any attempt at unification. Concentrated listening, the
form of musical reception fostered by Western art music, now
appears to be but one of the many ways in which audiences respond
to organized sound. Cinema, for example, has developed specific
ways of combining images and sounds; and, more recently, digital
technology has redefined the standard forms of mass communication.
Information is aestheticized, and music in turn is incorporated
into pre-existing symbolic fields. This volume - the first in the
series Musical Cultures of the Twentieth Century - offers a
wide-ranging exploration of the relations between sound, technology
and listening practices, considered from the complementary
perspectives of art music and popular music, music theatre and
multimedia, composition and performance, ethnographic and
anthropological research.
It is undeniable that technology has made a tangible impact on the
nature of musical listening. The new media have changed our
relationship with music in a myriad of ways, not least because the
experience of listening can now be prolonged at will and repeated
at any time and in any space. Moreover, among the more striking
social phenomena ushered in by the technological revolution, one
cannot fail to mention music's current status as a commodity and
popular music's unprecedented global reach. In response to these
new social and perceptual conditions, the act of listening has
diversified into a wide range of patterns of behaviour which seem
to resist any attempt at unification. Concentrated listening, the
form of musical reception fostered by Western art music, now
appears to be but one of the many ways in which audiences respond
to organized sound. Cinema, for example, has developed specific
ways of combining images and sounds; and, more recently, digital
technology has redefined the standard forms of mass communication.
Information is aestheticized, and music in turn is incorporated
into pre-existing symbolic fields. This volume - the first in the
series Musical Cultures of the Twentieth Century - offers a
wide-ranging exploration of the relations between sound, technology
and listening practices, considered from the complementary
perspectives of art music and popular music, music theatre and
multimedia, composition and performance, ethnographic and
anthropological research.
Improvisation was a crucial aspect of musical life in Europe from
the late eighteenth century through to the middle of the
nineteenth, representing a central moment in both public occasions
and the private lives of many artists. Composers dedicated
themselves to this practice at length while formulating the musical
ideas later found at the core of their published works;
improvisation was thus closely linked to composition itself. The
full extent of this relation can be inferred from both private
documents and reviews of concerts featuring improvisations, while
these texts also inform us that composers quite often performed in
public as both improvisers and interpreters of pieces written by
themselves or others. Improvisations presented in concert were
distinguished by a remarkable degree of structural organisation and
complexity, demonstrating performers' consolidated abilities in
composition as well as their familiarity with the rules for
improvising outlined by theoreticians.
Investigating Musical Performance considers the wide range of
perspectives on musical performance made tangible by the
cross-disciplinary studies of the last decades and encourages a
comparison and revision of theoretical and analytical paradigms.
The chapters present different approaches to this multi-layered
phenomenon, including the results of significant research projects.
The complex nature of musical performance is revealed within each
section which either suggests aspects of dialogue and contiguity or
discusses divergences between theoretical models and perspectives.
Part I elaborates on the history, current trends and crucial
aspects of the study of musical performance; Part II is devoted to
the development of theoretical models, highlighting sharply
distinguished positions; Part III explores the relationship between
sign and sound in score-based performances; finally, the focus of
Part IV centres on gesture considered within different traditions
of musicmaking. Three extra chapters by the editors complement
Parts I and III and can be accessed via the online Routledge Music
Research Portal. The volume shows actual and possible connections
between topics, problems, analytical methods and theories, thereby
reflecting the wealth of stimuli offered by research on the musical
cultures of our times.
Improvisation was a crucial aspect of musical life in Europe from
the late eighteenth century through to the middle of the
nineteenth, representing a central moment in both public occasions
and the private lives of many artists. Composers dedicated
themselves to this practice at length while formulating the musical
ideas later found at the core of their published works;
improvisation was thus closely linked to composition itself. The
full extent of this relation can be inferred from both private
documents and reviews of concerts featuring improvisations, while
these texts also inform us that composers quite often performed in
public as both improvisers and interpreters of pieces written by
themselves or others. Improvisations presented in concert were
distinguished by a remarkable degree of structural organisation and
complexity, demonstrating performers' consolidated abilities in
composition as well as their familiarity with the rules for
improvising outlined by theoreticians.
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