Music and Historical Critique by
Music and Historical Critique provides a definitive collection of Gary Tomlinson's influential studies on critical musicology, with the watchword throughout being history. This collection gathers his most innovative essays and lectures, some of them published here for the first time, along with an introduction outlining the context of the contributions and commenting on their aims and significance. Music and Historical Critique provides a retrospective view of the author's achievements in bringing to the heart of musicological discourse both deep-seated experiences of the past and meditations on the historian's ways of understanding them.
Constructing Musicology by
This title was first published in 2001: Unlike many other academic disciplines, musicology has been somewhat reluctant to explore the possibilities that critical theory might offer to our understanding of music and the ways in which we study it. In recent years, however, both the general impact of theory on humanities research and the wider repertoires now studied on music degree courses have urged a paradigm shift in musicology. Looking at both these trends, Alastair Williams examines and explains the theoretical issues raised by different musics, including the Western canon, popular music, folk music and music by women. A theoretically informed musicology, he argues, can reflect on its own procedures and create strategies for particular problems as they arise. In this sense the book offers a musicology under construction. To appreciate how theoretical discourses function and the interests they serve, it is important to understand their roots. Chapter One begins with a presentation of traditional musicology in the context of Joseph Kerman's call for a shift from fact-finding to critical interpretation. Discussion then moves to the scrutiny of the bourgeois tradition by Adorno and Dahlhaus. Chapter Two explores Kerman's critique of structural analysis, together with the impact of poststructuralism on musicology. Awareness of new repertoire and its consequences becomes evident as the book unfolds, with Chapter Three considering music by women and examining how gender is constructed in music. Chapter Four extends this discussion to the field of popular music and the ways in which this genre negotiates identity. Challenges to the dominant values are further explored as Chapter Five looks at how non-European cultures are presented in European music and reflects on perceptions of self and other in ethnomusicology. Chapter Six charts the emergence of modern subjectivity and its formations in music, arguing that musicology should not lose sight of modernity's critical resources.
The Cultural Study of Music by
The Cultural Study of Musicis an anthology of new writings that serves as a basic textbook on music and culture. Increasingly, music is being studied as it relates to specific cultures--not only by ethnomusicologists, but by traditional musicologists as well. Drawing on writers from music, anthropology, sociology, and the related fields, the book both defines the field--i.e., "What is the relation between music and culture?"--and then presents case studies of particular issues in world musics.
Music and Familiarity by
Familiarity underpins our engagement with music. This book highlights theoretical and empirical considerations about familiarity from three perspectives: listening, musicology and performance. Part I, ¿Listening¿, addresses familiarity as it relates to listeners¿ behaviour and responses to music, specifically in regulating our choice and exposure to music on a daily basis; how we get to know music through regular listening; how comfortable we feel in a Western concert environment; and music¿s efficacy as a pain-reliever. Part II, ¿Musicology¿ exposes the notion of familiarity from varied stances, including appreciation of music in our own and other cultures through ethnomusicology; exploration of the perception of sounds via music analysis; philosophical reflection on the efficiency of communication in musicology; evaluation of the impact of researchers¿ musical experiences on their work; and the influence of familiarity in music education. Part III, ¿Performance¿, focuses on the effects of familiarity in relation to different aspects of Western art and popular performance, including learning and memorizing music; examination of ¿groove¿ in popular performance; exploration of the role of familiarity in shaping socio-emotional behaviour between members of an ensemble; and consideration about the effects of the unique type of familiarity gained by musicians through the act of performance itself.
Striders to Beboppers and Beyond by
The piano has royal status among jazz instruments because the pianist can play melody, harmony, and rhythm all at once. Striders to Beboppers and Beyond explores the innovations of such brilliant players as Earl Hines, Art Tatum, Teddy Wilson, Mary Lou Williams, Thelonious Monk, Bud Powell, Bill Evans, Herbie Hancock, Cecil Taylor, McCoy Tyner, and countless others. This book also explores the artists who continue to experiment with new sounds, making jazz a true living music. Book jacket.
Tunes for 'Toons' by
In the first in-depth examination of music written for Hollywood animated cartoons of the 1930s through the 1950s, Daniel Goldmark provides a brilliant account of the enormous creative effort that went into setting cartoons to music and shows how this effort shaped the characters and stories that have become embedded in American culture. Focusing on classical music, opera, and jazz, Goldmark considers the genre and compositional style of cartoons produced by major Hollywood animation studios, including Warner Bros., MGM, Lantz, and the Fleischers. Tunes for 'Toons discusses several well-known cartoons in detail, including What's Opera, Doc?, the 1957 Warner Bros. parody of Wagner and opera that is one of the most popular cartoons ever created. Goldmark pays particular attention to the work of Carl Stalling and Scott Bradley, arguably the two most influential composers of music for theatrical cartoons. Though their musical backgrounds and approaches to scoring differed greatly, Stalling and Bradley together established a unique sound for animated comedies that has not changed in more than seventy years. Using a rich range of sources including cue sheets, scores, informal interviews, and articles from hard-to-find journals, the author evaluates how music works in an animated universe. Reminding readers of the larger context in which films are produced and viewed, this book looks at how studios employed culturally charged music to inspire their stories and explores the degree to which composers integrated stylistic elements of jazz and the classics into their scores.
Use Interlibrary Loan (ILL) to obtain materials that are not held by the NDU Libraries.
NDU Institutional Repository Department of Music contains a collection of research and publications written by academic authors, students, staff, alumni and research groups.
Visit the Writing Center in the Faculty of Humanities - Pink Building, Ground floor - Room HA 114. Call 09-218950 Ext.2375 or email writingcenter@ndu.edu.lb
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