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| Author | : Victor Kofi Agawu |
| Publisher | : Oxford University Press |
| Total Pages | : 345 |
| Release | : 2009 |
| Genre | : Music |
| ISBN | : 0190206403 |
The question of whether music has meaning has been the subject of sustained debate ever since music became a subject of academic inquiry. This book presents a synthetic and innovative approach to musical meaning which argues deftly for the thinking of music as a discourse in itself.
| Author | : Jean-Jacques Nattiez |
| Publisher | : Princeton University Press |
| Total Pages | : 296 |
| Release | : 1990-11-21 |
| Genre | : Literary Criticism |
| ISBN | : 9780691027142 |
Series statement on p. [4] of cover, paperback edition.
| Author | : Anita Jóri |
| Publisher | : transcript Verlag |
| Total Pages | : 229 |
| Release | : 2021-12-31 |
| Genre | : Music |
| ISBN | : 3839457580 |
Research on electronic dance music communities has been initiated by scholars in the fields of sociology, cultural studies, public health research and others. Linguistic aspects, however, are rarely considered. Anita Jóri fills this gap of research and suggests a new perspective by looking at these communities as a discourse community. She gives an overview of the language use and discourse characteristics of this community while applying a mixed methodology of linguistic discourse analysis and cultural studies. The book is aimed at researchers and students in the fields of applied linguistics, popular music, media, communication and cultural studies.
| Author | : Giles Hooper |
| Publisher | : Routledge |
| Total Pages | : 234 |
| Release | : 2016-04-01 |
| Genre | : Music |
| ISBN | : 1317035763 |
In The Discourse of Musicology, Giles Hooper considers a number of issues central to recent debates about the nature and direction of contemporary musicology. The first part of the book seeks to situate and critically rethink the alleged 'postmodern' turn in musical scholarship. Then, in attempting to overcome some of the problems typically associated with postmodern theory, Hooper draws on the work of Jürgen Habermas in order to interpret musicology as a form of institutionalized discourse and to propose a normative framework for the kind of knowledge in which it can legitimately issue. The second part of the book focuses on the concepts of 'mediation' and the 'music itself' and engages with the work of influential critical theorist, Theodor Adorno, and the contemporary musicologist, Lawrence Kramer. Finally Hooper compares and contrasts a number of different approaches to Mahler's Ninth Symphony. The author's underlying aim throughout is to question whether, and how, it is possible to develop a mode of musicological enquiry that is both epistemologically robust and at the same time capable of answering the demand that it demonstrate its social, political and ethical relevance.
| Author | : Lyndon C. S. Way |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 254 |
| Release | : 2017-01-26 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 1474264441 |
We communicate multimodally. Everyday communication involves not only words, but gestures, images, videos, sounds and of course, music. Music has traditionally been viewed as a separate object that we can isolate, discuss, perform and listen to. However, much of music's power lies in its use as multimodal communication. It is not just lyrics which lend songs their meaning, but images and musical sounds as well. The music industry, governments and artists have always relied on posters, films and album covers to enhance music's semiotic meaning. Music as Multimodal Discourse: Semiotics, Power and Protest considers musical sound as multimodal communication, examining the interacting meaning potential of sonic aspects such as rhythm, instrumentation, pitch, tonality, melody and their interrelationships with text, image and other modes, drawing upon, and extending the conceptual territory of social semiotics. In so doing, this book brings together research from scholars to explore questions around how we communicate through musical discourse, and in the discourses of music. Methods in this collection are drawn from Critical Discourse Analysis, Social Semiotics and Music Studies to expose both the function and semiotic potential of the various modes used in songs and other musical texts. These analyses reveal how each mode works in various contexts from around the world often articulating counter-hegemonic and subversive discourses of identity and belonging.
| Author | : Patrizia Veroli |
| Publisher | : Routledge |
| Total Pages | : 0 |
| Release | : 2018 |
| Genre | : Dance |
| ISBN | : 9781138280519 |
Music-Dance explores the identity of the choreomusical work, its complex authorship, the cognitive processes involved in dance performance and its modes of reception. Scholars of dance and music analyse the ways in which the musical score changes its prescriptive status when becoming part of choreographic project, the encounter between sound and motion on stage and the intersection of listening and sight in the act of reception. As well as being of interest to musicologists considering issues such as notation, multimedia and the analysis of performance, this volume will also appeal to those interested in applied research in the field of cognition and neuroscience.
| Author | : Vanessa Hawes |
| Publisher | : Cambridge Scholars Publishing |
| Total Pages | : 265 |
| Release | : 2016-08-17 |
| Genre | : Music |
| ISBN | : 1443898392 |
Music and/as Process brings together ideas about music and the notion of process from different sub-fields within musicology and from related fields in the creative arts as a whole. These can be loosely categorised into three broad areas – composition, performance and analysis – but work in all three of these groups in the volume overlaps into the others, covers a broad range of other musicological sub-fields, and draws inspiration from, non-musicological fields. Music and/as Process comprises chapters written by a mix of scholars; some are leaders in their field and some are newer researchers, but all share an innovative and forward-thinking attitude to music research, often not well represented within ‘traditional’ musicology. Much of the work represented here started as papers or discussions at one of the Royal Musical Association (RMA) Music and/as Process Study Group Annual Conferences. The first section of the book deals with the analysis of performance and the performance of analysis. The historical nature of music and the recognition of pieces as musical ‘works’ in the traditional sense is questioned by the authors, and is a factor in the analyses which address processes in composing, performing, and listening, and the links between these, in three very different but interlinking ways. These three approaches posit new directions and territory for musical analysis. The second section builds on the first, framing performance and/as process from the individual perspectives of the authors and their experiences as practitioners. Music by Berio, de Falla, music by the authors and their collaborators, and music composed for the authors are explored through looking at processes of interpretation and risk; processes which further undermine the ontology of the musical ‘work’ as traditionally understood, and bring the practitioner as active agent to the foreground of an examination of musical discourse. The third section encounters and questions the musical ‘work’ at its inception, exploring composition and/as process through its encounters with performance, analysis, collaboration, improvisation, translation, experimentation and cross-disciplinarity. Through explorations of new music, the way in which practitioners relate to music frame a personal and reflective account of the creative process, finally looking beyond music to musicology.
| Author | : Keith Swanwick |
| Publisher | : Routledge |
| Total Pages | : 242 |
| Release | : 2015-08-14 |
| Genre | : Education |
| ISBN | : 1317443128 |
In the World Library of Educationalists series, international experts compile career-long collections of what they judge to be their finest pieces – extracts from books, key articles, salient research findings, major theoretical and practical contributions – so the world can read them in a single manageable volume. Readers will be able to follow the themes and strands and see how their work contributes to the development of the field. Since the publication of A Basis for Music Education in 1979, Keith Swanwick has continued to be a major influence on the theory and practice of music education. The international appeal of his insights into the fundamentals of music and music education is recognised in invitations from more than twenty countries to give Key Note presentations, conduct workshops, and advise as a consultant. These include such diverse places as Kazakhstan, Colombia, Iceland and Papua New Guinea. During 1998 he was Visiting Professor, University of Washington. In this collection, Swanwick brings together 12 of his key writings to present an overview of the development of his own work and of the field of music education. The text allows the reader to consider Swanwick’s approach to music education and how it is characterised by a concern for musical, and to some extent wider artistic, processes, shaped by his experience as a teacher and performing musician in a variety of settings, and also by the influences of philosophers, psychologists and sociologists.
| Author | : Marion Leonard |
| Publisher | : Ashgate Publishing, Ltd. |
| Total Pages | : 262 |
| Release | : 2007 |
| Genre | : Music |
| ISBN | : 9780754638629 |
Leonard addresses core issues relating to gender, rock and the music industry through a case study of 'female-centred' bands from the UK and US performing so called 'indie rock' from the 1990s to the present day. Using original interview material with both amateur and internationally renowned musicians, the book further addresses the fact that the voices of musicians have often been absent from music industry studies. Leonard's central aim is to progress from feminist scholarship that has documented and explored the experience of female musicians, to presenting an analytic discussion of gender and the music industry. In this way, the book engages directly with a number of under-researched areas: the impact of gender on the everyday life of performing musicians; gendered attitudes in music journalism, promotion and production; the responses and strategies developed by female performers; the feminist network riot grrrl and the succession of international festivals it inspired under the name of Ladyfest.
| Author | : Elizabeth Turner |
| Publisher | : Routledge |
| Total Pages | : 154 |
| Release | : 2021-09-30 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 1000465713 |
A comprehensive, engaging and timely Bakhtinian examination of the ways in which the music and lyrics of Pacific reggae, aspects of performance, a record album cover and the social and political context construct social commentary, resistance and protest. Framed predominantly by the theory and philosophy of Russian literary theorist Mikhail Bakhtin, this innovative investigation of the discourse of Pacific reggae in New Zealand produces a multi-faceted analysis of the dialogic relationships that create meaning in this genre of popular music. It focuses on the award-winning EP What’s Be Happen? by the band Herbs, which has been recognised for its ground-breaking music and social commentary in the early 1980s. Herbs’ songs address the racism and ideology of the apartheid regime in South Africa and the relationship between sport and politics, as well as universally relevant conflicts over race relations, the experiences of migrants, and the historic and ongoing loss of indigenous people’s lands. The book demonstrates the striking compatibility between Bakhtin’s theorisation of utterances as ethical acts and reggae music, along with the Rastafari philosophy that underpins it, which speaks of resistance to social injustice, of ethical values and the kind of society people seek to achieve. It will appeal to a cross-disciplinary audience of scholars in Bakhtin studies; discourse analysis; popular cultural studies; the literary analysis of popular music and lyrics, and those with an interest in the culture and politics of Aotearoa New Zealand and the Pacific region. Chapter 1 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
