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Feb 12, 2019 · Two assumptions were fundamental to much of the work of the founding figures of comparative musicology: 1. Cultures evolved from simple to complex, and as they do so they move from primitive to ...
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Jan 18, 2011 · Abstract. The aim of this article is to establish the extent to which the history of music can offer new perspectives on the modern period. We need a change of perspective, moving away from the aesthetic debates on music to an investigation of actual experiences and practices of participants.
- Sven Oliver Müller
- 2010
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Sep 14, 2022 · Abstract. The article explores the issue of possible prototypes—models, paradigms—of absolute instrumental music in the European culture of modern and contemporary times. The act of speech, gesture-dance-ritual, the laws of natural processes (biological, physical and mathematical, etc.) are the most distinguishable among such paradigms.
- kzenkin@list.ru
Feb 23, 2023 · Evolutionary approaches have been present in musicology since the 19th century, but fell out of favor during the mid-20th century. A full review of the reasons for this are beyond the scope of this chapter, but a crucial factor was the mistaken reliance of early comparative musicologists on colonialist/racist models of unilinear evolution from ‘primitive’ hunter-gatherer societies with ...
Jun 9, 2023 · From the Napoleonic Wars to the genocide of the Tutsis in Rwanda, via the great world conflicts of the 20th century , Music and Postwar Transitions in the 19th and 20th Centuries is the first book to highlight the significance of ‘postwar transitions’ in the field of music and to demonstrate the influence that musicians, composers, critics, institutions, and publics have had on the period ...
- Anaïs Fléchet
- June 09, 2023
A film of hi s remarkable life called Mo onlight Sonata wa s made in 1936. At this point he re-entered publ ic life, now as Head of the Polish National Council government in exile in London in 1 940. He died 1941 and is buried in Arlington National Cemetery. A delightful short pi ece of his is simply called Me nuet.
In 1884 the music critic Eduard Hanslick lamented how dangerous the streets of Vienna had become. The refined listener was defenseless against the cacophony of, not the noise of the city, but the bad music of its inhabitants. The assault on the ear was both physical and psychological. It had to be stopped.
