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Classical Concert Studies
Classical Concert Studies: A Companion to Contemporary Research and Performance is a landmark publication that maps out a new interdisciplinary field of Concert Studies, offering fresh ways of understanding the classical music concert in the twenty-first century. It brings together essays, research articles, and case studies from scholars and music professionals including musicians, music managers, and concert designers. Gathering both historical and contemporary cases, the contributors draw on approaches from sociology, ethnology, musicology, cultural studies, and other disciplines to create a rich portrait of the classical concert’s past, present, and future. Based on two earlier volumes published in German under the title Das Konzert (The Concert), and with a selection of new chapters written for the English edition, this companion enables students, researchers, and practitioners in the classical and contemporary music fields to understand this emerging field of research, go beyond traditional disciplinary boundaries and methodologies, and spark a renaissance for the classical concert.
Tracing the Heroic Through Gender
In nahezu allen Gesellschaften und Epochen ist das Heroische vielfach gegendert. Die soziale und kulturelle Produktion des Heroischen ist jedoch nicht ausschließlich mit dem Instrumentarium der Männlichkeitsforschung zu fassen, und ebenso wenig scheint es sinnvoll, Frauen bzw. Weiblichkeit in diesem Zusammenhang lediglich als Ausnahmen zu verstehen. Vielmehr gilt es, den relationalen Charakter ernst zu nehmen. Der vorliegende Band unternimmt erstmals den Versuch, Geschlecht als analytische Kategorie für die Heroismusforschung fruchtbar zu machen. Auf der Basis vielfältiger geisteswissenschaftlicher Ansätze dient diese Kategorie als 'Spurensucherin' (tracer) des Heroischen und als Instrument zur Untersuchung der historischen Bedingungen, medialen und performativen Erscheinungsformen sowie zeiträumlichen Konjunkturen und Transformationen. Diese gilt es, mit Hilfe der Kategorie Geschlecht und unter Nutzung der zugehörigen Eigenschaften neu auszumessen.
The Cambridge Companion to Schubert's Winterreise'
An accessible multi-disciplinary exploration of Franz Schubert's haunting late song cycle Winterreise (1827) that combines context and different analytical approaches.
Music and Consciousness 2
Consciousness has been described as one of the most mysterious things in the universe. Following its forebear, this volume argues that music can provide a valuable route to understanding consciousness. It argues that consciousness extends beyond the brain, and is fundamentally related to selves engaged in the world, culture, and society.
Sounds of the Pandemic
Sounds of the Pandemic offers one of the first critical analyses of the changes in sonic environments, artistic practice, and listening behaviour caused by the Coronavirus outbreak. This multifaceted collection provides a detailed picture of a wide array of phenomena related to sound and music, including soundscapes, music production, music performance, and mediatisation processes in the context of COVID-19. It represents a first step to understanding how the pandemic and its by-products affected sound domains in terms of experiences and practices, representations, collective imaginaries, and socio-political manipulations. This book is essential reading for students, researchers, and practitioners working in the realms of music production and performance, musicology and ethnomusicology, sound studies, and media and cultural studies.
The Oxford Handbook of the Operatic Canon
Opera has always been a vital and complex mixture of commercial and aesthetic concerns, of bourgeois politics and elite privilege. In its long heyday in the eighteenth and nineteenth centuries, it came to occupy a special place not only among the arts but in urban planning, too — this is, perhaps surprisingly, often still the case. The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by tracing its evolution from a market entirely driven by novelty to one of the most canonic art forms still in existence. Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of op...
Rethinking Brahms
As one of the most significant and widely performed composers of the nineteenth century, Brahms continues to command our attention. Rethinking Brahms counterbalances prevailing scholarly assumptions that position him as a conservative composer (whether musically or politically) with a wide-ranging exploration and re-evaluation of his significance today. Drawing on German- and English-language scholarship, it deploys original approaches to his music and pursues innovative methodologies to interrogate the historical, cultural, and artistic contexts of his creativity. Empowered by recent theoretical work on form and tonality, it offers fresh analytical insights into his music, including a numbe...
Henry V and the Earliest English Carols: 1413–1440
As a distinctive and attractive musical repertory, the hundred-odd English carols of the fifteenth century have always had a ready audience. But some of the key viewpoints about them date back to the late 1920s, when Richard L. Greene first defined the poetic form; and little has been published about them since the burst of activity around 1950, when a new manuscript was found and when John Stevens published his still definitive edition of all the music, both giving rise to substantial publications by major scholars in both music and literature. This book offers a new survey of the repertory with a firmer focus on the form and its history. Fresh examination of the manuscripts and of the styles of the music they contain leads to new proposals about their dates, origins and purposes. Placing them in the context of the massive growth of scholarly research on other fifteenth-century music over the past fifty years gives rise to several fresh angles on the music.
The Oxford Handbook of Music Listening in the 19th and 20th Centuries
An idealized image of European concert-goers has long prevailed in historical overviews of the nineteenth and twentieth centuries. This act of listening was considered to be an invisible and amorphous phenomenon, a naturally given mode of perception. This narrative influenced the conditions of listening from the selection of repertoire to the construction of concert halls and programmes. However, as listening moved from the concert hall to the opera house, street music, and jazz venues, new and visceral listening traditions evolved. In turn, the art of listening was shaped by phenomena of the modern era including media innovation and commercialization. This Handbook asks whether, how, and why practices of music listening changed as the audience moved from pleasure gardens and concert venues in the eighteenth century to living rooms in the twentieth century, and mobile devices in the twenty-first. Through these questions, chapters enable a differently conceived history of listening and offer an agenda for future research.
The Routledge Companion to Applied Musicology
The Routledge Companion to Applied Musicology brings together academics, artist-researchers, and practitioners to provide readers with an extensive and authoritative overview of applied musicology. Once a field that addressed music’s socio-political or performative contexts, applied musicology today encompasses study and practice in areas as diverse as psychology, ecomusicology, organology, forensic musicology, music therapy, health and well-being, and other public-oriented musicologies. These rapid advances have created a fast-changing field whose scholarship and activities tend to take place in isolation from each other. This volume addresses that shortcoming, bringing together a wide-ranging survey of current approaches. Featuring 39 authors, The Routledge Companion to Applied Musicology falls into five parts—Defining and Theorising Applied Musicology; Public Engagement; New Approaches and Research Methods; Representation and Inclusion; and Musicology in/for Performance—that chronicle the subject’s rich history and consider the connections that will characterise its future. The book offers an essential resource for anyone exploring applied musicology.
