How do the Moroccan sound archives of the writer Paul Bowles from the 1970s sound today with the musicians of that time? What does an earthquake in Agadir have to do with a Japanese science fiction ...film? What sound do stones have? And what do we learn about environmental pollution by listening to the agar agar algae? Drawing on critical sound studies, ethnographic research, and artistic practice, this book offers multivoiced narratives about acoustic practices in Morocco. Gilles Aubry‘s research on the sonic dimensions of our environment, ranges from animal, plant, and mineral voices to ritual practices and technological infrastructures. The Arabic word for these voices in the physical but also in the technological sense is sawt. In collaborations with local musicians, artists and scientists, Aubry explores in experimental settings listening as the basis of „sonic pluralism“. The dense descriptions of the multidisciplinary research are complemented by series of photographies. Via QR codes, the text is linked to audiovisual essays and compositions by the artist. The layout of the book takes up this close linking of digital and analog materials.
Singing the Land: Hebrew Music and Early Zionism in America examines the proliferation and use of popular Hebrew Zionist music amongst American Jewry during the first half of the twentieth century. ...This music—one part in a greater process of instilling diasporic Zionism in American Jewish communities—represents an early and underexplored means of fostering mainstream American Jewish engagement with the Jewish state and Hebrew national culture as they emerged after Israel declared its independence in 1948. This evolutionary process brought Zionism from being an often-polemical notion in American Judaism at the turn of the twentieth century to a mainstream component of American Jewish life by 1948. Hebrew music ultimately emerged as an important means through which many American Jews physically participated in or ‘performed’ aspects of Zionism and Hebrew national culture from afar. Exploring the history, events, contexts, and tensions that comprised what may be termed the ‘Zionization’ of American Jewry during the first half of the twentieth century, Eli Sperling analyzes primary sources within the historical contexts of Zionist national development and American Jewish life. Singing the Land offers insights into how and why musical frameworks were central to catalyzing American Jewry’s support of the Zionist cause by the 1940s, parallel to firm commitments to their American locale and national identities. The proliferation of this widespread American Jewish-Zionist embrace was achieved through a variety of educational, religious, economic, and political efforts, and Hebrew music was a thread consistent among them all.
The book addresses the period that runs from the second half of the 19th century, when the State launched the process of territorial occupation of La Araucanía (1862-1883), until the end of the ...1950s, in the years prior to the agrarian reform. It thus includes a long cycle in which the structural conditions did not allow the conflicts generated by land ownership and the colonization of La Araucanía to break out, leaving the hegemonic and identity conflicts generated in specific spaces of modernization and colonization moderately subdued. of the Mapuche territory.
This book offers a series of essays that show the integrated role that musical structure (including harmony, melody, rhythm, meter, form, and musical association) plays in making sense of what ...transpires onstage in musicals. Written by a group of music analysts who care deeply about musical theater, this collection provides new understanding of how musicals are put together, how composers and lyricists structure words and music to complement one another, and how music helps us understand the human relationships and historical and social contexts. Using a wide range of musical examples, representing the history of musical theater from the 1920s to the present day, the book explores how music interacts with dramatic elements within individual shows and other pieces within and outside of the genre. These essays invite readers to consider issues that are fundamental both to our understanding of musical theater and to the multiple ways we engage with music.
From prehistoric bone flutes to Confucian bell-sets, from ancient divination to his beloved qin, this book presents translations of thirteen seminal essays on musical subjects by Jao Tsung-i. In ...language as elegant and refined as the ancient texts he so admired, his journey takes readers through Buddhist incantation, the philosophy of musical instruments, acoustical numerology, lyric poetry, historical and sociological contexts, manuscript studies, dance choreography, repertoire formulation, and opera texts. His voice is authoritative and intimate, the expert crafting his arguments, both accessible and sophisticated, succinct and richly tapestried; and concealed within a deft modesty is a thinker privileging us with his most profound observation. The musician’s musician, the scholar’s scholar, bold yet cautious, flamboyant yet restrained, a man for all seasons, a harmoniousness of time and place.
Sonic Signatures is an interdisciplinary collaboration of scholars and music-makers who come together to explore how music makes cities. More specifically, they argue that the musical encounter, ...composed of an array of production and consumption practices, takes on particular and essential meaning at night. Thinking about music as an encounter allows one to appreciate the value and power of migration within the act of music-making. The majority of voices amplified in the book come from so-called "migrants," understood as someone who was born in one country and currently lives and works in another. Yet, these words, migration, migrant and migrancy, are more expansive than that as they indicate a range of movement, politics and place-making. Contributions from Emilie Amrein, André de Quadros, Nick Dunn, Pol Esteve, Jillian Fulton-Melanson, Jacqueline Georgis, Masimba Hwati, Ailbhe Kenny, Seger Kersbergen, Brendan Kibbee, Áine Mangaoang, Derek Pardue, Nick Prior, Austin T. Richie, Willians Santos, Sipho Sithole, Gibran Teixeira Braga, Katie Young. A great, engaging transdisciplinary contribution to nightlife studies, music and the city.
This volume brings together contributions from a wide range of international academics and practitioners. It traces innovations within classical music practice, showing how these offer divergent ...visions for its future. The interdisciplinary contributions to the volume highlight the way contrasting ideas of the future can effect change in the present. A rich balance of theoretical and practical discussion brings authority to this collection, which lays the foundations for timely responses to challenges ranging from the concept of the musical work, and the colonial values within Western musical culture, to unsustainable models of orchestral touring. The authors highlight how labour to meet the demands of particular futures for classical music might impact its creation and consumption, presenting case studies to capture the mediating roles of technology and community engagement. This book will be of interest to scholars and students in the fields of musicology and the sociology of music, as well as a general audience of practitioners, freelance musicians, music administrators and educators.
Zu Beginn der 1980er Jahre entsteht innerhalb der Hip-Hop-Kultur in den USA das Beatmaking – eine Musikpraxis, die auf dem kreativen Umgang mit bereits vorhandenem Klangmaterial basiert und ...hauptsächlich in informellen Kontexten ausgeübt wird. In den letzten 40 Jahren hat sich das Beatmaking in enger Verbindung mit musik- und medientechnologischen Entwicklungen global verbreitet und vielfältig ausdifferenziert. Dabei hat es vor allem im Bereich der populären Musik in musikalisch-ästhetischer und technisch-praktischer Hinsicht maßgebende Impulse gesetzt.
In seiner qualitativ-empirischen Studie geht Chris Kattenbeck der Frage nach, was es bedeutet, als Beatmaker*in künstlerisch kompetent zu handeln, welche Fertigkeiten und Kenntnisse dafür nötig sind und wie diese erworben und entwickelt werden. Damit liefert er grundlegende Erkenntnisse über eine bislang kaum erforschte Musikpraxis und die mit ihr verbundenen künstlerischen Strategien und Techniken, ästhetischen Ziele und Vorstellungen, Wissensformen und Lernpraktiken. Dabei zeigt sich unter anderem, dass bestimmte in der Musikpädagogik vorherrschende Verständnisse – etwa von Musiklernen oder Musiktheorie – ungeeignet sind, das Beatmaking adäquat zu erfassen. Die Studie bietet daher nicht zuletzt Anlass, diese Verständnisse zu hinterfragen und neu zu konzeptualisieren, um mit der Vielfalt musikalischer Praxen in Zukunft angemessen umgehen zu können.
Die Übertragungszeit, delay, von Impulsen und Signalen kann als flüchtiger Akteur einer Mediengeschichte verstanden werden. Delay-Medien wie die Sonographie, das Sonar oder Radar haben weitreichende ...Implikationen für aktuelle Medienkulturen. Dabei musste sich die Verdatung von Umwelten und Körpern als Funktion von Übertragungszeiten zunächst aber historisch beweisen. Christoph Borbach widmet sich in neun Fallgeschichten frühen Temporalisierungen von Räumen in Kontexten von u.a. Medizin, Post, Militär und Computertechnik. Innovativ beleuchtet er so die Medienkultur-, Wissens- und Praxisgeschichte des Akteurs Delay - von ersten Sensormedien im 19. Jahrhundert bis hin zu Infrastrukturen der Verarbeitung von Big Data in Echtzeit.
