Aspects of Bulgarian Musical Thought

1980 ◽  
Vol 12 ◽  
pp. 43 ◽  
Author(s):  
Timothy Rice
Keyword(s):  
Musical Thought

Timbre: Alternative Histories and Possible Futures for the Study of Music

2020 ◽  
Author(s):  
Emily I. Dolan ◽  
Alexander Rehding
Keyword(s):  
Central Element ◽  
Sound Studies ◽  
Musical Thought ◽  
Material Turn

Timbre has always been a central element of music and sound, but it is only now emerging as a central dimension in musical thought. Aided by the burgeoning fields of sound studies and critical organology, music studies are taking the “material turn” toward timbre. One of the most urgent tasks of a timbral musicology is to rethink its categories from the ground up and to make space for sound at the foundation of our thinking. This chapter offers an overview of the Handbook, presenting a variety of viewpoints on the multifaceted quality of timbre, covering its histories, philosophies, technologies, and modes of perception. It highlights explorations of timbre that have existed (but were marginalized by our collective timbral deafness) and proposes alternative paths not yet pursued.

Landscape and Ecology

2020 ◽  
pp. 342-368
Author(s):  
Daniel M. Grimley
Keyword(s):  
Nineteenth Century ◽  
Economic Development ◽  
Cultural Transformation ◽  
Colonial Era ◽  
Musical Thought ◽  
The Social ◽  
Representational Practice ◽  
Raymond Williams ◽  
The City ◽  
Privileged Site

Images of landscape lie at the heart of nineteenth-century musical thought. From frozen winter fields, mountain echoes, distant horn calls, and the sound of the wind moving among the pines, landscape was a vivid representational practice, a creative resource, and a privileged site for immersion, gothic horror, and the Romantic sublime. As Raymond Williams observed, however, the nineteenth century also witnessed an unforeseen transformation of artistic responses to landscape, which paralleled the social and cultural transformation of the country and the city under processes of intense industrialization and economic development. This chapter attends to several musical landscapes, from the Beethovenian “Pastoral” to Delius’s colonial-era evocation of an exoticized American idyll, as a means of mapping nineteenth-century music’s obsession with the idea of landscape and place. Distance recurs repeatedly as a form of subjective presence and through paradoxical connections with proximity and intimacy.

Music and Musical Thought in Early India

Notes ◽  
1994 ◽  
Vol 50 (3) ◽  
pp. 904 ◽  
Author(s):  
Jonathan Katz ◽  
Lewis Rowell ◽  
Emmie te Nijenhuis
Keyword(s):  
Musical Thought

Representations of Music and Musicians in the Sanskrit Epics: The Rāmāyaṇa and the Mahābhārata

2020 ◽  
Vol 47 (2) ◽  
pp. 247-262
Author(s):  
Kaustubh Gaurh
Keyword(s):  
Social Factors ◽  
Musical Thought ◽  
Art Form ◽  
Time Period ◽  
Literary Sources ◽  
First Millennium ◽  
The Relationship

The aim of this study is to understand the ‘idea’ of music that existed in early India in the first millennium bce. Observing the historiographical trends that have emerged in the historical studies of music, it can be seen that there is scarcity of sources to study the kind of music that was practised in this time period. But the approach presented here deals with the traces of music in the literary sources (the Sanskrit epics: the Rāmāyaṇa and the Mahābhārata) which cover the representations of music and musicians. This would help us infer the nature of musical thought that evolved in early India. 1 The objective is to study the relationship between an art form and the society, by looking at ‘art in society’, not ‘society in art’ to see how music was conditioned by early Indian social factors. 2 After discussing the sources used for the study, a range of philosophical, material and societal aspects are addressed by looking at how the societies in early India engaged themselves with music.

Metaphor and Musical Thought

2007 ◽  
Vol 47 (1) ◽  
pp. 100-103
Author(s):  
A. Hamilton
Keyword(s):  
Musical Thought

The Finale of Mahler's Fifth Symphony: Long-Range Musical Thought

1987 ◽  
Vol 112 (2) ◽  
pp. 257-279
Author(s):  
Carolyn Baxendale
Keyword(s):  
Long Range ◽  
Large Scale ◽  
New Technique ◽  
Musical Thought ◽  
Musical Concepts ◽  
A New Technique

It is clear that all the experience I had gained in writing the first four symphonies completely let me down in this one- for a completely new style demanded a new technique.Twenty-Five years ago a prominent Mahler enthusiast could describe the finale of Mahler's Fifth Symphony as ‘a windy, uninspired stretch of note-spinning, literally scraping the barrel in search of music’. Few people nowadays would subscribe to this view: indeed the upsurge of interest in the work of other ‘late Romantic’ composers has perhaps served to sharpen our admiration for Mahler's exceptional powers of invention and his no less extraordinary mastery of large-scale form. Yet we are not really any closer to explaining just how such extended works are held together and given shape, particularly in the absence of specific extra-musical concepts such as those of the ‘Wunderhorn’ symphonies.

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