World Music in the Twentieth Century: A Survey of Research on Western Influence

1986 ◽  
Vol 58 (2) ◽  
pp. 360 ◽  
Author(s):  
Bruno Nettl
Keyword(s):  
Twentieth Century ◽  
World Music ◽  
Western Influence

scholarly journals Beyond Post-Tonal: A Broader Approach to the Fourth Semester Course

2020 ◽  
Vol 7 ◽  
Author(s):  
Kristina Knowles
Keyword(s):  
Twentieth Century ◽  
Core Curriculum ◽  
Undergraduate Curriculum ◽  
World Music ◽  
Degree Programs ◽  
Avant Garde ◽  
Wide Range ◽  
Twentieth Century Music ◽  
Musical Interests ◽  
Broad Overview

In this article, I argue for organizing the undergraduate curriculum around topics that are applicable to a wide variety of repertoires. Doing so allows students to continue to learn the central concepts and skills that theorists seek to impart via the core curriculum but through a wider variety of musical styles and traditions. Pairing this approach to the curriculum with a wide range of musical activities and projects that extend beyond analysis to include improvisation, arranging, performance, composition, and research helps students connect the content to their own instruments, degree programs, and musical interests. I describe my application of this philosophy towards curricular reform within the context of a fourth semester course on twentieth-century music, where twentieth-century music was treated as a broad category encompassing post-tonal and avant garde music alongside jazz, popular, and world music. This article presents a broad overview of the course, discusses the successes and failures of this approach, and offers some suggestions for how it may be implemented and adapted for various teaching contexts.

Slovak Folk Song, Romani Pop, and Outer Space in the Music of Hudba z Marsu

2018 ◽  
Author(s):  
Barbara Rose Lange
Keyword(s):  
Twentieth Century ◽  
Outer Space ◽  
Music Industry ◽  
Folk Song ◽  
World Music ◽  
The West ◽  
Space Race ◽  
West European

With a case study of the Slovak punk band Hudba z Marsu, Chapter 6 illustrates discrepancies that became sources of creative energy in the 1990s and 2000s. It details how Hudba z Marsu incorporated popular motifs from the mid-twentieth-century space race, old Slovak folk recordings, and live folkloric singing. The chapter describes how Hudba z Marsu established connections with local Romani (Gypsy) musicians; the West European world-music industry highlights such collaborations, but this chapter argues that Hudba z Marsu and Romani performers treated their interactions as an everyday matter. The chapter explains how live audiences physically enjoyed Hudba z Marsu’s juxtaposition of eras, identities, and genres. A discussion of musical criticism details how some listeners rejected Hudba z Marsu’s music as a rough effort, while others heard a sophisticated reflection on Slovak identity.

Russia's Itinerant Painters

2011 ◽  
Vol 38 (3) ◽  
pp. 315-427 ◽  
Author(s):  
Richard Pipes
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Visual Arts ◽  
Abstract Art ◽  
Soviet Period ◽  
Pictorial Representation ◽  
Orthodox Church ◽  
Special Issue ◽  
Capital Cities ◽  
Western Influence

AbstractVisual arts in Russia languished through most of her history, partly because the Orthodox Church frowned on pictorial representation, partly because there was virtually no middle class to purchase paintings. In the mid-eighteenth century Russia acquired an Academy of Arts which produced works largely in classical style and content. This changed in the 1870's when, under western influence, a group of Russian artists formed a society of "Itinerants" committed to painting in the realistic mode and to exhibit their works in various cities of the Empire rather than solely in the capital cities of St. Petersburg and Moscow, as had been the custom until then. Their canvasses depicted everyday life in Russia as well as historical scenes; they also painted portraits of contemporaries. This special issue deals with the lives and work of nine leading Itinerant painters. The movement gradually lost popularity toward the beginning of the twentieth century as Impressionism and Abstract art replaced it, but it revived in the Soviet period. Today it is greatly favored by the Russian public which swarms the Tretyakov Gallery in Moscow, the largest collection of Itinerant art.

VII.—Excavations at Kusura near Afyon Karahisar: II

Archaeologia ◽  
1938 ◽  
Vol 87 ◽  
pp. 217-273 ◽  
Author(s):  
Winifred Lamb
Keyword(s):  
Twentieth Century ◽  
Careful Study ◽  
Wide Sense ◽  
The West ◽  
Fresh Material ◽  
Western Influence ◽  
History Of

At the outset of the 1937 excavations, we had certain main objects in view. The most important, since it affected the history of Anatolia as a whole, was to decide what culture was represented by our third and latest period, called C. The particulars wherein C differed from the preceding periods, B and A, were obvious: during B, which may have come to an end in the twentieth century, the settlement clearly belonged to the ‘west Anatolian group’, known from Troy, Lesbos, Yortan, and the Pisidian sites; A could be regarded as an earlier stage of B, not yet modified by western influence (see p. 237, below); C, however, seemed hard to parallel. The acquisition of fresh material, and a careful study of the collections in the museums at Ankara and Istanbul has now enabled us to recognize C as Hittite in the wide sense of the term used by archaeologists to-day. The C pottery has many points in common with the monochrome Hittite wares of Alişar II, Alaca Hüyük, Haşhüyük and even Bogazköy, while the smaller antiquities from C and Alişar II are much closer than was previously supposed. That Kusura should display local peculiarities is not surprising, when we consider its distance from the larger Hittite centres.

scholarly journals World Music or Regionality? A Fundamental Question for Music Historiography

2018 ◽  
pp. 13-22
Author(s):  
Helmut Loos
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Classical Music ◽  
World Music ◽  
Fundamental Question ◽  
Pop Music ◽  
The Public ◽  
Global Meaning ◽  
German Speaking ◽  
Public Consciousness

The term “world music” is still relatively new. It came into use around the end of the twentieth century and denotes a new musical genre, one which links European-American pop music to folk and non-European music cultures. It can be seen in a larger context as a phenomenon of postmodernism in that the challenge to the strict laws and boundaries of modernism allowed for a connection between regionality and global meaning to be established. Music in the German-speaking world had previously been strictly divided into the categories of “entertainment music” (U-Musik) and “serious music” (E-Musik), the latter functioning as art-religion in the framework of modernism and thus adhering to its principles. Once these principles of modernism became more uncertain, this rigorous divide began to dissolve. For example, the “serious music” broadcast consisting of classical music, previously a staple of public radio, gradually disappeared as an institution from radio programming. A colourful mixture of various low-key, popular music was combined with shorter classical pieces, so that the phenomenon known as “crossover”, a familiar term in popular music since the middle of the twentieth century, then spread to the realm of classical music. This situation differs fundamentally from the circumstances that once dominated the public consciousness from the nineteenth century well into the twentieth century and that indeed remain influential in certain parts of the population to this day. Historical-critical musicology must adapt to this transformed state of consciousness. Doing so will allow for a number of promising perspectives to unfold.

scholarly journals Anthropological turn in the Music of the Twentieth Century

2021 ◽  
Author(s):  
Viktor Stepurko
Keyword(s):  
Twentieth Century ◽  
Sacred Music ◽  
World Music ◽  
Music Culture ◽  
Musical Culture ◽  
Twelve Tone ◽  
Modern Culture ◽  
Artificial Environment ◽  
Compositional Structures ◽  
Artistic Image

The purpose of the article is to determine the cultural and historical determinants of the anthropological turn in the music of the twentieth century when the civilizational desire to create an artificial environment led to the invention of new forms of compositional structures (twelve-tone system, aleatorics, etc.). The methodology consists of theoretical and interpretive models of analysis of mechanisms of cultural creation to determine their narrative orientation, systemic and comparative approaches to determine the specifics of the musical reality of modern culture to understand the interconnectedness with world social processes. The scientific novelty is to reveal the features of the interaction of social perceptual and artistic image in music at the turn of the XIX-XX centuries as a reality of musicological reflection, as well as to characterize the interaction of globalization processes and ethnic background in the music culture of late XX - early XXI centuries. Conclusions. The musical culture of Ukraine of the twentieth century is becoming one of the priority factors in the dialogue of cultures of both the post-totalitarian "Soviet" space and world music culture, due to the intensification of the search for new ways of human development. Expansion of spheres of interaction, integrative and globalization tendencies are not fixed as restoration of cultural-historical potential, on the contrary, polystylism as a general platform of formation is presented by appeals to Ukrainian baroque culture, the renaissance of sacred music, the revival of the ethnic component in art, search for new ones. Keywords: musical culture, anthropological turn, globalization, dialogue of cultures.

scholarly journals TOWARDS A HISTORY OF GLOBAL HUMANITARIANISM

2020 ◽  
Vol 63 (5) ◽  
pp. 1378-1389
Author(s):  
AOIFE O'LEARY MCNEICE
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
North America ◽  
British Empire ◽  
First Century ◽  
Power Dynamics ◽  
Aid Workers ◽  
Western Influence ◽  
History Of ◽  
Object Of Study

We are currently witnessing the emergence of global humanitarianism as a fully fledged historical field. Eighteenth-century transatlantic abolitionists, nineteenth-century imperial missionaries, twentieth-century aid workers, and twenty-first-century activists inhabit the pages of more and more published books and articles. Global humanitarianism denotes a sphere of action as well as an object of study. Questions as to where or what the global is persist. The books under review all operate within the sphere of Western influence: North America, the British empire, or former colonies. They also have similar protagonists. They are largely populated with practitioners of humanitarianism, rather than the objects of their beneficence. This raises some questions. Where does global humanitarianism take place and who does it encompass? Is global humanitarianism inherently enmeshed with Western expansionism and unequal power dynamics?

scholarly journals EXOTIC SCALE DALAM LINTASAN SEJARAH

2019 ◽  
Vol 2 (2) ◽  
pp. 49-58
Author(s):  
Daniel Sema
Keyword(s):  
Twentieth Century ◽  
World Music ◽  
Western Tradition ◽  
Pentatonic Scale ◽  
Musical Traditions ◽  
Main Attraction

Exotic scale (exotic or foreign scales) is a scale that is not covered by Western musical traditions that is outside the major and minor systems. The number of notes in an exotic scale can be less than one octave (for example pentatonic scale) or can be more (for example octatonic scale). Exotic scales are also used to refer to certain cultural scales, for example the Persian or Hungarian scales, or certain composer finding scales, for example whole tone scales, or scales borrowed from types of capital music, such as jazz or world music . This is because these types of music do not heed the tuning system, melodic forms and aesthetic principles of Western tradition. The exotic scales basically existed long before the birth of major and minor systems. For the composer of the twentieth century the sound of this unique exotic scale became the main attraction after more than three hundred years lost by the dominance of the major-minor (1600-1900). In fact, there is now a tendency for exotic scales to be used by musicians to show the composer's identity.

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