Tagore on Music Aesthetics and Aesdietics of Tagore Music

1997 ◽  
Vol 7 (3) ◽  
pp. 101-114
Author(s):  
Sitansu Ray ◽  
Keyword(s):  
Music Aesthetics

Analysis on the significance of learning music aesthetics for music teaching

Music Report ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 22-27
Author(s):  
Ding Ning ◽  
Zhou Yaxin
Keyword(s):  
Music Teaching ◽  
Music Aesthetics

Masculinity, Race, and Transculturalism in a Norwegian Context

2017 ◽  
Author(s):  
Stan Hawkins
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
Cultural Critique ◽  
Cultural Performance ◽  
Music Aesthetics ◽  
And Gender

This chapter explores transcultural perspectives on popular music aesthetics and gender in Norway through case studies of male celebrities born around 1980: the duo Madcon, Jarle Bernthoft, Lars Vaular, and Sondre Lerche. The analysis focuses on the practices of self-fashioning a persona in the realm of the popular, involving the aesthetics of masquerade, the ordinary, and escapism. Conceptually, the chapter draws from Bakhtin, Eyerman, Frith, and other influential voices in the literature on cultural performance and identity. The discussion also sheds light on fundamental issues in popular music aesthetics, demonstrating how the musicology of popular music can offer a unique cultural critique of identities that may appear to be “only entertainment” but in fact mediate powerful ideologies.

SYMBOLIC MODELS IN MUSIC AESTHETICS

1979 ◽  
Vol 19 (1) ◽  
pp. 24-37 ◽  
Author(s):  
Raymond Monelle
Keyword(s):  
Music Aesthetics

scholarly journals “Unusual, Gentle Sensory Stimuli”: A Psychoanalytical Path to the Early Aesthesis of Hans Werner Henze

2007 ◽  
Vol 43 (2) ◽  
pp. 251-263
Author(s):  
Christian Bielefeldt
Keyword(s):  
Early Music ◽  
Sensory Stimuli ◽  
Music Aesthetics ◽  
The 1950S ◽  
Musical Communication

Musicology and psychoanalysis still face each other strangely. Yet, there are quite fruitful initiatives for dealing with musical phenomena from a psychoanalytical perspective, as this article tries to show with the example of the early music aesthetics of Hans Werner Henze. Led by the Lacanian model of imaginary-symbolic-real, Henzes texts from from the 1950s are read in a way in which the aesthetics “of a free, wild sound” is linked to the requirement of music being communicative. Musical communication is understood thereby differently as in the later, politically engaged phase of Henze. It is still understood as an excessive moment of the conventional auditive signs, in which listener dissolves the traditionally fixed senses. With Lacan, this situation of hearing may be described as a musical representation of the ‘I’, which is fundamentally more unstable than linguistic self-representations, leading consequently toward an enjoyment as a condition of temporary self-loss.

“Rewriting the Résumé”

Soul in Seoul ◽  
2020 ◽  
pp. 119-146
Author(s):  
Crystal S. Anderson
Keyword(s):  
Hip Hop ◽  
Music Videos ◽  
Music Aesthetics ◽  
School Music

Mainstream Korean hip-hop performers cite the R&B tradition through sampling and the use of R&B vocals and enhance it through Korean musical strategies that mix multiple genres with hip-hop elements and the use of live instrumentation. Some hip-hop acts emulate the tradition by engaging in “old school” music and using R&B vocals, while others include remixes, samples of non-R&B genres, and the use of non-R&B vocalists. Mainstream Korean hip-hop acts cite limiting and liberating hip-hop tropes in music videos as well. Korean hip-hop artists participate in a globalized R&B tradition by promoting its music aesthetics.

Santayana's Music Aesthetics

1958 ◽  
Vol 11 (1) ◽  
pp. 20-28
Author(s):  
Fred Blum
Keyword(s):  
Music Aesthetics

Sound Object Lessons

2016 ◽  
Vol 69 (3) ◽  
pp. 793-829 ◽  
Author(s):  
Carolyn Abbate
Keyword(s):  
Film Music ◽  
Sound Studies ◽  
Machine Age ◽  
Technological Artifacts ◽  
Music Aesthetics ◽  
Object Lessons ◽  
History Of ◽  
Sound Engineer ◽  
Acoustic Technologies ◽  
Sound Objects

Two brief film sequences, in which paper blowing down a street (The Informer, 1935) and a candle passed along a table (The Old Dark House, 1931) make sounds. Next to them lies an antique microphone. This article charts the genealogies, cultural resonances, and interactions of these sound objects, drawing on the history of sound and acoustic technologies, film music aesthetics, and music philosophy. The sound objects give expression to fables about hearing in the machine age (1870–1930), and they disenthrall the inaudible: a sign of modernity. They provoke us to consider technological artifacts not as embodying empirical truths, but as mischief-makers, fabulists, or liars; and to confront technological determinism's sway in fields such as sound studies and music and science, which has given rise to intellectual talismans that sidestep the complexities in interactions between humans, instruments, and technologies. To underline this dilemma I make a heuristic separation between imaginarium, sensorium, and reshaped hand. This separation contextualizes a return to the film sequences and their historical precedents, with an emphasis on their patrimony from sound-engineer improvisation, and as aesthetic negotiations with the microphone itself. The carbon microphone, invented in 1878, had delivered a shock to machine age imaginations; its history is largely untold, and is sketched here to suggest that a fuller history centered on microphonics would lie athwart conventional scholarly accounts of sound technologies, listening, and hearing ca. 1830–1930. The sound objects, finally, give voice to a vernacular philosophy of music's efficacy. They merit an ethical metaphysics, where metaphysical language, ironically, asks us to be attentive to mundane objects that have been disdained and overlooked.

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