Essay musical new understanding

169. See, for example, Stuart Hall, and Tony Jefferson eds., Resistance through Rituals: Youth Subcultures in Post-War Britain (London: Hutchinson, 1976); Dick Hebdige, Subculture: The Meaning of Style (London: Methuen, 1979); and John Fiske, Understanding Popular Culture (Boston: Unwin Hyman, 1989); Reading the Popular (Boston: Unwin Hyman, 1989); and, with John Hartley, Reading Television (London: Methuen, 1978). For a critique of the critique, centered on Fiske, see Jim McGuigan, Cultural Populism (London: Routledge, 1992), pp. 70-75. For an example of a notably strident critique of the CI essay, see Jim Collins, Uncommon Cultures: Popular Culture and Post-Modernism (New York: Routledge, 1989), who misreads the CI chapter as a nostalgic apologia for a lost high-cultural "best that has been thought and said" (see pp. 141-42). For a rather more nuanced assessment, which incorporates a critique of Collins, see Hohendahl, Prismatic Thought, pp. 119-48. For recent examples of work closer in spirit to Adorno's mass-culture critique, see Neil Postman, Amusing Ourselves to Death: Public Discourse in the Age of Show Business (New York: Viking, 1985); Stuart Ewen, All Consuming Images: The Politics of Style in Contemporary Culture (New York: Basic Books, 1988); and Stuart Ewen and Elizabeth Ewen, Channels of Desire: Mass Images and the Shaping of American Consciousness (New York: McGraw-Hill, 1982).

Peter Kivy, New Essays on Musical Understanding - …

English writing in raja rao, the essay writing challenge

Essay about Musical Understanding, Musical Works, …

34. Lydia Goehr, "Music and Musicians in Exile: The Romantic Legacy of a Double Life," in Reinhold Brinkmann and Christoph Wolff, eds., Driven into Paradise: The Musical Migration from Nazi Germany to the United States (Berkeley and Los Angeles: University of California Press, 1999), p. 70, notes what she terms the duality of home and estrangement, "less in mutually excluding than in doubling terms. Estrangement (linked to freedom, reflectiveness, and openness) and home (linked to understanding, identity, and involvement) capture in their mutual mediation a complex and constructive modernist attitude that persons may take in relation to the society in which they live." And she points to the duality as productive: "This dual perspective, in other terms, allows us to see past a polarization that forces us to conclude either that creativity demands estrangement or that it demands home, and allows us to conclude instead that, if it demands either, then it most likely demands both."

372005 Understanding, Musical Works, ..

Adorno's vast corpus of musical writings hardly had an impact outside Germany, apart from the notable exception of his frequent appearances at Darmstadt, where his work on new music was widely received by an international body of composers. The nearly total absence of English translations of Adorno's work at the time of his death began to be rectified, slowly, in the course of the 1970s, principally in the journal and slightly later, in both journals included key music essays among those they published. The major philosophical works were translated first in a trickle, a bit faster in the 1980s, and quite dramatically in the 1990s—to the point where the earliest translations, often lamentably flawed, of major monographs are now being retranslated. The translation of Adorno's music writing has followed a similar trajectory, especially in the past decade. The demand for Adorno in English is clearly related to the qualitative (as opposed to the long-established quantitative) tendency in musicology that emerged in the 1980s, together with a new-found respect for music criticism (in regard to both, musicology followed the literary disciplines by nearly a generation; indeed, literary theory played a significant role in producing the changes that have occurred in musicology). Adorno's insistence on aesthetics generally, and music especially, as social discourses—as social agents—provided music scholars with a means to rethink the very purpose of their practice—a means by which to address a discipline that seemed increasingly to be of little interest to anyone besides themselves (for reasons, to be sure, by no means solely the fault of musicology's then-dominant intellectual paradigms, as would be clear from any reading of Adorno on the nature of modernity and the general dominance of the commodity form on all life, including the life of the mind). Simply stated, Adorno's musical thought constituted an engaged praxis that precisely attempted to understand how music itself functions as praxis. He defined his life's work, in other words, around pertinent questions about modern Western musical life, seemingly in perpetual crisis, the varying accounts of which are almost limitless: the death of classical music, the still-birth of new music, the colonization of all music by its commodification as "cultural product," the loss of audience, the decline of musical education in the schools, etc. Indeed, even Adorno's severe attacks on popular musics spurred important debate; he perceived earlier than virtually any other major scholar the social and cultural impact of popular art, and he developed a theoretical language for delineating the matter. Unlike musicology, in other words, Adorno did not ignore the popular but wrote extensively about it a full fifty years before popular music made its way into the academy as a legitimate object of study.

New York University Abstract What do musicians, ..
I never knew that it had such an understanding attached to it, ..

Music and New Musical Theatre Essay

Terminology in Music - Writing in Music

You can think of mastering musical terms as learning a new language.

Understanding and learning musical terms is a fundamental part of your ..

Free Music Essays and Papers - 123helpme