Il saggio esamina la produzione musicale dell'ultimo trentennio alla luce degli accadimenti più importanti che hanno caratterizzato la recente storia del mondo globalizzato. La molteplicità di proposte offerte dalla scena musicale contemporanea, nei campi popular, 'classica' e jazz, presenta caratteristiche di livellamento estetico e produttivo nonché di reciproca contaminazione e meticciato frutto dell'esaurirsi di una progettualità lineare e chiara sostituita dall'accavallarsi di esperienze individuali, provvisorie e superficialmente seducenti il cui scopo primario è da un lato la comunicazione, dall'altro la (...) conquista del mercato attraverso sconfinamenti e ibridazioni in grado di sollecitare estemporaneo quanto effimero interesse. Il saggio propone una periodizzazione del manifestarsi di questo fenomeno segnata da alcuni eventi epocali, sul piano storico, sociale ed economico che in parte hanno influito sulla produzione musicale del periodo in esame, in parte ne sono stati anche una conseguenza. Al crollo del muro di Berlino del 1989 non è estranea la diffusione globale, tramite emittenti televisive, della popular music di stampo occidentale con messaggi nell'ambito del consumismo e delle libertà individuali che hanno sollecitato lo spirito di omologazione delle giovani generazioni delle nazioni del blocco dell'est; l'estinguersi della guerra fredda a sua volta ha favorito il superamento di ideologie e di programmi estetici formalizzati in favore di libere quanto 'anarchiche' manifestazioni della creatività. A seguito di altri snodi epocali quali il crollo delle Twin towers (2001) e quello del sistema finanziario internazionale (2008) la produzione musicale ha intensificato l'esplorazione di inediti percorsi creativi ed il superamento di confini stilistici e produttivi a compensazione dello smarrimento di linee guida organiche e coerenti ed in risposta alla cresciuta domanda di un uso compulsivo dell'ascolto musicale sollecitato dalle recenti tecnologie digitali. (shrink)

In the past two decades digital technologies have fundamentally changed the way we think about, make and use popular music. From the production of multimillion selling pop records to the ubiquitous remix that has become a marker of Web 2.0, the emergence of new music production technologies have had a transformative effect upon 21st Century digital culture. Sonic Technologies examines these issues with a specific focus upon the impact of digitization upon creativity; that is, what musicians, cultural producers (...) and prosumers do. For many, music production has moved out of the professional recording studio and into the home. Using a broad range of examples ranging from experimental electronic music to more mainstream genres, the book examines how contemporary creative practice is shaped by the visual and sonic look and feel of recording technologies such as Digital Audio Workstations. (shrink)

From the Tin Pan Alley 32-bar form, through the cyclical forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music, repetition as both an aesthetic disposition and a formal property has stimulated a diverse range of genres and techniques. From the angles of musicology, psychology, sociology, and science and technology, Over and Over reassesses the complexity connected to notions of repetition in a variety of musical genres. The first edited volume (...) on repetition in 20th- and 21st-century popular music, Over and Over explores the wide-ranging forms and use of repetition - from large repetitive structures to micro repetitions - in relation to both specific and large-scale issues and contexts. The book brings together a selection of original texts by leading authors in a field that is, as yet, little explored. Aimed at both specialists and neophytes, it sheds important new light on one of the fundamental phenomena of music of our times. (shrink)

Apparitions takes a new look at the critical legacy of one of the 20th century's most important and influential thinkers about music, Theodor W. Adorno. Bringing together an international group of scholars, the book offers new historical and critical insights into Adorno's theories of music and how these theories, in turn, have affected the study of contemporary art music, popular music, and jazz. The essays review the impact of Philosophy of New Music a fter World War II, examine (...) Adorno's struggle to adapt his aging philosophy to the new music of the 1950s and 1960s, and trace his influence on recent composers. Several essays in this volume also re-evaluate Adorno's controversial contribution to the study of popular music and jazz, as well as his theories of mass media and mass culture in the context of an increasing consolidation of corporate and political power in the entertainment industry. This volume will be indispensable for both scholars and students of Adorno, who seek a historical context and a critical assessment of some of his most influential as well as most contested writings on music. (shrink)

As this century has found new temporalities to replace linearity, discontinuities have become commonplace. Discontinuity, if carried to a pervasive extreme, destroys linearity…There were two enormous factors, beyond the general cultural climate, that promoted composers' active pursuit of discontinuities. These influences did not cause so much as feed the dissatisfaction with linearity that many artists felt. But the impact has been profound. One factor contributing to the increase of discontinuity was the gradual absorption of music from totally different cultures, (...) which had evolved over the centuries with virtually no contact with Western ideas…Cross-cultural exchange in music will, of course, never destroy aesthetic boundaries, but music of non-Western cultures continues to show Western composers new ways to use and experience time. The second tremendous influence on twentieth-century musical discontinuity was technological rather than sociological: the invention of recording techniques. Recording has not only brought distant and ancient musics into the here and now, it has also made the home and the car environment just as viable for music listening as the concert hall. The removal of music from the ritualized behavior that surrounds concertgoing struck a blow to the internal ordering of the listening experience. Furthermore, radios, records, and, more recently, tapes allow the listener to enter and exit a composition at will. An overriding progression from beginning to end may or may not be in the music, but the listener is not captive to that completeness. We all spin the dial, and we are more immune to having missed part of the music than composers might like to think. Jonathan D. Kramer is an associate professor of music theory and composition and director of electronic music at the College-Conservatory of Music of the University of Cincinnati. The present essay is part of his book, Time and Meaning in Music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 126-138 [Access article in PDF] Music Education for the Twenty-First Century A Philosophical View of the General Education Core Anthony J. Palmer Boston University We are all one species with one brain and neural system, yet consciousness about our existence is highly contextual. Any culturally transcendent view will still be limited to one's personal experience, analytical capabilities, and cultural shaping. Nevertheless, (...) looking beyond our narrow perspectives is essential if we are to find commonality and compatibility with all humankind.Therefore, I find it incumbent that we, as college/university professors, examine our present culture-national and global-to ascertain current conditions and what positive roles each citizen may be able to play on the larger stage of world affairs. Musician-teachers, who are the products of the curriculum, should not be exempt from the responsibilities of contributing solutions. Rather, they should produce a program that is sensitive to the larger context in which we all reside. To be sure, we have no direct control over global events. We do, however, exercise at least a modicum of control over the kind of person emerging from our courses of study.In light of the foregoing, this paper will examine (1) the present global conditions with which we are confronted, (2) responsibilities of the college/university [End Page 126] faculties toward developing students with greater awareness, (3) examination of the general education that all baccalaureate students must satisfy for the degree, (4) the education within the general education courses with a focus on the music education student, and (5) a proposal on general education. The Present Context Today we are at a juncture where no one can predict the future with any assurance of accuracy. The world in the twenty-first century has taken an unexpected turn toward greater chaos and has the potential to end life as we have known it in previous centuries. Although earlier generations experienced many changes and watershed moments, the conditions were never potentially as cataclysmic as they are today because of the explosive power of our so-called defensive weapons. In addition, fed by technology, the pace of change is extremely rapid and multiplies exponentially. Robert Wright states in this regard, Neither biological evolution nor human history is a smooth, steady process. Both pass through thresholds.... To some people, the current era has the aura of a threshold; it has that unsettling, out-of-control feeling that can portend a major shift. Technological, geopolitical, and economic change seem ominously fast, and the fabric of society seems somehow tenuous.1He goes on to say, World currency markets are rocked by the turbulent force of electronically lubricated financial speculation. Weapons of mass destruction are cultivated by rogue regimes and New Age cults. Nations seem less cohesive than before, afflicted by ethnic or religious or cultural friction. Health officials seriously discuss the prospect of a worldwide plague-the unspeakably gruesome Ebola virus, perhaps, or some microbe we don't yet know about, spread around the world by jet-propelled travelers. Even tropical storms seem to have grown more intense in recent decades, arguably a result of global warming.2The foregoing was written in 2000, well before the devastating events of September 11 and subsequent human-initiated disasters, yet it still rings true. Where are we heading? What is our future with a world torn by terror, the continual development of more destructive weapons, and a seeming lack of desire to ameliorate our differences in a peaceful manner? Add to these the inexorable advance of technology that seems to know no end. It is most likely that the world in 2050-perhaps even as early as 2025-will not be recognized by our present population, assuming that we do survive as a civilized world.Of course, the outlook is not exclusively bleak and the continued development of technology is not all on the debit side of the ledger. Advances made in [End Page 127] medicine portend the re-growing of brain cells, repair... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 126-138 [Access article in PDF] Music Education for the Twenty-First Century A Philosophical View of the General Education Core Anthony J. Palmer Boston University We are all one species with one brain and neural system, yet consciousness about our existence is highly contextual. Any culturally transcendent view will still be limited to one's personal experience, analytical capabilities, and cultural shaping. Nevertheless, (...) looking beyond our narrow perspectives is essential if we are to find commonality and compatibility with all humankind.Therefore, I find it incumbent that we, as college/university professors, examine our present culture-national and global-to ascertain current conditions and what positive roles each citizen may be able to play on the larger stage of world affairs. Musician-teachers, who are the products of the curriculum, should not be exempt from the responsibilities of contributing solutions. Rather, they should produce a program that is sensitive to the larger context in which we all reside. To be sure, we have no direct control over global events. We do, however, exercise at least a modicum of control over the kind of person emerging from our courses of study.In light of the foregoing, this paper will examine (1) the present global conditions with which we are confronted, (2) responsibilities of the college/university [End Page 126] faculties toward developing students with greater awareness, (3) examination of the general education that all baccalaureate students must satisfy for the degree, (4) the education within the general education courses with a focus on the music education student, and (5) a proposal on general education. The Present Context Today we are at a juncture where no one can predict the future with any assurance of accuracy. The world in the twenty-first century has taken an unexpected turn toward greater chaos and has the potential to end life as we have known it in previous centuries. Although earlier generations experienced many changes and watershed moments, the conditions were never potentially as cataclysmic as they are today because of the explosive power of our so-called defensive weapons. In addition, fed by technology, the pace of change is extremely rapid and multiplies exponentially. Robert Wright states in this regard, Neither biological evolution nor human history is a smooth, steady process. Both pass through thresholds.... To some people, the current era has the aura of a threshold; it has that unsettling, out-of-control feeling that can portend a major shift. Technological, geopolitical, and economic change seem ominously fast, and the fabric of society seems somehow tenuous.1He goes on to say, World currency markets are rocked by the turbulent force of electronically lubricated financial speculation. Weapons of mass destruction are cultivated by rogue regimes and New Age cults. Nations seem less cohesive than before, afflicted by ethnic or religious or cultural friction. Health officials seriously discuss the prospect of a worldwide plague-the unspeakably gruesome Ebola virus, perhaps, or some microbe we don't yet know about, spread around the world by jet-propelled travelers. Even tropical storms seem to have grown more intense in recent decades, arguably a result of global warming.2The foregoing was written in 2000, well before the devastating events of September 11 and subsequent human-initiated disasters, yet it still rings true. Where are we heading? What is our future with a world torn by terror, the continual development of more destructive weapons, and a seeming lack of desire to ameliorate our differences in a peaceful manner? Add to these the inexorable advance of technology that seems to know no end. It is most likely that the world in 2050-perhaps even as early as 2025-will not be recognized by our present population, assuming that we do survive as a civilized world.Of course, the outlook is not exclusively bleak and the continued development of technology is not all on the debit side of the ledger. Advances made in [End Page 127] medicine portend the re-growing of brain cells, repair... (shrink)

An overview of current issues in musical ontology, including debates about "fundamental" vs. "higher-order" musical ontology and skepticism about both kinds.

This collection of essays provides the first in-depth examination of camp as it relates to a wide variety of twentieth and twenty-first century music and musical performances. Located at the convergence of popular and queer musicology, the book provides new research into camp's presence, techniques, discourses, and potential meanings across a broad spectrum of musical genres, including: musical theatre, classical music, film music, opera, instrumental music, the Broadway musical, rock, pop, hip-hop, and Christmas carols. This significant contribution to (...) the field of camp studies investigates why and how music has served as an expressive and political vehicle for both the aesthetic characteristics and the receptive modes that have been associated with camp throughout twentieth and twenty-first-century culture. (shrink)

The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its starting (...) point in noise; that in order to justify our creative compositional works as research, we need to find critical languages and theoretical frameworks with which to discuss them; or that despite being an auditory system, we are compelled to resort to the visual metaphor as a way of thinking about musical sounds. Drawn to musical sound as a powerful form of non-verbal communication, the authors include musicologists, philosophers, music theorists, ethnomusicologists and composers. The chapters in this volume investigate and ask fundamental questions about how we think, converse, write about, compose, listen to and analyse music. The work is informed by the philosophy primarily of Gilles Deleuze and Felix Guattari, and secondarily of Michel Foucault, Julia Kristeva and Jean-Luc Nancy. The chapters cover a wide range of topics focused on twentieth and twenty-first century musics, covering popular musics, art music, acousmatic music and electro-acoustic musics, and including music analysis, music's ontology, the noise/music dichotomy, intertextuality and music, listening, ethnography and the current state of music studies. The authors discuss their philosophical perspectives and methodologies of practice-led research, including their own creative work as a form of research. Music's Immanent Future brings together empirical, cultural, philosophical and creative approaches that will be of interest to musicologists, composers, music analysts and music philosophers. (shrink)

Whether regarded as a perplexing object, a morally captivating force, an ineffable entity beyond language, or an inescapably embodied human practice, music has captured philosophically inclined minds since time immemorial. In turn, musicians of all stripes have called on philosophy as a source of inspiration and encouragement, and scholars of music through the ages have turned to philosophy for insight into music and into the worlds that sustain it. In this Handbook, contributors build on this legacy to conceptualize the rich (...) interactions of Western music and philosophy as a series of meeting points between two vital spheres of human activity. They draw together key debates at the intersection of music studies and philosophy, offering a field-defining overview while also forging new paths. Chapters cover a wide range of musics and philosophies, including concert, popular, jazz, and electronic musics, and both analytic and continental philosophy. (shrink)

There have been times in the history of ethical theory, especially in this century, when moral realism was down, but it was never out. The appeal of this doctrine for many moral philosophers is apparently so strong that there are always supporters in its corner who seek to resuscitate the view. The attraction is obvious: moral realism purports to provide a precious philosophical good, viz., objectivity and all that this involves, including right answers to (most) moral questions, and the (...) possibility of knowing those answers. In the last decade, moral realism has re-entered the philosophical ring in powerful-looking naturalistic form. ln this paper we provide a dialectical overview: we situate the new wave position itself, and also our objections to it, in the context of the evolving program of philosophical naturalism in 20th century analytic philosophy. We seek to show that although this new contender might initially look like championship material, it succumbs to punches surprisingly similar to those that knocked out the old-fashioned versions of naturalist moral realism. (shrink)

There have been times in the history of ethical theory, especially in this century, when moral realism was down, but it was never out. The appeal of this doctrine for many moral philosophers is apparently so strong that there are always supporters in its corner who seek to resuscitate the view. The attraction is obvious: moral realism purports to provide a precious philosophical good, viz., objectivity and all that this involves, including right answers to (most) moral questions, and the (...) possibility of knowing those answers. In the last decade, moral realism has re-entered the philosophical ring in powerful-looking naturalistic form. ln this paper we provide a dialectical overview: we situate the new wave position itself, and also our objections to it, in the context of the evolving program of philosophical naturalism in 20th century analytic philosophy. We seek to show that although this new contender might initially look like championship material, it succumbs to punches surprisingly similar to those that knocked out the old-fashioned versions of naturalist moral realism. (shrink)

There have been times in the history of ethical theory, especially in this century, when moral realism was down, but it was never out. The appeal of this doctrine for many moral philosophers is apparently so strong that there are always supporters in its corner who seek to resuscitate the view. The attraction is obvious: moral realism purports to provide a precious philosophical good, viz., objectivity and all that this involves, including right answers to (most) moral questions, and the (...) possibility of knowing those answers. In the last decade, moral realism has re-entered the philosophical ring in powerful-looking naturalistic form. ln this paper we provide a dialectical overview: we situate the new wave position itself, and also our objections to it, in the context of the evolving program of philosophical naturalism in 20th century analytic philosophy. We seek to show that although this new contender might initially look like championship material, it succumbs to punches surprisingly similar to those that knocked out the old-fashioned versions of naturalist moral realism. (shrink)

On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks. The authors discuss genres as diverse as mainstream pop, hip hop, classic rock, instrumental synthwave, video game music, amateur ukelele groups, and audiovisual remixes, while also considering the music’s relationship to technological developments, various media and materials, and personal and social identity. The collection presents a range of different methodologies (...) and theoretical positions, which results in an eclecticism that aptly demonstrates the breadth of contemporary popular music research. The chapters are divided into three major sections that address: wider theoretical and analytical issues, familiar repertoire or concepts from a new perspective, and the meanings to arise from music’s connections with other media forms. (shrink)

From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music. Both well-known and lesser-known works and composers are anaylsed in detail, from Debussy to contemporary music in the early 21st century; from rock to electronica; from the sound objects of the earliest musique concrète to current electroacoustic music; from the Poème électronique of Le Corbusier-Varèse-Xenakis to the most recent inter-arts attempts. Covering theory, (...) analysis and aesthetics, this book will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. (shrink)

A philosophical examination of 'new wave' as a musical genre, focusing on its developmental history and relation to punk as well as its unique ethos and aesthetic. Forthcoming 2021.

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what (...) is the body expressed in electronic music then? The authors of this book reveal composers', performers', improvisers' and listeners' bodies, as well as the works' and technologies' figurative bodies as a rich source of expressive articulation. Bringing together humanities' scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves. (shrink)

For the past half a century, Latin American scholars have been pointing toward the emergence of new social actors as agents of social and political democratization. The first wave of actors was characterized by the emergence of novel agents—mainly, new popular movements—of social transformation. At first, the second wave, epitomized by nongovernmental organizations, was celebrated as the upsurge of a new civil society, but later on, it was the target of harsh criticism. The literature often portrays (...) this development in Latin American civil society as a displacement trend of actors of the first wave by the second wave—“NGOization”—and even denounces new civil society as rootless, depoliticized, and functional to retrenchment. Thus, supposedly, NGOization encumbers social change. The authors argue that NGOization diagnosis is a flawed depiction of change within civil society. Rather than NGOization related to the depoliticization and neoliberalization of civil society, in Mexico City and São Paulo, there has been modernization of organizational ecologies, changes in the functional status of civil society, and interestingly, specialization aimed at shaping public agenda. The authors argue that such specialization, instead of encumbering social change, brings about different repertoires of strategies and skills purposively developed for influencing policy and politics. Their argument relies on comparative systematic evidence. Through network analysis, they examine the organizational ecology of civil society in Mexico City and São Paulo. (shrink)

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what (...) is the body expressed in electronic music then? The authors of this book reveal composers', performers', improvisers' and listeners' bodies, as well as the works' and technologies' figurative bodies as a rich source of expressive articulation. Bringing together humanities' scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves. (shrink)

In Zimbabwe, popular music, particularly the Zimdancehall music genre, has become a cultural site where Shona moral values clash with explicit sexual lyrical content despite a censorship regime in the country. This article examines the nature and cultural consequences of the moral decadence that emerges in popular Zimdancehall song lyrics by several musicians. The article illustrates how vulgar language popularises Zimdancehall songs in unheralded ways that foster identities laced with cultural ambivalences that may portray the artists as both (...) famous and depraved. This qualitative study does textual and content analysis of 11 purposively sampled songs with sex terms to elucidate the cultural inconsistencies in Zimdancehall song narratives. Analysis is informed by the Neuro-Psycho-Social theory, which recognises how socio-cultural restrictions are challenged by an emerging ghetto culture like new wine in old bottles. Alternative unsanctioned new popular music genres can be used to permeate the sociocultural system. (shrink)

Introduction; A.Hazlett Quantification, Naturalness, and Ontology; R.P.Cameron Two Problems of Composition in Collective Action; S.R.Chant Another Look at the Reality of Race, By Which I Mean Racef; J.Glasgow Bringing Things About; N.Judisch Interpretation: Its Scope and Limits; U.Kriegel Empirical Analyses of Causation; D.Kutach Brutal Individuation; A.Hazlett Ghosts in the World Machine? Humility and Its Alternatives; R.Langton& C.Robichaud Is Everything Relative? Anti-Realism, Truth, and Feminism; M.Mikkola Minimalism and Modality: The Nature of Mathematical Objects; K.Miller Are There Fundamental Intrinsic Properties?; A.Ney On (...) the Very Idea of an Ecosystem; J.Odenbaugh The Prince of Wales Problem for Counterfactual Theories of Causation; C.Sartorio Index. (shrink)

After a thousand years of feudal middle ages, the west entered a new era, namely the Renaissance, from the 14th century. With the influence of humanism on the cultural field, people's individuality consciousness has been released. Western pop music is a western art form with profound connotation and eternal value. In recent years, many scholars and music educators have carried out a series of research and popularization of western pop music. Through scientific methods, the students' ability to control pop (...) music can be transformed into the basic quality of solfeggio listening training, so as to achieve the combination of the advantages of pop music and serious music, so as to complete the interactive, concise and diversified solfeggio teaching and broaden new teaching ideas. The role and influence of religious songs on the development of western vocal music art is incalculable. Its value is reflected in various fields of vocal music art. Therefore, while singing and appreciating religious songs, we should also strengthen the study and research of their background and historical development. (shrink)

Push: Software Design and the Cultural Politics of Music Production shows how changes in the design of music software in the first decades of the twenty-first century shaped the production techniques and performance practices of artists working across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations like FL Studio and Ableton Live introduced design affordances (...) that encouraged rapid music creation workflows through flashy, "user-friendly" interfaces. Meanwhile, software such as Avid's Pro Tools attempted to protect its status as the "industry standard," "professional" DAW of choice by incorporating design elements from pre-digital music technologies. Other software, like Cycling 74's Max, asserted its alterity to "commercial" DAWs by presenting users with nothing but a blank screen. These are more than just aesthetic design choices. Push examines the social, cultural, and political values designed into music software, and how those values become embodied by musical communities through production and performance. It reveals ties between the maximalist design of FL Studio, skeuomorphic design in Pro Tools, and gender inequity in the music products industry. It connects the computational thinking required by Max, as well as iZotope's innovations in artificial intelligence, with the cultural politics of Silicon Valley's "design thinking." Finally, it thinks through what happens when software becomes hardware, and users externalize their screens through the use of MIDI controllers, mobile media, and video game controllers. Amidst the perpetual upgrade culture of music technology, Push provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives. (shrink)

Resumen: El presente trabajo explora el estatuto del arte en la filosofía de Spinoza, en el marco de la inversión copernicana que da origen a la estética y del barroco holandés. Si bien el pensamiento spinozista se inscribe en la conversión antropológica, en donde lo bello resulta ser un efecto en el sujeto y no una cualidad de los objetos, su comprensión del arte es inasimilable a la “estética” como ámbito diferenciado y autónomo que se consolida en el siglo XVIII, (...) y más bien concibe el arte integrado a la vida y a la experiencia común -a la vez que, en cuanto praxis de origen corporal al alcance de cualquiera, presenta puntos de contacto con las vanguardias históricas del siglo XX-. Spinoza, según se propone en este texto, concibe la producción de “obras de arte” menos como un hecho estético que como una actividad corporal éticamente orientada a la vida buena.: The present work explores the status of art in the philosophy of Spinoza, within the framework of the Copernican revolution that gives rise to aesthetics and the Dutch Baroque. Although the Spinozist thought is inscribed in the anthropological conversion by virtue of which beauty turns out to be an effect on the subject and not a property of objects, its understanding of art is unassimilable to "aesthetics" as a differentiated and autonomous area that it was consolidated in the eighteenth century, and rather conceived art integrated to life and common experience -at the same time, as praxis of bodily origin within the reach of anyone, presents points of contact with the historical avant-gardes of the twentieth century-. Spinoza conceives the production of "artworks" less as an aesthetic fact than as a body activity ethically oriented to the good life. (shrink)

This is the first musicological study entirely devoted to a comprehensive analysis of musical Holocaust representations in the Western art music tradition. Through a series of chronological case studies grounded in primary source analysis, Amy Lynn Wlodarski analyses the compositional processes and conceptual frameworks that provide key pieces with their unique representational structures and critical receptions. The study examines works composed in a variety of musical languages - from Arnold Schoenberg's dodecaphonic A Survivor from Warsaw to Steve Reich's minimalist Different (...) Trains - and situates them within interdisciplinary discussions about the aesthetics and ethics of artistic witness. At the heart of this book are important questions about how music interacts with language and history; memory and trauma; and politics and mourning. Wlodarski's detailed musical and cultural analyses provide new models for the assessment of the genre, illustrating the benefits and consequences of musical Holocaust representation in the second half of the twentieth century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in order (...) to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

The article is devoted to the new poetry that entered the Russian musical culture with the Khrushchev "thaw". A special perspective of the study is the "female" chamber vocal cycle of the 1960s and 1970s. The wave of interest of Russian composers in chamber and vocal music that arose during this period is associated with a hitherto unprecedented wealth of poetic themes and images, the emergence of modern literature. Spiritual horizons expanded rapidly, original texts entailed fresh genre and technological (...) solutions. The new poetic "information", as well as scientific information, liberated the creative forces of musicians, demanded a new language, style, form. Poetry turned out to be one of the most important incentives for the renewal of compositional concepts. The main conclusion of the study is the idea that the development of vocal music, the figurative and thematic expansion of "female" chamber vocal cycles is primarily associated with the modern poetic tradition, with the expansion of the spiritual horizons of Soviet cultural life in the second half of the last century. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful, more fully revealing the most important vectors of the development of the musical and poetic tradition. It is quite obvious that the modern literary preferences of composers became the basis for a radical renewal of the chamber-vocal genre in the 1960s and 1970s. (shrink)

This essay investigates the tensions between traditional music and its modern codification as intellectual property. It will begin by considering the myths concerning the divine source of music. In traditional music and in folk music, music is closely connected to religious ritual. In these rituals the source of the music is recognized and attributed to certain deities. For instance, in Thai traditional music, the Wai Khru ceremony venerates the Duriyathep or devatas drawn from Indian mythology: Phra Visawakarm, Phra Panjasinghkorn, and (...) Phra Parakhonthap (Narot). Much of modern and contemporary music has long been disengaged from ritual and its traditional forms of transmission. Especially since the nineteenth century with the growth of popularity of music printing, it has been subject to copyright law. With these restrictions in transmission, the more fluid routes of transmission have become broken and the ritualistic and religious identifications have been transferred to the cult of performers, to legal codification, to the control of corporations, and the construction of new mythologies through marketing. This essay will use Walter Benjamin’s reflections on the loss of “aura” in the reproduced work of art to try to understand the consequences of this transition in the function of music. And it will consider the situation in Thailand where traditional music and mythology stands side by side with marketed music, and traditional performance stands side by side with commercial performance. It will demonstrate that these conflicts cannot be resolved. But it is precisely in the appreciation and preservation of these conflicts, that traditional culture can itself be recognized and preserved. (shrink)

Electronic music is advancing not only in the way it is being used in performance but also in the technological sense, due to software developers advancing the ability of the synthesizer to enable the composer to create newer sounds. The introduction of the amino acid and protein synthesizers from MIT is one such example, along with sampling sounds from interstellar bodies through the process of sonification in order to create presets as additional source material for the composer’s palette. The (...) creative process used in creating electronic music on a tablet computer introduces a new musical instrument to be used in live music performances. The fluidity and immediacy of how electronic sounds can be created with tablet computer synthesizers affords the composer to have a new behavioural sense of using them as a musical instrument that can be played intuitively. Exploring this new interface of musical composition is a subject this article will address as well as the psychological aspects pertaining to how an audience can relate to electronic music as an emerging art form removed from the classical music tradition. It will also discuss how the composer of electronic music can affect the listener’s ability to envision new conceptual landscapes, leading to experiencing new ideas and subjective fields of visionary understandings. The composer’s ability to use conceptual models, which influence the way sounds are made and how those sounds influence the listener’s experience, is an important focus of this article. (shrink)

Methodological innovations have a special status in disciplinary histories, because they can be widely adopted and anonymised. In the 1950s, this occurred to Georges Laplace’s innovative use of 3-dimensional metric Cartesian coordinate system to record the positions of archaeological objects. This paper proposes a conceptual and social history of this process, with a focus on its spatial context, the Pyrenean region (Spain, Basque Country, and France). Main results of this research based on archives, publications, and bibliometric data, include: 1) a (...) critical discussion of the notions concerning authorship of such methodological innovations; 2) a presentation of the lesser-known aspects of Laplace’s method, showing its contribution to the abstraction and formalisation of archaeological observations and data recording; and 3) the identification of an international Pyrenean intellectual lineage of innovation regarding stratigraphy and excavation methods, from the late 19th century to the early 21th century. (shrink)

Globalization in the XXI century is an objective phenomenon that manifests itself as a complex system with many nonlinear relationships between its subjects and objects. Globalization of the “new wave” has a number of specific characteristics and trends. They have led to the emergence of negative consequences and unexpected results of globalization. These tendencies do not presuppose the process of de-globalization, but they are a sign of the passage from one model of globalization to another, from the monocentric (...) structure of the world to the polycentric one, which affords ground for its nomination as “non-global globalization”. The article compares the approaches and achievements of Russian and Western globalistics. (shrink)

It may seem odd to review a New York social club's yearbook, with its list of members’ addresses and series of committee reports. But such books sometimes contain material of more general interest. The latest one from the Century Association, for example, devotes 250 of its 685 pages to “Century Memorials”—that is, biographical sketches of recently deceased members, written by other members. Among the well-known figures taken up in these eighty-three sketches are the artists Richard Anuszkiewicz and Robert (...) Motherwell; the architects Henry N. Cobb and Charles A. Platt; the newspaper editors Harold Evans and Whitelaw Reid; the historians Henry F. Graff and William McFeely; the translator and literary scholar Donald Keene; the collector of literary and musical manuscripts Frederick Koch; the popular writer on Russian history Robert K. Massie; the clergyman James Parks Morton; the financier Felix G. Rohatyn; the lawyers Whitney North Seymour Jr. and Isaac N. Phelps Stokes; the literary editor Elisabeth Sifton; the university president Michael Sovern; the museum director Evan H. Turner; and the broadcast journalist Sander Vanocur. The sketches are generally well written and often richly evocative: the writers include Louis Begley, Kenneth T. Jackson, D. T. Max, and Honor Moore.The long shelf of Century volumes like this one clearly constitutes a valuable contribution to prosopographical literature. And the Century is not the only institution with such a tradition (other examples are the British Academy and the American Philosophical Society); but their publications are a frequently overlooked source, one not always available in research libraries. Unfortunately, it is also a source that seems to be diminishing: the American Antiquarian Society and the John Simon Guggenheim Memorial Foundation are examples of organizations, each with a history of providing biographical information, that are no longer doing so. Of course, the great previous runs of the former's Proceedings and the latter's Reports remain (one hopes) on the shelves for those who know to look for them. A step in the opposite direction has recently been taken by the Grolier Club, which has not had such a tradition (except for two biographical volumes in 1959 and 2000): its Gazette now includes a section of memorials in each issue. This is a welcome move, but one has to regret that so little scholarly use is made of this whole body of biographical detail and reminiscence. (shrink)

The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain (...) why all of the theories are ideologically based. Author is insisting on role market played in development and modernization of popular music in Serbia. The article is ending with some recommendations for better understanding of cultural identity in Serbia, and for recognizing popular music as specific field of interest and research. Rad se bavi ideoloskim i politickim sukobima oko popularne muzike u Srbiji kao odlicnom primeru jednog konfuznog i lose postavljenog traganja za identitetom. Zapravo, sukob o kome je rec, sve vreme se vodi oko toga da li su takozvani orijentalni elementi legitiman deo srpske muzike ili ne. Autor se fokusira na tri perioda dvadesetog veka kada su se potezali potpuno isti argumenti, a narocitu paznju posvecuje aktuelnim sukobima i izlaze zasto su sve tri prisutne pozicije na sceni ideoloski zasnovane. Posebna paznja posvecena je uticaju trzista na razvoj i modernizaciju popularne muzike. Clanak se zavrsava preporukama za jedno bolje postavljeno razumevanje sopstvenog kulturnog identiteta. (shrink)

This article deals with the reframing of the concept of universal mediated communication on a global scale. Subjects include the following: the universe has a conscious force field at all its scales, requiring continuous inter-scale communication of information; the field exhibits distinct electromagnetic frequencies associated with the building blocks of life; and advances in the technology of sound production with electronic synthesizers can be applied to study mechanisms of such universal communication. The question being addressed is how electronic (...) synthesizers can be used to create sonic xenolinguistic expressions when composing with sonified frequencies obtained from bio-organisms, human protein structures, phonemes and various types of interstellar frequencies that include, but are not limited to, gamma bursts, pulsars and neutron stars. The objective is to construct sonic xenolingusitic expressions that can act like feedback loops within the field of consciousness. These sonic expressions can include anomalous cognitive, emotive or spiritual experiences that may be emerging out of the universal field of consciousness in real time. Xenolinguistics is a hypothetical language used to communicate with other sentient beings in the universe. The rationale for composing sonic xenolingustic expressions is the belief that the universe is considered conscious and that there is a field of consciousness existing throughout the universe that in principle is also instrumental in how communication can evolve with extraterrestrials. Outlines of other attempts at extraterrestrial communication by other researchers will be offered based on current literature. The probability that other life forms have established some mode of information exchange that is detectable and that, in return, may be able to create a form of communication to respond will be covered. It is postulated that various energy fields existing before and after the creation of our universe interacted with one another becoming abiotic, and then over time, formed even more complex structures. It is these complex structures that were then able to communicate essential information for maintaining their stability and survivability by using specific signalling frequencies. It is hypothesized that first life in the universe emerged within an already existing field of information and that our consciousness is thereby able to establish communication with other forms of consciousness in the universe. It is on this basis that a novel scientific and philosophical paradigm is considered in which the universe is conceived of as an active information matrix that can entertain potential extraterrestrial communication. In this framework, the present article will offer a new approach to orchestrated electronic sounds as a means to such communication. By integrating quantum physical properties into that sonic framework, a new study emerged on how sonic xenolinguistic elements can be incorporated into electronic composition techniques. This new framework may produce new algorithms for musical expression that not only represent an innovative future of electronic music but may also be crucial in the formulation and induction of new states of consciousness that will enable humankind to directly participate in the further becoming of the universe as a result of the evolution of this universal field of consciousness. (shrink)

In our account of artistic identities among electronic music artists, we point to the notion of persona as a key element in a triadic framework for studying the dynamics of identity. Building on pragmatist theory, we further draw on Pizzorno’s concept of mask and Luhmann’s notion of second-order observation to highlight the dual properties of persona: whether like a mask that is put on or like a probe that is put out, persona is a part that stands apart. Persona (...) is an object that alter can recognize and by which ego can be recognized; but what is recognized defies the person’s complete control. We thus conceptualize identity as a multi-sided relationship that involves person, persona, and others. Building on our ethnographic research among electronic music artists in Berlin and New York, we characterize this relationship in terms of attachment between artist and persona, between artist and audience, and between persona and audience. These attachments are variable and independent from one another. The resulting model is an analytic tool to examine identity as the ongoing outcome of the three-way dynamics of such shifting attachments. We are attentive to persona because the creation and curation of online profiles have become a pervasive element in many people’s daily interactions in both social and work situations. (shrink)

Cahiers du Cinema is the most prestigious and influential film journal ever published. An anthology devoted entirely to its writings, in English translation, is long overdue. The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts racked the world of film criticism with their provocative views an international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the (...) Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scéne as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists Godard, Truffaut, Rohmer, Rivette, Chabrol were to become same of France's most important film directors and leaders of the New Wave. Translated under the supervision of the British Film Institute, the selections have far the most part never appeared in English until now. Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whale. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film. (shrink)

The basic aim of this research study is to describe the Applications of the fusion of aesthetic philosophy and practical philosophy in film and television music production. This research study depends upon primary data analysis for measuring the research study to generate different questions related to the aesthetic philosophy and practical philosophy to determine the research study used smart PLS and run different results related to the variables. Modern philosophy of art includes the philosophy of film as a well-established subfield. (...) Although philosophers were among the first academics to write studies of the new art form in the early decades of the twentieth century, the area did not enjoy considerable development until the 1980s, when a resurgence began. The rapid expansion of this sector can be attributed to a wide variety of factors. Let it be enough to state that the evolution of philosophy as a discipline and the growing importance of cinema in popular culture has made it crucial for philosophers to view the film as an art form on par with literature, music, and the visual arts. The overall research study found that there are negative and some positive relations between aesthetic philosophy and practical philosophy in music production. The result found that significant relationship between aesthetic philosophy and practical philosophy in film and television. (shrink)

Cultural Writing. This classic of alternative art theory is available again in this second edition. Dick Higgins was co-founder of Happenings and later Fluxus. He was active in music, studying with John Cage and Henry Cowell and is the author of many books of poetry including Buster Keaton Enters Into Paradise (Left Hand) and Book About Love And Death (Something Else), also available from SPD. From his early (1964) essay on Intermedia, which gave the term to the language, up through (...) the his influential essay on the concept of an allusive referential, the impulse of his work was to describe rather than to prescribe. These essays continue to offer tools which may be useful in developing theories and opinions for the next generation of artists, writers and critics. A Dialectic Of Centuries is book to work within the new century. (shrink)

The essay begins by addressing the analytic frame that Adorno opens up for a critical theory of music, to then focus on a hermeneutic-pragmatic account of music as aesthetic agency, followed by a reconstruction of the uniquely transgressive potentials that this account of musical experience entails for popular music. The new account is motivated by the impasse created by Adorno’s own philosophy of music to provide a grounding for the cognitive capacities necessary to understand autonomous music. The hermeneutic-pragmatic reconstruction (...) of aesthetic features of music as structurally similar to experiential dimensions of agency overcomes Adorno’s dilemma by allowing us to see music as a socializing medium that enables reflexive experiences. The musical dimensions of rhythm, harmony, and melody are reconstructed as exemplifying features of situated agency. Against this background, popular music is shown to enable experiences of bodily transgression, cultural transcendence, as well as individualized attentiveness, thus continuing Adorno’s project of reconstructing the critical cognitive value of music. (shrink)