By J. P. E. Harper-Scott, Jim Samson
Why research tune? How a lot functional use is it within the smooth international? This creation proves how learning song is of significant worth either in its personal phrases and in addition within the post-university careers market. The publication explains the elemental recommendations and concerns fascinated with the tutorial examine of song, attracts cognizance to very important connections around the box and encourages severe considering over a extensive variety of music-related concerns. • Covers all major points of tune reports, together with issues corresponding to composition, opera, well known song, and song idea • offers an intensive evaluation of a highly different topic, from the historical past of early tune to careers in track know-how, giving a head-start at the components to be coated on a tune measure • New to 'neume'? want a reminder approximately 'ripping'? - glossaries supply transparent definitions of key musical phrases • Chapters are conscientiously dependent and arranged permitting effortless and fast situation of the knowledge wanted
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Extra info for An Introduction to Music Studies (CUP)
Reception histories are concerned less with individual responses, which are properly a subject for music psychology, than with collective responses based on determinate groups of listeners, whether these are defined by nationality, social class, cultural milieu, or profession. A term used to describe a list of composers or works assigned value and greatness by consensus. It tends to foreground the ahistorical, and essentially disinterested, qualities of musical repertories, as against their more temporal, functional and contingent qualities.
Analysis and the performer While analysis does not necessarily bring us close to what a composer did, it is often understood as being in the service of the performer. The work of Donald Tovey (1875–1940) is an obvious case, because Tovey wrote descriptions of themes and significant events in pieces in a measure-by-measure narrative that can be followed a bit like a travel guide. His approach was pragmatic, engaging Chapter 2: Music theory and analysis with the aspects of a piece that could be identified readily either by reading the score, while playing, or while listening to a recording.
This sort of analysis is often comparative: a number of recordings of the same piece can be compared in terms of their use of factors such as time, pitch variation, dynamics, and articulation, for example. And this leads us towards the relationship between analysis and the listener. Analysis and the listener You might think that unless analysis tells us about things we can hear, then it is not relevant to our understanding of music. On the other hand, you might think that unless it tells us things we cannot hear, then it is entirely redundant.
An Introduction to Music Studies (CUP) by J. P. E. Harper-Scott, Jim Samson