Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The volume focuses on music during the process of European integration since the Second World War. Often music in Europe is defined by its relation to the concept of Occidentalism (Musik im Abendland; western music). The emphasis here turns rather to recent manifestations of its evolvement in ensembles, events, musical organisations and ideas; questions of unity and diversity from Bergen to Tel Aviv, from Lisbon to Baku; and deals with the tension between local, regional and national music within the larger confluence of European music. The status of classical and avante-garde music, and to a degree rock and pop, during Europe's development the past sixty years are also reviewed within the context of eurocentrism - the domination of European music within world music, a term propagated by anthropologists and ethnomusicologists several decades ago and based on multiculturalism. Conversely, the search for a musical European identity and the ways in which this search has in turn been influenced by multiculturalism is an ongoing, dynamic process.

Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Social aspects --- Ethnomusicology. --- European identity. --- Multiculturalism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"OM", a fundamental meditation sound present in the cultures of Buddhism, is a syllable full of philosophical and transcendental meanings. The category of the Orient, as contrasted, antithetical and complementary to the Occident (West) and its culture, appears to be one of the most interesting and long-lasting issues discussed in the humanities. European fascination with Oriental cultures has found multifaceted manifestations in science, art, fashion and beliefs.Music, as an important element of cultural communication, has always been well suited for transitions and inspirations. The relationship between the Orient and Western music encompasses a wide and fascinating scope of problems, a field of various multidimensional influences which brings an opportunity not only to study particular questions, but also to search for universal and fundamental values. This collection of essays is a result of an International Conference titled "OM: Orient in Music - Music of the Orient", held at the Grażyna and Kiejstut Academy of Music in Ł�dź, Poland, in March 2016. The volume provides insight into the many ways in which the music of the East and West can be understood and treated by both Western and Eastern scholars.

Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Czech musical culture around 1900 saw itself as the culminating phase of the development of Czech national music. At the same time, however, it exhibited many contradictory phenomena mirroring the inexorable dissolution of unified Czech patriotic life, which especially in the second half of the nineteenth century had encountered resistant forces in the Germanophilic environment of the Austro-Hungarian monarchy. The extraordinary dynamics of the period of about two decades before the outbreak of World War I were determined by the rise of a young generation of composers who now accepted the "global" character of Czech music as a matter of course, thanks to the international success of works by Bedrich Smetana (the opera The Bartered Bride) and Antonín Dvorák (works for orchestra and chamber ensembles, large choral works). Composers like Leos Janácek, Josef Bohuslav Foerster, Josef Suk, and especially Vítezslav Novák had extraordinary talent, received good training, and gradually won support from influential publishers. With courage and critical perspective they came to terms with the bequest of the "fathers", the "founders" of Czech music, as well as with the works of their own more famous contemporaries like Richard Strauss, Gustav Mahler, and Gustave Charpentier. They gained successes abroad. Reactions by the public, critics, and their colleagues, however, were mixed, as though Czech society were not capable of accepting divergent approaches to artistic creation. Many works (if not many composers) came out of this "battleground" weakened and fell by the wayside. One of the aims of this book, Czech Music Around 1900, is to draw attention to some unjustly forgotten treasures of Czech music.

Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Music was one of the first casualties of the Iranian Revolution. It was banned in 1979, but it quickly crept back into Iranian culture and politics. The state made use of music for its propaganda during the Iran–Iraq war. Over time music provided an important political space where artists and audiences could engage in social and political debate. Now, more than thirty-five years on, both the children of the revolution and their music have come of age. Soundtrack of the Revolution offers a striking account of Iranian culture, politics, and social change to provide an alternative history of the Islamic Republic. Drawing on over five years of research in Iran, including during the 2009 protests, Nahid Siamdoust introduces a full cast of characters, from musicians and audience members to state officials, and takes readers into concert halls and underground performances, as well as the state licensing and censorship offices. She closely follows the work of four musicians—a giant of Persian classical music, a government-supported pop star, a rebel rock-and-roller, and an underground rapper—each with markedly different political views and relations with the Iranian government. Taken together, these examinations of musicians and their music shed light on issues at the heart of debates in Iran—about its future and identity, changing notions of religious belief, and the quest for political freedom. Siamdoust shows that even as state authorities resolve, for now, to allow greater freedoms to Iran's majority young population, they retain control and can punish those who stray too far. But music will continue to offer an opening for debate and defiance. As the 2009 Green Uprising and the 1979 Revolution before it have proven, the invocation of a potent melody or musical verse can unite strangers into a powerful public.

Music --- Sociology of culture --- muziekcultuur --- Social change --- muziekgeschiedenis --- Iran --- Political aspects --- History. --- Politics and government --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Alongside well-known patriots, such as Samuel Adams, Rev. Samuel Cooper, and Dr. Joseph Warren, there was another "voice" whose words and music became the protest songs of the American Revolution. William Billings, tanner, hogreeve, and musician, through his compositions, singing schools, and incendiary performances provided ways for the "mechanicks" of the lower classes, including women, to be equal participants in disseminating rebellion throughout colonial New England. In Singing Sedition, Charles E. Brewer provides a thick cultural interpretation of the significance of Billings's texts and music through the use of both published and unpublished manuscript materials. An examination of sermons preached in Boston, Biblical commentaries, letters, diaries, and other sources clarifies the New England political theology expressed through Billings's creative adaptations of biblical texts and their evocative musical settings. From the Boston Massacre to the peace of 1783, Billings's music can be heard as the soundtrack of the American Revolution.

Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Political aspects --- History --- Social aspects --- Billings, William, --- Billings, W. --- Criticism and interpretation.