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John Blacking restates and reflects upon observations and attitudes relevant to contemporary problems of ethnomusicology and music education.
Taking Grainger's views as his starting point and heading each chapter with a quotation from Grainger's writings, John Blacking restates and reflects upon observations and attitudes relevant to contemporary problems of ethnomusicology and music education. Professor Blacking discusses these issues in the light of his own research, musical experience and convictions.
John Blacking is widely recognized for his theoretical works How Musical Is Man? and The Anthropology of the Body. This series of essays and articles on the music of the Venda people of the northern Transvaal in South Africa constitutes his major scholarly legacy. Venda Children's Songs presents a detailed analysis of both the music and the cultural significance of children's songs among the Venda. Among its many original contributions is the identifying of the role of melody in generating rhythm, something that distinguishes this form of music from that of Venda adults as well as from other genres of African music in general.
Unaccountably, Percy Grainger has remained on the margins of both American music history and twentieth-century modernism. This volume reveals the well-known composer of popular gems to be a self-described ’hyper-modernist’ who composed works of uncompromising dissonance, challenged the conventions of folk song collection and adaptation, re-visioned the modern orchestra, experimented with ’ego-less’ composition and designed electronic machines intended to supersede human application. Grainger was far from being a self-sufficient maverick working in isolation. Through contact with innovators such as Ferrucio Busoni, Léon Theremin and Henry Cowell; promotion of the music of modern French and Spanish schools; appreciation of vernacular, jazz and folk musics; as well as with the study and transcription of non-Western music; he contested received ideas and proposed many radical new approaches. By reappraising Grainger’s social and historical connectedness and exploring the variety of aspects of modernity seen in his activities in the British, American and Australian contexts, the authors create a profile of a composer, propagandist and visionary whose modernist aesthetic paralleled that of the most advanced composers of his day, and, in some cases, anticipated their practical experiments.
This volume establishes the discipline of medical ethnomusicology and expresses its broad potential. It also is an expression of a wider paradigm shift of innovative thinking and collaboration that fully embraces both the health sciences and the healing arts.
Investigation into the influence of Eastern music on Britten's composition. Benjamin Britten's interest in the musical traditions of the Far East had a far-reaching influence on his compositional style; this book is the first to investigate the highly original cross-cultural synthesis he was able to achieve through the use of material borrowed from Balinese, Japanese and Indian music. Britten's visit to Indonesia and Japan in 1955-6 is reconstructed from archival sources, and shown to have had a profound impact on his subsequent work: the techniques of Balinese gamelan music were used in the ballet The Prince of the Pagodas (1957), and then became an essential feature of Britten's compositional style, at their most potent in Death in Venice(1973). The No drama and Gagaku court music of Japan were the inspiration for the trilogy of church parables Britten composed in the 1960s. The precise nature of these influences is discussed; Britten's sporadic borrowings from Indian music are also fully analysed. There is a survey of critical responses to Britten's cross-cultural experiments. Dr MERVYN COOKE lectures in music at the University of Nottingham.
This collection of essays, first published in 1987, provides a sociological treatment of many musical forms – rock, jazz, classical – with special emphasis on the perspective of the practising musician. Among the topics covered are the legal structures governing musical production and the question of copyright; recording and production technology; the social character of musical style; and the impact of lyrical content, considered socially and historically.
Why does music have such a powerful effect on our minds and bodies? It is the most mysterious and most tangible of all forms of art. Yet, Anthony Storr believes, music today is a deeply significant experience for a greater number of people than ever before. In this book, he explores why this should be so. Drawing on a wide variety of opinions, Storr argues that the patterns of music make sense of our inner experience, giving both structure and coherence to our feelings and emotions. It is because music possesses this capacity to restore our sense of personal wholeness in a culture which requires us to separate rational thought from feelings that many people find it so life-enhancing that it justifies existence.
A world-renowned scholar and musician helps Christians respond with theological discernment to music.