Music History - Science topic
Music history, sometimes called historical musicology, is the highly diverse subfield of the broader discipline of musicology that studies the composition. In theory, "music history" could refer to the study of the history of any type or genre of music.
Questions related to Music History
How misleading is the recorded history of music?
The historians normally recorded positive historical events of the powerful kings. What musical events did happen among ordinary people that we know nothing about? To what extent have the victorious nations hidden the music of the defeated nations?
I'm searching about the origins of the Tar, an old musical instrument in the middle east. I would be grateful if you recommend me some English sources about the history of making and playing Tar in middle eastern countries, especially in Iran and Azerbaijan. Thank you.
This question is the synthesis of long hours of research in the field of Social Musicology, I ask this question with the music that is played on national holidays, to show struggle or descent. It is related to my project Music, History and Society.
If there is any secondary or primary evidence or experience anyone could share?
In the last years a lot of studies and meta-analyses have been published in music therapy. But in the light of the current "crisis of confidence" a lot of questions arose. Respecting the publication of Fanelli (D. Fanelli: „Positive“ Results Increase Down the Hierarchy of the Sciences. PLOS one. 2010, 5 (4) e10068.) one question is about the high rate of positive results in psychology, clinical medicine and psychiatry. Therefor our intention is to find studies with negative results in the field of music therapy. Help from the community would be great.
While there are several individuals and studios offering online lessons, at the tertiary level many have contended that face to face lessons are immeasurably better. In the current climate with Covid-19 forcing remote music lessons we are forced to rethink and to quantify exactly what it is that we do, why and how it should be tested. The move to remote music teaching is also time intensive and while there are some existing technologies that can aid with testing, what is possible and affordable is not only influenced by the institution and the teachers resources, but also student resources.
I am in the process of writing policy for such an unusual situation and would welcome your input. To some extent several music classes might be taught online: Applied music classes (normally one-on-one face to face) via video linking software, also music history, music theory.
Problem areas are with band/ choir/ steel band or other ensemble. The skills gained through ensemble work cannot be easily replicated, and - so far - we have been unable to come up with an alternative assignment.
Students who are due to have practical examinations at the end of semester (performing for 7 mins) may be in a physical setting, having been sent home, where they do NOT have access to the internet, or in some cases to a piano or keyboard. What can be done?
I would like to measure STI (speech transmission index) in a 3D environment. I have been thinking about use Unity and reproduce the sound from a speaker and record the sound from the character ears but I would like to find something more profesional. All has to be in 3D because the building is not real any more.
Thank you for your time.
... or for comical effect? Think of Hendrix-style gimmicks, but documented in a traditional context. Examples from the Mediterranean area and the Middle East would be particularly welcome.
For empirical studies we need to define the subject of the research. The question of 'what is music?' has never be asked before? If there is no 'correct' definition, 'musicology' or research on 'music' is no science!
There isn't even a philosophic answer for it!?
Where are the limits of musicology to other cultural studies?
The Canterbury Tales Project used the Splis Tree program (see Huson, Phylogenetic Networks (2010)) "to explore the textual tradition ... of the Canterbury Tales" (Robinson, Analysis Workshop). That was about 20 years ago. Is anyone using this approach to analyze sets of texts to explore relationships among versions (not necessarily to try to build phylogenetic trees)?
I consider that music analysis must be consolidated under new points of view,: the open, live, and music connected sociology, like sociosophy understanding of music history. By other side, the music listening must be more rich and productive, music is history, life of society, so, por this reason it is very important to apply elements of musicosophy. Now I am working in Shostakovich`s music, and I found there we all we have a bigger field. I need this suppor, and found materials about this new perspectives to apply my theories and opinions.
I am looking for some studies on the quantitative and usage evolution of loudspeakers production.
Is seems obvious that since the invention of the loudspeaker late 19th century, the number of loudspeaker produced and in service has always increased as well as their functionality spread-out, but I could not find studies on that subject yet.
If you know some works on the matter, please let me know.
By incorporation, we mean any level of relationship between the traditional manifestation and the compositional process of the author.
We want to find pieces wherein music parameters from both new composition and traditional music would be somehow related.
For instance, the composer could create his pitch logics, sense of time, textures, musical gestures, rhythmic, sound colors, process, performance rituals, among others, based on aspects of the traditional culture's music.
Due to the 'restraint of trade' and 'undue influence' doctrines applied to contracts in the music industry does this give the exploiters of music a disadvantage in their bargaining power?
I'm currently writing a research MA on the history of those rare double bassists who (like me) play the instrument 'back-to-front'. There's a brief summary of my areas of research here: greggottlieb.net/educator/research/
I would like to enlist your help, as members of a wide-ranging musicology community, with answering two questions:
1) When was the first left-handed double bass built ‘from the ground up’, rather than converted from a right-handed instrument?
(Even if we can’t answer this question outright, it would be great to know what is the earliest fully left-handed instrument you know of).
2) Do you know of any more double bass players who play the instrument ‘back-to-front’?
(So far, my list includes Earl May, Tony Archer, Sherwood Mangiapane, Bud Loyacano and Mark Geddes).
Your help and input is greatly appreciated - and please feel free to get in touch with any other enquiries or anecdotes relevant to the research!
- Operatic music in the colonies--specifically Jamaica
- opera companies in the colonies--specifically Jamaica
- orchestral music in the colonies--specifically Jamaica
- band music in the colonies--specifically Jamaica
- Orchestral performances in the colonies--specifically Jamaica
- Any lead that you can give is appreciated
I've looked everywhere. I suspect that since this work was done before we started using the internet for this sort of thing (storing music scores online), no one ever got around to it, the principals having gone on to something else.
There were a number of performance decisions1 that I would dearly love to know Adrian Shepherd's thinking.
1. The performance in question: Thomas Augustine Arne Symphonie 1 - 4, LP later a CD on Chandos.
Given the fact that music historiographies still today deals almost entirely with “dead subjects” (i.e. music of the last centuries which in many cases represents discourses not active anymore), is it possible to draft a non-linear concept of a contemporary history of music that focuses on the “effectiveness” of the past in the present (perhaps in the sense of Warburg´s pathos formula-idea)?
Are there any related resources, which corroborate that the market for creative endeavors related to music technology expanded or shrank?
any suggestions are greatly appreciated!
I am studying musical instrument making, and circulation of knowledge in relation to wood trade. Thank you for your help.
I have become intrigued by the musical devices employed in such a simple piece of music as Thomas Arne's closing chorus to Alfred "When Britain first at heaven's command"; My latest fascination has been with the Bassoon line as that's my primary area of study right now.
That particular part is so lovely but the question arose in my mind. How did this piece become the quintessential patriotic song.
But my question for wider consideration is in the area of prior scholarship on this point. Surely there is a 19th century clergyman who studied the rhetorical devices (and there are many - try the 3 sixteenth note syncopated flutterings throughout). How do these devices so clearly define the "us" group which triumphs over the "them" group (to put it in simple terms)?
For instance, Sinfonia del Silenzio e della Morte possibily premiered in Vienna in 1911 but can we discover more about where in Vienna, who might have written up the concert and where it took place etc.?
I'm currently studying the use of the traditional music during the Francoism (1939-1975) and I would like to establish links with other European Fascisms.
I'm conducting a research on Frescobaldi's toccatas. Any help or contributions would be very appreciated. The results will be presented in the Milano's Conservatory of Music within next June.
The decline in CD sales by retailers. The decline in new music being sent to radio stations the decline in concert bookings and performances decline in recording company jobs.
I am looking for journals to cite on the POSITIVE EFFECTS of music on any of these broad areas: brain development, coordination, spatial IQ, cognitive IQ, overcoming learning disabilities, overcoming neurological delays, increased chances of going to college. It is fine if the source is a recent or old journal. Please provide links, thanks.
(When I looked in RG, there was one, but it's still at an accepted article stage.)
I am beginning research on a paper writing on the history of military music and I want to focus my research. The history of military music is huge, as all histories are, of course. I am interested in getting to know what is military music in the mind of an average citizen at this point in time and in searching out how that idea came to be prevalent.
We have many kinds of great music and songs world wide.
Many of them raise issues of disabilities, as broadly understood human condition. They also indicate specific perception and attitudes towards disabilities of particular times.
Do you know the lyrics, songs of any species, which highlight in any way human disability? I share famous song by Janis Joplin(Big Brother & The Holding Company) entitled "Blindman", depicting person with vision disability, being in the need of help. This great song is from 1967 year, and in my opinion is expressing some need of public awareness of persons with disabilities in public spaces.
What are your opinions ? Please share your lyrics and songs.
Does humor belong in music? In the West, the three B´s, Bach, Beethoven, and Brahms, dominate classical music and are mostly serious. What is your view? Can you provide examples of humorous music from your country if you have any? Youtubes are welcome. Also, since the West does not own a monopoly on humor in music, contributions from non-Westerners are more than welcome.
By analogy with philosophy which reflects on philosophizing as part of itself, metafiction is currently conceived as fiction whose remarks about fiction-writing form part of the artwork itself. Would it be possible to conceive meta-poetry, meta-essay, meta-painting and meta-music? If so, do examples of such actually exist? Can you name them? Are they high-quality works?
Forced by the pressure of inquiring minds in this question thread, I have had to extend the theme of inquiry from metaesthetics to metasciences both in the sense of natural sciences and social sciences. Hence metadisciplines can signify reflections about disciplines themselves which differ from those disciplines in practice, but metadisciplines can also mean reflections about realities lying beyond the usual province of the disciplines as such.
How can you explain the existence of art that expresses mystery or secrecy for its own sake? Debussy found mysteriousness in music a synonym of beauty. Picasso communicated a sense of mystery in his famous synthetic cubist painting, "The Three Musicians" (1921). Yet how can you judge the quality of hermetic art if what it attempts to convey is purposely veiled? Could you offer examples of such art and account for their immortality?