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Mozart and Enlightenment Semiotics
In this groundbreaking, historically-informed semiotic study of late eighteenth-century music, Stephen Rumph focuses on Mozart to explore musical meaning within the context of Enlightenment sign and language theory. Illuminating his discussion with French, British, German, and Italian writings on signs and language, Rumph analyzes movements from Mozart’s symphonies, concertos, operas, and church music. He argues that Mozartian semiosis is best understood within the empiricist tradition of Condillac, Vico, Herder, or Adam Smith, which emphasized the constitutive role of signs within human cognition. Recognizing that the rationalist model of neoclassical rhetoric has guided much recent work on Mozart and his contemporaries, Rumph demonstrates how the dialogic tension between opposing paradigms enabled the composer to negotiate contradictions within Enlightenment thought.
eBook
Mozart and Enlightenment semiotics
In this groundbreaking, historically-informed semiotic study of late eighteenth-century music, Stephen Rumph focuses on Mozart to explore musical meaning within the context of Enlightenment sign and language theory. Illuminating his discussion with French, British, German, and Italian writings on signs and language, Rumph analyzes movements from Mozart's symphonies, concertos, operas, and church music. He argues that Mozartian semiosis is best understood within the empiricist tradition of Condillac, Vico, Herder, or Adam Smith, which emphasized the constitutive role of signs within human cognition. Recognizing that the rationalist model of neoclassical rhetoric has guided much recent work on Mozart and his contemporaries, Rumph demonstrates how the dialogic tension between opposing paradigms enabled the composer to negotiate contradictions within Enlightenment thought.
eBook
A Comparison of Practice and Self-Report as Sources of Information About the Goals of Expert Practice
A concert pianist recorded her practice as she learned the Italian Concerto (Presto) by J. S. Bach for performance, commenting on what she was doing as she practised. After the performance the pianist reported decisions made during practice on three basic dimensions (fingering, technical difficulties, familiar patterns of notes), four interpretative dimensions (phrasing, dynamics, tempo, pedal), and three performance dimensions representing features of the music attended to during performance (basic, interpretative, expressive). Number of features per bar served as predictor variables in regression analyses in which the predicted variables were number of starts, stops, and repetitions. Practice was divided into three separate learning periods. Practice was affected by basic dimensions in the first two periods and by interpretative dimensions in the last two periods, while performance dimensions affected practice throughout. The frequency of comments made while practising showed similar patterns, providing converging evidence for changes in the pianist's goals across the learning process. Practice and self-reports did not, however, entirely agree. Self-reports failed to mention practice of dynamics and indicated that selection of performance features occurred late in the learning process whereas practice data showed that both dynamics and performance features were practised right from the start. Practice sometimes provides information not available in self-reports.
Journal Article
The Music Collection of Thomas Baker of Farnham, Surrey
Thomas Baker's music collection is part of the special collections of the Music Library at Western University, Ontario. Thomas Baker (1719/20-94) lived mainly in Farnham, southwest of London, England, in the County of Surrey. His music collection remained largely intact, which is unusual for the library of an eighteenth-century man who lived in a small town in rural England. The collection at Western consists of 90 separate pieces of music, collections of music, and books of music theory, plus six manuscripts; an inventory of the collection illustrates the variety of musical forms that he collected. His purchase of an organ leads us to conclude that he played the organ and possibly other keyboard instruments; about 25% of his collection is for keyboard. However, he was also interested in a variety of other musical forms, either as a performer or as a collector. From the surviving information, we can create a basic portrait of Baker and his music collection, even if we can draw no definite conclusions about how it was used or if he was merely a collector, or also a performer or an organizer of concerts.
Journal Article
The Listener's Gallery: www.YouTube.com
Berg highlights the video sharing website YouTube, noting that it offers free and instant access to a staggering array of remarkable performances by great singers of the past and present.
Journal Article
Interview with Shivkumar Sharma, Classical Santoor Player and Hindi Film Music Composer
In an interview, santoor player and film music composer Shivkumar Sharma comments on how he feels about film music, what attracted him to composing it, how it differs from other classical music, and its use to create emotional impact in movies.
Journal Article
Voice Research and Technology: Intelligibility of Prolonged Vowels in Classical Singing
The intelligibility of American English vowels sung by classically trained singers is examined in relation to the vowels used in vocalises by singing teachers. Results support prior findings that intelligibility is higher for males than for females, and higher for lower pitches than higher pitches. Poor matches were found between intended vowels and the identified vowels, leading to the recommendation that conservatories and schools of music include in their voice curricula a course in American English diction.
Journal Article
In memoriam: Arturo González Quintana (1923-2006)
Classical guitarist Arturo González Quintana died on November 9, 2006, at age 83. His career is profiled.
Journal Article
Corpo-realities: keepin' it real in \music and embodiment\ scholarship
Trombonist Abbie Conant's court battle with the Munich Philharmonic after being demoted as solo trombone chair for being a woman, and the case of the Vienna Philharmonic's behavior toward women and racial minorities are touchstones for two salient issues in recent scholarship on music and embodiment: the implications of live music versus recorded forms and the ramifications of intercorporeality in musical performance. Music scholars, particularly those working in the areas of improvisation and intercultural popular music, have proposed that intercorporeality (face-to-face embodied collaborations) involving musicians of diverse backgrounds may offer productive models of communities that both encompass difference and generate unity. Although the aurality of recorded music can interrupt hegemonic visual cues, such disruption is often attenuated when stereotypes are simply reinscribed retroactively after discovering the musician's identity. When aurality is understood in terms of its visceral power in the body, the rewriting of subjectives can be more radical and abiding.
Journal Article