Music as Cultural Heritage and Novelty

Preface
Contents
Part I Reconsidering Music History
1 What is ‘Modern’? How to Renew Musical Heritages or the Innovators and Reformers of Music History
1.1 About the ‘Modern’
1.1.1 Germany
1.1.2 Russia
1.1.3 France
1.1.4 Latin America
1.1.5 Peripheries of Europe
1.1.6 United States
1.2 About the ‘Postmodern’
1.3 The Structure of the Modern Sign
References
2 Paradigms of European Music of the 18th–20th Centuries and Stravinsky’s Innovations
2.1 Introduction
2.2 The Main Extramusical Paradigms
2.2.1 Verbal Speech as the General Paradigm for Music
2.2.2 Nature as the General Paradigm for Music
2.3 General Paradigms in the 20th-Century Music
2.4 Stravinsky and the Change of General Paradigm for European Music
2.4.1 Paradigm of Nature in Different Variants
2.4.2 Rite-Gesture as the General Paradigm for Stravinsky’s Music
2.4.3 Gesture and Word in Stravinsky’s Music
2.4.4 Some Other Kinds of the Gesture Paradigm
2.5 A Brief Glance at a “Bouquet” of Paradigms in the Music of Stravinsky Epoch
2.5.1 Different Kinds of Music from the Point of View of Information
2.6 Conclusions
References
3 Mémoire et invariants dans les œuvres de l’histoire musicale européenne, dans la littérature et dans les neurosciences
3.1 Les topiques, invariants et universaux en musique
3.2 Les topiques dans la littérature
3.3 La question des invariants dans les recherches en neurosciences et les recherches récentes concernant la mémoire
3.4 Quelques exemples musicaux des XIXe et XXe Siècles
References
4 The Heritage Prior to Killing the Radio Star: How Modern Music Videos Were Shaped by Their Predecessors
4.1 Definition and Characteristics of the Music Video
4.2 The Genres of Music Video
4.3 A Short History (and Pre-history) of Music Videos
4.3.1 1960s: The Birth of the Modern Video?
4.3.2 Killing the Radio Star
4.4 Case-Study 1: “I Feel Fine”
4.5 Case Study 2: “Penny Lane”/“Strawberry Fields Forever”
References
Part II Phenomenological Approaches, Meaning and Narrative Strategies
5 Music and Affect: Self, Sound Embodiment, and the Music of Feldman and Xenakis
5.1 Self and Non-self: An Enactive Approach to Subjectivity
5.1.1 Autonomy, Autopoiesis, and Self-Organization
5.1.2 The Cognitive Self
5.1.3 Emptiness, Ego, and Groundlessness
5.1.4 Semiotic Self, Immune System
5.1.5 Self-realization
5.2 Sound Embodiment: Sound, Space, and Affect in Electroacoustic Music
5.2.1 Time Consciousness and Affect
5.2.2 Sound Embodiment and Sound Space
5.2.3 Immersive Acoustic Experience
5.2.4 Research on Immersive Sound at EARS
5.3 The Music of Morton Feldman and Iannis Xenakis
5.3.1 Anxiety and Energy
5.3.2 Feldman—Projection I–IV (1950–53)
5.3.3 Xenakis—Metastaseis (1953–54)
5.3.4 Feldman—Durations I–V (1960–61): From Graphics to Notes
5.3.5 Xenakis—Stochastic Music
5.3.6 Feldman—Why Patterns (1978): Asynchrony of Patterns
5.3.7 Xenakis—Herma (1961): Symbolic Composition
5.3.8 Feldman—Triadic Memories (1981): Sound Imagery
5.3.9 Xenakis—Mists (1981): Determination/Indetermination
5.3.10 Xenakis and Feldman: Time
5.4 Conclusion: “Is it Happening?”
References
6 Music as Ongoing Knowledge Construction: From Sound to Meaning
6.1 Introduction
6.2 Music as a Temporal and Sounding Art: Real-Time Processing and the Chronometric Approach
6.3 Sense-Making and Interaction: From Sound to Meaning
6.4 Listening as Knowledge Construction
6.5 Musical Sense-Making: The Dynamicist and Computationalist Approach
6.6 Conclusions and Perspectives
References
7 Reconsideration of Musical Gesture as a Musical Event in a Narrative Discourse
7.1 Introduction
7.2 Rethinking Musical Narrativity and Musical Events from Aspects of Almén’s and Tarasti’s Ideas
7.3 Musical Gesture as Part of a Communication Tool?
7.4 Musical Gesture as an Embodiment of the Expression by a Composer
7.5 Musical Gesture as a Process of Expression
7.6 Conclusions
References
8 A ‘Humorous’ Narrative Archetype in the Music of the Viennese Classics as a Subversive Device
8.1 Irony, Parody, Satire
8.2 Irony and Humour in the Viennese Classics’ Music
8.2.1 Inner-Musical Humour
8.2.2 Dramaturgies of Humour (1): Vocal Examples
8.2.3 Dramaturgies of Humour (2): Instrumental Examples
8.2.4 Dramaturgies of Humour (3): Narrative Master Plots in Classic Music
8.2.5 Some More Examples of the ‘Humorous’ Master Plot
8.3 Conclusions
References
Part III Performance Studies
9 The Performer Between Heritage and Novelty: Aspects of Spatiality in Performer’s Creativity
9.1 The Problem of Performer’s Creativity
9.2 Synopsis of the Framework
9.3 Musical Work as Prototype in Conceptual Space
9.4 Aspects of Spatiality in Performer’s Creativity
9.5 Conclusion
References
10 Adorno’s Ideas on Stravinsky’s Neoclassicism Meet the Pianist’s Work: Reflecting Playing Experience with Adorno’s Key Concepts
10.1 Introduction
10.2 Theoretical Premises: Conceptual Analysis and Embodied Intertextuality
10.3 Adorno’s Key Concepts on Stravinsky’s Neoclassicism Meet the Pianist’s Work
10.3.1 Psychological Aspect
10.3.2 Hybrid Intertextuality
10.3.3 Alienation as a Musical Experience
10.3.4 Music About Music and the “Tendency of the Material”
10.4 Stravinsky, Adorno and Jazz
10.5 Conclusions
References
Part IV National Legacies
11 “Polyphonic Personalities”. The Identity of a Modern Composer in the Self-reflection of György Ligeti and Jonathan Harvey
11.1 The Concept of Musical Self
11.2 The Composers’ Self-representation at the Turn of the Centuries
11.3 Case Studies. György Ligeti and Jonathan Harvey
11.3.1 György Ligeti—An Autonomous Artist
11.3.2 Jonathan Harvey—A Polyphonic Self
11.3.3 György Ligeti in Context
11.3.4 Jonathan Harvey in Context
11.4 Conclusion
References
12 Active and Visual Perception of 20th-Century Music: The Mimetic Hypothesis of Arnie Cox Using the Example of Arnold Schoenberg’s Chamber Symphony, Op. 9
12.1 Introduction
12.2 Arnie Cox’s Mimetic Hypothesis
12.3 Chamber Symphony, Op. 9—Analytical and Interpretation Notes
12.4 Dialectic Representation
12.5 Chamber Symphony, Op. 9, as “Engaging” Music
References
13 Moderate Modernism and the Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajičić
13.1 Introduction
13.1.1 Socialist Realism and Moderate Modernism
13.2 Stanojlo Rajičić’s Oeuvre After 1945. Two Late Works
13.2.1 Magnovenja, Song Cycle for Mezzo-Soprano and Orchestra (1964)
13.2.2 Variations for Orchestra (1979)
13.3 Conclusions
References
14 Between Tradition and Modernity, East and West—Bartók’s Musicological Reception and the Narratives of Hungarian Identity
14.1 Introduction—A Scandal Cancelled in Advance?
14.2 A Prophet in and Outside His Own Land
14.2.1 (De)Constructing Canons
14.2.2 “And Yet Our Kinsman Everywhere You Go”
14.3 The Misunderstood Ferryman
14.4 Meanings and Apologies
14.5 Musicus Natura Doctus
14.6 Conclusions
References
15 Forbidden Messages. Romanian Musician Constantin Silvestri in the Light of an Existential Semiotic Approach
15.1 Introduction
15.2 Some Key Concepts
15.3 Political Circumstances
15.4 Romanian Musician Constantin Silvestri
15.4.1 The Musical Context
15.4.2 The Personality. Presigns
15.4.3 The Style
15.4.4 Reactions
15.5 The Dominant and the Dominated
15.6 The Oppressor and the Oppressed (The Change in Paradigm)
15.7 Conclusions
References
Part V Focus on Brazil
16 The Epiphany Feast in Brazil: A Semiotic Perspective to the Analysis of a Living Liturgic Drama Tradition
16.1 Introduction
16.2 The Epiphany Feast in Brazil and the Structure of the Reisado
16.3 Juazeiro do Norte and the Foundation of a Holy City
16.4 Analysis of a Reisado Presentation: Master Margarida’s 83rd Birthday
16.4.1 Classification
16.4.2 Form of Expression and Form of Content
16.4.3 Actorial Structure and Corresponding Figures of Expression
16.4.4 Spatial Structure: The Unsuspected Journey
16.4.5 Temporal Structure
16.4.6 Analysis of a Chant
16.5 Final Considerations
References
17 Song from Overseas: Memory and Nomadism of Fado
17.1 Introduction: Canção do mar
17.2 Canção d’Além-Mar: o fado na cidade de Santos, pela voz de seus Protagonistas (Documentary)
17.2.1 Canção d’Além-Mar: o fado e a cidade de Santos (Book)
17.2.2 I Wish to Sing You a Fado… Interview with Manoel Joaquim Ramos and Lídia Miguez
17.3 The Roses on My Way (As Rosas no Caminho)
17.4 Tudo Isto é Fado! (Conclusions)
References
18 Uirapuru: The Legendary Enchanted Bird by Heitor Villa-Lobos. An Aesthetic Confrontation Along Stravinsky’s Firebird and Sibelius’s Tapiola
18.1 Introduction
18.2 Topics from the 1919 Firebird Suite
18.3 Uirapuru—Symphonic Poem
18.3.1 Uirapuru Montage at the Municipal Theater of Rio de Janeiro
18.3.2 Reordering of the Musicological Documents from Uirapuru
18.4 Tapiola as a Metaphor of the Spirit of Nature
18.5 Conclusions
References