Musikteori og musikvidenskab

The Western art music canon is a collection of musical works that are considered to be the most important and influential in the history of Western music. It is typically defined by a focus on European composers and musical traditions, and it has been critiqued for its lack of diversity and representation.In recent years, there has been a growing movement to queer the Western art music canon. This means challenging the traditional assumptions about what constitutes "good" music and who is considered to be a "great" composer. It also means amplifying the voices of marginalized musicians and composers, including those who are LGBTQIA+, BIPOC, and disabled.There are many reasons why it is important to queer the Western art music canon. First, it is simply unfair that so many talented musicians and composers have been excluded from the canon simply because of their identity. Second, queering the canon can help us to better understand and appreciate the diversity of musical traditions that exist in the world. And third, it can help us to imagine new possibilities for the future of music

A prolific writer, photographer, portraitist, and documentarian, Lucia Moholy defies categorization. She was as active in avant-garde circles as she was in the field of information science, advancing an expansive understanding of visual reproduction. While previous publications on Moholy have limited her accomplishments to the five years she spent at the Bauhaus, Lucia Moholy: Exposures presents the full breadth of her writings and photographs for the first time. Extensive essays drawing on new archival discoveries offer insights into her early life in turn-of-the-century Prague, her involvement in the radical social movements of the 1920s in Weimar Germany, her emigration to London, where colleagues and friends included members of the Bloomsbury Group as well as her wartime involvement with microfilm and scientific documentation and her work in the Middle East on behalf of UNESCO. Acknowledging her reception by contemporary artists such as Jan Tichý, the publication demonstrates how Moholy's interdisciplinary approach to photography anticipated the medium's post-analogue present.LUCIA MOHOLYs (1894-1989) photographs in the aesthetics of the New Objectivity continue to shape the international reception of the Bauhaus to this day. After studying art history and philosophy in her native Prague, she worked as an editor before arriving at the Bauhaus with her husband László Moholy-Nagy in 1923. Her bestselling book A Hundred Years of Photography 1839-1939 was highly influential for the recognition of the medium as an art form. In 1959 she settled in Switzerland, where she continued to work as an art critic.

"Celia Cruz - The Defiant Voice of Afro-Cuban Music" is a riveting tribute to the life, legacy, and indomitable spirit of one of Latin music's most celebrated icons. This biography captures the essence of Celia Cruz's journey - from her humble beginnings in Havana's vibrant neighborhoods to her ascent as the undisputed "Queen of Salsa."Using a rich tapestry of different sources, the author paints a vivid portrait of Cruz as not just a musical sensation but also a symbol of resilience and defiance against the socio-political challenges of her era. The book delves into Cruz's early exposure to Santería chants, rumba rhythms, and the burgeoning sounds of mambo, highlighting the Afro-Cuban roots that deeply influenced her musical style.While celebrating her chart-topping hits and collaborations with legendary artists, this biography also sheds light on Cruz's profound struggles. From facing racism due to her African heritage to her painful decision to leave Cuba post the Castro revolution, Cruz's life was marked by battles that went beyond the stage. Her voice, both in song and in life, became a beacon for countless immigrants and Afro-Latinos, echoing themes of hope, identity, and freedom.The author also emphasizes Cruz's role in challenging the gender norms of Latin music. In a male-dominated industry, Cruz carved out a space for herself, breaking barriers and setting the stage for future female artists. Through her distinctive style, characterized by vibrant costumes and her electrifying stage presence, the singer asserted her identity and influenced fashion and pop culture."Celia Cruz - The Defiant Voice of Afro-Cuban Music" is not merely a chronicle of Cruz's life. It's a celebration of Afro-Cuban heritage, a testament to the power of perseverance, and an intimate look at the woman whose voice continues to inspire and resonate with generations across the globe. Whether you're a seasoned salsa aficionado or a newcomer to Cruz's captivating melodies, this book is an essential read, promising to immerse you in the rhythms and passions of a remarkable life.

Questo lavoro sintetizza esperienze di studio e ricerca maturate personalmente nell'ultimo decennio negli ambiti di una materia complessa ma estremamente affascinante. Ritengo sia fondamentale, per ogni musicista, conoscere gli aspetti basilari che caratterizzano gli eventi legati alla pratica musicale e analizzare da vicino le proprietä dei suoi principi fisici, cosi¿ come le componenti psicologiche che la contraddistinguono. Se la musica e¿ l'arte dei suoni, l'acustica e la psicoacustica rappresentano oggi l'arte di conoscerne l'anima e le caratteristiche piu¿ profonde.

This ten-chapter book explores how music and society are, and have been, intertwined and mutually influential. It examines the agents behind these connections: who determines musical cultures in society? Which social groups are represented in particular musical contexts? Which social groups are silenced or less well represented in music's histories, and why?

Ugo Rondinone's 2022 exhibition the water is a poem unwritten by the air / no. the earth is a poem unwritten by the fire at the Petit Palais in Paris explores the theme of transformation. Ugo Rondinone presents three ensembles of sculptures and a monumental video installation. Earth, sky, air, water and fire are invoked in the fullness of their spiritual dimension. Under the museum's painted ceilings, the first ensemble welcomes visitors in a farandole of suspended bodies painted in a clouded sky camouflage, underlining the ephemeral melding of air and water. A second ensemble is composed of seated sculptures of dancers at rest made from a blend of wax and earth collected from seven continents. The centerpiece artwork titled burn to shine, is a film installation presented in a monumental charred wood cylinder. The artwork depicts bodies coming together throughout movement, with dancers and musicians gathered around a fire in the desert from sunset to sunrise. In echo with John Giorno's poem titled You Got To Burn To Shine. This catalogue is a unique document of the dialogue between Rondinone's works confronted with the museum's architecture and its collections.UGO RONDINONE (*1964, Brunnen, Switzerland) is recognized as one of the major voices of his generation, an artist who composes searing meditations on nature and the human condition while establishing an organic formal vocabulary in sculpture, painting, video, and performance. The New York-based artist borrows from ancient and modern cultural sources; his works exude pathos and humor, going straight to the heart of the most pressing issues of our time.

The musical literacy of a society is the product of a profound, programmed and long-lasting musical education. The great musical geniuses of the countries of Northern and Eastern Europe are not a fortuitous and isolated event, but are the result of previous work from school, in a compulsory and continuous way, and the product of centuries of musical culture. I believe that research work in music education is necessary in order to promote literacy. The present work is based on the implicit conceptions about the value of music assumed by the majority of the population and which have led to failures, abandonment and frustrations of both amateurs and students. The work attempts to highlight the situation of Music Education in Spain and proposes a programme as an alternative to the system currently in place. A bibliographical review has been carried out showing the empirical evidence of some of the latest discoveries in neuroscience, data on the history of Music Education in Spain, current legislation and study plans of some of the most representative countries.

The purpose of this book is to provide a concise introduction to the mathematical theory of music, opening each chapter to the most recent research. Despite the complexity of some sections, the book can be read by a large audience. Many examples illustrate the concepts introduced. The book is divided into 9 chapters.In the first chapter, we tackle the question of the classification of chords and scales. Chapter 2 is a mathematical presentation of David Lewin's Generalized Interval Systems. Chapter 3 offers a new theory of diatonicity in equal-tempered universes. Chapter 4 presents the Neo-Riemannian theories based on the work of David Lewin, Richard Cohn and Henry Klumpenhouwer. Chapter 5 is devoted to the application of word combinatorics to music. Chapter 6 studies the rhythmic canons and the tessellation of the line. Chapter 7 is devoted to serial knots. Chapter 8 presents combinatorial designs and their applications to music. The last chapter, chapter 9, is dedicated to the study of tuning systems.

This book provides a multifaceted view on the relation between the old and the new in music, between tradition and innovation. This is a much-debated issue, generating various ideas and theories, which rarely come to unanimous conclusions. Therefore, the book offers diverse perspectives on topics such as national identities, narrative strategies, the question of musical performance and musical meaning. Alongside themes of general interest, such as classical repertoire, the music of well-established composers and musical topics, the chapters of the book also touch on specific, but equally interesting subjects, like Brazilian traditions, Serbian and Romanian composers and the lullaby. While the book is mostly addressed to researchers, it can also be recommended to students in musicology, ethnomusicology, musical performance, and musical semiotics.

Christiane Löhr schafft einen einzigartigen skulpturalen und installativen Kosmos mit Materialien aus der Natur. Organische Elemente wie Flugsamen, Pflanzenstängel, Kletten, Baumblüten, Pferde- und Hundehaar nutzt sie als Konstruktionsmaterial für ihr organisch-abstraktes Formenrepertoire. Auf überraschende Weise transformiert sie die vergänglichen Materialien in präzise konstruierte, zarte Skulpturen, mal filigran, mal raumgreifend. Passend zu der groß angelegten Überblicksausstellung lässt sich der Katalog als eine Art Anthologie verstehen: Neben aktuellen Texten von Julia Wallner, Jutta Mattern, Astrid von Asten und Tiziano Scarpa vereint er Essays diverser Autor*innen zum Werk der Künstlerin aus den vergangenen Jahrzehnten. Ergänzt wird er durch In-Situ-Fotos der Skulpturen im lichtdurchfluteten Bau des Arp Museums Bahnhof Rolandseck von Richard Meier.CHRISTIANE LÖHR (*1965, Wiesbaden), die in Köln und in Prato in der Toskana arbeitet, ist eine der wichtigsten Stimmen im aktuellen Diskurs um neue, zeitbezogene Ansätze in der Skulptur. Ihre Werke sind weltweit zu sehen, u.a. war sie Teilnehmerin der von Harald Szeemann kuratierten 49. Biennale di Venezia. Einzelausstellungen wurden ihr in der Panza Collection, Varese, im Kunsthaus Baselland, im Skulpturenpark Waldfrieden, Wuppertal sowie im Haus am Waldsee, Berlin gewidmet.

Jaime Jaramillo Arias (Manizales, 1978), es un Licenciado en Música de la Universidad Tecnológica de Pereira, con una experiencia musical de alrededor de 30 años.Su trabajo está encaminado al desarrollo de la teoría de la práctica musical, tanto en la tradición clásica europea como en el jazz. Es arreglista y compositor de obras que van desde lo clásico hasta el jazz moderno, y que han sido interpretadas en países como Estados Unidos, Francia, Alemania, Uruguay, Bolivia, Perú, Costa Rica, Guatemala, Venezuela, México, y Colombia, entre otros.Es profesor en las carreras Licenciatura en Música y Maestro en Música de la Universidad de Caldas en Manizales/Colombia, y a su cargo han estado las cátedras de composición, orquestación, taller instrumental, formas musicales, armonía, contrapunto y fuga, música de cámara, improvisación, teoría del jazz, y guitarra eléctrica con énfasis en Jazz, entre otras.En 2014 publica éste, su primer libro titulado "Teoría del Jazz", y en 2020 su segundo libro titulado "Método de Orquestación Sinfónica".Ha sido compositor, arreglista, y productor, para reconocidas agrupaciones y solistas importantes del país en términos de música clásica, música latinoamericana, y jazz.