Musikteori og musikvidenskab

Hvorfor har vi musik? Vi har altid haft musik. Det ældste kendte musikinstrument er omkring40.000 år gammelt. Det peger på, at musik ikke kun har en æstetiskfunktion – ellers ville evolutionen have fjernet den undervejs. Vi spiserfor at overleve, har sex for at opretholde arten, indsamler viden for at udvikle os og optimere vores overlevelsesmuligheder – men hvorfor musikken? Når vi foretager os noget godt for vores overlevelse, udløses der et stof i vores hjerner, som vækker en følelse af nydelse – og vi ved, at oplevelsen af musik gør det samme. Musikken er altså vigtig for os, men på hvilken måde? I Musik på hjernen undersøger Peter Vuust, hvad der sker i hjernen, når vi lytter til og spiller musik. Bliver vi klogere? Mere opmærksomme eller følsomme over for andre? Og hvad med sproget –hvordan hænger det sammen med vores opfattelse af musik? Ved at undersøge forskellen på musikeres og ikke-musikeres hjerner, om der findes et særligt gen for musik, nærmer vi os et svar på, hvorfor vi alle– i større eller mindre grad – har musik på hjernen.

Bogen består af tre kapitler:Elementær musikteori er en introduktion til noder, skalaer, intervaller og akkorder.Harmonisk analyse giver indblik i, hvordan akkorder kan sættes sammen på forskellige måder og med forskellige virkninger.Rytmik handler om timing, betoning, puls, takt, rytmenotation, synkoper m.v. Bogen indeholder mange øvelser, som er en god hjælp i arbejdet med det teoretiske stof, ligesom de talrige nodeeksempler gør teorien let at forstå.Bogen kan bruges af enhver, der ønsker et solidt musikteoretisk fundament - som basis for at arbejde med musikanalyse eller for at synge og spille musik.

Skriv hits og sælg dem er Marcus Winther-Johns guldkorn og erfaringer samlet gennem de seneste 15 år som professionel sangskriver for danske og internationale artister fra Tim Christensen, Sanne Salomonsen over X-factor og Grand Prix vindere til Japanske boybands.Bogen er opdelt i to dele: En kreativ og en kommerciel – for begge områder skal med, hvis du skal leve af at være sangskriver. Du får massevis af værktøjer, eksempler og en playliste til hvert kapitel så du kommer helt ind under huden på et vaskeægte hit. Efterfølgende fortæller bogen hvordan et hit finder vej til en artist og en udgivelse.Skriv hits og sælg dem er for dig, der ønsker en professionel sangskriverkarriere eller ønsker at blive endnu bedre til at skrive dine egne sange.

"Moderne tider" fortæller om den fantastiske musik mellem århundredskiftet og Anden Verdenskrig. Værket begynder på Verdensudstillingen i Paris anno 1889: Et hold unge komponister hører halvnøgne indonesere spille musik på vildt eksotiske instrumenter. Mødet sætter gang i en rivende udvikling med Claude Debussys impressionisme og eksperimenter med fremmedartede virkninger og støj. Læseren føres gennem Gustav Mahlers symfonier, alle Richard Strauss' operaer og Jean Sibelius' kampe med druk og depression og får undervejs et levende billede af århundredskiftets politiske og sociale situation. Bogen genfortæller alle de kendte anekdoter og gør samtidig op med mange fordomme: Premieren på "Le sacre du printemps" af Stravinsky i 1913 var for eksempel ikke en skandale – og Puccinis operaer er i virkeligheden et forskræp til den moderne musical.Søren Schauser er journalist på Berlingske, lektor i kulturhistorie på Det Kongelige Danske Musikkonservatorium og kendt fra radio og TV - senest som vinder af Den Klassiske Musikquiz på DR med flere end 120.000 seere.

Musikken og især Richard Wagner spillede en meget stor rolle i Thomas Manns liv og forfatterskab. “Jeg skaber så megen musik, som man med rimelighed kan skabe uden musik”, skriver Mann. Han regner sig blandt digterne til musikerne.Denne bogs fire første hovedkapitler behandler romanen Buddenbrooks, novellerne Tristan og Vølsungeblod og romanen Trolddomsbjerget, alle ud fra synsvinklen ‘musikken’, hvilket langt hen ad vejen vil sige Richard Wagner. Det er ham, Thomas Mann tænker på, når han i sin store musikerroman Doktor Faustus skriver: “Den højeste passion gælder det absolut suspekte”, og om Manns livslange “entusiastiske ambivalens” i forhold til Wagner handler det femte kapitel, som også beskriver, hvor skæbnesvanger denne ambivalens blev for Thomas Mann og hans familie efter Hitlers magtovertagelse i 1933. Doktor Faustus er emnet for bogens sjette kapitel; romanen skildrer i en art parallelforløb komponisten Adrian Leverkühns og Tysklands skæbne i første halvdel af det 20. århundrede.Thomas Mann har gennem hele sit forfatterskab – direkte og indirekte – beskæftiget sig med musikken, dens væsen, dens gåde. Den store ironiker har fået sin livsholdning bekræftet og underbygget ved musikkens principielle tvetydighed.Niels Bille Hansen (født 1932) er cand.mag. i dansk og tysk. Har undervist i gymnasieskolen, lavet udsendelser i Danmarks Radio om Thomas Mann og musikken og undervist i Thomas Mann på Folkeuniversitetet. Medstifter af Det Danske Thomas Mann Selskab.

Den lange mørke nat ved historiens afslutning er nødt til at blive forstået som en enorm mulighed. Den kapitalistiske realismes omsiggribende undertrykkelse betyder, at selv små glimt af politiske og økonomiske muligheder kan få en uproportionelt stor effekt. Den mindste begivenhed kan rive et hul i det grå forhæng, som har markeret handlingsmulighedernes horisont under den kapitalistiske realisme. Fra en situation, hvor intet nogensinde kunne ske, er alting pludselig muligt igen.

Fortællende viser med rødder i middelalderen har siden midten af 1800-tallet været emnet for adskillige banebrydende tekststudier. Men hvordan kommer det fortællende aspekt af disse ballader til udtryk i selve sangen, og hvordan kan vi forstå den mundtlige sangtraditions syngemåde og de personlige sangudtryk? For første gang i dansk viseforskning søges disse spørgsmål systematisk besvaret. Med fem sangere som hovedpersoner, enestående lydoptagelser og et omfattende skriftligt kildemateriale som baggrund introducerer Lene Halskov Hansen begrebet "det fortællende sangudtryk", ligesom begreberne visualisering, overlevering og tilegnelse og betydningen af viserne nuanceres. Ballader knyttes ofte til kædedans når talen falder på middelalderen, men manglen på direkte kilder i denne periode fastholder os i sikker uvished. Hvad ved vi faktisk om kædedans i Danmark? Lene Halskov Hansen giver en fornyende kildekritisk gennemgang af både velkendte og hidtil uudnyttede kilder - såvel kilder der direkte omhandler kædedans, og kilder der lader tolkningen om kædedans stå åben. Resultatet er et nyttigt overblik over kædedansens position i Danmark og ikke mindst et indblik i et rigt folkeliv i og omkring (kæde)dans til sang eller musik i forskellige perioder. Der findes 19 lydoptagelser på den tilhørende cd. Lene Halskov Hansen, mag.art. i Folkloristik fra Københavns Universitet. Siden 2007 tilknyttet Dansk Folkemindesamling, Det Kongelige Bibliotek, som arkivar og med forskningsprojekter om sang, kædedans og humor.

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Hvordan ’lyder’ døden og evigheden hos Gustav Mahler, Richard Strauss, Edward Elgar og Arnold Schönberg? Denne bog er den første af sin art til at beskæftige sig med netop dette spørgsmål. I forsøget på at afklare musikkens favntag med de store metafysiske emner fører Eva Maria Jensen læseren igennem en stor del af musikhistorien fra midten af 1800-tallet til tiden umiddelbart efter 1. Verdenskrig. Hun undersøger sammenhængen mellem periodens musik og idéhistorie, koncertsalsarkitektur, billedkunst og litteratur – og ikke mindst de religiøse og nyreligiøse bevægelser. Bogen bygger på grundige analyser af kendte værker som Mahlers 2., 3., 4. og 8. Symfoni samt Das Lied von der Erde, Strauss’ Tod und Verklärung, Elgars The Dream of Gerontius og Schönbergs Die Jakobsleiter. I analyserne inddrages bl.a. komponisternes egne udtalelser og den nyeste musikvidenskabelige forskning. Eva Maria Jensen (f. 1946), organist, cand.mag. i musik og filosofi, ph.d. i teologi, tidligere lektor ved Musikvidenskabeligt Institut samt ved Institut for Kirkehistorie (Center for Kunst og Kristendom), begge Københavns Universitet, studieleder i musik ved Folkeuniversitetet, København. Desuden skribent, anmelder, musiker og komponist.

Musik i tv-reklamer er et stærkt kommunikativt fænomen. De fleste af os udsættes dagligt for denne musik, og vi kan ikke let lukke ørerne for den. Musik i tv-reklamer kan bl.a. fange vores opmærksomhed, skabe hukommelse og bidrage til at karakterisere det, som reklamen forsøger at sælge. Musik i tv-reklamer er dog ikke et velundersøgt fænomen, og bogen tilbyder på den baggrund en indføring i, hvad der karakteriserer musik i tv-reklamer, og hvordan musikken kan undersøges i et tekstanalytisk perspektiv.

This book, The Kyoto Post-COVID Manifesto for Global Economics (KM-PC), is a sequel to our 2018 book, The Kyoto Manifesto for Global Economics (KM-I, 2018). It further exposes the failures of a global economic regime that, based on self-interest, has led to the enormously unequal and fragmented society of today and our decreased ability to respond and recover from the critical worldwide consequences of such a regime over time - notably, climate change. At stake is our very survival beyond the twenty-first century. The fundamental tenet of this book is that our power to heal our currently fractured society lies in the depth of our humanity - in our shared human spirit and spirituality. What is sacred or of imperishable supreme value is what we can be as a human race: empowered, fulfilled individuals, living in harmony, deeply sharing and caring for one another and the environment that sustains us across our distinct cultures and worlds in which we live. Thus, the norms in our economic relations do not have to be those of self-interest that separates us, the ever-watchful distrust represented by "the deal" and immediate economic advantage for me. Instead, we can build an economic frame for our society based on mindfulness, care, mutual human benefit, and trust - on our shared humanity. Our argument was complete and we were ready to publish. But then, suddenly, from the dawning of 2020, everything changed. COVID-19 invaded and the world as we knew it simply stopped. No one saw it coming. As authors, we waited to watch and seek to understand. The result is that the book captures the COVID trauma and, against the fractures based on self-interest already visible in today's society, assesses the impact of COVID-19 now and for the future. Focusing on a humanity-based economics is even more important now, and this book shows why.Chapter 15 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

The book presents selected papers at the 9th Conference on Sound and Music Technology (CSMT) held virtually in June 2022, organized by Zhejiang University, China. CSMT is a multidisciplinary conference focusing on audio processing and understanding with bias on music and acoustic signals. The primary aim of the conference is to promote the collaboration between art society and technical society in China. In this book, the paper included covers a wide range topic from speech, signal processing, music understanding, machine learning, and signal processing for advanced medical diagnosis and treatment applications, which demonstrates the target of CSMT merging arts and science research together. Its content caters to scholars, researchers, engineers, artists, and education practitioners not only from academia but also industry, who are interested in audio/acoustics analysis signal processing, music, sound, and artificial intelligence (AI).

This book outlines how the protagonists in The Nibelung's Ring, The Lord of the Rings, and Game of Thrones attempt to construct identities and expand their consciousness manifestations. As the characters in the three works face the ends of their respective worlds, they must find answers to their mortality, and to the threat it implies: the loss of identity and consciousness. Moreover, it details how this process is depicted performatively. In a hands-on and interdisciplinary approach, this book seeks to unveil the underlying philosophical concepts of identity and consciousness in the three works as they are represented audio-visually on stage and screen. Through the use of many practical examples, this book offers both academic scholars and any interested readers a completely new perspective on three enduringly popular and interrelated works.

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.

This book presents cutting-edge methods and findings that are expected to contribute to significant advances in the areas of communication design, fashion design, interior design and product design, as well as musicology and other related areas. It especially focuses on the role of digital technologies, and on strategies fostering creativity, collaboration, education, as well as sustainability and accessibility in the broadly-intended field of design. Gathering the proceedings of the 8th EIMAD conference, held on July 7-9, 2022, and organized by the School of Applied Arts of the Instituto Politecnico de Castelo Branco, in Portugal, this book offers a timely guide and a source of inspiration for designers of all kinds,  advertisers, artists, and entrepreneurs, as well as educators and communication managers. 

This book gathers a set of works highlighting significant advances in the areas of music and sound. They report on innovative music technologies, acoustics, findings in musicology, new perspectives and techniques for composition, sound design and sound synthesis, and methods for music education and therapy. Further, they cover interesting topics at the intersection between music and computing, design and social sciences.  Chapters are based on extended and revised versions of the best papers presented during the 6th and 7th editions of EIMAD-Meeting of Research in Music, Arts and Design, held in 2020 and 2021, respectively, at the School of Applied Arts in Castelo Branco, Portugal. All in all, this book provides music researchers, educators and professionals with authoritative information about new trends and techniques, and a source of inspiration for future research, practical developments, and for establishing collaboration between experts from different fields.

Investigates the significance of a range of digital technologies in contemporary Indigenous musical performance, exploring interdisciplinary issues of music production, representation, and transmission.The essays in this volume offer rich and diverse perspectives on the encounter between Indigenous music and digital technologies. They explore how digital media -- whether on CD, VCD, the Internet, mobile technology, or in the studio -- have transformed and become part of the fabric of Indigenous cultural expression across the globe. Communication technologies have long been tools for nation building and imperial expansion, but these studies reveal how over recent decades digital media have become a creative and political resource for Indigenous peoples, often nurturing cultural revival, assisting activism, and complicating earlier hegemonic power structures. Bringing together thework of scholars and musicians across five continents, the volume addresses timely issues of transnationalism and sovereignty, production and consumption, archives and transmission, subjectivity and ownership, and virtuality and the posthuman. Music, Indigeneity, Digital Media is essential reading for scholars working on topics in ethnomusicology, Indigeneity, and media studies while also offering useful resources for Indigenous musicians and activists. The volume provides new perspectives on Indigenous music, refreshes and extends debates about digital culture, and points to how digital media shape what it means to be Indigenous in the twenty-first century.Contributors: Linda Barwick, Beverley Diamond, Thomas R. Hilder, Fiorella Montero-Diaz, John-Carlos Perea, Henry Stobart, Shzr Ee Tan, Russell Wallace Thomas R. Hilder is postdoctoral fellow in musicology at the University of Bergen. Henry Stobart is reader in music at Royal Holloway, University of London. Shzr Ee Tan is senior lecturer at Royal Holloway, University of London.

Presents thirteen studies that engage with the notion of formal function in a variety of waysAmong the more striking developments in contemporary North American music theory is the renewed centrality of issues of musical form (Formenlehre). Formal Functions in Perspective presents thirteen studies that engage with musical form in a variety of ways. The essays, written by established and emerging scholars from the United States, the United Kingdom, Canada, and the European continent, run the chronological gamut from Haydn and Clementito Leibowitz and Adorno; they discuss Lieder, arias, and choral music as well as symphonies, concerti, and chamber works; they treat Haydn's humor and Saint-Saens's politics, while discussions of particular pieces range from Mozart's arias to Schoenberg's Verklarte Nacht. Running through the essays and connecting them thematically is the central notion of formal function. CONTRIBUTORS: Brian Black, L. Poundie Burstein, Andrew Deruchie, Julian Horton, Steven Huebner, Harald Krebs, Henry Klumpenhouwer, Nathan John Martin, Francois de Medicis, Christoph Neidhofer, Julie Pedneault-Deslauriers, Giorgio Sanguinetti, Janet Schmalfeldt, Peter Schubert, Steven Vande Moortele Steven Vande Moortele is assistant professor of music theory at the University of Toronto. Julie Pedneault-Deslauriers is assistant professor of music at the University of Ottawa. Nathan John Martin is assistant professor of music at the University of Michigan.

Brings together in one volume the full text of some 450 letters in first-time English translation, organized into sections each prefaced by an introduction. All the letters are fully annotated and they yield information about Viennese society, culture and politics of the time.The work of Heinrich Schenker (1868-1935), widely regarded as the most important music theorist of the twentieth century, has shaped the teaching of music theory in the United States profoundly and influenced theorists there, in Europe, and throughout the world. Living and working in Vienna, Schenker maintained a vigorous correspondence with a large circle of professional musicians, writers, music critics, institutions, administrators, patrons, friends, and pupils. A large part of his correspondence was preserved after his death: some 7,000 letters, postcards, telegrams, etc., to and from 400 correspondents. His diaries record the fabric of his personal life and his activities asa private music teacher and writer; they also provide a detailed commentary on historical and political events and offer a window on to the conditions of life in Vienna. Taken together, these documents contribute vividly to the picture of cultural life in Vienna, and elsewhere, from the perspective of a Jewish intellectual and his circle of musical and artistic friends. Heinrich Schenker: Selected Correspondence represents a concise edition ofsome of the theorist's most important and revelatory letters and diary entries. It offers the full text of some 450 letters in English translation, organized into sections devoted to various aspects of his professional life: teaching, writing, administration, and maintaining contact with an ever widening circle including Ferruccio Busoni, Julius Rontgen, Otto Erich Deutsch, Alphons von Rothschild, Paul von Klenau, Wilhelm Furtwangler, Paul Hindemith, MorizViolin, John Petrie Dunn, and Hans Weisse. Extracts from the diaries provide a summary of important parts of the correspondence that do not survive. The volume includes a detailed exposition of the editorial method, biographicalnotes on correspondents, and a substantial general introduction. Each of the sections is prefaced by an introduction which provides essential historical context, and the letters and diary entries are fully annotated. IAN BENT is Emeritus Professor of Music at Columbia University in New York, and lives in the United Kingdom. DAVID BRETHERTON is Lecturer in Music at the University of Southampton. WILLIAM DRABKIN is Professorof Music at the University of Southampton. CONTRIBUTORS: Marko Deisinger, Martin Eybl, Christoph Hust, Kevin C. Karnes, John Koslovsky, Lee Rothfarb, John Rothgeb, Hedi Siegel, Arnold Whittall

Bogen fortæller om musikopdragelse og musikundervisning. Musikken griber dybt ind i os og er selv udtryk for vores indre liv. Bogens vigtigste tese er derfor, at musik som undervisningsfag har perspektiver ud over sig selv og kan omfatte hele den menneskelige dannelse. Bogen henvender sig især til studerende og lærere på de musikpædagogiske uddannelser i Norden, men den kan læses af alle, der er optaget af det musiske og æstetiske i opdragelse og undervisning.