The Rhetoric of Music: A Theoretical Synthesis PDF Download

Author:
Publisher: Bailey
ISBN: 0123456479
Category :
Languages : en
Pages : 17

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Author: Cary C Boshamer Distinguished Professor Mark Evan Bonds
Publisher:
ISBN: 9780674733404
Category :
Languages : en
Pages : 248

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Author: Leslie David Blasius
Publisher: Cambridge University Press
ISBN: 0521550858
Category : Music
Languages : en
Pages : 176

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Heinrich Schenker's theoretical and analytical works claim to resubstantiate the unique artistic presence of the canonic work, and thus reject those musical disciplines such as psychoacoustics and systematic musicology which derive from the natural sciences. In this respect his writing reflects the counter-positivism endemic to the German academic discourse of the first decades of the twentieth century. The rhetoric of this stance, however, conceals a sophisticated programme wherein Schenker situates his project in relation to these sciences, arguing his reading of the musical text as a synthesis of a descriptive psychology and an explanatory historiography (which itself embeds both paleographic and philological assumptions). This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the empirical musical sciences of the later nineteenth century.

Author: Uday Balasundaram
Publisher: Wipf and Stock Publishers
ISBN: 1725265761
Category : Religion
Languages : en
Pages : 326

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Ultimately, what really does it mean to be creative? How can we see ourselves as participating in the creativity of God for mission? All people are creative. Sadly, however, for many, creativity is stifled and remains stunted due to several reasons—social, economic, political, cultural, and even spiritual. This study explores how ICMs—indigenous cosmopolitan musicians—negotiate their creativity amid the liminal spaces they occupy as they share in the creativity of God for mission through their music. But what exactly does it mean to share in the creativity of God for mission? Contrary to popular notion, ICMs evidence that creativity is not merely innovation; it is not a psychological metric for measuring human potential; it is certainly not the “icing on the cake” reserved for a few so-called creatives or artists. Rather, “theological creativity” is participation in the creatio Dei; it is theologically prior to mission. As a missiological framework, creatio Dei is understood here in terms of creative being, creative construction (design), and creative performance. Hopefully, this book can help clarify and expand our understanding of what it means to be truly creative and, thereby, with the help of the Creator, put into practice principles of theological creativity as we share in the creativity of God in the world, with others.

Author: Michael Middleton
Publisher: Lexington Books
ISBN: 1498513816
Category : Language Arts & Disciplines
Languages : en
Pages : 241

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Increasingly, rhetorical scholars are using fieldwork and other ethnographic, performance, and qualitative methods to access, document, and analyze forms of everyday in situ rhetoric rather than using already documented texts. In this book, the authors argue that participatory critical rhetoric, as an approach to in situ rhetoric, is a theoretically, methodologically, and praxiologically robust approach to critical rhetorical studies. This book addresses how participatory critical rhetoric furthers understanding of the significant role that rhetoric plays in everyday life through expanding the archive of rhetorical practices and texts, emplacing rhetorical critics in direct conversation with rhetors and audiences at the moment of rhetorical invention, and highlighting marginalized voices that might otherwise go unnoticed. This book organizes the theoretical and methodological foundations of participatory critical rhetoric through four vectors that enhance conventional rhetorical approaches: 1) the political commitments of the critic; 2) rhetorical reflexivity and the role of the embodied critic; 3) emplaced rhetoric and the interplay between the field, text, and context; and 4) multiperspectival judgment that is informed by direct participation with rhetors and audiences. In addition to laying the groundwork and advocating for the approach, Participatory Critical Rhetoric also offers significant contributions to rhetorical theory and criticism more broadly by revisiting the field’s understanding of core topics such as role of the critic, text/context, audience, rhetorical effect, and the purpose of criticism. Further, it enhances theoretical conversations about material rhetoric, place/space, affect, intersectional rhetoric, embodiment, and rhetorical reflexivity.

Author: Thomas Christensen
Publisher: Cambridge University Press
ISBN: 1316025489
Category : Music
Languages : en
Pages : 1033

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The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day. Recognizing the variety and complexity of music theory as an historical subject, the volume has been organized within a flexible framework. Some chapters are defined chronologically within a restricted historical domain, whilst others are defined conceptually and span longer historical periods. Together the thirty-one chapters present a synthetic overview of the fascinating and complex subject that is historical music theory. Richly enhanced with illustrations, graphics, examples and cross-citations as well as being thoroughly indexed and supplemented by comprehensive bibliographies of the most important primary and secondary literature, this book will be an invaluable resource for students and scholars alike.

Author: Steven B. Katz
Publisher: SIU Press
ISBN: 9780809319039
Category : Language Arts & Disciplines
Languages : en
Pages : 376

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Katz (English, North Carolina State U.) examines the correlation between Reader Response Criticism and the philosophy of science engendered by the Copenhagen School of New Physics, and assesses the scientific empiricism that controls the parameters of reading and writing theory to look at the possibility of teaching reading and writing as "rhetorical music." He reinterprets Cicero's rhetorical theory in light of recent revisionist scholarship, and sketches a temporal model of affective response in reading and writing. Annotation copyright by Book News, Inc., Portland, OR

Author: Steven Jan
Publisher: Routledge
ISBN: 1351542648
Category : Music
Languages : en
Pages : 287

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Richard Dawkins's formulation of the meme concept in his 1976 classic The Selfish Gene has inspired three decades of work in what many see as the burgeoning science of memetics. Its underpinning theory proposes that human culture is composed of a multitude of particulate units, memes, which are analogous to the genes of biological transmission. These cultural replicators are transmitted by imitation between members of a community and are subject to mutational-evolutionary pressures over time. Despite Dawkins and several others using music in their exemplifications of what might constitute a meme, these formulations have generally been quite rudimentary, even na?. This study is the first musicologically-orientated attempt systematically to apply the theory of memetics to music. In contrast to the two points of view normally adopted in music theory and analysis - namely those of the listener and the composer - the purpose of this book is to argue for a distinct and illuminating third perspective. This point of view is metaphorical and anthropomorphic, and the metaphor is challenging and controversial, but the way of thinking adopted has its basis in well-founded scientific principles and it is capable of generating insights not available from the first two standpoints. The perspective is that of the (selfish) replicated musical pattern itself, and adopting it is central to memetics. The approach taken is both theoretical and analytical. Starting with a discussion of evolutionary thinking within musicology, Jan goes on to cover the theoretical aspects of the memetics of music, ranging from quite abstract philosophical speculation to detailed consideration of what actually constitutes a meme in music. In doing so, Jan draws upon several approaches current in music theory, including Schenkerism and Narmour's implication-realization model. To demonstrate the practical utility of the memetic perspective, Chapter 6 applies it analytically, tracing the transmission o

Author: Ildar D. Khannanov
Publisher: Springer Nature
ISBN: 3030740390
Category : Music
Languages : en
Pages : 175

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This book presents sixteen chapters in Volume 1. This Volume I of the Proceedings of the Worldwide Music Conference 2021 offers a smorgasbord of scientific approaches to music. The congress is one of a kind; it is dedicated not to a specific field but to the interdisciplinary developments and the interaction with the representatives from actual scientific disciplines. The languages of mathematics, computer science, semiotics, palaeography, and medicine are in the mix; geography of the studies is also impressive—Greece, Mexico, China, Russia, India, Poland, and USA, to name just a few. The purpose of such juxtaposition is to see how the terminology, categorical apparatus, and interpretations of music vary from science to science and how this can enrich the terminology of music theory. They cover a wide range of topics that the editors divided into four subfields: music in interdisciplinary contexts, music and current technology, musical instruments and voice, and music pedagogy and medicine. The opening section of the Proceedings is thus dedicated to the idea of interdisciplinarity, relationship of creator of theory of harmony Rameau to sciences of his time, the idea of number in music, co-creation, and the category of musical network. Three more chapters here deal with Russian palaeography, Indian musical genre, and the idea of musical semiotics. It is a kind of opening statement from music theorists. Part two, music and current technology, united three chapters, on “zero gravity” concept in modern music, discussion of scales as mathematical networks, and the innovation in digital music making, transforming it from stationary to mobile applications. The third part, musical instruments and voice, is of special interest because it is in the study of the instruments, the design, acoustic characteristics, and tuning, and sciences have cooperated with music theory for centuries. In addition to instruments, one chapter here is dedicated to voice. The last part, musical pedagogy and medicine, takes the reader even further into the interdisciplinary domain. The Proceedings is written in standard English language, prepared for the pleasure of reading of wide circles of professionals in different fields. The purpose of the editors is to bring this rather diverse set of texts into the context of a fruitful dialogue.

Author: Earl H. Brooks
Publisher: Wayne State University Press
ISBN: 0814346499
Category : Language Arts & Disciplines
Languages : en
Pages : 147

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How Black musicians and composers used their craft to define and influence public discourse. This groundbreaking work examines how Black music functions as rhetoric, considering its subject not merely reflective of but central to African American public discourse. Author, musician, and scholar Earl H. Brooks argues that there would have been no Harlem Renaissance, Civil Rights Movement, or Black Arts Movement as we know these phenomena without Black music. Through rhetorical studies, archival research, and musical analysis, Brooks establishes the "sonic lexicon of Black music," defined by a distinct constellation of sonic and auditory features that bridge cultural, linguistic, and political spheres with music. Genres of Black music such as blues and jazz are discursive fields, where swinging, improvisation, call-and-response, blue notes, and other musical idioms serve as rhetorical tools to articulate the feelings, emotions, and states of mind that have shaped African American cultural and political development. Examining the resounding artistry of iconic musicians such as Scott Joplin, Mary Lou Williams, Duke Ellington, John Coltrane, and Mahalia Jackson, this work offers an alternative register in which these musicians and composers are heard as public intellectuals, consciously invested in crafting rhetorical projects they knew would influence the public sphere.