Freedom of expression and its direct counterpart, censorship and silencing, are increasingly gaining attention in the world of art and culture. Through the growth of social media and its worldwide distribution, arts and cultural products are shared, and the increased visibility and audibility of culture is highlighted through iconic and pivotal clashes, such as the fatwa on The Satanic Verses in 1989, the recurring bans on the music of Wagner, the alleged censorship of playlists following 9/11, and the cartoon crisis in 2006. This volume takes the discussion directly to the field of music studies in a broad frame and insists on examining music censorship in a global perspective. The book addresses the important and increasingly relevant issue of scholarship on music censorship and thus contributes to a detailed understanding of the phenomenon. Often, words and semantic meaning are held to be determining to the restrictions on musicians and singers, but as this collection documents, the reasons for censorship might not always be found in verbal messages. Rather, the positioning of a more broad understanding of why and how music can convey meaning and accordingly trigger censorship and bans is at the heart of this work. The complexity of music censorship includes historical, structural as well as emotional ‘listenings’ and interpretations of sound. The topic, accordingly, is political, as well as scholarly urgent.
Tracing musicology in Latin American during the twentieth century, this book presents case studies to illustrate how Latin American music has interacted with social and global processes. It addresses popular music, postcolonialism, women in music, tradition and modernity, musical counterculture, globalization, and identity construction.
Release on 2004 | by Universidad Nacional de Colombia. Facultad de Artes. Conservatorio de música
Author: Universidad Nacional de Colombia. Facultad de Artes. Conservatorio de música
Pubpsher: Univ. Nacional de Colombia
CONTENIDO: Una mirada desde la U. a la música de los años noventa. Hitos, mitos, realidades / Susana Friedmann Altmann / - La guitarra en la década de los noventa / Ramiro Isaza Mejía / - Impresión acerca de las bandas en la región andina durante la década de los noventa / Libardo Arturo Saavedra Najar / - Consolidación de la música eletroacústica colombiana en los a los noventa / Carlos Mauricio Bejarano Calvo.
Gaspar Stoquerus?s treatise, De musica verbali (ca. 1570), is the only Renaissance treatise as yet discovered that is devoted entirely to the problem of text placement in vocal polyphony. Salient portions of Stoquerus?s treatise were first discussed in 1961 by Edward E. Lowinsky, and a more detailed synthesis of Stoquerus?s treatise is contained in one chapter of Don Harran?s Word-Tone Relations in Musical Thought from Antiquity to the Seventeenth Century (1986). The present volume of Greek and Latin Music Theory offers the first critical edition of Stoquerus?s entire treatise, proceeded by an extensive introduction and accompanied by a translation and annotations facing the Latin text. Indexes of terms, names, and subjects are also included. The critical edition of the text provides a precise reading and comprehension of its contents, while the translation enables readers to examine more closely the contents of the entire treatise, especially Stoquerus?s contextual arguments justifying his subject in general and his fifteen rules for text placement in particular. The introduction and annotations reveal Stoquerus?s immersion in his historical milieu as a scholar, humanist, and pedagogue. As a pedagogue in particular, Stoquerus is deeply immersed in the scholastic method of argumentation and advances his thought with precision and logic, culminating in his closely reasoned set of fifteen rules for text placement and a simplification of the Guidonian method of solmization already in progress in Renaissance choir-instruction books. This volume offers the first critical edition of Stoquerus?s entire treatise, the only Renaissance treatise as yet discovered that is devoted entirely to the problem of text placement in vocal polyphony. Also included are an extensive introduction, a translation and annotations facing the Latin text, and indexes of terms, names, and subjects.
Patron, Client, and the Pistola fatta per la peste/An Epistle Written Concerning the Plague
Author: William J. Landon
Pubpsher: University of Toronto Press
Category: Literary Criticism
By 1520, Niccolò Machiavelli’s life in Florence was steadily improving: he had achieved a degree of literary fame, and, following his removal from the Florentine Chancery by the Medici family, he had managed to gain their respect and patronage. But there is one figure whose substantial contributions to Machiavelli’s restoration has been hitherto neglected – Lorenzo di Filippo Strozzi (1482–1549), a younger and fabulously wealthy Florentine nobleman. As manuscript evidence suggests, Strozzi brought Machiavelli into his patronage network and aided many of his post-1520 achievements. This book is the first English biography of Strozzi, as well as the first examination of the patron-client relationship that developed between the two men. William J. Landon reveals Strozzi’s influence on Machiavelli through wide-ranging textual investigations, and especially through Strozzi’s Pistola fatta per la peste – a work that survives as a Machiavelli autograph, and for which Landon has provided the first ever complete English translation and critical edition.