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Table of Contents
Intro
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)
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)