Historicized Composition and Creative Ethnomusicology

This paper investigates relationship between compositional and ethnomusicological research. The method of historicized composition developed out of my work as a chant scholar, as ongoing ethnomusicological research has had a profound influence on my compositional work. Understanding and underscoring historical and phenomenological relationships between music and language, the act of composition becomes a creative discovery of relationships between musical material and music history

From Scrolls to Scrolling: Sacred Texts, Materiality, and Dynamic Media Cultures

Using the digital turn as a starting point, the essays in this volume explore the materiality of sacred texts in Judaism, Christianity, and Islam, along with transitions between various media cultures and material forms. The essays explore how material factors have shaped the production and transmission of sacred texts, as well as impacting the way in which people engage with, use, and perform these texts, within and between religious traditions

From Scrolls to Scrolling

Using the digital turn as a starting point, the essays in this volume explore the materiality of sacred texts in Judaism, Christianity, and Islam, along with transitions between various media cultures and material forms. The essays explore how material factors have shaped the production and transmission of sacred texts, as well as impacting the way in which people engage with, use, and perform these texts, within and between religious traditions

Scoring sounds : the visual representation of music in cross-cultural perspective

This thesis argues that a performer’s relationship with a musical score is an interaction largely defined by social and cultural parameters, but also examines whether disparate musical traditions show any common underlying tendencies regarding the perceived relationship between musical sound and visual representation. The research brings a novel, cross-cultural perspective to bear on the topic, combining a systematic, empirical study with qualitative fieldwork. Data were collected at five sites in three countries, involving: classically-trained musicians based in the UK; traditional Japanese musicians both familiar and unfamiliar with western standard notation; literate Eastern Highlanders from Port- Moresby, Papua New Guinea; and members of the BenaBena tribe, a non-literate community in Papua New Guinea. Participants heard short musical stimuli that varied on three musical parameters (pitch, duration and attack rate) and were instructed to represent these visually so that if another community member saw the marks they should be able to connect them with the sounds. Secondly, a forced-choice design required participants to select the best shape to describe a sound from a database. Interviews and fieldwork observations recorded how musicians engaged with the visual representation of music, considering in particular the effects of literacy and cultural parameters such as the social context of music performance traditions. Similarities between certain aspects of the participants’ responses suggest that there are indeed some underlying commonalities among literate participants of any cultural background. Meanwhile, the overall variety of responses suggests that the association between music and its visual representation (when it takes place) is strongly affected by ever-altering socio-cultural parameters

Orality as the Key to Understanding Apostolic Proclamation in the Epistles

Redaction criticism and its modern successors in the literary field, while they give more credit to the text and the author, have at the same time mired the academy again into a modern mud of sources and manipulation. There is promise in certain new paths—rhetoric, reader-response, speech-act theory, methods which we will note briefly in the first chapter. But finally we must move out of the academy and into the church. For the orality of Scripture is not just about its origin but also about its use and purpose. The Scriptures are a liturgical piece. They belong not on the desk but in the lectern. They were written to be proclaimed. Thus, in a sense, this is a canonical study—yet undertaken with more ecclesiastical seriousness than that fledgling field commonly musters. The Bible is a church book. St. Paul proclaims that it is useful for many pastoral ends, all of which are taken up by the man of God (2 Tim. 3:16-17). Such considerations raise many questions. How were the Scriptures produced, published, disseminated, used? If they were spoken into script in order that the voice might again speak them into the ear, how might this recognition affect our method of interpretation? Do they indeed mean or function differently when they are heard? Might there soon be a method known as oral criticism ? Or would it be preposterously self-contradictory to turn the results of oral research into another method to be wielded in the scholar\u27s silent study? What impact will these results have on the valuation of the Scriptures and their reading in the liturgy? What is the purpose of this reading in an age when everyone can read the Scriptures at home? How does the living voice of the Scriptures relate to the institution and mandate of the Office of the Holy Ministry? These persistent questions, we believe, give urgency to the present study

Borderlines: Essays on Mapping and The Logic of Place

Borderlines innovatively explores the ways artistic interventions construct social, cultural, and mental spaces. The fifteen essays bring a broad multidisciplinary approach to the concept of borderlines and its markings through artistic manifestations. Rejecting older "normative"! understandings of the word border lines as signifying semantic irreversibility, this work gives prominence to the plasticity of the combined single word "borderlines." Borderlines is a collection of essays that address the cultural, artistic, conceptual, and performative mapping of places. The essays in this collection "write" borderlines from a wide variety of perspectives, representing diverse disciplines, cultural backgrounds, countries, and generations. It presents the pervasiveness of borderlines as an intellectual, artistic and political concept, across media, theories, and places. Borderlines is intended for academic specialists and students in cultural studies, theatre and performance, media and sound studies

Kodikologie und Paläographie im digitalen Zeitalter 2 - Codicology and Palaeography in the Digital Age 2

Der Einsatz digitaler Technik verändert den wissenschaftlichen Umgang mit der handgeschriebenen Überlieferung. Dieser Band vertieft Fragen zu Digitalisierung und Katalogisierung, zu automatischer Schrifterkennung und Schriftanalyse, und er erweitert eine Diskussion, die mit dem im letzten Jahr erschienenen ersten Band zur digitalen Handschriftenforschung angestossen worden ist: Welche Erkenntnisse können etwa naturwissenschaftliche Methoden liefern? Welche musik- und kunsthistorischen Fragestellungen lassen sich mit Hilfe moderner Informationstechnologien beantworten? Wie lassen sich Methoden einer digitalen Auswertung lateinischer Handschriften auf griechische, glagolithische oder ägyptische Texte anwenden? Der raum-zeitliche Rahmen der hier von einer internationalen Autorenschaft zusammengetragenen 22 wissenschaftlichen Beiträge reicht vom alten Ägypten bis ins Paris der Postmoderne. Mit Beiträgen von: Pádraig Ó Macháin; Armand Tif; Alison Stones, Ken Sochats; Melissa Terras; Silke Schöttle, Ulrike Mehringer; Marilena Maniaci, Paolo Eleuteri; Ezio Ornato; Toby Burrows; Robert Kummer; Lior Wolf, Nachum Dershowitz, Liza Potikha, Tanya German, Roni Shweka, Yacov Choueka; Daniel Deckers, Leif Glaser; Timothy Stinson; Peter Meinlschmidt, Carmen Kämmerer, Volker Märgner; Peter Stokes—Dominique Stutzmann; Stephen Quirke; Markus Diem, Robert Sablatnig, Melanie Gau, Heinz Miklas; Julia Craig-McFeely; Isabelle Schürch, Martin Rüesch; Carole Dornier, Pierre-Yves Buard; Samantha Saidi, Jean-François Bert, Philippe Artières; Elena Pierazzo, Peter Stokes. Einleitung von: Franz Fischer, Patrick Sahle. Unter Mitarbeit von: Bernhard Assmann, Malte Rehbein, Patrick Sahle

Musical Composition in the Context of Globalization

Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic