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Music --- Resonant: Centre for Musical Heritage [Leuven]

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O presente livro surge como resultado do I Encontro Historical Soundscapes realizado em 2017 na Universidade de Évora e do arranque do Projeto PASEV: Patrimonialização da Paisagem Sonora em Évora (1540-1910), em 2019. Pretende constituir-se por isso como um contributo no que se refere à reflexão e disponibilização de estudos no quadro da Paisagem Sonora (Soundscapes, conceito criado por Raymond Murray Schafer em 1970), enquanto abordagem que tem vindo a ganhar cada vez mais expressão na musicologia internacional e que permite entender a música realizada numa determinada área a partir de uma perspetiva contextual abrangente, como é o caso da escala urbana. Esta abordagem permite reconstruir contextos, circuitos, trânsitos e cartografar a presença da música e dos músicos, entendendo a música como uma atividade social, política e económica e não meramente artística. Os desafios neste domínio vasto prendem-se com a abertura à interdisciplinaridade de abordagens, à diversidade de fontes, à capacidade de “imaginar” soluções para a reconstituição de um património sonoro efémero ou perdido no tempo. O livro não se centra em exclusivo na realidade histórica de Évora, embora se apresentem estudos significativos sobre a música sacra que refletem a vitalidade da investigação que continua a aprofundar o vasto património musical associado à Catedral eborense e à realidade monástico-conventual da cidade. O processo de valorização do Património musical desta cidade no século XX e através da ação do município, é também aqui abordado. Em relação a outras realidades urbanas, um dos grandes desafios continua a ser o estudo de procissões na perspetiva da Paisagem Sonora, sendo aqui abordados os casos de Castelo Branco e Valência. Apresentam-se também estudos que incidem sobre três cidades com abordagens distintas, Vila Viçosa a partir de uma única fonte documental (textos de J. J. R. Espanca), Braga a partir da análise de uma diversidade de fontes e de espaços na cidade (periódicos,…

Music --- paisagem sonora urbana --- musicologia histórica --- mercados da música --- património musical --- Évora --- urban landscape --- historical musicology --- musical markets --- musical heritage --- paisaje sonoro urbano --- musicología histórica --- mercados de la música --- patrimonio musical

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Building upon the developing picture of the importance of British music, musicians and institutions during the eighteenth century, this book investigates the themes of composition, performance (amateur and professional) and music-printing, within the wider context of social, religious and secular institutions.

Music --- Musicians --- Artists --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- History and criticism --- History --- History and criticism. --- 1600-1799 --- Great Britain. --- British Music. --- Composition. --- Eighteenth Century. --- Historical Performance Practice. --- Institutions. --- Music Education. --- Music-Printing. --- Musical Heritage. --- Musicians. --- Performance. --- Religious Institutions. --- Secular Institutions. --- Social Institutions. --- Social aspects

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A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music--the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its appeal. When this music is regarded esoterically, removed from real-world interests, it increasingly sounds more evasive than transcendent. Now Lawrence Kramer shows how classical music can take on new meaning and new life when approached from postmodernist standpoints. Kramer draws out the musical implications of contemporary efforts to understand reason, language, and subjectivity in relation to concrete human activities rather than to universal principles. Extending the rethinking of musical expression begun in his earlier Music as Cultural Practice, he regards music not only as an object that invites aesthetic reception but also as an activity that vitally shapes the personal, social, and cultural identities of its listeners. In language accessible to nonspecialists but informative to specialists, Kramer provides an original account of the postmodernist ethos, explains its relationship to music, and explores that relationship in a series of case studies ranging from Haydn and Mendelssohn to Ives and Ravel.

Music --- Postmodernism. --- Post-modernism --- Postmodernism (Philosophy) --- Arts, Modern --- Avant-garde (Aesthetics) --- Modernism (Art) --- Philosophy, Modern --- Post-postmodernism --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy and aesthetics. --- Philosophy --- -Postmodernism --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Philosophy and aesthetics --- Musique --- Postmodernisme --- Philosophie et esthétique --- art history. --- case study. --- charles ives. --- classical music. --- cultural politics. --- cultural trope. --- daphnis and chloe. --- desire. --- gender. --- goethe. --- haydn. --- literary theory. --- mendelssohn. --- music history. --- music. --- musical expression. --- musical form. --- musical heritage. --- musical narratology. --- musicology. --- performative. --- postmodern music. --- postmodernism. --- postmodernity. --- representation. --- tutelage. --- western art music. --- western music.