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Music 2 Musicology Essay ##BEST##


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This multidisciplinary volume celebrates the influential scholarship and career of Lawrence Earp through fresh and innovative contributions in musicology, codicology, art history, theater and literary studies, bibliography, and historiography, written by twenty-seven leading scholars in their respective fields.


Benjamin L. Albritton (Rare Books Curator at Stanford Libraries). He has published on the music and poetry of Guillaume de Machaut, fragmentology, and the application of digital methodologies in medieval studies.


Committed to fostering critical thinkers and writers, the master of arts in musicology offers a wide range of courses in classical and vernacular Western and non-Western music. Courses focus on the study of music in its historical, analytical and cultural contexts. Master's candidates may also pursue a dual degree with a master of music in performance.


[1] Musicologists like me, who study Renaissance music, have usually studied surviving musical scores and documents. We knew that there were unwritten musical traditions, but since we thought we had no access to them, we made little attempt to recover them. Several developments in musicology and music theory have changed all that.


[7] Realizing that improvisation was a basic skill practiced by every choirboy has transformed my research and my teaching on Renaissance music in at least five different areas: compositional process, analysis of Renaissance music, style change, pedagogy, and Renaissance culture. Each of these areas is the subject of a brief discussion here.


[10] To improvise a canon after one time unit at the fifth below (shaded in yellow in Table 1), you make up a melody that includes only thirds and fifths down, seconds and fourths up, and unisons. The sixteenth-century Spanish music theorist Francisco de Montanos includes an example of such a canon (Example 1; Schubert 2002, 518).


[12] It is relatively easy to improvise a two-voice canon; but Gioseffo Zarlino says that you should also be able to improvise a third voice to any duo. He provides two sample added voices for a duo by Josquin Desprez that begins with a canon after one semibreve at the fifth above (Example 2; Schubert 2002, 214). Any group of Renaissance church musicians would have been able to improvise a three-voice piece of this kind; a musician could also have used these techniques in order to compose without a score.


Open Access Musicology (OAM) encourages submissions of 3,000-6,000-word essays in all areas of music scholarship, including ethno/musicology, theory, performance studies, and sound studies. Essays should be written in a style and at a level appropriate to the undergraduate music classroom. OAM essays ensure that cutting-edge research inspires classroom practice, provides diverse and methodologically transparent models for student research, and introduces different modes of inquiry to inspire classroom discussion and varied assignments. Addressing a range of histories, methods, voices, and sounds, OAM embraces changes and tensions in the field to help students understand music scholarship as the product of critical inquiry.


Our peer-review process is double-blind and involves both rigorous scholarly review as well as classroom-based student review. OAM cannot consider essays that have been published elsewhere or are under consideration by another journal.


Contributors to OAM should submit 1) one complete, anonymous copy of their article in Word or RTF format to openaccessmusicology@gmail.com; 2) a brief cover letter including name, contact information, and the title of the article submitted; 3) a list of desired, embedded media (images, video, sound files) and relevant metadata, as per the Media and Metadata Template. To facilitate the anonymous review of submissions, authors are asked to remove all self-references in the body of the paper and in the notes of their submissions. In the cover letter authors are also asked to include a one- to two-paragraph reflection on




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