Music as cultural heritage and novelty

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Includes bibliographical references.Online resource; title from PDF title page (Ebsco, viewed September 22, 2022).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 Paradigms2.2.1 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 Information2.6 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 Predecessors4.1 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 Subjectivity5.1.1 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)This book provides a multifaceted view on the relation between the old and the new in music, between tradition and innovation. This is a much-debated issue, generating various ideas and theories, which rarely come to unanimous conclusions. Therefore, the book offers diverse perspectives on topics such as national identities, narrative strategies, the question of musical performance and musical meaning. Alongside themes of general interest, such as classical repertoire, the music of well-established composers and musical topics, the chapters of the book also touch on specific, but equally interesting subjects, like Brazilian traditions, Serbian and Romanian composers and the lullaby. While the book is mostly addressed to researchers, it can also be recommended to students in musicology, ethnomusicology, musical performance, and musical semiotics.