A Few Canonic Variations

Kerman, Joseph

doi:10.1086/448239

Cited by 94 publications

(10 citation statements)

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“…12 For a comprehensive history of the canon, related mainly to the literary field, see Gorak 1991. In musicology, after Joseph Kerman's pioneering text (Kerman 1983), now "classical" but still topical publications are Disciplining Music: Musicology and Its Canons (Bergeron and Bohlman 1992), and studies by William Weber (e.g. Weber 1999).…”

Section: Notes On the Canon(s)mentioning

confidence: 99%

“…Vukdragović 1971). As versatile energiser of musical life and especially 62 During half of the century, the Choir was led by Borivoje Simić (1971,1972,1974,1975,1976,1978,1979,1980), Mladen Jagušt (1981, 1982, 1983, 1985, 1997, 2011), Vladmir Kranjčević (1988, 1990, Bojan Suđić (1992, 1993 -twice, 1995 -twice, 2010, 2014 -twice), Đorđe Stanković (2002) and Darinka Matić Marović (2003). The statistical data does not include their performances of vocal-instrumental works (Marinković 2015).…”

Section: The Performance Canon Of Mokranjac's Oeuvrementioning

confidence: 99%

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Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)

Milanović

Maglov

2019

Muzikologija

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Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers' works were going to be (repeatedly) present in its catalogue consequently had signifi cant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer fi gure of Serbian music, Stevan Stojanović Mokranjac, was represented in this catalogue. Research methods were based primarily on analysis of archive material gathered in documentation of the label itself, data on recordings available via online music databases, and recordings themselves, while relying on theoretical notions of canon in music, with the accent on the performing canon.

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Section: Notes On the Canon(s)mentioning

confidence: 99%

Section: The Performance Canon Of Mokranjac's Oeuvrementioning

confidence: 99%

Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)

Milanović

Maglov

2019

Muzikologija

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“…However, such a definition disregards a series of questions on the concept of a canon. Questions, such as how are canons determined, as well as why and on what authority are they identified (Kerman, 1983), challenge the idea of a given, monolithic canon, as well as the forces behind canonization processes giving hegemony to particular musical traditions. However, emphasizing that a critical musicological investigation of the phenomena and practices of a canon (Bergeron & Bohlman, 1992;Kurkela & Väkevä, 2009) would not at all deny its existence and significance is important.…”

Section: What Is a Musical Canon And How Does It Work?mentioning

confidence: 99%

“This one Grandma knew, too, exactly this one!” Processes of Canonization in Children’s Music

Vestad¹,

Dyndahl²

2017

A & R

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Processes of musical canonization occur at different levels of culture and society. People have a strong propensity to categorize, differentiate, and evaluate the music that is important to them, and music is ascribed value in action by people in real-life settings. Based in these premises, the article discusses two questions: First, how does the idea of a canon of children's music influence the daily musical activities and repertoires used in children's day care facilities and family homes? Second, in what ways is music legitimized in the everyday lives of children? Our data is collected by observation and interviews conducted in two pedagogical day care facilities and nine family homes. Children, day care staff and parents participated in the study. We find that a discussion of canonization in children's music along the following four paths of legitimation is meaningful: the "good, old stuff," the need for renewal, the inclusion of other types of music other than that aimed at a child audience, and the need for a wide array of genres and sentiments. Finally, we argue that although the legitimation and canonization in children's music obviously involve considerations of musical aspects, separating these canonization processes from the prevailing socio-cultural ideas of childhood and children's best interest is impossible.

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“…To be successfully imposed, a canon requires some form of material embodiment to ensure its reproduction through space and time. This point is implicitly made in Kerman 1983, which emphasizes the role of written texts and recordings in the transmission of canons. Likewise, Katherine Bergeron's description of the names of great composers that line the ceiling of Paine Concert Hall at Harvard University vividly demonstrates how such inscriptions are put to work in practice (1992, 1).…”

Section: Eric Drottmentioning

confidence: 99%

The End(s) of Genre

Drott¹

2013

Journal of Music Theory

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This article presents a critique of the commonplace trope that holds genre to have declined in relevance under modernism. Contrary to the widespread notion that composers' repudiation of received tradition rendered the very idea of genre categories obsolete, this article argues that such categories have never ceased playing a decisive role in the production, circulation, and reception of post-1945 art music. In interrogating the assumptions that underpin the "decline-of-genre" thesis, this article underlines the utility that renewed attention to genre and its framing effects may have for the analysis of this repertoire. To this end, an alternative to standard theories of genre is advanced, one that draws on actor-network theory to destabilize categories too often conceived as fixed, solid, and binding. This revised theory of genre is applied to Gérard Grisey's six-part cycle, Les espaces acoustiques . Habitually regarded as an exemplar of spectral music, Grisey's cycle may be understood as participating in a number of additional generic contexts at the same time. Taking such generic overdetermination into account not only sheds light on the range of conflicting interpretations that Les espaces acoustiques affords but also suggests how music analysis might better address the heterogeneous contexts and multiple listener competences that this and other musics engage.

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A Few Canonic Variations

Cited by 94 publications

References 1 publication

Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)

Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)

“This one Grandma knew, too, exactly this one!” Processes of Canonization in Children’s Music

The End(s) of Genre

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