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Forschungsperspektiven, Praxisreflexionen und Verortungen im Spannungsfeld einer sich verändernden Gesellschaft
Beiträge zum Forschungsfeld der Concert Studies

UNESCO. The European Music Council advocates for musical and cultural rights on a European level and hence plays a key role in supporting the European communities that want to celebrate their music. It is currently running the EU funded project ExTra! Exchange Traditions which is aiming at enhancing 434 Authors of the Publication exchange and dialogue of musical traditions of migrant and minority cultures in Europe. This publication is part of the project. Eva Fock works at VMK – Academy of Music and Music Communication as a freelance ethnomusicologist

Folge. Vol. V 1964-1967. Ed. Hans Mayer. Frankfurt am Main: Suhrkamp, 1976. 374-76. Print. “Grenzgänger und Frank Baier: 1920. Lieder der Märzrevolution.” Chanson. Liedermacher- Magazin. 2006. Web. 6 July 2018. < load/presse_1920_cd.pdf>. Heimatlieder aus Deutschland. Galileo Music Communication, 2013. CD. Heimatlieder aus Deutschland Berlin/Augsburg. Galileo Music Communication, 2015. CD. “Heimatlieder aus Deutschland.” 2016. Web. 6 July 2018. <www.heimatlieder>. Hennion, Antoine. “Baroque and Rock: Music

the experience of music to its cultural aspects, either in the form of a complete passing over the topic of the musical qualities of music, or by explicitly subordi- nating musical experience to the social domain. An example of the latter from Scandinavian musicology/ethnomusicology is found in an article by Even Ruud and Tellef Kvifte from 1987, entitled „Musikk, identitet, musikkformidling [Music, identity, music communication]“. In this arti- cle, they emphasize the importance of taking cultural perspectives on music into account (Kvifte/Ruud 1987). However

. Niklas Luhmann’s systems theory is then applied to a description of what happens when conflicts or contradictions occur on a verbal level, and whether they influence the process of improvised music. COMMUNICATION AND IMPROVISED MUSIC Many different levels of communication exist in improvised music, including musical, physical and verbal strata. In “Hear and Now”, Peter Wilson claims that the musical level, as a communicative concept, encompasses everything that oc- curs within the interaction of sounds during a group improvisation: from the straightforward echo to