ISBN-13: 9781443813914 / Angielski / Twarda / 2009 / 210 str.
This book is about musical canons and de-canonizing music history. Whenever music is critically examined, it is disciplined, ordered, and corrected; the canon functions as a basic tool in defining the scope of this disciplining. In recent music history, however, there has emerged a strong need to redefine the limits of the disciplining and to criticize the principles of canon formation. De-canonizing can be seen as a tool in this critique. This book also shows how different styles and traditions in music have formed their own canons. Its main goal is to deconstruct these canons: to describe, analyze and problematize them in their variety. De-canonizing also refers to artistic crossover and cross-border encounters. In this book art meets popular, ethnic meets education, and avantgarde meets mainstream. Here musical past meets modern musicology, its various trends—and canons.
This book is about musical canons and de-canonizing music history. Whenever music is critically examined, it is disciplined, ordered, and corrected; the canon functions as a basic tool in defining the scope of this disciplining. In recent music history, however, there has emerged a strong need to redefine the limits of the disciplining and to criticize the principles of canon formation. De-canonizing can be seen as a tool in this critique. This book also shows how different styles and traditions in music have formed their own canons. Its main goal is to deconstruct these canons: to describe, analyze and problematize them in their variety. De-canonizing also refers to artistic crossover and cross-border encounters. In this book art meets popular, ethnic meets education, and avantgarde meets mainstream. Here musical past meets modern musicology, its various trends—and canons.