Studies of program music explore ways in which extra-musical material is expressed and interpreted through music. Conceptions of program music are broadly construed and vary throughout history in correlation with various aesthetic and philosophical perspectives\u2014narrowly defined, programmatic compositions include an extra-musical program describing the musical expression, while a broader definition considers evocative titles, allusive musical material, and conventional musical significations as vehicles of extra-musical meaning. The question of aesthetic value arises in the debate surrounding the ability of music to communicate extra-musical ideas and the quality of music that claims to do so. This question is extensively explored through the polemics of the 19th-century \u201cWar of the Romantics,\u201d pitting programmatic music against \u201cabsolute music.\u201d Musical and theoretical writings of figures such as Berlioz, Liszt, Wagner, and Hanslick provide rich source material informing many studies on program music. The distinction between program music and absolute music is blurred through various approaches to deriving meaning from both types of music. Theories of narrativity propose methods of interpreting formal structures, tonal progressions, and thematic devices interacting in ways reminiscent of literary narrative. Semiotic approaches explore meanings that arise from conventional significations of genre, style, and \u201ctopics,\u201d evoking cultural understandings of social position, setting, and affect. Applying interpretive strategies such as these to programmatic music allows for hermeneutic readings mapping the extra-musical program onto the musical events to explore meaningful points of intersection or contradiction. Further studies draw connections to composer biography and sociohistorical context, positioning the music in philosophical perspectives and reception. Broader cultural and political situations inform readings of underlying implications such as nationalism or social commentary. Current studies of program music explore musical narratives in nuanced contexts that parse the historical and cultural atmospheres surrounding composers, their music, and reception to propose new readings and frames of interpretation.<\/p>","DOI":"10.1093\/obo\/9780199757824-0303","type":"reference-entry","created":{"date-parts":[[2021,11,23]],"date-time":"2021-11-23T06:21:14Z","timestamp":1637648474000},"source":"Crossref","is-referenced-by-count":0,"title":["Program Music"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2021,11,23]]},"container-title":["Music"],"original-title":["Program Music"],"language":"en","deposited":{"date-parts":[[2021,11,23]],"date-time":"2021-11-23T06:21:14Z","timestamp":1637648474000},"score":11.900627,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199757824\/obo-9780199757824-0303.xml"}},"issued":{"date-parts":[[2021,11,23]]},"ISBN":["9780199757824"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199757824-0303","published":{"date-parts":[[2021,11,23]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T03:33:40Z","timestamp":1725939220313},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2001]]},"DOI":"10.1093\/gmo\/9781561592630.article.47215","type":"reference-entry","created":{"date-parts":[[2018,1,11]],"date-time":"2018-01-11T18:25:37Z","timestamp":1515695137000},"source":"Crossref","is-referenced-by-count":0,"title":["Dance music (popular music genre)"],"prefix":"10.1093","author":[{"given":"Ian","family":"Peel","sequence":"first","affiliation":[]}],"member":"286","container-title":["Oxford Music Online"],"original-title":["Dance music (popular music genre)"],"language":"en","deposited":{"date-parts":[[2024,8,5]],"date-time":"2024-08-05T15:12:32Z","timestamp":1722870752000},"score":11.874424,"resource":{"primary":{"URL":"http:\/\/www.oxfordmusiconline.com\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-0000047215"}},"issued":{"date-parts":[[2001]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.47215","published":{"date-parts":[[2001]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:54:31Z","timestamp":1714730071758},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199757824","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
Research on ballet music has seen steady growth in recent decades within the field of musicology and in interdisciplinary work of dance scholars and historians. This bibliography focuses on studies of the music for ballet, defined here as beginning with the origins of ballet in the courts of Catherine de Medici and Louis XIV and continuing to contemporary ballet. Ballet music scholarship has included discussions of style, historical context, collaborative processes, theoretical analyses of the music, the music-dance relationship (choreomusicology), placement in the career and style of a composer, interpretation, reception, and more. Scholars looking to embark on the study of ballet music will find many excellent models in the sources included, and should see that in this work, researchers have consulted diverse sources, both primary and secondary, from various fields of study. This requires a level of competence often beyond the fields of music or dance themselves, in the quest to account for the deeply ephemeral and multifaceted nature of music-dance happenings. Yet one of the biggest hurdles in ballet music studies is that of addressing dance on an equal footing with music (and vice versa in dance studies). This bibliography privileges works that have successfully engaged in such interdisciplinary work as well as studies that are grounded in a historical context. The following criteria guided the selection of works cited. Research was excluded that does not directly address music. This means that much essential historical-contextual study has not been included. Also excluded are treatises that do not deal directly with the music for ballet. Sources were omitted that concern dance music styles that are allied to ballet but diverge from ballet as strictly defined. For example, many fine studies of music for modern choreography are excluded, even if these works were called \u201cballets\u201d (undeniably, there is much gray area here). Other exclusions are not because the research was deemed unimportant, but rather due to practicality: the work could not be properly vetted, was not widely available, overlapped too much with an included item, was either too dated or too new, or simply due to limitations of space. Indeed, ballet music scholarship is increasingly global, reflecting a global art. Admittedly, this bibliography skews to English, French, Italian, and German language sources. What follows is a selection of exemplary works that have established ballet music study historically and currently represent a thriving area of interdisciplinary scholarship. Note that the terms choreographer and composer are used throughout for clarity, even if the terms were not in use during the period in question; in addition, when a specific ballet is mentioned it will often be followed, where applicable, by a parenthetical citation consisting of \u201c(choreographer\/composer, premier year).\u201d<\/p>","DOI":"10.1093\/obo\/9780199757824-0300","type":"reference-entry","created":{"date-parts":[[2021,10,25]],"date-time":"2021-10-25T14:16:14Z","timestamp":1635171374000},"source":"Crossref","is-referenced-by-count":0,"title":["Ballet Music"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2021,10,27]]},"container-title":["Music"],"original-title":["Ballet Music"],"language":"en","deposited":{"date-parts":[[2021,10,25]],"date-time":"2021-10-25T14:16:15Z","timestamp":1635171375000},"score":11.873151,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199757824\/obo-9780199757824-0300.xml"}},"issued":{"date-parts":[[2021,10,27]]},"ISBN":["9780199757824"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199757824-0300","published":{"date-parts":[[2021,10,27]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T20:52:55Z","timestamp":1726001575797},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"type":"electronic","value":"9781561592630"}],"content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.1093\/gmo\/9781561592630.article.a2258723","type":"reference-entry","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T14:12:04Z","timestamp":1513174324000},"source":"Crossref","is-referenced-by-count":0,"title":["Women\u2019s music [womyn\u2019s music]"],"prefix":"10.1093","author":[{"given":"Eileen M.","family":"Hayes","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2014,1,31]]},"container-title":["Oxford Music Online"],"original-title":["Women\u2019s music [womyn\u2019s music]"],"language":"en","deposited":{"date-parts":[[2024,8,5]],"date-time":"2024-08-05T15:27:11Z","timestamp":1722871631000},"score":11.851798,"resource":{"primary":{"URL":"https:\/\/www.oxfordmusiconline.com\/grovemusic\/documentID\/omo-9781561592630-e-1002258723"}},"issued":{"date-parts":[[2014,1,31]]},"ISBN":["9781561592630"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.a2258723","published":{"date-parts":[[2014,1,31]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:55:07Z","timestamp":1714730107674},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199757824","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
The word \u201cmystic\u201d has a common meaning in philosophical traditions like neo-Platonism and religions (Hindu, Jewish, Christian, and Muslim)\u2014namely the elevation of a human being to reach the One\/God and have an intimate, immediate experience of God. In this experience of God, music plays various roles. On the one hand, for Hindus, Jews, Christians, and Muslims, music can be the language of God. From that starting point, the question of spiritual (inner) and material (physical) hearing is opened: What can we say about the hearing of celestial songs (sung by God Himself or, more commonly by angels or, in Christianity, by the choir of saints)? This question about the inner spiritual hearing and about the external physical hearing of celestial music brings an other question: What may be the content, the grammar and the semantic of God\u2019s song? Finally, one can ask: Why and in which circumstances do God and the angels address a message to the individual through music? Looking to mystic literature, one can find various responses to these questions. This literature deals with spiritual and physical hearing, with the semantic dimension of God\u2019s music, and with the purpose of God\u2019s musical language within mystical experience. In the mirror of such an ensemble of questions, the question of music as the language spoken by the mystic has to be considered. If God makes music to speak to the mystic during musical vision for example, the mystic often answers to God through music. What is the specificity of music as the language of the mystic? This is a complementary question to be asked to mystical literature. On the other hand, both philosophical traditions and religions deal with the causal effect of music on the mind and body of the listener Thanks to music, may the listener reach divine union with God? Can music generate mystical ecstasy? And what kind of music can do it (angelic choir or human songs, instrumental or vocal concert, sacred or profane music)? All these questions interrogate the effects of music in mystical experience. The theological question ahead is: Can a material element (music is made by sounds) have an impact on a spiritual experience? So when we look at music and mysticism in philosophical traditions as well as in the monotheistic religions, the question is not only about spiritual and sonorous music and about celestial (whether divine or angelic) and human making of music but also listening to music\u2014to make music to generate ecstasy, and to listen to music, whether celestial or terrestrial, as part of mystical experience, to respond to God. \u201cMystic\u201d has a different meaning when we look at it from an ethnological point of view, and may include all kinds of inner experiences. This opens up an enormous field of study without a consistent theoretical frame. The following bibliography focuses on a narrow, technical definition of \u201cmystic\u201d as the experience of God. It thus excludes scholarship on music and natural magic, music and black magic, music and demoniac possession, music and the occult. Music and mysticism studies are particularly reliant on European and North American academic cultures; the bibliography reflects this reliance. The relevance of mysticism for music scholarship emerges in relation to musical meaning or context, whether historical, theological, or analytic. Both \u201cmusic\u201d and \u201cmysticism\u201d mark the bodies and the spirit, and both interrogate experiences of individuals in a precise religious context in ways that provide unequal access to cultural, physical, and psychic resources, including but not limited to semiology and philosophy of language, theology and spirituality, and, of course, history of music. The rich descriptive and analytic dimensions of scholarship into music and mysticism have proved illuminating for questions such as: What kind of music is in mystic literature? What effects of music are in mystical context and experience? How and what does celestial music signify? What is represented and what is said through musical vision? How does musical performance respond to the experience of God? Such questions assume that music is a practice but also a purely spiritual language. Each assumes a benefit from working to understand how music functions within mystical experience.<\/p>","DOI":"10.1093\/obo\/9780199757824-0309","type":"reference-entry","created":{"date-parts":[[2022,5,25]],"date-time":"2022-05-25T08:07:26Z","timestamp":1653466046000},"source":"Crossref","is-referenced-by-count":0,"title":["Music and Mysticism"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2022,5,26]]},"container-title":["Music"],"original-title":["Music and Mysticism"],"language":"en","deposited":{"date-parts":[[2022,5,25]],"date-time":"2022-05-25T08:07:26Z","timestamp":1653466046000},"score":11.786786,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199757824\/obo-9780199757824-0309.xml"}},"issued":{"date-parts":[[2022,5,26]]},"ISBN":["9780199757824"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199757824-0309","published":{"date-parts":[[2022,5,26]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:55:08Z","timestamp":1714730108075},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199757824","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
The \u201cglobal turn\u201d is an indisputable leitmotif of 21st-century scholarship. In looking to the ways in which we tell stories about our musical pasts, the confines of national narratives have progressively given way to regional, comparative, transnational, and global histories. As much as these approaches are themselves interconnected and mutually constitutive, they offer differing lenses to observe global linkages and developments across space and time. As the Anglo-center of musicology awakens to its own provincializing moment, scholars are increasingly engaging with the modern field of \u201cglobal history\u201d to navigate the imperial legacies of their craft and its attendant theories, methods, and biases. To this end, historical musicologists and ethnomusicologists alike find parallel aspirations in overcoming the 19th-century relics of methodological nationalism and Eurocentric models and myths of universal progress. In other words, they are increasingly asking how we are to navigate a terminal point in these imperial legacies and to foster post-Eurocentric frameworks for the historical study of our world\u2019s musics. Much like the more established field of global historiography, global music history (sometimes referred to as, and used interchangeably with, a global history of music) is not a clear signifier as such and shares analytical terrain with other approaches to music concerned with forms of transfer, interaction, entanglement, and cross-border exchange. While consideration of music histories on a larger scale is thus by no means new, the rise of the \u201cglobal\u201d as a specific epistemological premise, rather than as a mere complementary view, has led to this burgeoning field most prominently over the past decade. But it is perhaps its polysemous identity that has fostered such momentum, with an increasing number of scholarly publications, university courses, and professional study groups coalescing around these three words. Being conscious that this Anglophone term (and its exclusionary potential) must be scrutinized within multilingual and multilateral contexts, the field is not without its challenges. This bibliography therefore balances its overviews and case studies with important literature that highlight these roadblocks as well as paths forward. Wherever possible (and within the limits of my own abilities), this bibliography engages with relevant non-Anglophone scholarship, but acknowledges the limitations of what is presented here. I have also been conscious to select publications in English that themselves enter into more meaningful dialogue with historiographies of and through a diversity of geocultural settings and associated perspectives. As a field in the throes of continued debate and maturation, it is not my intention to ossify any singular definition, but rather to shed light on the various scholarly priorities, practices, questions, and concerns that fall within its purview. The categories below are thus articulated as navigational tools and are not designed to re-inscribe any sense of disciplinary, linguistic, or regional division. On the contrary, it is hoped that they will facilitate a greater degree of collaboration (whether between people or disciplines) and the fostering of decolonial approaches to this growing field.<\/p>","DOI":"10.1093\/obo\/9780199757824-0317","type":"reference-entry","created":{"date-parts":[[2022,8,22]],"date-time":"2022-08-22T10:55:52Z","timestamp":1661165752000},"source":"Crossref","is-referenced-by-count":0,"title":["Global Music History"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2022,8,23]]},"container-title":["Music"],"original-title":["Global Music History"],"language":"en","deposited":{"date-parts":[[2022,8,22]],"date-time":"2022-08-22T10:55:52Z","timestamp":1661165752000},"score":11.786786,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199757824\/obo-9780199757824-0317.xml"}},"issued":{"date-parts":[[2022,8,23]]},"ISBN":["9780199757824"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199757824-0317","published":{"date-parts":[[2022,8,23]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:51:22Z","timestamp":1714729882061},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199757824","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
Folk music, a widely used but controversial term, means oral-tradition music by and for peasants\/the working class in regional cultures where there is also a sophisticated art music that is cultivated by professionals and supported by a socioeconomic upper crust. In recent centuries, these same environments have come to nurture a third broad category of music, popular music, that is made by professionals for the masses and sold as sheet music and, more recently, audiograms of various kinds. The three categories overlap significantly. When members of an upper class discuss folk music, the conversation tends to take place in the shadow of ideology, that is, a presumption or explicit assertion of associated virtues: group identity, nationalism, nostalgia, and working-class or peasant sturdiness, rectitude, and creativity. Indeed, folk music has often been an important ingredient in asserting that a geographical area occupied by the people cultivating that music ought to become a country in the political sense, or that a country home to a given music is especially virtuous, or that people of a given nationality or ethnicity are somehow better than those of other nationalities or ethnicities. Thus, folk music may support healthy pride in group identity, but such opinions may tilt in the direction of decidedly unhealthy assertions of superiority. Insalubrious political uses of repertoires of folk music in Nazi Germany and in the Soviet Union soiled the term folk music in academic circles, and, by the 1960s, folk music was renamed \u201ctraditional music\u201d in some settings. Another key ingredient leading academics to shy away from the term was that intensive study of bodies of what had long been called folk music revealed considerable differentiation among repertoires, so that it became common to refer by name to specific genres of music in oral tradition rather than to simply classify them as folk music. However, at about this same time, the term folk music reached broader use among the general public in the West, referring not only to venerable repertoires in oral tradition, but also to new personal, confessional, and political songs performed in coffee houses and having some commercial success. Today, academics remain more comfortable employing the umbrella rubrics \u201cpopular music\u201d and \u201cart music\u201d than \u201cfolk music\u201d in publications and in professional environments. Nevertheless, the term has demonstrated considerable staying power even among those same academics when teaching nonspecialized or introductory classes and when talking with colleagues not conversant with the academic field of folklore as well as in general conversation. In short, however controversial folk music has become, it remains useful as a concept.<\/p>","DOI":"10.1093\/obo\/9780199757824-0114","type":"reference-entry","created":{"date-parts":[[2013,3,19]],"date-time":"2013-03-19T18:05:03Z","timestamp":1363716303000},"source":"Crossref","is-referenced-by-count":0,"title":["Folk Music"],"prefix":"10.1093","author":[{"given":"Chris","family":"Goertzen","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2013,2,26]]},"container-title":["Music"],"original-title":["Folk Music"],"language":"en","deposited":{"date-parts":[[2021,9,23]],"date-time":"2021-09-23T19:34:54Z","timestamp":1632425694000},"score":11.776173,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199757824\/obo-9780199757824-0114.xml"}},"issued":{"date-parts":[[2013,2,26]]},"ISBN":["9780199757824"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199757824-0114","published":{"date-parts":[[2013,2,26]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:51:30Z","timestamp":1714729890264},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199757824","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
What is now known as \u201ccountry music\u201d in the United States, Canada, and much of Europe has gone by a variety of monikers since the first recordings of the genre were made in the early 1920s\u2014including \u201chillbilly,\u201d \u201cold familiar tunes,\u201d and \u201ccountry and western,\u201d among others\u2014and has encompassed any of a number of subgenres, including western swing, honky tonk, and bluegrass, among many others. Scholars frequently use the term \u201ccountry music\u201d to describe this wide array of musical practices and music industry marketing terms. Country music scholarship is fundamentally multidisciplinary, with strong roots in the fields of American history, folklore, literary studies, sociology, anthropology, and, more recently, musicology and ethnomusicology. Moreover, many record collectors, amateur historians, and journalists have also contributed useful\u2014and, in some cases, indispensable\u2014studies and resources to the field of country music studies. This multidisciplinarity of country music studies is evident from the earliest published research on the subject, which dates from the mid-1960s and can be traced to the folk revival movement that spread across college and university campuses across the United States and Canada during the 1950s and 1960s. In addition to documenting the genre\u2019s history, published studies from the first decade of country music studies reveals sociology\u2019s central role in shaping country music studies. As a consequence, country music studies has been quite interested in exploring the social forces that have had an impact on country music production, consumption, and reception, as well as music\u2019s corollary role in shaping society.<\/p>","DOI":"10.1093\/obo\/9780199757824-0148","type":"reference-entry","created":{"date-parts":[[2015,7,2]],"date-time":"2015-07-02T11:25:25Z","timestamp":1435836325000},"source":"Crossref","is-referenced-by-count":0,"title":["American Country Music"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2015,6,29]]},"container-title":["Music"],"original-title":["American Country Music"],"language":"en","deposited":{"date-parts":[[2021,9,23]],"date-time":"2021-09-23T19:44:04Z","timestamp":1632426244000},"score":11.772058,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199757824\/obo-9780199757824-0148.xml"}},"issued":{"date-parts":[[2015,6,29]]},"ISBN":["9780199757824"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199757824-0148","published":{"date-parts":[[2015,6,29]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:27:50Z","timestamp":1725928070853},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2001]]},"DOI":"10.1093\/gmo\/9781561592630.article.48415","type":"reference-book","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T07:07:23Z","timestamp":1513148843000},"source":"Crossref","is-referenced-by-count":0,"title":["Music roll"],"prefix":"10.1093","member":"286","container-title":["Oxford Music Online"],"original-title":["Music roll"],"language":"en","deposited":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T07:07:23Z","timestamp":1513148843000},"score":11.759141,"resource":{"primary":{"URL":"http:\/\/www.oxfordmusiconline.com\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-0000048415"}},"issued":{"date-parts":[[2001]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.48415","published":{"date-parts":[[2001]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:21:37Z","timestamp":1725927697379},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gmo\/9781561592630.article.j217200","type":"reference-book","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T11:30:51Z","timestamp":1513164651000},"source":"Crossref","is-referenced-by-count":0,"title":["Interstate Music"],"prefix":"10.1093","member":"286","container-title":["Oxford Music Online"],"original-title":["Interstate Music"],"language":"en","deposited":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T11:30:51Z","timestamp":1513164651000},"score":11.758872,"resource":{"primary":{"URL":"http:\/\/www.oxfordmusiconline.com\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-2000217200"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.j217200","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T03:12:07Z","timestamp":1725937927673},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2001]]},"DOI":"10.1093\/gmo\/9781561592630.article.42753","type":"reference-book","created":{"date-parts":[[2018,1,2]],"date-time":"2018-01-02T21:32:56Z","timestamp":1514928776000},"source":"Crossref","is-referenced-by-count":0,"title":["Warner Bros. Music (music publisher)"],"prefix":"10.1093","author":[{"given":"Frances","family":"Barulich","sequence":"first","affiliation":[]},{"given":"Dave","family":"Laing","sequence":"additional","affiliation":[]}],"member":"286","container-title":["Oxford Music Online"],"original-title":["Warner Bros. Music (music publisher)"],"language":"en","deposited":{"date-parts":[[2018,1,2]],"date-time":"2018-01-02T21:32:56Z","timestamp":1514928776000},"score":11.751443,"resource":{"primary":{"URL":"http:\/\/www.oxfordmusiconline.com\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-0000042753"}},"issued":{"date-parts":[[2001]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.42753","published":{"date-parts":[[2001]]}},{"indexed":{"date-parts":[[2025,9,21]],"date-time":"2025-09-21T17:34:19Z","timestamp":1758476059249,"version":"3.40.2"},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"type":"electronic","value":"9781561592630"}],"content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.1093\/gmo\/9781561592630.article.46763","type":"reference-entry","created":{"date-parts":[[2018,1,11]],"date-time":"2018-01-11T17:38:01Z","timestamp":1515692281000},"source":"Crossref","is-referenced-by-count":1,"title":["Baptist church music"],"prefix":"10.1093","author":[{"given":"David W.","family":"Music","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2001]]},"container-title":["Oxford Music Online"],"original-title":["Baptist church music"],"language":"en","deposited":{"date-parts":[[2025,3,23]],"date-time":"2025-03-23T15:56:48Z","timestamp":1742745408000},"score":11.748992,"resource":{"primary":{"URL":"https:\/\/www.oxfordmusiconline.com\/grovemusic\/documentID\/omo-9781561592630-e-0000046763"}},"issued":{"date-parts":[[2001]]},"ISBN":["9781561592630"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46763","published":{"date-parts":[[2001]]}},{"indexed":{"date-parts":[[2022,4,6]],"date-time":"2022-04-06T09:50:50Z","timestamp":1649238650987},"reference-count":0,"publisher":"IACSIT Press","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["IJCEE"],"DOI":"10.7763\/ijcee.2010.v2.168","type":"journal-article","created":{"date-parts":[[2013,11,21]],"date-time":"2013-11-21T02:18:08Z","timestamp":1385000288000},"page":"399-403","source":"Crossref","is-referenced-by-count":1,"title":["Angular Accuracy of ML, MUSIC, ROOT-MUSIC and spatially smoothed version of MUSIC algorithmsAngular Accuracy of ML, MUSIC, ROOT-MUSIC and spatially smoothed version of MUSIC algorithmsAngular Accuracy of ML, MUSIC, ROOT-MUSIC and spatially smoothed version of MUSIC algorithmsAngular Accuracy of ML, MUSIC, ROOT-MUSIC and spatially smoothed version of MUSIC algorithmsAngular Accuracy of ML, MUSIC, ROOT-MUSIC and spatially smoothed version of MUSIC algorithmsAngular Accuracy of ML, MUSIC, ROOT-MUSIC and spatially smoothed version of MUSIC algorithmsAngular Accuracy of ML, MUSIC, ROOT-MUSIC and spatially smoothed version of MUSIC algorithms"],"prefix":"10.7763","author":[{"given":"M.","family":"Jalali","sequence":"first","affiliation":[]},{"given":"B. Honarvar","family":"Shakibaei","sequence":"additional","affiliation":[]}],"member":"4507","published-online":{"date-parts":[[2010]]},"container-title":["International Journal of Computer and Electrical Engineering"],"original-title":["Angular Accuracy of ML, MUSIC, ROOT-MUSIC and spatially smoothed version of MUSIC algorithms"],"deposited":{"date-parts":[[2013,11,21]],"date-time":"2013-11-21T02:18:10Z","timestamp":1385000290000},"score":11.748202,"resource":{"primary":{"URL":"http:\/\/www.ijcee.org\/show-32-585-1.html"}},"issued":{"date-parts":[[2010]]},"references-count":0,"URL":"https:\/\/doi.org\/10.7763\/ijcee.2010.v2.168","ISSN":["1793-8163"],"issn-type":[{"value":"1793-8163","type":"print"}],"published":{"date-parts":[[2010]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:50:45Z","timestamp":1714729845283},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199757824","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
\u201cBaroque\u201d is a style-period in music conventionally identified as the 17th century and the first half of the 18th, i.e., from Claudio Monteverdi (b. 1567\u2013d. 1643) to J. S. Bach (b. 1685\u2013d. 1750) and Handel (b. 1685\u2013d. 1759). It is often divided into \u201cearly\u201d (1600\u20131640), \u201cmiddle\u201d (1640\u20131690), and \u201chigh\u201d (1690\u20131750) phases. These various chronological boundaries remain fuzzy, however, and also reflect the prejudices of German and Anglo-American scholarship that might not appeal to, say, French admirers of their musique classique from Jean-Baptiste Lully to Jean-Philippe Rameau, or Spanish devotees of the siglo de oro up to the death of Pedro Calder\u00f3n de la Barca (1681). Given that many characteristics of early Baroque music can be traced to aesthetic attitudes and performance practices typical of the late Renaissance, it is common to take the beginnings of Baroque music back to 1580 or so. When the Baroque period ends is a much more problematic question, depending on where one situates the so-called Rococo and style galant (e.g., of Rameau or Georg Philipp Telemann), the Empfindsamer Stil (e.g., of C. P. E. Bach), or the pre-Classical style of, say, Giovanni Battista Pergolesi and Johann Adolf Hasse. Baroque music is often characterized by one or more of the following: harmonic (vertical) thinking, musical rhetoric and affective text expression, elaborate ornamentation, newly codified genres and forms, the emergence of functional tonality, and the rise of the virtuoso. Jean-Jacques Rousseau (in his Dictionnaire de musique, 1768), writing from the rather smug viewpoint of the French Enlightenment, claimed that \u201ca baroque music is that in which the harmony is confused, charged with modulations and dissonances, the melody is harsh and little natural, the intonation difficult, and the movement constrained.\u201d Modern scholars and performers would disagree, and the current entry, introducing the fundamental texts in the field and its subdivisions, seeks to make some sense of just what Baroque music might be. It does not include composer studies, which can be found separately in Oxford Bibliographies.<\/p>","DOI":"10.1093\/obo\/9780199757824-0004","type":"reference-entry","created":{"date-parts":[[2012,2,14]],"date-time":"2012-02-14T18:22:01Z","timestamp":1329243721000},"source":"Crossref","is-referenced-by-count":0,"title":["Baroque Music"],"prefix":"10.1093","author":[{"given":"Tim","family":"Carter","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2011,6,29]]},"container-title":["Music"],"original-title":["Baroque Music"],"language":"en","deposited":{"date-parts":[[2021,9,23]],"date-time":"2021-09-23T19:30:53Z","timestamp":1632425453000},"score":11.743679,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199757824\/obo-9780199757824-0004.xml"}},"issued":{"date-parts":[[2011,6,29]]},"ISBN":["9780199757824"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199757824-0004","published":{"date-parts":[[2011,6,29]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:18:29Z","timestamp":1725927509052},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gmo\/9781561592630.article.j753100","type":"reference-book","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T11:02:10Z","timestamp":1513162930000},"source":"Crossref","is-referenced-by-count":0,"title":["Resonant 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Inc"],"language":"en","deposited":{"date-parts":[[2018,1,5]],"date-time":"2018-01-05T00:18:40Z","timestamp":1515111520000},"score":11.722597,"resource":{"primary":{"URL":"http:\/\/www.oxfordmusiconline.com\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-2000319600"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.j319600","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:39:47Z","timestamp":1725928787881},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2001]]},"DOI":"10.1093\/gmo\/9781561592630.article.53252","type":"reference-book","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T16:29:09Z","timestamp":1513182549000},"source":"Crossref","is-referenced-by-count":0,"title":["Ambient music"],"prefix":"10.1093","member":"286","container-title":["Oxford Music Online"],"original-title":["Ambient music"],"language":"en","deposited":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T16:29:10Z","timestamp":1513182550000},"score":11.708104,"resource":{"primary":{"URL":"http:\/\/www.oxfordmusiconline.com\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-0000053252"}},"issued":{"date-parts":[[2001]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.53252","published":{"date-parts":[[2001]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:33:40Z","timestamp":1725928420121},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2001]]},"DOI":"10.1093\/gmo\/9781561592630.article.13056","type":"reference-book","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T12:09:11Z","timestamp":1513166951000},"source":"Crossref","is-referenced-by-count":0,"title":["Hindustani music"],"prefix":"10.1093","member":"286","container-title":["Oxford Music Online"],"original-title":["Hindustani music"],"language":"en","deposited":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T12:09:12Z","timestamp":1513166952000},"score":11.701056,"resource":{"primary":{"URL":"http:\/\/www.oxfordmusiconline.com\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-0000013056"}},"issued":{"date-parts":[[2001]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.13056","published":{"date-parts":[[2001]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:54:32Z","timestamp":1714730072153},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199757824","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
The Portuguese-speaking African countries, otherwise known as Lusophone Africa, are geographically scattered across the continent. Angola, Cabo Verde, Guinea-Bissau, Mozambique, S\u00e3o Tom\u00e9 and Pr\u00edncipe, and, since 2011, Equatorial Guinea recognize Portuguese as an official language. As former Portuguese colonies, the original five Lusophone African countries formed the transnational organization PALOP (Portuguese: Pa\u00edses Africanos de L\u00edngua Oficial Portuguesa) in 1992. Equatorial Guinea, a Portuguese colony before it was claimed by Spain, was not traditionally considered part of the PALOP, though it recently adopted Portuguese as the country\u2019s third official language. (With that being said, music scholarship on Lusophone connections in Equatorial Guinea is lacking and therefore not included in this article). The Portuguese colonial empire had varying effects on these African states even after they gained independence in the 1970s, and that legacy stretches into postcolonial discourse today in Lusophone Africa. The concept of Lusofonia, or Lusophony, is intrinsically tied to colonialism. Language can be understood as the last territory of the Portuguese Empire, perpetuating cultural imperialism and mental colonialism in this imagined transnational community. Lusophone Africa extends across vast continental territories of diverse African ethnic groups with varying histories of Portuguese presence. Each country embodies a diverse, multicultural milieu, but each shares a common language regardless of its status\u2014mother tongue, official language, creole-based language. They share an identity based on the linguistic and cultural practices imposed by their Portuguese colonizers and further transformed to serve the needs of their local cultures. Their recognition of Lusofonia joins these countries in solidarity. The majority of scholarship on music of Lusophone Africa centers on Angola and Cabo Verde, though geographical borders become blurry with the volume of cultural exchange occurring between these countries. Musical practices flow freely through these political boundaries, and there has historically been a profuse amount of migration, both voluntary and involuntary, between the Portuguese-speaking countries and throughout the world. Lusophone African musicians have created unique expressions from their interactions with various cultural influences, and many speak to the civil unrest, political violence, and economic instabilities of their countries. The sources in this bibliography highlight themes of national identity, creolization, resistance, transnational flows, colonial and postcolonial relations, and globalization in the music of Lusophone Africa, and a majority of the scholarship is published in the 21st century, hopefully indicating a surge of interest in these areas and more research to emerge in the coming years.<\/p>","DOI":"10.1093\/obo\/9780199757824-0310","type":"reference-entry","created":{"date-parts":[[2022,2,23]],"date-time":"2022-02-23T18:37:05Z","timestamp":1645641425000},"source":"Crossref","is-referenced-by-count":0,"title":["Music and Lusophone Africa"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2022,2,21]]},"container-title":["Music"],"original-title":["Music and Lusophone Africa"],"language":"en","deposited":{"date-parts":[[2022,2,23]],"date-time":"2022-02-23T18:37:06Z","timestamp":1645641426000},"score":11.696529,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199757824\/obo-9780199757824-0310.xml"}},"issued":{"date-parts":[[2022,2,21]]},"ISBN":["9780199757824"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199757824-0310","published":{"date-parts":[[2022,2,21]]}},{"indexed":{"date-parts":[[2025,7,11]],"date-time":"2025-07-11T10:20:05Z","timestamp":1752229205454,"version":"3.40.2"},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"type":"electronic","value":"9781561592630"}],"content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.1093\/gmo\/9781561592630.article.40476","type":"reference-entry","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T14:07:50Z","timestamp":1513174070000},"source":"Crossref","is-referenced-by-count":10,"title":["Music"],"prefix":"10.1093","author":[{"given":"Bruno","family":"Nettl","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2001]]},"container-title":["Oxford Music Online"],"original-title":["Music"],"language":"en","deposited":{"date-parts":[[2025,3,23]],"date-time":"2025-03-23T15:55:07Z","timestamp":1742745307000},"score":11.696529,"resource":{"primary":{"URL":"https:\/\/www.oxfordmusiconline.com\/grovemusic\/documentID\/omo-9781561592630-e-0000040476"}},"issued":{"date-parts":[[2001]]},"ISBN":["9781561592630"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40476","published":{"date-parts":[[2001]]}}],"items-per-page":20,"query":{"start-index":0,"search-terms":"Music"}}}