WorldCat Identities

Ashby, Arved Mark

Overview
Works: 26 works in 80 publications in 1 language and 2,763 library holdings
Genres: Criticism, interpretation, etc  History  Academic theses  Music 
Roles: Author, Editor, Performer
Classifications: ML197, 780.904
Publication Timeline
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Most widely held works by Arved Mark Ashby
Absolute music, mechanical reproduction by Arved Mark Ashby( )

12 editions published in 2010 in English and Undetermined and held by 1,820 WorldCat member libraries worldwide

"Recordings are now the primary way we hear classical music, especially the more abstract styles of 'absolute' instrumental music. In this original, provocative book, Arved Ashby argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, Ashby sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This erudite yet concise study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life."--Publisher's description
The pleasure of modernist music : listening, meaning, intention, ideology by Arved Mark Ashby( Book )

18 editions published between 2004 and 2010 in English and held by 470 WorldCat member libraries worldwide

"The debate over modernist music has continued for almost a century. The composers discussed in these pages - including Bela Bartok, Karlheinz Stockhausen, Bernard Herrmann, Steve Reich, and many others - were modernists in that they shared a basic, individualist impulse to redesign music." "This is the first book to stake out a principled middle ground between two standard polemical positions about modernist music: the one attacking it as elitist, overly intellectual, and often incomprehensible; the other defending it as a music-evolutionary stage deemed "necessary" but also beyond the reach of words." "With an emphasis on recent contexts and debates - including film music, sexuality, metaphor, and ideas of a listening grammar - the contributors trace the meanings that such works and composers hold for listeners of different kinds."--Jacket
Popular music and the new auteur : visionary filmmakers after MTV( Book )

16 editions published between 2013 and 2014 in English and held by 318 WorldCat member libraries worldwide

Music videos widened the creative vocabulary of filmmaking, starting with the launch of MTV in 1981, and continuing through the expansion of cable TV and the proliferation of the PC and of digital video. This study looks at seven visionary directors, most of them American, who have allowed music-video-induced changes to infiltrate their feature films, and defines these filmmakers' relation to the soundtrack as their key authorial gesture
Violin/viola and keyboard works by Alan Hovhaness( )

3 editions published between 2000 and 2007 and held by 91 WorldCat member libraries worldwide

The development of Berg's twelve tone aesthetic as seen in the Lyric suite and its sources by Arved Mark Ashby( )

5 editions published in 1995 in English and held by 15 WorldCat member libraries worldwide

Encrypted messages in Alban Berg's music by Siglind Bruhn( )

1 edition published in 2011 in English and held by 14 WorldCat member libraries worldwide

HOVHANESS : Violin, Viola and Keyboard Works( )

2 editions published in 2007 in English and held by 4 WorldCat member libraries worldwide

Singing the aphoristic text : Berg's "Altenberg-Lieder" by Arved Mark Ashby( )

1 edition published in 1998 in English and held by 3 WorldCat member libraries worldwide

Intention and meaning in modernist music by Arved Mark Ashby( )

1 edition published in 2004 in English and held by 3 WorldCat member libraries worldwide

Modernism goes to the movies by Arved Mark Ashby( )

1 edition published in 2004 in English and held by 3 WorldCat member libraries worldwide

EXPERIENCING MAHLER : a listener's companion by Arved Mark Ashby( Book )

2 editions published in 2019 in English and held by 3 WorldCat member libraries worldwide

De Alvear, M.( )

1 edition published in 2012 in English and held by 2 WorldCat member libraries worldwide

Pleasure of Modernist Music, The by Arved Mark Ashby( )

1 edition published in 2004 in English and held by 2 WorldCat member libraries worldwide

The debate over modernist music has continued for almost a century: from Berg's Wozzeck and Webern's Symphony Op. 21 to John Cage's renegotiation of musical control, the unusual musical practices of the Velvet Underground, and Stanley Kubrick's use of Ligeti's Lux Aeterna in the epic film 2001. The composers discussed in these pages -- including Bartók, Stockhausen, Bernard Herrmann, Steve Reich, and many others -- are modernists in that they are defined by their individualism, whether covert or overt, and share a basic urge toward redesigning musical discourse. The aim of this volume is to neg
Listening to academic music by Arved Mark Ashby( Book )

1 edition published in 2001 in English and held by 2 WorldCat member libraries worldwide

Out into the world : Chinese film music after the cultural revolution by Zhichun Lin( )

2 editions published in 2007 in English and held by 2 WorldCat member libraries worldwide

In 2001, Crouching Tiger Hidden Dragon by Ang Lee, with musical score by Dun Tan, won the Oscars for Best Foreign Language Film and Best Original Score. This was really a break for Chinese films and film music outside China: Before Crouching Tiger Hidden Dragon, although Chinese films already had a firm position and got wide reception in the world, Chinese film music did not get the same important attention, even when composed by the most highly regarded musicians, such as Jiping Zhao. Through general analysis of the brief development of Chinese films and film music after 1979, the thesis will compare the film music of the two celebrated Chinese composers: Jiping Zhao and Dun Tan. I will discuss the differences between their works which cause different reactions internationally, and will also address the implications of world-wide reception -- both positive and negative -- for the future identity of Chinese film music
Of Modell-Typen and Reihenformen : Berg, Schoenberg, F.H. Klein, and the concept of row derivation by Arved Mark Ashby( )

1 edition published in 1995 in English and held by 1 WorldCat member library worldwide

"Slightly overlooked professionally" : popular music in postmillennial romantic comedies by Elizabeth Kirkendoll( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

In recent years film scholars has turned their attention to the cinematic conventions of romantic comedies. Tamar Jeffers McDonald, Deborah Jermyn, and Stacey Abbott have advocated for the scholarly merits of the genre; these scholars posit that through romantic comedies, we can trace developments in women’s rights and feminist critiques of hegemonic masculinity. Scholars have recently focused attention on popular music in film, as well, and argued for its inclusion in serious musical study in works such as The Sounds of Commerce: Marketing Popular Film Music (Jeff Smith, 1998), Soundtrack Available: Essays on Film and Popular Music (ed. Pamela Robertson Wojcik and Arthur Knight, 2001), and Pop Fiction: The Song in Cinema (ed. Steve Lannin and Matthew Caley, 2005), among others. Nonetheless, romantic comedies are largely missing from the discourse about popular music, possibly because of the common assumption that the genre’s conventions hold no merit as a subject for academic investigation. Based on information gathered from romantic comedy audiences this dissertation makes the case that postmillennial romantic comedies deploy popular song conventions to underscore character development, create irony, and question the validity of the happy ending. Thus, rather than conveying superficial messages of romance, songs in postmillennial romantic comedies destabilize a postfeminist ideology that asserts the achievement of gender equality. As they are deployed in the films, these songs are not a simple marketing ploy or entertainment intended for a mindless audience; rather they convey an argument for female autonomy and the continued need for feminist discourse. Films discussed in this dissertation include Bridget Jones’s Diary (2001), Sweet Home Alabama (2002), Love Actually (2003), Trainwreck (2015), and Bridget Jones’s Baby (2016), among others
Undocumented migrants and engaging public spaces of listening by Abel Stewart( )

1 edition published in 2014 in English and held by 1 WorldCat member library worldwide

With new migration patterns extending border spaces into the interior of the United States, undocumented migrants living in the U.S. interior are forced to navigate the hazards and insecurities of illegal residence within the contexts of their daily lives. In the midst of these hazards, many migrants use listening to music in specific public spaces as a way of creating positions of security. Music and genre-normative modes of listening form a fundamental part of the social architecture of public space, and regional Mexican music forms part of the social architecture of Mexican grocery stores as a culturally "safe" environment for migrants
The distribution, construction, tuning, and performance technique of the African log xylophone by Yoo Jin Bae( )

1 edition published in 2001 in English and held by 1 WorldCat member library worldwide

Abstract: The log xylophone is a unique subcategory of xylophones in Africa and is identified mainly by the lack of a resonator attachment. Pieces of log or wood, bundles of grass, or banana stems are commonly used to serve as the support frame on which the wooden slats rest. In this study the leg xylophone is considered under the log xylophone topic since in the leg xylophone, human legs function in ways similar to the log. Due to the unusual distribution of the xylophone in the African continent, some scholars tend to suggest Asian origins for the African xylophone. Indonesia, specifically, stands out in the works of Arthur Jones as a possible origin; his arguments are built around samples of evidence on equidistance tuning, geographical distribution, similarities in construction, and cultural practices. The Ugandan amadinda xylophone is presented here as the representative log xylophone with supportive examples from Omabe and kponingbo xylophones along tuning, construction, and playing technique. The African xylophone remains a challenge to organologists, ethnologists, and percussionists
Songs in U.S. presidential campaigns : function, signification, and spin by Garrett Amzi Brown( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

In this document, I examine the history of the campaign song in presidential elections in the United States, finding its changes in function as a result of the changing American electorate and advancing technology. As voting rights get extended to a greater percentage of the total American population and as popular mediums for dissemination of information change, the format of an effective campaign song changes from contrafacta of a well-known song to unaltered popular songs. I also identify the various signifying elements of popular songs that allow them to complement campaign rhetoric. Finally, I provide an exegesis of several popular songs whose original political meaning has changed as a result of their being used in the context of American presidential campaigns. In providing this analysis, I show how popular songs come to represent shared American ideals in the absence of any broad agreement as to what form those ideals should take
 
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The pleasure of modernist music : listening, meaning, intention, ideology
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The pleasure of modernist music : listening, meaning, intention, ideology
Alternative Names
Ashby, Arved.

Languages
English (68)