Jonathan Dunsby
Biographic Data
| ID | 3593846 |
|---|---|
| NAME | Jonathan Dunsby |
| GIVEN NAMES | Jonathan |
| FAMILY NAME | Dunsby |
| SIGNATURE | DUNSBY J |
| AFFILIATIONS | University of Reading |
| VERIFIED | No |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 19 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1981 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
Musicians in the Making: (Pathways to Creative Performance . Ed. by John Rink, Helena Gaunt, and Aaron Williamon Distributed Creativity: Collaboration and Improvisation in Contemporary Music . Ed. by …
Most readers will not study all five of these books equally thoroughly. All five volumes, however, emanated from a single research project, the UK’s Arts and Humanities Research Council ‘Research Centre for Musical Performance as Creative Practice’ (www.cmpcp.ac.uk), a five-year programme that began in 2009 (and this reviewer was on the International Advisory Panel of that centre, with no direct influence on or indeed advance knowledge of the con…
On Repeat: How Music Plays the Mind. By Elizabeth Hellmuth Margulis
In his essay ‘The Fine Art of Repetition’, which one might wish had been more influential among musicologists and music theorists, the music philosopher Peter Kivy claimed that repetition is a ‘defining feature’ of ‘music alone’, otherwise known as absolute music, ‘from Bach to Brahms, and before and beyond’ (The Fine Art of Repetition: Essays in the Philosophy of Music (Cambridge, 1993), 359). Margulis prefers the view that repetition represents…
The Philosopher's Touch: Sartre, Nietzsche, and Barthes at the Piano. By Francois Noudelmann. Translated by Brian J. Reilly
Journal Article The Philosopher’s Touch: Sartre, Nietzsche, and Barthes at the Piano. By François Noudelmann. Translated by Brian J. Reilly. Get access The Philosopher’s Touch: Sartre, Nietzsche, and Barthes at the Piano. By François Noudelmann. Translated by Brian J. Reilly. pp. 166. European Perspectives: A Series in Social Thought and Cultural Criticism. ( Columbia University Press, New York, 2012, $26.50. ISBN 978-0-231-15394-2.) Jonathan Dun…
Roland Barthes and the Grain of Panzéra's Voice
Roland Barthes's perception of voice having a ‘grain’ is one of the best-known legacies of the last century's history of ideas, especially in discussions of popular music. His evidence, the singing of Charles Panzéra, compared with that of Dietrich Fischer-Dieskau, is explored and illustrated here in the context of a discussion of the origin of ‘grain’ and its wider implications. It is only rhetorically that one may consider the ‘geno’-song separ…
Scenarios, Mostly from the Early Days of MusA
Whittall, Arnold
Fortenotes
Performing Music: Shared Concerns
A Slight Oversimplification: An Interview with Arnold Whittall
1995 sees the sixtieth birthday of Arnold Whittall, and 1996 his retirement from King's College London. Contrary to what many have assumed over the years, I never studied with him, but became his junior colleague when I was appointed Lecturer at KCL in 1979, where I worked for six exciting years. I have long ago lost count of the number of projects he and I have worked on together, and indeed the number of my own projects about which I have sough…
Models of Musical Analysis: Early Twentieth-Century Music
Performing Music: Shared Concerns
This text is about aspects of music-making that have not previously been considered together and in an accessible form. It deals with performance studies as a coherent subject, exploring such issues as the ideas of anxiety and artistry, recent thought in the musical literature, tensions between Romanticism and Modernism, and the sound and design of music. It is written in non-technical language so that the lay reader will be able to gain an insig…
Analysis
Considerations of Texture
Journal Article CONSIDERATIONS OF TEXTURE Get access JONATHAN DUNSBY JONATHAN DUNSBY Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 70, Issue 1, February 1989, Pages 46–57, https://doi.org/10.1093/ml/70.1.46 Published: 01 February 1989
[Letter from Jonathan Dunsby]
Three Essays from 'Neue Revue' (1894-7)
The Formal Repeat
The music of many cultures is characterized by lengthy musical repetitions, especially where ceremony, text and dance determine the amount of music needed. In Western Classical music, formal repetition is an especially prominent feature. Considering the number of pieces in the customary concert repertoire which include repeats, even the casual observer may be surprised to see only a dozen column inches devoted to the topic in The New Grove Dictio…
Liszt's 'Nuages Gris' and Kagel's 'Unguis Incarnatus Est: A Model and Its Issue
Along with the many problems which repetition poses within a work, repetition of a work in another be it exhaustive (transcription) or fragmentary (collage) offers numerous aspects rich in potential, for it always brings into play several rather complex mechanisms. The first, that of recognition, is essentially bound up with the 'safety factor' entailed in the reappearance of a familiar element in an unfamiliar context: here pleasure springs from…
A Bagatelle on Beethoven's WoO 60
The Case for a Schenkerian Semiotic
Considerations of Texture
Journal Article CONSIDERATIONS OF TEXTURE Get access JONATHAN DUNSBY JONATHAN DUNSBY Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 70, Issue 1, February 1989, Pages 46–57, https://doi.org/10.1093/ml/70.1.46 Published: 01 February 1989
Analysis
The Formal Repeat
The music of many cultures is characterized by lengthy musical repetitions, especially where ceremony, text and dance determine the amount of music needed. In Western Classical music, formal repetition is an especially prominent feature. Considering the number of pieces in the customary concert repertoire which include repeats, even the casual observer may be surprised to see only a dozen column inches devoted to the topic in The New Grove Dictio…
The Case for a Schenkerian Semiotic
A Bagatelle on Beethoven's WoO 60
Liszt's 'Nuages Gris' and Kagel's 'Unguis Incarnatus Est: A Model and Its Issue
Along with the many problems which repetition poses within a work, repetition of a work in another be it exhaustive (transcription) or fragmentary (collage) offers numerous aspects rich in potential, for it always brings into play several rather complex mechanisms. The first, that of recognition, is essentially bound up with the 'safety factor' entailed in the reappearance of a familiar element in an unfamiliar context: here pleasure springs from…
The Formal Repeat
The music of many cultures is characterized by lengthy musical repetitions, especially where ceremony, text and dance determine the amount of music needed. In Western Classical music, formal repetition is an especially prominent feature. Considering the number of pieces in the customary concert repertoire which include repeats, even the casual observer may be surprised to see only a dozen column inches devoted to the topic in The New Grove Dictio…
[Letter from Jonathan Dunsby]
Three Essays from 'Neue Revue' (1894-7)
Analysis
Considerations of Texture
Journal Article CONSIDERATIONS OF TEXTURE Get access JONATHAN DUNSBY JONATHAN DUNSBY Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 70, Issue 1, February 1989, Pages 46–57, https://doi.org/10.1093/ml/70.1.46 Published: 01 February 1989
A Slight Oversimplification: An Interview with Arnold Whittall
1995 sees the sixtieth birthday of Arnold Whittall, and 1996 his retirement from King's College London. Contrary to what many have assumed over the years, I never studied with him, but became his junior colleague when I was appointed Lecturer at KCL in 1979, where I worked for six exciting years. I have long ago lost count of the number of projects he and I have worked on together, and indeed the number of my own projects about which I have sough…
Models of Musical Analysis: Early Twentieth-Century Music
Performing Music: Shared Concerns
This text is about aspects of music-making that have not previously been considered together and in an accessible form. It deals with performance studies as a coherent subject, exploring such issues as the ideas of anxiety and artistry, recent thought in the musical literature, tensions between Romanticism and Modernism, and the sound and design of music. It is written in non-technical language so that the lay reader will be able to gain an insig…
Fortenotes
Performing Music: Shared Concerns
Whittall, Arnold
Scenarios, Mostly from the Early Days of MusA
Roland Barthes and the Grain of Panzéra's Voice
Roland Barthes's perception of voice having a ‘grain’ is one of the best-known legacies of the last century's history of ideas, especially in discussions of popular music. His evidence, the singing of Charles Panzéra, compared with that of Dietrich Fischer-Dieskau, is explored and illustrated here in the context of a discussion of the origin of ‘grain’ and its wider implications. It is only rhetorically that one may consider the ‘geno’-song separ…
On Repeat: How Music Plays the Mind. By Elizabeth Hellmuth Margulis
In his essay ‘The Fine Art of Repetition’, which one might wish had been more influential among musicologists and music theorists, the music philosopher Peter Kivy claimed that repetition is a ‘defining feature’ of ‘music alone’, otherwise known as absolute music, ‘from Bach to Brahms, and before and beyond’ (The Fine Art of Repetition: Essays in the Philosophy of Music (Cambridge, 1993), 359). Margulis prefers the view that repetition represents…
The Philosopher's Touch: Sartre, Nietzsche, and Barthes at the Piano. By Francois Noudelmann. Translated by Brian J. Reilly
Journal Article The Philosopher’s Touch: Sartre, Nietzsche, and Barthes at the Piano. By François Noudelmann. Translated by Brian J. Reilly. Get access The Philosopher’s Touch: Sartre, Nietzsche, and Barthes at the Piano. By François Noudelmann. Translated by Brian J. Reilly. pp. 166. European Perspectives: A Series in Social Thought and Cultural Criticism. ( Columbia University Press, New York, 2012, $26.50. ISBN 978-0-231-15394-2.) Jonathan Dun…
Musicians in the Making: (Pathways to Creative Performance . Ed. by John Rink, Helena Gaunt, and Aaron Williamon Distributed Creativity: Collaboration and Improvisation in Contemporary Music . Ed. by …
Most readers will not study all five of these books equally thoroughly. All five volumes, however, emanated from a single research project, the UK’s Arts and Humanities Research Council ‘Research Centre for Musical Performance as Creative Practice’ (www.cmpcp.ac.uk), a five-year programme that began in 2009 (and this reviewer was on the International Advisory Panel of that centre, with no direct influence on or indeed advance knowledge of the con…
Art (16 works) · Musicology and Musical Analysis (10 works) · Philosophy (7 works) · Computer Science (6 works) · Psychology (6 works) · Diverse Musicological Studies (4 works) · Literature (4 works) · Musical (4 works) · Visual arts (4 works) · History (3 works)