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64209 results in Music

Page 99 of 3211

  • 1 - A Victorian Conspectus

  • Christopher Page, University of Cambridge
  • Book:
    The Guitar in Victorian England
    Published online:
    09 June 2025
    Print publication:
    26 June 2025, pp 12-45

  • Summary

    The guitar was in high fashion in Britain during the first third of the nineteenth century, but this ‘Great Vogue’ for the instrument as a solo and concert resource was over by 1850. This has led to a widespread misunderstanding of the guitar’s Victorian history, even to the point where it may seem to have none. The trajectory of the guitar in the England of Queen Victoria actually shows a continual process of ascent and rehabilitation based on the art of guitar-accompanied singing. The scope for exploring this return to favour has been immeasurably enhanced by the advent of databases offering many thousands of pages of Victorian newspapers in a digital and word-searchable form. Even the most severe critics were prepared to admit that the guitar offered a very serviceable accompaniment to an untrained (or indeed a trained) voice. That will be the secret of its success under Victoria, as the newspaper record abundantly reveals.

  • TEM volume 79 issue 313 Cover and Front matter

  • Journal:
    Tempo / Volume 79 / Issue 313 / July 2025
    Published online by Cambridge University Press:
    25 June 2025, pp. f1-f4
    Print publication:
    July 2025
    • Article
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  • LISTENING FOR HUMAN AGENCY: SOUNDING THE HUMAN/MACHINE INTERFACE

  • Dong Yikun
  • Journal:
    Tempo / Volume 79 / Issue 313 / July 2025
    Published online by Cambridge University Press:
    25 June 2025, pp. 70-84
    Print publication:
    July 2025

  • As intelligence technology advances, the boundaries between humans and machines blur, prompting questions regarding human identity and agency. While opera has traditionally explored such existential tensions, contemporary productions often emphasise technological narratives, potentially overshadowing human-centred perspectives. This article investigates music’s expressive potential to bridge these divergent viewpoints, positing it as a distinct form of ‘listening’ to and ‘knowing’ the world. Through a case study of Hao Weiya’s chamber opera AI Variation (2021), it probes how a musical approach communicates intricate ethical and existential questions posed by advancing AI technologies. The findings reveal that music’s non-linguistic nature creates an experiential space to explore, feel and contemplate human experiences. Orchestral voices craft sonic landscapes that invite contemplation on being and perception in an AI-driven world, and music conveys complexities beyond what words alone can express. The article illuminates how music contributes to a humanist response to technological advances, enriching cultural and philosophical discourse.

  • TEM volume 79 issue 313 Cover and Back matter

  • Journal:
    Tempo / Volume 79 / Issue 313 / July 2025
    Published online by Cambridge University Press:
    25 June 2025, pp. b1-b2
    Print publication:
    July 2025
    • Article
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  • A COMPOSER-PERFORMER COLLABORATION ‘TIME CAPSULE’ (9TH JUNE 1995): RE-OPENING A LETTER FROM JUSTIN CONNOLLY

  • Neil Heyde
  • Journal:
    Tempo / Volume 79 / Issue 313 / July 2025
    Published online by Cambridge University Press:
    25 June 2025, pp. 6-20
    Print publication:
    July 2025
    • Article
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      • Open access
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  • Composer-Performer Collaboration (CPC) has become a distinct research field in the last twenty years. This article explores a long letter written by Justin Connolly to Neil Heyde in place of final workshops for Collana, for solo cello. The letter sheds forensic light on Connolly’s musical vision and approach to collaboration, revealing a distinctive combination of pedantic concern for details (with concomitant precision of notation) and great flexibility. Connolly encourages the performer as an active participant, with responsibility for a ‘parallel universe of discourse’. Heyde responds directly to extracts from the letter and outlines the shared working context. Connolly’s letter confirms the significance of the dimensions of notation, gesture and instrumental choreography that have emerged in the CPC literature but affords a perspective not shaped by academic demand characteristics. It presents an especially sophisticated approach to what recent writing has called empathetic embodiment.

Page 99 of 3211