Applied Musicology and Ethnomusicology

A special issue of Arts (ISSN 2076-0752). This special issue belongs to the section "Musical Arts and Theatre".

Deadline for manuscript submissions: 31 August 2024 | Viewed by 3868

Special Issue Editor


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Guest Editor
Institute of Musicology, Serbian Academy of Sciences and Arts, Beograd 11000, Serbia
Interests: Balkan music; popular music; Russian/Soviet music since 1950; Serbian music since 1950
Special Issues, Collections and Topics in MDPI journals

Special Issue Information

Dear Colleagues,

This Special Issue on Applied Musicology and Ethnomusicology gathers together scholars from different disciplines (musicology, ethnomusicology, media studies, music theory, and anthropology) who are engaged in innovative and groundbreaking work in the domain of applied science. Applied musicology and ethnomusicology use knowledge to influence social interaction and to direct the course of cultural change beyond typical academic contexts, thus linking knowledge with social activism and responsibility and focusing on results that are publicly visible and practically applicable. Applied ethnomusicology only entered academic discussions about fifteen years ago, while applied musicology is yet to be properly defined. Hence our main goal is to define applied musicology and provide case studies for both applied musicology and ethnomusicology as “hybrid” disciplines at the junction of science, culture, and art. Our contributors will examine the theoretical, methodological, and practical aspects of the emerging concept of applied musicology (including the related concepts of engaged and public musicology), as well as foster the rapprochement between academic research and applied musicology and ethnomusicology. With this Special Issue, we will redefine the role of musicology and ethnomusicology in contemporary society and make an impact on global research trends. We will highlight how these disciplines can and do contribute to the betterment of society by preserving and promoting musical heritage both in local and international contexts through performing practices, safeguarding initiatives, music programming, creating digital archives, developing new educational and scientific policies, and other forms of the public dissemination of research results.

Dr. Ivana Medić
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • applied musicology
  • applied ethnomusicology
  • contemporary music
  • opera
  • music festivals
  • internet platforms
  • 21st-century avant-garde

Published Papers (2 papers)

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Research

10 pages, 220 KiB  
Article
Analytical Listening and Aesthetic Experience in Music Criticism
by Srđan Teparić
Arts 2024, 13(1), 34; https://doi.org/10.3390/arts13010034 - 14 Feb 2024
Viewed by 1490
Abstract
In this article, I discuss the methodological and contextual aspects of writing music criticism, drawing cues from applied musicology and autoethnography. The challenge for any music critic is the question of the relationship between objective and subjective approaches. I analyze the relationship between [...] Read more.
In this article, I discuss the methodological and contextual aspects of writing music criticism, drawing cues from applied musicology and autoethnography. The challenge for any music critic is the question of the relationship between objective and subjective approaches. I analyze the relationship between analytical listening and aesthetic experience, using the examples of two music reviews of Ivo Pogorelić’s piano recitals that I wrote. The interpretations of this pianist are suitable for the analysis precisely because he is commonly seen as an unconventional, even controversial pianist, and his interpretations of romantic music are often regarded as examples of anti-academicism and even deconstruction of pianistic canons accumulated during the 20th century. Against that term, I will talk about liberation, which is perhaps a more suitable label for Pogorelić’s modernist approach to performance. Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)
13 pages, 274 KiB  
Article
Activist Musicology and Informal Multimedia Archives: The Case of YouTube Channel “Serbian Composers”
by Bojana Radovanović and Miloš Bralović
Arts 2023, 12(5), 184; https://doi.org/10.3390/arts12050184 - 27 Aug 2023
Viewed by 1698
Abstract
The YouTube channel “Serbian Composers” was founded in 2012 by four musicology students from Belgrade. As the first page dedicated to both art music and applied music of Serbian composers on this popular video-sharing website, over the past 11 years this channel has [...] Read more.
The YouTube channel “Serbian Composers” was founded in 2012 by four musicology students from Belgrade. As the first page dedicated to both art music and applied music of Serbian composers on this popular video-sharing website, over the past 11 years this channel has shown itself to be an excellent platform for the promotion, multi-media archiving, research, digitalization, and preservation of Serbian music. The founders of the channel—nowadays active researchers in the field—recognized the potential of YouTube for applied musicological work and worked diligently on making this channel the most reliable online source for anyone interested in Serbian composers and their works. In this article, we elaborate on what working on this channel throughout the years has entailed. We cover the realities of both the social media and internet presence of one such endeavor and situate the research in the domain of seeing YouTube as an informal multimedia archive. We also discuss the ongoing processes of collecting music and data, digitalization and preservation, selection and categorization, and the presentation of material on YouTube and other relevant social media platforms. Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)
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