Fred E Maus | University of Virginia (original) (raw)
Papers by Fred E Maus
Perspectives of New Music, 2006
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Perspectives of New Music, 2006
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Bloomsbury Encyclopedia of Popular Music of the World, 2003
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Bloomsbury Encyclopedia of Popular Music of the World, 2003
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Bloomsbury Encyclopedia of Popular Music of the World, 2003
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Reversing the Cult of Speed in Higher Education, 2018
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Oxford Handbooks Online, 2018
How do people relate to the music they value? Listening is a central relation, but there are many... more How do people relate to the music they value? Listening is a central relation, but there are many others. As Charles Keil observed, people may find music, be invaded by music, use music, participate in music, and so on. This chapter explores a relation that may be called possessing music or owning music. Theodor W. Adorno and Simon Frith both emphasized such relations in the context of their very different accounts of mass-media music. A psychoanalytic approach, drawing on the ideas of Melanie Klein and D. W. Winnicott, clarifies the nature of these relations. A close reading of ethnographic interviews from the collection My Music shows some of the specific forms that such relations can take, which are different for every individual.
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Quodlibet Revista De Especializacion Musical, 2003
Es una traduccion de: Narrative, drama and emotion in instrumental music. Publicado en "The ... more Es una traduccion de: Narrative, drama and emotion in instrumental music. Publicado en "The Joumal of aesthetics and art crlticism" 55:3 (verano de 1997). Ed. Blackwell
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Quodlibet Revista De Especializacion Musical, 2004
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College Music Symposium
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Performance and Authenticity in the Arts
Music theorists often suggest that performance can communicate analytical insights. I disagree, a... more Music theorists often suggest that performance can communicate analytical insights. I disagree, arguing both experientially and by an analogy with Donald Davidson's philosophy of language. Composition and performance are better understood as stages in a unified process; thus, both as composition or, perhaps better, both as performance. First written and presented 1989, revised 1997-98.
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A Companion to Narrative Theory
Overview of field, published in 2005. File will not open at academia.edu but may be downloaded.
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Popular Music, 2001
Shifty harmonies in ‘West End Girls’This first section is for readers interested in technical mus... more Shifty harmonies in ‘West End Girls’This first section is for readers interested in technical musical analysis. Others may wish to skip ahead to the next section: while one of my goals is to link technical, interpretive and political concerns, it is possible to read this paper with relatively little attention to the technicalities.At the beginning of the Pet Shop Boys' ‘West End Girls’, after some street sounds and a sustained chord, there is a three-chord progression (Cmaj7, D, E), mingling harmonies from the keys of e minor and E major (0:21-0:24; see Example 1). The bass-line goes up, with a major triad over each note; only the third chord is free of additional, dissonant notes. The second chord sounds like a way of passing smoothly from the first one to the third.
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Perspectives of New Music, 1994
Page 1. A CONVERSATION ABOUT FEMINISM AND MUSIC PAULINE OLIVEROS AND FRED MAUS INTRODUCTION THE C... more Page 1. A CONVERSATION ABOUT FEMINISM AND MUSIC PAULINE OLIVEROS AND FRED MAUS INTRODUCTION THE COMPOSER Pauline Oliveros has often written about music; her writings from 1963 to 1980 are collected in a book called Software for ...
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Perspectives of New Music, 1993
WHAT RELATION might music theory have to feminist thought?1 This question might be heard as propo... more WHAT RELATION might music theory have to feminist thought?1 This question might be heard as proposing an interdisciplinary linkage, a cooperation between two initially self-sufficient discourses. But before trying to construct such a linkage, it is important to consider ...
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Music Theory Spectrum, 1988
... same details? No account of music as a loose conjunction between, on one hand, ingeniously pa... more ... same details? No account of music as a loose conjunction between, on one hand, ingeniously patterned sounds, and on the other hand, ex-pressions or evocations of various emotional states, will be plau-sible. A better account ...
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Journal of Popular Music Studies, 2006
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Journal of Popular Music Studies, 2010
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The Journal of Musicology, 1993
... "This is exactly the kind of 5 Babbitt, Words about Music, ed. by Steven Dembski and... more ... "This is exactly the kind of 5 Babbitt, Words about Music, ed. by Steven Dembski and Joseph Straus (Madison: University of Wisconsin Press, 1987), pp. ... RESPONSE TO ROSENWALD thing you often miss in Schenker: explicit discussion of motivic par-allelism..." (p. 133). ...
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Perspectives of New Music, 2006
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Perspectives of New Music, 2006
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Bloomsbury Encyclopedia of Popular Music of the World, 2003
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Bloomsbury Encyclopedia of Popular Music of the World, 2003
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Bloomsbury Encyclopedia of Popular Music of the World, 2003
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Reversing the Cult of Speed in Higher Education, 2018
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Oxford Handbooks Online, 2018
How do people relate to the music they value? Listening is a central relation, but there are many... more How do people relate to the music they value? Listening is a central relation, but there are many others. As Charles Keil observed, people may find music, be invaded by music, use music, participate in music, and so on. This chapter explores a relation that may be called possessing music or owning music. Theodor W. Adorno and Simon Frith both emphasized such relations in the context of their very different accounts of mass-media music. A psychoanalytic approach, drawing on the ideas of Melanie Klein and D. W. Winnicott, clarifies the nature of these relations. A close reading of ethnographic interviews from the collection My Music shows some of the specific forms that such relations can take, which are different for every individual.
Bookmarks Related papers MentionsView impact
Quodlibet Revista De Especializacion Musical, 2003
Es una traduccion de: Narrative, drama and emotion in instrumental music. Publicado en "The ... more Es una traduccion de: Narrative, drama and emotion in instrumental music. Publicado en "The Joumal of aesthetics and art crlticism" 55:3 (verano de 1997). Ed. Blackwell
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Quodlibet Revista De Especializacion Musical, 2004
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Bookmarks Related papers MentionsView impact
College Music Symposium
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Performance and Authenticity in the Arts
Music theorists often suggest that performance can communicate analytical insights. I disagree, a... more Music theorists often suggest that performance can communicate analytical insights. I disagree, arguing both experientially and by an analogy with Donald Davidson's philosophy of language. Composition and performance are better understood as stages in a unified process; thus, both as composition or, perhaps better, both as performance. First written and presented 1989, revised 1997-98.
Bookmarks Related papers MentionsView impact
A Companion to Narrative Theory
Overview of field, published in 2005. File will not open at academia.edu but may be downloaded.
Bookmarks Related papers MentionsView impact
Popular Music, 2001
Shifty harmonies in ‘West End Girls’This first section is for readers interested in technical mus... more Shifty harmonies in ‘West End Girls’This first section is for readers interested in technical musical analysis. Others may wish to skip ahead to the next section: while one of my goals is to link technical, interpretive and political concerns, it is possible to read this paper with relatively little attention to the technicalities.At the beginning of the Pet Shop Boys' ‘West End Girls’, after some street sounds and a sustained chord, there is a three-chord progression (Cmaj7, D, E), mingling harmonies from the keys of e minor and E major (0:21-0:24; see Example 1). The bass-line goes up, with a major triad over each note; only the third chord is free of additional, dissonant notes. The second chord sounds like a way of passing smoothly from the first one to the third.
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Perspectives of New Music, 1994
Page 1. A CONVERSATION ABOUT FEMINISM AND MUSIC PAULINE OLIVEROS AND FRED MAUS INTRODUCTION THE C... more Page 1. A CONVERSATION ABOUT FEMINISM AND MUSIC PAULINE OLIVEROS AND FRED MAUS INTRODUCTION THE COMPOSER Pauline Oliveros has often written about music; her writings from 1963 to 1980 are collected in a book called Software for ...
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Perspectives of New Music, 1993
WHAT RELATION might music theory have to feminist thought?1 This question might be heard as propo... more WHAT RELATION might music theory have to feminist thought?1 This question might be heard as proposing an interdisciplinary linkage, a cooperation between two initially self-sufficient discourses. But before trying to construct such a linkage, it is important to consider ...
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Music Theory Spectrum, 1988
... same details? No account of music as a loose conjunction between, on one hand, ingeniously pa... more ... same details? No account of music as a loose conjunction between, on one hand, ingeniously patterned sounds, and on the other hand, ex-pressions or evocations of various emotional states, will be plau-sible. A better account ...
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Journal of Popular Music Studies, 2006
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Journal of Popular Music Studies, 2010
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The Journal of Musicology, 1993
... "This is exactly the kind of 5 Babbitt, Words about Music, ed. by Steven Dembski and... more ... "This is exactly the kind of 5 Babbitt, Words about Music, ed. by Steven Dembski and Joseph Straus (Madison: University of Wisconsin Press, 1987), pp. ... RESPONSE TO ROSENWALD thing you often miss in Schenker: explicit discussion of motivic par-allelism..." (p. 133). ...
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Presentation for a conference in New York City, December 2015, in honor of Suzanne Cusick's resea... more Presentation for a conference in New York City, December 2015, in honor of Suzanne Cusick's research and teaching in musicology. The paper is partly memories of my interactions with Suzanne, and includes comments on her paper "On a Lesbian Relationship with Music."
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