Theorizing Musical Ritual.

Lancaster Institute for the Contemporary Arts

Research output: Contribution to conference - Without ISBN/ISSN › Conference paper

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Theorizing Musical Ritual. / Venn, Edward.

2010. Paper presented at 13th International Doctoral and Postdoctoral Seminar on Musical Semiotics, Department of Musicology, University of Helsinki, Finland, .

Research output: Contribution to conference - Without ISBN/ISSN › Conference paper

Harvard

Venn, E 2010, 'Theorizing Musical Ritual.', Paper presented at 13th International Doctoral and Postdoctoral Seminar on Musical Semiotics, Department of Musicology, University of Helsinki, Finland, 7/03/10 - 11/03/10.

APA

Venn, E. (2010). Theorizing Musical Ritual.. Paper presented at 13th International Doctoral and Postdoctoral Seminar on Musical Semiotics, Department of Musicology, University of Helsinki, Finland, .

Vancouver

Venn E. Theorizing Musical Ritual.. 2010. Paper presented at 13th International Doctoral and Postdoctoral Seminar on Musical Semiotics, Department of Musicology, University of Helsinki, Finland, .

Author

Venn, Edward. / Theorizing Musical Ritual. Paper presented at 13th International Doctoral and Postdoctoral Seminar on Musical Semiotics, Department of Musicology, University of Helsinki, Finland, .

Bibtex

@conference{f1e544ce233f4931ad5e89c7d9f7a280,

title = "Theorizing Musical Ritual.",

abstract = "Music has had a long association with ritual practice, and is used to provide a variety of iconic, indexical and symbolic functions within the ritual framework. In its interactions with other ritual objects and actions, music loses its identity as “music” and – from a semantic viewpoint at least – becomes an indivisible part of the ritual whole. The functional nature of {\textquoteleft}ritual{\textquoteright} music means that it is almost never considered from an aesthetic-philosophical viewpoint. Conversely, music that is the focus of such analysis (whether it is {\textquoteleft}art{\textquoteright} or {\textquoteleft}popular{\textquoteright}) has rarely been considered from a ritual standpoint. Given the ubiquity of ritual in human (and possibly animal) behaviour, I argue that the possibility exists for its structures and processes to find expression within musical forms. In this paper, I shall outline some of the necessary conditions for {\textquoteleft}ritual thinking{\textquoteright} in music, along with the interpretative opportunities this observation gives rise to.",

author = "Edward Venn",

year = "2010",

month = mar,

day = "11",

language = "English",

note = "13th International Doctoral and Postdoctoral Seminar on Musical Semiotics ; Conference date: 07-03-2010 Through 11-03-2010",

}

RIS

TY - CONF

T1 - Theorizing Musical Ritual.

AU - Venn, Edward

PY - 2010/3/11

Y1 - 2010/3/11

N2 - Music has had a long association with ritual practice, and is used to provide a variety of iconic, indexical and symbolic functions within the ritual framework. In its interactions with other ritual objects and actions, music loses its identity as “music” and – from a semantic viewpoint at least – becomes an indivisible part of the ritual whole. The functional nature of ‘ritual’ music means that it is almost never considered from an aesthetic-philosophical viewpoint. Conversely, music that is the focus of such analysis (whether it is ‘art’ or ‘popular’) has rarely been considered from a ritual standpoint. Given the ubiquity of ritual in human (and possibly animal) behaviour, I argue that the possibility exists for its structures and processes to find expression within musical forms. In this paper, I shall outline some of the necessary conditions for ‘ritual thinking’ in music, along with the interpretative opportunities this observation gives rise to.

AB - Music has had a long association with ritual practice, and is used to provide a variety of iconic, indexical and symbolic functions within the ritual framework. In its interactions with other ritual objects and actions, music loses its identity as “music” and – from a semantic viewpoint at least – becomes an indivisible part of the ritual whole. The functional nature of ‘ritual’ music means that it is almost never considered from an aesthetic-philosophical viewpoint. Conversely, music that is the focus of such analysis (whether it is ‘art’ or ‘popular’) has rarely been considered from a ritual standpoint. Given the ubiquity of ritual in human (and possibly animal) behaviour, I argue that the possibility exists for its structures and processes to find expression within musical forms. In this paper, I shall outline some of the necessary conditions for ‘ritual thinking’ in music, along with the interpretative opportunities this observation gives rise to.

M3 - Conference paper

T2 - 13th International Doctoral and Postdoctoral Seminar on Musical Semiotics

Y2 - 7 March 2010 through 11 March 2010

ER -

Research