Music Theory in Practice, Grade 8 by Peter Aston

By Peter Aston

Covers all elements of the Grade eight concept of tune examination. offers particular recommendation on ways that the exam questions can be approached, together with labored examples of a few average exam questions, and a collection of workouts is supplied for every form of query. Covers either pre-20th-century and 20th-century kinds.

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Extra resources for Music Theory in Practice, Grade 8

Sample text

Post-revival also recommends itself as an analytical tool because of the ways in which it resonates with other “posts”: post-modern, post-industrial, post-colonial, post-national, post-ethnic—terms which color the ethnographic environments of many of the case studies in this volume. ” was precisely the question on the lips of many Corsican musicians as they recognized that the riacquistu (lit. reacquisition) set in motion in the 1970s had succeeded not only in reversing the decline to which traditional music had seemed to be condemned but in elevating it to an unprecedented position of prestige that coincided with its entry into the world music market—a circumstance that introduced new dilemmas and challenges, as captured in Jean-François Bernardini’s trenchant observation that “to preserve what you have acquired is one thing, to give it a future is another” (cited in an edition of Corse-Matin, 2000).

The process of establishing authenticity begins with the highly selective and subjective identification of particular aspects or elements in a music-culture, followed by the decision that they should be perpetuated and the assertion of their value. These selections become ideals, models to strive towards, measures of assessment, and the criteria for establishing authenticity. In revivals, these idealized criteria are often historical—though history may be reinterpreted, imagined, or selectively focused in order to emphasize criteria that resonate with contemporary interests.

In some cases, this may be because the last generation of guardians of the tradition in its original habitat has already passed away or because artists and teachers have been lost as a result of war or natural disaster. In considering transmission processes, Ronström’s equation of revival to an act of translation suggests helpful perspectives. A translator does not set out to substantially change the original text, yet the new text he or she produces is rarely a literal, word-for-word translation: In order to make sense to the target reader, it has to involve some degree of reinterpretation informed by knowledge of the cultural context in which it will be received.

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