Muse.gr - Global Music

mus-e-journal

mus-e-journal - Online Journal

The online mus-e-journal  presents research papers of musical disciplines and arts such as musicology/ethnomusicology, theory, technology, education, in addition to composition and performance.  
"mus-e-journal" was founded in January 2008 as a non-profit online magazine in order to promote the musical arts and sciences and is published semiannually by the Muse Institute in English and Greek.   Submissions are welcome for evaluation at: mus-e-journal@muse.gr

Editorial Board

Editorial Board

The Editorial Board is comprised of internationally recognized musicologists, theorists, composers and performers, most of whom hold doctoral degrees, teach in leading universities, or direct music ensembles and institutes in Europe and the US.

Honorary Advisory Board

Honorary Advisory Board

Dinos Constantinides, PhD: Professor, School of Music, Louisiana State University

Frederick Hemke, DMA: Professor, School of Music, Northwestern University

Dimitris Themelis, PhD: Emeritus professor, Department of Music, Aristotelian University

Stephen L. Syverud, PhD: Professor, School of Music, Northwestern University

Mike Vaughan, PhD: Professor, Director of the School of Humanities, Keele University 
Mike Vaughan: Dead or Alive? - Performance and Dissemination Strategies in the 21st century Print E-mail
Dead or Alive? – Performance and Dissemination Strategies in the 21st Century
Mike Vaughan

Within the conventions of the relatively unusual musical practice that might loosely be termed
‘composed art music’ the role and fate of the composer and performer are inextricably linked.
Since medieval times, the constitution, variety and sustainability of performance groups, along
with the degree of public spectacle and cost, have been linked and influenced by the
availability of religious, private and state patronage. At the time of writing, the practice of
maintaining orchestras, opera houses and the commissioning of new repertoire from
composers (whose relationship with the musical text, its interpreters and audiences
predominantly follow a nineteenth-century model), is looking distinctly jaded and
anachronistic...

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