NOVA Contemporary Music Journal, Volume 1.
International Conference ProceedingsNCMJ_Vol1_2022Final
What does the expression “old is new” mean in music studies? The discovery of novelty in past music? Or the recovery of old practices in new styles? In reading this volume, it is fascinating to find out the extraordinary variety of formulations that this expression can produce. But these answers above already show a subtle connection. What is the use of an old practice in a new piece, if not the acknowledgment of a newness in an old style? Can we say then that “old is new” may open to any historical connection between musical activities? Certainly, but not only this. If with “old” we mean “obsolete” or “abandoned”, we could think of an act of past recovery, but if “old” suggests attributes such “stereotyped” or “conventional”, we are possibly considering a socio-cultural perspective instead of an historical one. The expression “Old is New” is a challenge to all music fans to go beyond their comfort zone and reveal unprecedented connections, surprising relations and inspiring bridges between history, culture, human gestures and beliefs.
Volume title: Old is New: The Presence of the Past in the Music of the Present Journal Title: Nova Contemporary Music Journal Volume number: 1 Publication date: 2022 Publisher: Centro de Estudos de Sociologia e Estética Musical(CESEM), Faculdade de Ciências Sociais e Humanas, Universidade NOVA de Lisboa ISSN 2795-4803 DOI:https://doi.org/10.34619/jaso-wz96 Editorial board: Isabel Pires, CESEM, Universidade Nova de Lisboa (Main coordinator) - ORCID; CienciaVitae Filipa Magalhães, CESEM, Universidade Nova de Lisboa - ORCID; CienciaVitae Riccardo Wabke, CESEM, Universidade Nova de Lisboa - ORCID; CienciaVitae Quote as: Pires, I., Magalhães, F., & Wanke, R. (Eds.). (2022). Old is New: The Presence of the Past in the Music of the Present; Nova Contemporary Music Journal (Vol. 2). Centro de Estudos de Sociologia e Estética Musical, Lisbon. ISSN 2795-4803. DOI:https://doi.org/10.34619/jaso-wz96.
This publication was supported by CESEM – Centro de Estudos de Sociologia e Estética Musical da NOVA FCSH, funded by national funds through Fundação para a Ciência e a Tecnologia, I.P., within the scope of projects UID/EAT/00693/2013; UID/EAT/00693/2019 and UIDB/00693/2020.
This work is licensed under a Creative Commons Attribution 4.0 International License