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Thematische Bibliographien / Central Music Hall (Chicago)

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Auswahl der wissenschaftlichen Literatur zum Thema „Central Music Hall (Chicago)“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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Zeitschriftenartikel zum Thema "Central Music Hall (Chicago)"

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CAPLAN, LUCY. "“Strange What Cosmopolites Music Makes of Us”: Classical Music, the Black Press, and Nora Douglas Holt's Black Feminist Audiotopia." Journal of the Society for American Music 14, no. 3 (2020): 308–36. http://dx.doi.org/10.1017/s1752196320000218.

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AbstractThis article examines the music criticism of Nora Douglas Holt, an African American woman who wrote a classical music column for the Chicago Defender (1917–1923) and published a monthly magazine, Music and Poetry (1921–1922). I make two claims regarding the force and impact of Holt's ideas. First, by writing about classical music in the black press, Holt advanced a model of embodied listening that rejected racist attempts to keep African Americans out of the concert hall and embraced a communal approach to knowledge production. Second, Holt was a black feminist intellectual who refuted

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Marquié, Hélène. "Mise en perspective du ballet de music-hall : « cliché traditionnel » ou espace de création ?" Volume ! 22 : 1 (2025): 35–50. https://doi.org/10.4000/140pl.

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Partant du constat que, dès ses origines, le ballet de music-hall a été basé sur des clichés, l’article s’interroge sur le rôle central de cette notion dans les circulations esthétiques entre ballets de music-hall et autres formes de danse spectaculaire. De ses débuts et jusqu’à la Première Guerre mondiale, le ballet de music-hall a été élaboré, à Londres comme à Paris, sur le modèle des ballets-pantomimes académiques. Il en reprend les thèmes et un certain nombre de codes et stéréotypes, mais poussé par la nécessité d’innover, disposant aussi de plus de moyens qui permettent d’engager des art

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Anderson, Martin. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (2004): 55–59. http://dx.doi.org/10.1017/s0040298204240050.

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Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's

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Cheney, Samuel. "Review of Thomas Irvine. 2021. Listening to China: Sound and the Sino-Western Encounter, 1770–1839 (Chicago: University of Chicago Press)." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 12 (December 13, 2023): 109–14. http://dx.doi.org/10.30819/aemr.12-10.

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This essay reviews Thomas Irvine’s 2021 book “Listening to China: Sound and the Sino-Western Encounter, 1770–1839”. The author highlights the central tenets of Irvine’s work (published by the University of Chicago Press), and considers its implications for histories of Sino-Western cultural exchange more broadly.

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Schroeder, Manfred R. "Listening with Two Ears." Music Perception 10, no. 3 (1993): 255–80. http://dx.doi.org/10.2307/40285570.

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This informal overview of binaural hearing covers directional hearing (in the horizontal and vertical planes), the precedence and Haas effects and their applications in public-address and "assisted-resonance" systems, artificial reverberation, pseudo-stereophony, binaural release from masking, the cocktail-party effect, central-pitch phenomena, Deutsch's octave illusion, the creation of virtual sound images, and the faithful reproduction of concert hall recordings in an anechoic environment for acoustical quality studies. The article concludes with a brief review of sound-diffusing surfaces ba

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Shubnikova-Guseva, Natalia I. "“Showy”, “Music-hall” America: To the Centenary of Sergey Esenin’s Essay Iron Mirgorod." Literature of the Americas, no. 15 (2023): 276–96. http://dx.doi.org/10.22455/2541-7894-2023-15-276-296.

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The article analyzes the image of America created by S.A. Esenin after his trip to the West with I. Duncan in the essay “Iron Mirgorod” (1923) and offers a comprehensive analysis of the poetics and the main sources of his text. Esenin was the first Soviet poet to visit America and create an essay about it, taking into account the rich literary tradition and his own vivid impressions. During his four month stay in America the poet lived in the New York City and visited 14 cities, in 11 states: Baltimore, Boston, Detroit, Indianapolis, Kansas City, St. Louis, Cleveland, Toledo, Toronto, Louisvil

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Montgomery, Jesse. "Sing Me Back Home." Journal of Popular Music Studies 32, no. 2 (2020): 95–111. http://dx.doi.org/10.1525/jpms.2020.32.2.95.

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This paper examines the role of country music in the political life of the Young Patriots, a radical leftist group composed of white southern migrants to Chicago that allied with the Black Panther Party during the 1960s and 1970s. It begins by taking up scholarly accounts of the Republican Party's strategic embrace of country music during the era before examining the ways in which the Young Patriots used country music as a tool to organize in their local community. It argues that by grounding their analysis of country in the political economy of their neighborhood of Uptown Chicago, and instit

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Fratoni, Giulia, Dario D’Orazio, Michele Ducceschi, and Massimo Garai. "Acoustic analysis of a well-preserved Renaissance music space: The Odeo Cornaro in Padua." Acta Acustica 8 (2024): 25. http://dx.doi.org/10.1051/aacus/2024017.

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The Odeo Cornaro is a remarkable example of Renaissance architecture featuring an octagonal umbrella-vaulted hall surrounded by four adjacent barrel-vaulted spaces. According to the principles outlined by Vitruvius, the central octagonal hall was prized for its acoustical qualities, emphasizing sound propagation and vocal resonance. Due to its remarkably well-preserved condition, the structure continues to serve as a prestigious venue for musical and cultural events. This study investigates the acoustic of this remarkably preserved musical space, employing measurements and numerical models. Fi

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Mahany, Barbara. "They've Got Pluck: CHA Youth Orchestra a Survival Kit for Kids in Public Housing." American String Teacher 41, no. 4 (1991): 57–59. http://dx.doi.org/10.1177/000313139104100433.

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EDITORIAL: Sweet Notes in the Projects The notion of letting children in Chicago Housing Authority developments take violins, cellos and string basses home to practice music composed a few centuries before the birth of Michael Jackson or Kool Moe Dee may seem bizarre to some, particularly those who have the benighted belief that nothing good can come out of “the projects.” It is a novel idea but, as Chicago has seen with CHA night basketball, the novel often sounds like nonsense but works quite nicely. The good that can be found in the quarter-million children who call CHA developments home is

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Feurzeig, Lisa. "Can creative reinterpretation keep operetta alive? Kálmán’s Die Herzogin von Chicago at the Vienna Volksoper in 2004." Studia Musicologica 57, no. 3-4 (2016): 441–70. http://dx.doi.org/10.1556/6.2016.57.3-4.11.

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Kálmán’s 1928 operetta Die Herzogin von Chicago reemerged in the 1990s after decades of oblivion. Productions of this work can reveal much about topics such as the relationship of Central Europe and America and attitudes toward outsider groups, both in the 1920s and in more recent times. This study of the 2004 production at the Vienna Volksoper uses interviews to explore the work’s political and social meanings for Austrian audiences. It also examines the changes made in this production, which was adapted from the original by Stefan Frey and Dominik Wilgenbus, examines the question of what is

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Mehr Quellen

Bücher zum Thema "Central Music Hall (Chicago)"

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F, Nicoletti Luca, ed. Kazakhstan Central Concert Hall. Gangemi, 2011.

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Sumarsam. Gamelan: Cultural Interaction and Musical Development in Central Java (Chicago Studies in Ethnomusicology). University Of Chicago Press, 1995.

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Sumarsam. Gamelan: Cultural Interaction and Musical Development in Central Java (Chicago Studies in Ethnomusicology). University Of Chicago Press, 1995.

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Cressey, Paul Goalby. Taxi-Dance Hall: A Sociological Study in Commercialized Recreation and City Life. University of Chicago Press, 2014.

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Cressey, Paul Goalby. Taxi-Dance Hall: A Sociological Study in Commercialized Recreation and City Life. University of Chicago Press, 2008.

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Begbie, Jeremy, Daniel K. L. Chua, and Markus Rathey, eds. Theology, Music, and Modernity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.001.0001.

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This book addresses the question: how can the study of music contribute to the theological reading of modernity? It seeks to demonstrate that the making and hearing of music, and the discourses surrounding music, can bear their own particular kind of witness to the theological dynamics that have characterized and shaped modernity, and especially with respect to modernity’s ambivalent relation to the God of the Christian faith. Music can provide a distinctive ‘theological performance’ of some of modernity’s most characteristic impulses and orientations. The guiding theme of the book is freedom:

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Marovich, Robert M. Sing a Gospel Song. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0009.

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This chapter discusses some important developments that enabled gospel music gain a greater foothold in Chicago during the 1940s. Migration from the South continued unabated into the 1940s, leading to increased membership in church congregations. In addition, gospel singers and musicians were popping up on the South and West Sides. This chapter first examines the contributions of the First Church of Deliverance and its stable of soloists, including Myrtle Jackson, Edna Mae Quarles, Elizabeth Hall, and R. L. Knowles, to Chicago gospel music. It then looks at “song battles” between two or more g

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Reed, Christopher Robert. Cultural and Aesthetic Expressions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036231.003.0008.

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This chapter discusses the cultural undergirding that made the Jazz Age what it was. The performing arts—which included instrumental music, choral music, and individual vocal presentations—dominated creative performance in Chicago. Mastery of the voice heard in sopranos, tenors, baritones, and basses accompanied widespread mastery of the piano. As a result, highly skilled musicians abounded. In the second decade of the century, ragtime, blues, and jazz emerged. Black groups performed throughout the city in concert halls such as the downtown district's Orchestra Hall and Auditorium Theater, in

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Burford, Mark. Family Affairs, Part I. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190634902.003.0002.

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Mahalia Jackson’s family story begins with her grandparents, Paul and Celia Clark, who were enslaved and emancipated in Central Louisiana. The Clarks, including Jackson’s mother Charity, eventually moved to the densely populated “Black Pearl” neighborhood in New Orleans, where Jackson was born in 1911. Jackson experienced poverty and onerous family responsibilities but also a rich social and cultural life of multi-ethnic New Orleans that included the church, jazz, the Mississippi riverfront, and Harlem Renaissance thought. Jackson the singer also emerged under the influence of the music of the

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Merchant, Tanya. “Greetings to the Uzbek People!”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0005.

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This chapter examines estrada as it is played in from tape and CD vendors in the bazaars, sung karaoke-style by wedding musicians, and performed to sold-out audiences in the Bunyodkor Concert Hall (Creative Workers' Concert Hall, formerly known as the Friendship of Nations Concert Hall) located in the center of the city. It considers how women interact with popular music as performers and consumers, and analyze concert footage, recorded songs, and music videos by Rayhon G'anieva, Yulduz Usmanova, Sevara Nazarkhan, and Gulzoda Hudoinazarova. A large variety of these musical practices converge i

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Buchteile zum Thema "Central Music Hall (Chicago)"

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Chelouche, Noga Rachel. "13. Futuring Classical Music through Contemporary Visual Art." In Classical Music Futures. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.13.

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This chapter focuses on the alternative performance of classical compositions created in the works of the renowned contemporary artist Anri Sala (b. 1974). A visual artist, Sala uses music as a central element in his films, installations, and performances. He manipulates the music according to different artistic ideas, thus creating unconventional performances. Through his works, Sala enables different perspectives and new contexts which lead classical music through unpredictable paths. The chapter focuses on three seminal works created by Sala in the last decade: The Present Moment (2014), Th

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Maloney, Paul. "Burns and Music Hall." In Performing Robert Burns. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474457149.003.0004.

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Music hall’s emergence in mid-nineteenth century Scotland brought enormous change in urban entertainments, as older pre-industrial traditions faced an influx of new cosmopolitan styles. This chapter explores how Burns was performed in the new urban contexts of Scottish music hall and its successor, variety theatre. These contexts included 1860s free-and-easies and singing saloons where Burns songs and recitations offered both continuity with older Scottish song traditions and subjects for parodies and satirical updating; his championing by Scotch comics and concert singers of the 1880s, like J

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Kildea, Paul. "A New Centre for Music (1949)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0029.

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Abstract For a long time London has suffered from the over-centralisation of her art and entertainment. The destruction of Queen’s Hall by the enemy during the war certainly hastened a most welcome spreading of musical activities throughout the capital, and there is no reason why this diversity should cease when London has at last a new central concert hall. In this movement Chelsea has played a most notable part. For long a centre of art, it was only perhaps to be expected that music would establish itself sometime. What has in fact happened is both significant and encouraging. The admirable

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Leslie, Thomas. "Skyscrapers As Civic Monuments." In Chicago Skyscrapers, 1934-1986. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252044953.003.0007.

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The Central Area Plan recognized that local, state, and federal governments could play leading roles by reinvesting in the Loop themselves. Daley hiself led the effort to build a new Civic Center adjacent to City Hall, a structurally innovative tower that housed offices and courtrooms in a monumental structure fronting a giant plaza, while the federal government anchored the South Loop with new Mies van der Rohe-designed offices, courtrooms, and postal facilities that also all opened onto a new public space. These two complexes on Dearborn were complemented by the civically-minded First Nation

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Mungons, Kevin, and Douglas Yeo. "Commercial Gospel Music." In Homer Rodeheaver and the Rise of the Gospel Music Industry. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043840.003.0005.

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Homer Rodeheaver came of age at a pivotal moment in the creation and marketing of American popular music, and in a city—Chicago—that was central to its success. This chapter explores developments in copyright law, royalty payments, and music licensing (including ASCAP), showing how gospel songwriters became professionals who borrowed from Tin Pan Alley business models. As radio and recorded music opened new performance revenue streams, Rodeheaver adroitly created a Christian music industry model that would emulated by many other evangelicals. The Rodeheaver Music Co. bypassed denominational ga

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McVeigh, Simon. "Forging a Middlebrow Canon in Edwardian London." In The Oxford Handbook of Music and the Middlebrow. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197523933.013.11.

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Abstract The early years of the twentieth century saw the firming up of a middlebrow canon of orchestral music. Using London as a case study, this chapter explores the role of Sunday concerts in enabling new listeners to experience a core repertoire on a regular basis. Landon Ronald’s weekly concerts with the New Symphony Orchestra attracted audiences of eight thousand or more to the Royal Albert Hall, a reach extended through his portfolio of recordings for the Gramophone Company and through piano transcriptions for the domestic market. Combining an educational agenda with clear commercial ob

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Steinberg, Michael. "Charles Ives." In The Symphony. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195061772.003.0015.

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Abstract It is, on the face of it, absurd that I, born fifty-four years after Charles Ives, should have been able to attend the premieres of three of his four symphonies-not in utero or as a babe in arms, but as a grown man. The facts are these: Lou Harrison ‘s performance of the Symphony No. 3 with the New York Little Symphony at the Carnegie Chamber Music Hall (now Weill Recital Hall) on 5 April 1946 was the first complete performance of any symphony by Ives; Leonard Bernstein conducted the New York Philharmonic-Symphony in the first performance of the Symphony No. 2 on George Washington ‘s

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Skeel, Sharon. "“An enormous macédoine of musical comedy, patriotism, and burlesque, spangled with American history—that is ‘American Jubilee.’ ”." In Catherine Littlefield. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0013.

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Joan McCracken leaves the Littlefields to perform at Radio City Music Hall and eventually on Broadway. Catherine stages dances for the large-scale “American Jubilee” pageant at the World’s Fair in New York in 1940. Her innovative bicycle ballet in the pageant is a tremendous hit. Al Jolson hires her for his comeback show on Broadway, Hold On to Your Hats. She is then enlisted to choreograph ice-skating routines for New York’s Center Theatre, which has been converted into an ice theater by Chicago entrepreneur Arthur Wirtz and his business partner, Olympic skating champion Sonja Henie. Wirtz so

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Sides, Josh. "What’s become of the paris of the west?" In Erotic City. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195377811.003.0002.

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Abstract In June 1946, exotic dancer Sally Rand entered the stage at the Club Savoy near San Francisco’s Union Square and yet again performed her world renowned “fan dance.” As she had since unveiling the dance at the 1933 World’s Fair in Chicago, Rand danced nude to Claude Debussy’s “Clair de Lune” and Chopin’s “Waltz in C Sharp Minor,” while manipulating two giant, pink ostrich feathers to cover her breasts and genitalia, which themselves were covered with tiny flesh- tone patches of fabric that gave the illusion of complete nudity. It was an act she had performed literally thousands of time

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Sudhalter, Richard M. "Hot Music in the 1920s: The “Jazz Age,” Appearances and Realities." In The Oxford Companion To Jazz. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0013.

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Abstract The European “Great War” had raged for 977 slaughterous days when, on April 6, 1917, President Woodrow Wilson brought the United States in against Imperial Germany and the Central Powers. “We have no selfish ends to serve,” he told Congress. “We desire no conquest, no dominion.” Why, then, millions of Americans wondered, enter what is clearly a European conflict, sending men by the thousands to fight and perhaps die? Among the young, especially, bewilderment soon escalated to frustration, then to outright anger. While Wilson agonized in Washington, a small but telling event was occurr

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Konferenzberichte zum Thema "Central Music Hall (Chicago)"

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FÜTTERER, T. "THE ACOUSTICS OF THE NEW CHAMBER MUSIC HALL IN BERLIN (WEST) (EXPERIENCES DURING PLANNING A CENTRAL CONCERT HALL AND THE RESULTS)." In Acoustics '88. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/21831.

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Selimian, Haroutioun. "Սուրիոյ Հայ Աւետարանական Համայնքի Գործունէութիւնը (2005-2017ի Ամփոփ Պատկեր)". У Սուրիոյ Հայերը. HU Press, 2018. http://dx.doi.org/10.62811/adrc.aos.hs.001.

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The Armenian evangelical community of Syria has a significant presence in the Armenian spiritual, cultural, and national space of Syria. From the early 1990’s, the community was further and more actively incorporated into the Syrian Armenian space. The community is present in Aleppo, Kesab, Homs and Damascus and is administered by the Central Committee of the Near East Armenian Evangelical Church Union, the Administrative Body of the Armenian Evangelical Community and the Educational Council of the Armenian Evangelical Community. The report highlights the milestones of the community in Syria a

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