Relevant bibliographies by topics / 18th century performance practice

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic '18th century performance practice'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic '18th century performance practice.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "18th century performance practice"

1

Gutknecht, Dieter. "Performance practice of recitativo secco in the first half of the 18th century." Early Music 33, no. 3 (August 1, 2005): 473–94. http://dx.doi.org/10.1093/em/cah105.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Pilch, Marek. "Harpsichord or piano? Different concepts in the 18th century keyboard music." Notes Muzyczny 1, no. 9 (June 20, 2018): 65–87. http://dx.doi.org/10.5604/01.3001.0012.9899.

Full text
Abstract:
The article touches on the problem musicians come across while referring to compositions without a specified instrument they were meant for. This problem is particularly noticeable in the harpsichord music from the end of the 18th century when there were numerous keyboard instruments. Some of them, so to say, were at the end of their career (harpsichord, clavichord), others only at the beginning (piano). The author of the article is primarily interested in the dependency between the piano and the harpsichord, so he asks himself whether keyboard music from the Classical period can still be part of the harpsichord repertoire and to what degree harpsichord performances of Classical compositions can be justified in performance practice. The problem is discussed especially in reference to music by W.A. Mozart. The article presents the history of views on the possibility of Mozart’s works to be performed on historical instruments. It also provides the most up-to-date information on the position of the harpsichord at the end of the 18th century. The last part of the article discusses this instrument’s role in the creative output of W.A. Mozart. It is mainly based on the latest knowledge Siegbert Rampe acquired in recent years.
APA, Harvard, Vancouver, ISO, and other styles
3

TCHAROS, STEFANIE. "The Serenata in Early 18th––Century Rome: Sight, Sound, Ritual, and the Signification of Meaning." Journal of Musicology 23, no. 4 (2006): 528–68. http://dx.doi.org/10.1525/jm.2006.23.4.528.

Full text
Abstract:
ABSTRACT By the turn of the 18th century serenatas performed in Rome's urban squares as political or dynastic propaganda were a well-established ritual. In this public forum the effect of sound produced by large instrumental forces was a central feature, yet the serenata was a complex performance in which music was but one element in a series of other displays. Though undoubtedly an important part of the serenata, music's role in this multifaceted performance and its effect on audiences remain unclear. Part of that ambiguity stems from the serenata's ability to service both public and private consumption. Patrons exploited this dual nature, using the more spectacular elements of the serenata to influence the public at large, while also relying on other elements (primarily word and sound) to sway elite audiences. In the context of Rome and its dynastic politics, Giacomo Buonaccorsi's and Pietro Paolo Bencini's serenata Le gare festive in applauso alla Real Casa di Francia (1704) demonstrates how the serenata's dichotomous structures and multiplicity of meaning were deeply linked to larger cultural frameworks and social tensions——in this case, brewing over the War of Spanish Succession. The serenata was both a musical work and a performed event effectively shaped by the genre's ritual practice and by history and politics in late 17th- and early 18th-century Rome. The logic of the serenata's ritual practice shows significant correspondences to the genre's narrative strategies. Within the serenata, allegory served as the catalyst to express layers of meaning to diverse audiences. But more than that, allegory provided the means by which music was contained and its delivery marked. For public audiences, sound was as much visual as it was aural, an immediate and palpable special effect. For privileged listeners, music required reflection as to how spectacular effects acquired deeper meaning when anchored in the significance of the poetic text. Thus music in the serenata was not merely an element in a multifaceted performance but was multidimensional in itself, uniquely straddling both sides of the public/private divide.
APA, Harvard, Vancouver, ISO, and other styles
4

Yermak, I. "Treatise by Aman Vanderhagen “Nouvelle méthode de flute” as a reflection of the performing arts of France in the second half of the 18th century." Musical art in the educological discourse, no. 3 (2018): 80–88. http://dx.doi.org/10.28925/2518-766x.2018.3.8088.

Full text
Abstract:
For adequate reading of ancient musical texts, it is necessary to study the historical and cultural context and the specifics of the performing practice of that time when musical work has been written. It becomes possible when we study the treatises of past centuries, in which the main issues of musical theory and practice, technique and style are considered.No flute treatise has yet been translated into Ukrainian. Works by S. Ganassi, J.-M. Hotteterre, J. J. Quantz and J. G. Tromlitz are available in Russian. However, there are still about two hundred untranslated methodological treatises of the 18th century which contain important information about the performing arts of the era. The need for their study causes the topicality of this article.The article presents the results of the study of the treatise “Nouvelle méthode de flute” (1798) by Aman Vanderhagen, which includes number of valuable guidelines about posture, performance breathing, correct phrasing and ways of correction of the unstable notes on a one-keyed flute. The variety of strokes given in the treatise is a vivid example of the performing traditions of classicism.For the solution of the study tasks it is used historical, source-study, textual, analytical and performance methods. The conclusion is that the «Nouvelle méthode de flute» is an important source of information about peculiarities of performing on wind instruments in the second half of the 18th century and is recommended for the study of modern musicians and music historians.
APA, Harvard, Vancouver, ISO, and other styles
5

Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.

Full text
Abstract:
Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
APA, Harvard, Vancouver, ISO, and other styles
6

Moon, Sun-Ah. "Italian Belcanto Performance Practices in the 18th Century - Focusing on Cadenza of Da Capo Aria ‘Nightingale’(Quell’usginuolo) -." Journal of the Science and Practice of Music 41 (April 30, 2019): 37–65. http://dx.doi.org/10.36944/jspm.2019.04.41.37.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Cammarota, Robert M. "On the Performance of "Quia respexit ... omnes generationes" from J. S. Bach's Magnificat." Journal of Musicology 18, no. 3 (2001): 458–89. http://dx.doi.org/10.1525/jm.2001.18.3.458.

Full text
Abstract:
The modern-day custom of performing the 'omnes generationes' section from J. S. Bach's Magnificat twice as fast as the aria "Quia respexit" has its origins in Robert Franz's vocal and orchestral editions of 1864, the details of which were discussed in his Mittheilungen of 1863. Up until that time, 'omnes generationes' was inextricably connected to "Quia respexit" and formed part of the third movement of Bach's Magnificat. Moreover, when Bach revised the score in 1733, he added adagio to the beginning of "Quia respexit . . . omnes generationes," establishing the tempo for the whole movement. In this study I show that Bach's setting of this verse is in keeping with Leipzig tradition (as evidenced by the settings of Schelle, G. M. Hoffmann, Telemann, Kuhnau, and Graupner) and with early 18thcentury compositional practice; that he interpreted the verse based on Luther's 1532 exegesis on the Magnificat; that the verse must be understood theologically, as a unit; that the change in musical texture at the words 'omnes generationes' is a rhetorical device, not "dramatic effect"; and, finally, that there is no change in tempo at the words 'omnes generationes' either in Bach's setting or in any other from this period. An understanding of the early 18th-century Magnificat tradition out of which Bach's setting derives, with the knowledge of the reception of Bach's Magnificat in the mid 19th century, should help us restore Bach's tempo adagio for the movement.
APA, Harvard, Vancouver, ISO, and other styles
8

Galina, Gulnaz S. "The Role of City Culture in the Formation of the Bashkir National Art of the Pre-Revolutionary Period." ICONI, no. 1 (2020): 46–56. http://dx.doi.org/10.33779/2658-4824.2020.1.046-056.

Full text
Abstract:
The article presents some basic information about the development of city musical culture in the Orenburg gubernia and in Ufa during the pre-revolutionary period. The regularity of the formation of the phenomenon of the city cultural milieu is traced by the examples of such components as concert and theatre practice, in the context of which the foundations of compositional and performance professionalism indispensable for the development of European genres were perfected. As the result of an overview of various forms of musicmaking at home and the concert and theater practice, the foundations of which had been installed by the direct bearers of European culture itself — Polish insurgents banished to the gubernia in the 18th century — the fact is substantiated that the Russian-European academic musical tradition conditioned the environment due to which national concert life was established in the early 20th century. It is proven that the Europeanization in Bashkir culture began not during the period of the Soviet cultural development, but on the wave of Jadidism in the activities of the new-method madrassahs, which in the beginning of the previous century became the main centers for sacred and secular culture. At the same time, the emergence of combined Tatar-Bashkir dramatic theatrical troupes conducive towards the onset of national theatrical music is the greatest accomplishment of Bashkir music in the prerevolutionary period, which connected the pre-revolutionary epoch with the period of formation of national compositional schools.
APA, Harvard, Vancouver, ISO, and other styles
9

Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.

Full text
Abstract:
This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.
APA, Harvard, Vancouver, ISO, and other styles
10

Kościukiewicz, Jakub. "Cello in the Baroque, part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.

Full text
Abstract:
The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "18th century performance practice"

1

Kane, Lynn Marie 1977. "The Influence Of Basso Continuo Practice On The Composition And Performance Of Late Eighteenth- And Early Nineteenth-Century Lied Accompaniments." Thesis, University of Oregon, 2006. http://hdl.handle.net/1794/3057.

Full text
Abstract:
xi, 387 p.
A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006
The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810.
Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon
APA, Harvard, Vancouver, ISO, and other styles
2

Telesco, Paula Jean. "Enharmonicism in theory and practice in 18th-century music /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784688577955.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Bernardes, José Antônio Branco 1965. "Os recitativos em Le Devin du Village de Rousseau." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283946.

Full text
Abstract:
Orientador: Eduardo Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T23:58:05Z (GMT). No. of bitstreams: 1 Bernardes_JoseAntonioBranco_M.pdf: 6682447 bytes, checksum: 0a76b37323e7c504fdb7e3d911a327d5 (MD5) Previous issue date: 2008
Resumo: Este trabalho procura tratar de questões práticas concernentes a uma realização historicamente informada dos recitativos do intermezzo Le Devin du Village de Jean-Jacques Rousseau (1712-1778). Não tem pretensão de responder todas as questões suscitadas pela partitura original, mas sim de proporcionar o máximo de subsídios ao artista competente - embora não especialista em música francesa de meados do séc. XVIII - que deseje conduzir (reger) esta obra. Os estudos sobre Rousseau têm privilegiado os aspectos teórico-musicais de sua obra. Neste estudo procurou-se estabelecer parâmetros de realização dos recitativos pertencentes ao Devin principalmente através da aplicação dos conceitos e práticas musicais defendidas por Rousseau e outros autores de seu tempo. Muito das sugestões propostas são fruto da aplicação dos tratados de época em apresentações de excertos de Le Devin du Village dirigidos pelo autor em 1997, 2003, 2004 e 2007. Uma performance ou realização historicamente informada deverá ser uma recriação idealizada a partir do conhecimento o mais profundo possível de seu Zeitgeist, o que a tornará necessariamente única e transiente, cada apresentação um novo acontecimento. A mera listagem e citação de fontes de época pouco pode provar por si mesma, o simples acesso a elas não seria garantia de veracidade absoluta. Vivência e experimentação artística são essenciais. Será através de erros e acertos na prática real, com posterior reflexão e ajustes, que consolidaremos uma real compreensão desse repertório. Afinal, o fazer artístico e o pesquisar acadêmico são ambos linguagens distintas e dificilmente comunicáveis e seria um grande engodo postular uma reprodução idêntica àquela ocorrida séculos atrás. De fato, não é possível abandonarmos nossa individualidade, que é realmente do séc. XXI. Compete-nos, através de um estudo profundo, adquirir a capacidade de atuar no estilo e pensamento de época como uma segunda natureza, unindo os diversos campos envolvidos em um todo coerente no atual contexto de realização artística. Enfim, o exercício do goût
Abstract: This work seeks to address practical issues concerning the performance of recitatives from Jean-Jacques Rousseau's (1712-1778) intermezzo Le Devin du Village from a historically informed perspective. There is no pretension in answering all issues raised raised upon examination of the original score, rather to offer musical, technical and stylistic subsidies to the competent musician - not necessarily expert on mid-18th century French music - when faced with the task of conducting this work. Studies about Rousseau have for the most part tended to favor the music-theoretical aspects of his works. In this study the author proposes to establish parameters for the performance of these recitatives mainly through the application of the concepts taken from historical music treatises and musical practices advocated by Rousseau himself and contemporary authors. Many of the proposed suggestions are the result of practical experiences acquired during the performances of excerpts from Le Devin du Village conducted by the author in 1997, 2003, 2004 and 2007. Several ideas discussed by in this dissertation will allow for an idealized re-creation of this intermezzo stemming from the deepest possible possible knowledge of its Zeitgeist, which will necessarily be unique and transient. The mere citation of historical sources nothing can prove by itself; direct access to these sources is no guarantee of absolute musical veracity. The artistic musicmaking and academic research are two distinct languages and of difficult intercommunicability. We are a "child of our time". It is our responsability, however, acquire a deeper historical knowledge for a keener insight into the style and thought of that epoch in order to develop the ability to act and perform as if it were one's own second nature. Hopefully it will unite the various fields of the art involved in making a coherent whole resulting in a new context of artistic realization. The exercise of bon goût at last
Mestrado
Musica
Mestre em Música
APA, Harvard, Vancouver, ISO, and other styles
4

Hillam, F. C. "The development of dental practice in the provinces from the late 18th century to 1855." Thesis, University of Liverpool, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378033.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Dynner, Glenn. "Yikhus and the early Hasidic movement : principles and practice in 18th and 19th century Eastern Europe." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27940.

Full text
Abstract:
Yikhus--the salient feature of the Jewish aristocracy--may be defined as a type of prestige deriving from the achievements of one's forbears and living family members in the scholarly, mystical, or, to a lesser degree, economic realms. Unlike land acquisition, by which the non-Jewish aristocracy preserved itself, yikhus was intimately linked with achievement in the above realms, requiring a continual infusion of new talent from each generation of a particular family.
A question which has yet to be resolved is the extent to which the founders of Hasidism, a mystical revivalist movement that swept Eastern European Jewish communities from the second half of the eighteenth century until the Holocaust, challenged prevailing notions of yikhus. The question relates to the identities of Hasidism's leaders--the Zaddikim--themselves. If, as the older historiography claims, the Zaddikim emerged from outside the elite stratum, and therefore lacked yikhus, they might be expected to challenge a notion which would threaten their perceived right to lead. If, on the other hand, the Zaddikim were really the same scions of noble Jewish families who had always led the communities, they would probably uphold the value of yikhus. (Abstract shortened by UMI.)
APA, Harvard, Vancouver, ISO, and other styles
6

Gaughan, Evan M. "NATURALISTS, CONNOISSUERS AND CLASSICISTS: COLLECTING AND PATRONAGE AS FEMALE PRACTICE IN BRITAIN, 1715-1825." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2228.

Full text
Abstract:
Thesis (M.A.)--Indiana University, 2010.
Title from screen (viewed on July 28, 2010). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jason M. Kelly, Melissa Bingmann, Eric L. Lindseth. Includes vitae. Includes bibliographical references (leaves 79-91).
APA, Harvard, Vancouver, ISO, and other styles
7

Yau, Shek Fung. "Theory and practice : controversies in Rameau's theory of harmony and thoroughbass practice." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/152.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Verwaerde, Clotilde. "La pratique de l'accompagnement en France (1750-1800) : de la basse continue improvisée à l'écriture pour clavier dans la sonate avec violon." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040086/document.

Full text
Abstract:
Entre 1750 et 1800, l’émergence et l’adoption de nouveaux genres musicaux et modèles stylistiques, bouleversent la pratique de l’accompagnement au clavier en France. La basse chiffrée se raréfie dans les œuvres gravées et cède progressivement le pas à des parties de clavier entièrement écrites dans la musique vocale. La première partie de cette thèse définit la place de l’accompagnateur et l’évolution de la notation. La seconde est consacrée à l’enseignement dispensé par les méthodes et traités, et établit des passerelles avec les écoles étrangères et le siècle suivant. Enfin, la troisième partie reconsidère la question de l’accompagnement dans les sonates pour clavier et violon. La confrontation des écrits théoriques et des partitions trouve une application directe dans la pratique de la basse continue et de l’accompagnement au clavier, et permet de proposer des modèles de réalisation conformes aux caractéristiques observées dans les œuvres de cette période
Between 1750 and 1800, the emergence and adoption of new musical genres and stylistic models radically change the accompaniment practice on keyboard instruments in France. Figured bass becomes scarce and is gradually replaced by written-out keyboard parts in vocal music. The first part of this thesis defines the role of the accompanist and the evolution of the notation. The second part is devoted to the instructions given in methods and treatises and establishes links with foreign schools and the following century. Finally, the third part reconsiders the question of the accompaniment in the sonatas for keyboard and violin. The comparison between theoretical writings and scores finds a direct application in the continuo and keyboard accompaniment practice, and leads to the proposition of realisation models in accordance with the characteristics observed in the musical works of that period
APA, Harvard, Vancouver, ISO, and other styles
9

Bruenger, David. "The cadenza: performance practice in alto trombone concerti of the eighteenth century." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332843/.

Full text
Abstract:
This study examines the history of the cadenza, as well as the fundamental elements of a good cadenza. This paper is intended to help the modern trombonist learn to create appropriate, original cadenzas for classical trombone concerti. Both historical and modern writing,as well as extant classical cadenzas are used as a guide.
APA, Harvard, Vancouver, ISO, and other styles
10

Shifrin, Ken. "Orchestral trombone practice in the nineteenth century with special reference to the alto trombone." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368133.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "18th century performance practice"

1

Christensen, Jesper Bøje. 18th century continuo playing: A historical guide to the basics. Kassel: Bärenreiter, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

18th century continuo playing: A historical guide to the basics. Kassel: Bärenreiter, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Introduction to organ playing in 17th & 18th century style. [United States]: Wayne Leupold Editions, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Butt, John. Bach interpretation: Articulation marks in primary sources of J.S. Bach. Cambridge [England]: Cambridge University Press, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Baroque music. Farnham, England: Ashgate, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Houle, George. Meter in music, 1600-1800: Performance, perception, and notation. Bloomington: Indiana University Press, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Houle, George. Meter in music, 1600-1800: Performance, perception, and notation. Bloomington: Indiana University Press, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

1720-1774, Agricola Johann Friedrich, and Baird Julianne, eds. Introduction to the art of singing. Cambridge [England]: Cambridge University Press, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Houle, George. Meter in music, 1600-1800. Bloomington, IN: Indiana University, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

The early flute: A practical guide. Cambridge: Cambridge University Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "18th century performance practice"

1

Ptaszyński, Marcin Overgaard. "Extracting usage information from 18th century English-Danish and Danish-English dictionaries." In Terminology and Lexicography Research and Practice, 259–76. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/tlrp.10.24pta.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Chen, Yu-Hsun, Marco Ceccarelli, and Hong-Sen Yan. "Performance Analysis of the Automata in a Blossoming Flower Clock in the 18th Century." In Advances in Service and Industrial Robotics, 1017–24. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61276-8_109.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Leach, Robert. "Theatre practice in the first half of the eighteenth century." In An Illustrated History of British Theatre and Performance, 421–28. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019–: Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-55.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

McMahon, Paul. "Handel and the Voice Practitioner: Perspectives on Performance Practice and Higher Education Pedagogy." In Teaching Singing in the 21st Century, 263–86. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jones, Kari. "From Performance to Participation: Fostering a Sense of Shared Heritage Through Archaeology at the Presidio of San Francisco." In Transforming Heritage Practice in the 21st Century, 183–96. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14327-5_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Wu, Weining. "Relationship Between Science Teachers’ Conceptions of Assessment of Students’ Academic Performance and Their Instructional Approaches." In Chinese Science Education in the 21st Century: Policy, Practice, and Research, 259–93. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-017-9864-8_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Ruggieri, Nicola. "Reliability of Timber Framed Constructions in Seismic Prone Areas in the Practice Codes Issued from 18th to 19th Century." In Lecture Notes in Civil Engineering, 229–40. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39492-3_19.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Tietz, Manfred. "El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII." In Studi e saggi, 77–114. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.

Full text
Abstract:
The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘construction’ of a ‘Spanish national theatre’ included Lessing, Herder, Goethe, the Schlegel brothers and the philosopher Schelling, the most prominent German intellectuals of the time. Within this ‘construction’ Lope de Vega, Rojas Zorrilla and, above all, Calderón de la Barca are the three icons that will guide both the theory and the practice of drama during the ‘two most Spanish decades’ of German literary history (1790-1810), even reaching - in the secularized world of the classics and the first generation of German Romantics - the ‘deification’ of Calderón as perfect poet and author of modern tragedies (without paying much attention to his comedias in a stricter sense and without taking account of his autos sacramentales).
APA, Harvard, Vancouver, ISO, and other styles
9

Philippi, Daniela. "Ballet Performance as Motivation for Pasticcio Practices – Gluck’ s and Berton’s Cythère assiégée (1775)." In Operatic Pasticcios in 18th-Century Europe, 575–88. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839448854-028.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Petry, Clara-Franziska. "THE EIGHTEENTH-CENTURY BOURGEOISIE, BEHAVIOUR IN THE CONCERT HALL, AND THE MYTH OF PERFORMANCE PRACTICE." In Theatre Spaces for Music in 18th-Century Europe, 595–606. Hollitzer Verlag, 2020. http://dx.doi.org/10.2307/j.ctv15d7z24.25.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "18th century performance practice"

1

Defferard, Pascal, and Timothy Rohde. "Six years of cover performance data for leading practice store and release cover trials at Century Mine." In 13th International Conference on Mine Closure. Australian Centre for Geomechanics, Perth, 2019. http://dx.doi.org/10.36487/acg_rep/1915_48_defferrard.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lucey, Siobhán, Brendan McElroy, and Lauren McInally. "Teaching in the 21st century – Engaging students in active learning using student response systems." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.05.

Full text
Abstract:
The prevalence of student response systems (hereafter SRS) in higher education has grown significantly in the last few years. Student classroom participation and student’s assessment of performance particularly in larger classes, has often been regarded as problematic in pedagogical research (Black and Wiliam, 1998; Fies and Marshall, 2006). Growth in technology, coupled with popularity of handheld devices has led to the development in SRS with the intention of increasing classroom participation and engaging students in the lecture setting (Denker, 2013). Studies identify benefits to students participating in the classroom using SRS including increased student involvement, attendance, learning and engagement (Heaslip et al., 2014; Van Daele et al., 2017). This research seeks to examine the effects of a SRS on student participation and engagement in large undergraduate economics modules at both an Irish and UK university during the academic year of 2018/19. We compare a control period (no SRS in place) with a trial period (SRS in place). The results show that the use of the SRS significantly increased student’s interaction with the lecturer and their ability to perform self-assessment in absolute terms and relative to their peers.
APA, Harvard, Vancouver, ISO, and other styles
3

VELESCU, Elena. "The Influence of Immanuel Kant’s Scientific Researches on the Causes of Natural Disasters in the Process of Secularization in the 18th Century." In 8th LUMEN International Scientific Conference Rethinking Social Action. Core Values in Practice | RSACVP 2017 | 6-9 April 2017 | Suceava – Romania. LUMEN Publishing House, 2017. http://dx.doi.org/10.18662/lumproc.rsacvp2017.88.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Yang, Yu, and Wang Can. "Management and Practice of CPR1000 Nuclear Power Plants: Commissioning and Startup." In 18th International Conference on Nuclear Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/icone18-30150.

Full text
Abstract:
Nuclear power plants commissioning is an entire inspection and verification process of systems and equipments carried out by commissioning party, to prove that the overall performance of system, equipment and unit can meet the design requirements, operation criteria and nuclear safety criteria, and the plant is qualified for long-term stable and safe operation. As commissioning work has the characteristic of long lasting time, broad scope, high technology and lots of interfaces, and so on, it must be carried out under a set of scientific management system, to accord with requirements of “six controls” of commissioning work. The text aims at researching and investigating into commissioning management system that is in accordance with CPR1000 nuclear power plant commissioning through analysis of constitutes and practice situation of Ling AO phase II project commissioning management system, so as to instruct and standardize the commissioning management of nuclear power plants.
APA, Harvard, Vancouver, ISO, and other styles
5

"Inheritance Status and Performance Practice of Red Violin Works under the Background of the Founding of the Party for a Century." In 2021 International Conference on Management, Education and Information. Scholar Publishing Group, 2021. http://dx.doi.org/10.38007/proceedings.0002001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Korpus, Richard. "Performance Prediction without Empiricism: A RANS-Based VPP and Design Optimization Capability." In SNAME 18th Chesapeake Sailing Yacht Symposium. SNAME, 2007. http://dx.doi.org/10.5957/csys-2007-006.

Full text
Abstract:
The use of Velocity Prediction Programs (VPP’s) in sailing yacht design has been standard practice for years. VPP fidelity, however, continues to be limited by the accuracy of aero and hydro force data used to represent a particular yacht. Even the most advanced America’s Cup VPP’s usually derive sail forces from panel or vortexlattice models, and hull forces from potential flow codes or experiment. Real world effects attributed to viscosity are added using simplified theoretical or empirical models that cannot resolve all the complexity of sailboat physics. This paper describes a new approach for performance prediction and design optimization that relies solely on high-resolution Reynolds-Averaged NavierStokes (RANS) computational fluid dynamics. All aero and hydro forces and moments are generated by RANS, and therefore include the real-world flow features of boundary layers, separation, shed vorticity, and turbulence. RANS software and grid model requirements suitable for VPP applications are discussed, and sample aero and hydro solutions included. Examples from America’s Cup design are used to demonstrate the technique’s practicality and accuracy. Finally, since VPP’s require forces from a large number of sailing conditions, the extensive development effort (undertaken through three America’s Cup cycles) to transition state-of-the-art RANS into the practical realm is summarized.
APA, Harvard, Vancouver, ISO, and other styles
7

Wang, L. Q. Rick. "Research and Engineering Practice in Nanofluids: Key Issues." In ASME 2011 9th International Conference on Nanochannels, Microchannels, and Minichannels. ASMEDC, 2011. http://dx.doi.org/10.1115/icnmm2011-58301.

Full text
Abstract:
Unlike the past century that was blessed with ever-abundant cheap oil, this century energy has been rated as the single most important issue facing humanity. A global-scale energy crisis looms ahead. Nanotechnology will figure centrally in providing technological solutions. Nanofluid technology, one of the enabling technologies of the nanotech revolution, holds the promise of significantly enhancing the thermal properties of fluids and thus providing high quality heat-transfer fluids of the future that are vital for solving the terawatt challenge facing us. Nanofluids, fluid suspensions of nanometer-sized structures, are research challenges of rare potential but daunting difficulty. The potential comes from both scientific and practical opportunities in many fields. The difficulty reflects the issues related to multiscales. Nanofluids involve at least four relevant scales: the molecular scale, the microscale, the macroscale and the system-scale, with the microscale as the additional one at which nano structures interact with the base fluids. By their very nature, research and engineering practice in nanofluids are to optimize the microscale physics (structures, properties and activities) for the best system performance via enhanced macroscale properties through manipulating microscale physics. Therefore, interest should focus on addressing questions like: (i) how to optimize microscale physics for the optimal system performance, (ii) what is the macroscale manifestation of microscale physics, and (iii) how to effectively manipulate at microscale. In this keynote lecture, we summarize our work of addressing these key issues with powerful microfluidic technology, thermal-wave theory and constructal theory by taking heat-conduction nanofluids as the example.
APA, Harvard, Vancouver, ISO, and other styles
8

Garcia Lammers, Federico, and Jessica Garcia Fritz. "The Dark God of Efficiency and the Economical Forms of Eladio Dieste." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.7.

Full text
Abstract:
“Efficiency is the dark god to whom we sacrifice so many things”. Since the rise of the Industrial Revolution in the 18th century, “innovation as progress” became a mantra of industrialized societies. As new materials and the methods for making them emerged, architectural education shifted from an École des Beaux-Arts education rooted in the principles of classicism to an arts and crafts based education definitive of the Bauhaus. This shift allowed architecture students the opportunity to work with new materials such as iron, steel, and reinforced concrete. Throughout the 20th century, innovations came less in the form of the methods that impacted material and construction and more in the form of representational tools. By the end of the century, digital tools dominated both architectural education and practice. In the last half of the 20th century Uruguayan engineer, Eladio Diesterecognized a representational fetish in architecture as he claimed that “current methods of construction and even our professional training teach us to do projects, not build buildings―we think more about the plans than the structure, or we only think about the structure through the framework of the plans.” In his own practice, Dieste was able to collapse the space between representational and material knowledge by focusing on what he defined as Cosmic Economy. The first half of this paper will introduce the circumstances and methods associated with Dieste’s practice in the context of Cosmic Economy. The second half of the paper will describe representation and construction processes as a means to exercise material knowledge in an ongoing student project at South Dakota State University.
APA, Harvard, Vancouver, ISO, and other styles
9

Haiawi, Maryam. "Das Oratorium im Spannungsfeld der Konfessionen: Zum interkonfessionellen Austausch von Oratorien im 18. Jahrhundert." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.55.

Full text
Abstract:
The present study deals with interconfessional exchange of oratorios in German-speaking countries during the 18th century. In doing so, it pursues the goal of focusing on the question of the denominational or non-denominational nature of the sacred music genre, a question that has so far been insufficiently discussed in musicological and literary research. It analyses selected oratorios between 1715 and 1781 which were written at important contemporary musical locations and were received interdenominationally (Hamburg, Leipzig, Brunswick, Catholic imperial court of Vienna, Catholic Saxon court at Dresden). The study comes to the conclusion that the oratorio of the 18th century was not defined solely by its denominational orientation, but influenced by a number of other factors reflecting the intellectual-historical upheavals of the Age of Enlightenment: contemporary musical aesthetics, socio-cultural developments (middle-class concert business), and fundamental religious-historical dynamics that led to a distancing from dogma and to a change in piety practice.
APA, Harvard, Vancouver, ISO, and other styles
10

RÖHLE, Heinz. "GROWTH PERFORMANCE AND MANAGEMENT IN MIXED FOREST STANDS." In RURAL DEVELOPMENT. Aleksandras Stulginskis University, 2018. http://dx.doi.org/10.15544/rd.2017.122.

Full text
Abstract:
In 2017, the global population stands at about 7.6 billion. Due to the medium variant of the population projections, developed by the UN, the world population will grow to nearly 10 billion by the middle of this century. As a consequence, the worldwide demand for wood will increase. Therefore, the forest sector has to develop concepts in order to cope with the increasing demand for wood, the altering environmental conditions and the challenge of climate change. Modified silvicultural treatment programs may contribute to solving these questions. Appropriate measures are the conversion of pure stands into mixed stands, the promotion of natural regeneration instead of artificial regeneration and the creation of structured forests consisting of indigenous or foreign tree species, which are better adapted to climate change and/or are growing faster. Mixed stands often exceed the volume as well as the biomass productivity of pure stands and increase the biodiversity of forest landscapes. Forest simulation models are a prerequisite for the management of mixed stands. They provide enhanced opportunities of planning for forest conversion and facilitate the decision support in forest practice. These model approaches support the development of goal oriented thinning programs and make it possible to test and optimize alternative silvicultural concepts without the establishment of experimental plots. The Bavarian State Forest Enterprise (Bayerische Staatsforsten) is managing 808731 ha of forest area in the southern part of Germany. Since 2005 this enterprise is converting pure, coniferous stands (> 200000 ha of forest area) into mixed, uneven-aged forests. A simulation program (single tree simulator) is used in order to achieve this goal.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "18th century performance practice"

1

Olsen, Laurie, Kathryn Lindholm-Leary, Magaly Lavadenz, Elvira Armas, and Franca Dell'Olio. Pursuing Regional Opportunities for Mentoring, Innovation, and Success for English Learners (PROMISE) Initiative: A Three-Year Pilot Study Research Monograph. PROMISE INITIATIVE, February 2010. http://dx.doi.org/10.15365/ceel.seal2010.

Full text
Abstract:
The Pursuing Regional Opportunities for Mentoring, Innovation, and Success for English Learners (PROMISE) Initiative Research Monograph is comprised of four sub-studies that took place between 2006 and 2009 to examine the effectiveness of the PROMISE Initiative across six implementing counties. Beginning in 2002, the superintendents of the six Southern California County Offices of Education collaborated to examine the pattern of the alarmingly low academic performance of English learners (EL) across Los Angeles, Orange, San Bernardino, San Diego, Riverside, and Ventura. Together, these six counties serve over one million EL students, more than 66% of the total EL population in the state of California, and close to 20% of the EL population in the nation. Data were compiled for the six counties, research on effective programs for ELs was shared, and a common vision for the success of ELs began to emerge. Out of this effort, the PROMISE Initiative was created to uphold a critical vision that ensured that ELs achieved and sustained high levels of proficiency, high levels of academic achievement, sociocultural and multicultural competency, preparation for successful transition to higher education, successful preparation as a 21st century global citizen, and high levels of motivation, confidence, and self-assurance. This report is organized into six chapters: an introductory chapter, four chapters of related studies, and a summary chapter. The four studies were framed around four areas of inquiry: 1) What is the PROMISE model? 2) What does classroom implementation of the PROMISE model look like? 3) What leadership skills do principals at PROMISE schools need to lead transformative education for ELs? 4) What impact did PROMISE have on student learning and participation? Key findings indicate that the PROMISE Initiative: • resulted in positive change for ELs at all levels including achievement gains and narrowing of the gap between ELs and non-ELs • increased use of research-based classroom practices • refined and strengthened plans for ELs at the district-level, and • demonstrated potential to enable infrastructure, partnerships, and communities of practice within and across the six school districts involved. The final chapter of the report provides implications for school reform for improving EL outcomes including bolstering EL expertise in school reform efforts, implementing sustained and in-depth professional development, monitoring and supporting long-term reform efforts, and establishing partnerships and networks to develop, research and disseminate efforts.
APA, Harvard, Vancouver, ISO, and other styles
2

Olsen, Laurie, Kathryn Lindholm-Leary, Magaly Lavadenz, Elvira Armas, and Franca Dell'Olio. Pursuing Regional Opportunities for Mentoring, Innovation, and Success for English Learners (PROMISE) Initiative: A Three-Year Pilot Study Research Monograph. PROMISE INITIATIVE, February 2010. http://dx.doi.org/10.15365/ceel.promise2010.

Full text
Abstract:
The Pursuing Regional Opportunities for Mentoring, Innovation, and Success for English Learners (PROMISE) Initiative Research Monograph is comprised of four sub-studies that took place between 2006 and 2009 to examine the effectiveness of the PROMISE Initiative across six implementing counties. Beginning in 2002, the superintendents of the six Southern California County Offices of Education collaborated to examine the pattern of the alarmingly low academic performance of English learners (EL) across Los Angeles, Orange, San Bernardino, San Diego, Riverside, and Ventura. Together, these six counties serve over one million EL students, more than 66% of the total EL population in the state of California, and close to 20% of the EL population in the nation. Data were compiled for the six counties, research on effective programs for ELs was shared, and a common vision for the success of ELs began to emerge. Out of this effort, the PROMISE Initiative was created to uphold a critical vision that ensured that ELs achieved and sustained high levels of proficiency, high levels of academic achievement, sociocultural and multicultural competency, preparation for successful transition to higher education, successful preparation as a 21st century global citizen, and high levels of motivation, confidence, and self-assurance. This report is organized into six chapters: an introductory chapter, four chapters of related studies, and a summary chapter. The four studies were framed around four areas of inquiry: 1) What is the PROMISE model? 2) What does classroom implementation of the PROMISE model look like? 3) What leadership skills do principals at PROMISE schools need to lead transformative education for ELs? 4) What impact did PROMISE have on student learning and participation? Key findings indicate that the PROMISE Initiative: • resulted in positive change for ELs at all levels including achievement gains and narrowing of the gap between ELs and non-ELs • increased use of research-based classroom practices • refined and strengthened plans for ELs at the district-level, and • demonstrated potential to enable infrastructure, partnerships, and communities of practice within and across the six school districts involved. The final chapter of the report provides implications for school reform for improving EL outcomes including bolstering EL expertise in school reform efforts, implementing sustained and in-depth professional development, monitoring and supporting long-term reform efforts, and establishing partnerships and networks to develop, research and disseminate efforts.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic '18th century performance practice' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography