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Books on the topic 'Arc musical'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Arc musical: Précédé de Épitomé. Paris: Harmattan, 2007.

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2

Nugent, Éliane N. Arc-en-sons. Montréal: Beachemin, 1986.

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3

Musica e immagine: Introduzione all'iconografia musicale. Torino: Trauben, 2000.

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4

illustrator, Brocke Shawn, ed. The ABC musical garden. Dawson Creek, BC, Canada: Rhubarb to Roses, 2013.

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5

Francesca, Zannoni, ed. Il far musica, la scenografia, le feste: Scritti sull'iconografia musicale. Roma: Nuova Argos, 2002.

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6

Pierpaoli, Diego. Altro: Dalla pittura : una totalità diversa : libri in nota: fonofigurazione, musica ad litteras, musica ad figuram, poesia musicale, teatro romanzo. Arquata del Tronto (Ascoli Piceno): Museo d'arte immanente, 2001.

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7

Altro: Dalla pittura : una totalita' diversa : libri in nota; fonofigurazione, musica ad litteras, musica ad figuram, poesia musicale, teatro-romanzo. Arquata del Tronto (Ascoli Piceno): Museo d'arte immanente, 2001.

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8

Pierpaoli, Diego. Altro: Dalla pittura : una totalita' diversa : libri in nota; fonofigurazione, musica ad litteras, musica ad figuram, poesia musicale, teatro-romanzo. Arquata del Tronto (Ascoli Piceno): Museo d'arte immanente, 2001.

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9

Barker, Andrew, F. Berti, and Donatella Restani. Lo specchio della musica: Iconografia musicale nella ceramica attica di Spina. Bologna: Nuova Alfa editoriale, 1988.

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10

Sound tracks: A musical ABC, volumes 1-3. Philadelphia: Temple University Press, 1998.

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11

Rubio, S. Historia de la musica espanola. Vol. 2, Desde el "ars nova" hasta 1600. Madrid: Alianza Editorial, 1988.

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12

Lopinto, Linda. La musica degli dei: Gli strumenti musicali nell'iconografia di Apollo sulla ceramica italiota. Fasano (Br-Italia): Schena, 1995.

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13

La musica. Milano: Electa, 2005.

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14

Ausoni, Alberto. La musica. Milano: Electa, 2005.

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15

Bodman, Helene Dunn. Chinese musical iconography: A history of musical instruments depicted in Chinese art. Taipei, Taiwan (129 Sung Chiang Rd.): Asian-Pacific Cultural Center, 1987.

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16

Thomas, Billie W. The Plaza-ARC discography. Denver, CO: Mainspring Press, 2006.

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17

Tobias, Jerry. Imma musical instrument. Bloomfield Hills, Mich. (P.O. Box 503, Bloomfield Hills 48013): Teddy Bear Press, 1991.

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18

Tobias, Jerry. Imma musical instrument. Bloomfield Hills, Mich. (P.O. Box 503, Bloomfield Hills 48013): Teddy Bear Press, 1985.

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19

Bodman, Helene Dunn. Chinese musical iconography: A history of musical instruments depicted in Chinese art. [Taipei, Taiwan, Republic of China]: Asian-Pacific Cultural Center, 1987.

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20

Majer, Carlo. Musica e pittura. Milano: A. Mondadori, 1988.

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21

Radisic, Pierre. Ars Musica. Brussels, Belgium: Festival Ars Musica, 1998.

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22

Nicoletta, Guidobaldi, ed. Prospettive di iconografia musicale. Milano: Mimesis, 2007.

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23

Barlow, Jeremy. The enraged musician: Hogarth's musical imagery. Aldershot, Hampshire, England: Ashgate, 2005.

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24

Tintori, Giampiero. Vedere la musica. Milano: Silvana, 1985.

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25

Musical functionalism: The musical thoughts of Arnold Schoenberg and Paul Hindemith. Hillsdale, NY: Pendragon Press, 2011.

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26

Dean, Karen. Arch the angel of the 91st airborne division. [Waco, Tex.]: Word Music, 1987.

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27

Chiari, Giuseppe. Musica et cetera. Bologna: Edizioni dell'ortica, 1994.

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28

Chiari, Giuseppe. Musica et cetera. [Italy]: Gli Ori, 2000.

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29

The enraged musician: Hogarth's musical imagery. Burlington, VT: Ashgate, 2005.

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30

Shaw, Joan. Musical bridges: Intergenerational music programs. Saint Louis, Mo: MMB Music, 1996.

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31

Le testimonianze musicali in Messina dal IV sec. a.C. al XVI sec. d.C. e la Cappella musicale dal XVI sec. al XVIII sec. Messina: EDAS, 2013.

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32

Giovanni, Piana. Mondrian e la musica. Milano: Guerini, 1995.

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33

Indian Institute of Advanced Study., ed. Musical instruments in sculpture in Karnataka. Shimla: Indian Institute of Advanced Study, in association with Motilal Banarsidass, Delhi, 1989.

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34

Coroplastica con raffigurazioni musicali nella Sicilia greca, secoli VI-III a.C. Pisa: F. Serra, 2009.

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35

Lombardi, Daniele. Daniele Lombardi: Musica inaudita. Siena: Protagon editori toscani, 2002.

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36

Meloncelli, Katia Brugnolo. Harmonia: Strumenti musicali nell'arte figurativa vicentina. Bassano del Grappa: Ghedina & Tassotti, 1993.

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37

Metropolitan Museum of Art (New York, N.Y.). Dept. of Musical Instruments. A checklist of American musical instruments. New York: The Department, 1989.

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38

Perry, Phyllis J., and Elizabeth C. Axford. The Musical ABC. Piano Pr, 2001.

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39

Fifo Musical Animals ABC. Inkwell Productions, 2015.

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40

Stuchly, Judith. The Musical ABC Book. Straight Edge Press, 1997.

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41

Rose, Hayley. Fifo Musical Animals ABC. Flowered Press, 2017.

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42

Busby, Ailie. ABC of Musical Instruments. New Frontier Publishing, 2020.

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43

Serge, Martin, ed. Ars musica: 20 ans d'aventures musicales. Wavre: Mardaga, 2009.

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44

Serge, Martin, ed. Ars musica: 20 ans d'aventures musicales. Wavre: Mardaga, 2009.

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45

ABC: Musical Instruments from the Metropolitan Museum of Art (ABC). Harry N Abrams, 1988.

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46

ABC Musical ou Solfejos a uma Voz. 2nd ed. Martins Fontes, 1997.

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47

Stimeling, Travis D. Recording Practice in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.5.

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This chapter explores the influence of recording technologies on the creation and reception of country music from the first hillbilly recordings to the twenty-first century. Following a survey of recent literature from the musicology of recording and sound studies, country music’s voice-centered recording strategies are explored through case studies drawn from early hillbilly, honky tonk, and “hot country” recordings. Country music’s history as a recorded musical practice is shaped by technological and aesthetic developments that can be heard in a wide range of recorded popular musics. Furthermore, this chapter examines the ways that bluegrass musicians, engineers, and producers deploy specific technologies, including the single-microphone technique, to articulate their musical and cultural authenticity. These ways can help us gain a better understanding of the expressive power of recorded country music by placing these “records in dialogue” with other recordings in country music and from other music styles.

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48

ABC musical : guía de instrumentos para pequeños melómanos. Ediciones B, 2009.

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49

Brown, Howard Mayer. Musical Iconography: A Manual for Cataloging Musical Subjects in Western Art Before 1800 (Musical Iconography). iUniverse, 2000.

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50

Murphy, Clifford R., ed. “It Beats Digging Clams”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038679.003.0007.

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This chapter looks at how country and western music has provided a way of making a living for several thousand people in New England over the course of the music's history in the region. Gift exchange and the spirit of community are important elements of the country and western event. And yet, for the New England country and western musician, it is also about the money. Modern-day New England country and western musicians who make a working-class “living” do so by augmenting their earnings from a day job with money earned from music, or they work as musical chameleons ready to adapt to a wide variety of musical shades. Country and western music actually provided a better income and a more cosmopolitan lifestyle than most working-class people could expect from factory, agricultural, woods, or maritime work.

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