Relevant bibliographies by topics / Boston Academy of Music

Contents

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

Academic literature on the topic 'Boston Academy of Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 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 'Boston Academy of Music.'

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 "Boston Academy of Music"

1

Broyles, Michael. "Music and Class Structure in Antebellum Boston." Journal of the American Musicological Society 44, no. 3 (1991): 451–93. http://dx.doi.org/10.2307/831646.

Full text
Abstract:
The division of American musical culture into a cultivated and vernacular tradition may be traced in large measure to developments in antebellum Boston. It was there that American writers first argued fervently for the association of Platonic idealism with secular instrumental music, and some of these same individuals established the symphony orchestra as the musical medium most capable of realizing their ideals. Musical developments in antebellum Boston were affected by the class structure, which was closely related to religious preference. The upper class, mostly Unitarian, did not participate significantly in music until the late 1830s. The middle class, mostly congregational, favored religious, amateur performing ensembles. The socioeconomic elite began to support music in the 1830s. Led by Samuel A. Eliot, three-time Mayor of Boston, they wrested control of the Boston Academy of Music from the Congregational evangelicals and made it the premier secular musical institution of the city. The Academy featured the first successful symphony orchestra in Boston and one of the first in the country. Ironically, however, Eliot's motivations, which were articulated in several important articles, harked back to early federal Republican concepts of creating a homogeneous society through a commonly shared culture. They contrasted sharply with the more insular goals of the nineteenth-century socioeconomic elite, who wished to use music as a means of distancing themselves from other segments of society. Eliot's vision ultimately was not realized, but his efforts did much to establish the symphony orchestra in American society as well as the notion of high musical culture itself. As such Eliot is an major, although hitherto ignored, figure in American musical history.
APA, Harvard, Vancouver, ISO, and other styles
2

Pemberton, Carol A. "The Manual of the Boston Academy of Music, 1834 a Remarkable Book from a Remarkable Era." Bulletin of Historical Research in Music Education 7, no. 2 (1986): 41–54. http://dx.doi.org/10.1177/153660068600700201.

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

Gooding, Holly C., Caitlin McCarty, Rebecca Millson, Hungyu Jiang, Elizabeth Armstrong, and Alan M. Leichtner. "The Boston Children’s Hospital Academy." Academic Medicine 91, no. 12 (2016): 1651–54. http://dx.doi.org/10.1097/acm.0000000000001095.

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

Clark, Robert S. "Early Music in Boston." Hudson Review 51, no. 1 (1998): 213. http://dx.doi.org/10.2307/3853163.

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

Thomson, Andrew, and Adrienne Fried Block. "Boston Bluestocking." Musical Times 141, no. 1872 (2000): 61. http://dx.doi.org/10.2307/1004401.

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

Lister, Rodney. "Boston, Symphony Hall: Harbison's ‘Requiem’ and Carter's ‘Boston Concerto’." Tempo 57, no. 225 (2003): 38. http://dx.doi.org/10.1017/s004029820321024x.

Full text
Abstract:
Any Bostonian who cared about newer music, particularly newer American music, had long been resigned to the unhappy knowledge that nothing of any particular interest was ever likely to be going on at Symphony Hall. It was a shock, therefore, when it became apparent this fall that there were quite a few things happening in the current season of the Boston Symphony which one would very much want to hear. This new and happy state of things can almost certainly be directly attributed to the Music Director Designate, James Levine. Levine's commitment to newer American music was made manifest by the one program that he conducted this season, which included, along with the Brahms First Symphony, Roger Sessions's Piano Concerto and John Harbison's Third Symphony. Works have been commissioned to celebrate Levine's first season as Music Director, 2004–2005, from Milton Babbitt, Yehudi Wyner, and Harbison, among others. This re-connexion of the orchestra to one of the proudest features of its history under Serge Koussevitzky is cause for celebration. This spring's concerts by the Boston Symphony have included two new works of more than passing interest.
APA, Harvard, Vancouver, ISO, and other styles
7

SCHOTT, HOWARD. "EVENTS: Boston Early Music Festival." Early Music XV, no. 4 (1987): 585–87. http://dx.doi.org/10.1093/earlyj/xv.4.585.

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

Schott, Howard. "2001 Boston Early Music Festival." Early Music XXIX, no. 3 (2001): 485–89. http://dx.doi.org/10.1093/earlyj/xxix.3.485.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Schott, Howard. "Boston Early Music Festival 1997." Early Music XXVI, no. 2 (1998): 367–69. http://dx.doi.org/10.1093/earlyj/xxvi.2.367.

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

Schott, Howard. "1999 Boston Early Music Festival." Early Music XXVII, no. 4 (1999): 683–85. http://dx.doi.org/10.1093/earlyj/xxvii.4.683.

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

Dissertations / Theses on the topic "Boston Academy of Music"

1

Jones, Samantha Christine. "Getting into the Irish groove: dancing in Boston Irish music sessions." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12435.

Full text
Abstract:
Thesis (M.M.)--Boston University
Irish music sessions are informal performance spaces meant for musicians to create music for listening. The repertoire of this music tradition, however, is composed of dance music. In Boston, there is a group of Irish dancers who attend music sessions, seeking out live music performance with which they can dance. In these live performances, musicians and dancers have the opportunity to create collaborative and mutually meaningful performances. In my research, I explore the nature of collaborative performance between musicians and dancers in Boston Irish music sessions through an investigation of social relationships, participatory expectations, and performance elements like tempo, instrumentation, rhythm and dance style. Dancers are performing an improvisatory genre of Irish dance known as sean nos as a method of achieving successful collaborative performances with live musicians. The success of a music session is measured by the musicians' likelihood and ability to experience groove. A successful collaboration between music and dancers is measured against this same experiential goal. In some circumstances, the experience of groove leads to the experience of flow.
APA, Harvard, Vancouver, ISO, and other styles
2

Vickers, David. "Handel's performing versions : a study of four music theatre works from the "Second Academy" period." Thesis, n.p, 2007. http://ethos.bl.uk/.

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

Miller, David Michael 1951. "The Beginnings of Music in the Boston Public Schools: Decisions of the Boston School Committee in 1837 and 1845 in Light of Religious and Moral Concerns of the Time." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331189/.

Full text
Abstract:
The research problems of this dissertation were: 1) A description of the perceived value of music in light of political undercurrents in Boston prior to and during the years under investigation, and 2) the profile of the constituency of the Boston School Committee and Committee on Music in 1837 and 1845. Questions addressed the effect of religious and moral concerns of the day on the decision by the School Committee in 1837 to try music in the curriculum, and the possible effect of religious politics on Lowell Mason's dismissal from the schools in 1845. In the minds of mid-nineteenth century Bostonians, religious and moral values were intrinsic to the very nature of music. Key members on the School Committee portrayed music as being spiritual yet nonsectarian in its influence. Therefore, the findings suggest that music was believed to provide common ground between opposing and diverse religious sects. Reasons given for Mason's dismissal by John Sargent, a member of the Committee on Music, showed parallels to H. W. Day's accusations in the press a year earlier that Mason had managed his position in a sectarian manner. Sargent's background supports the theory that religious politics were at work in Mason's dismissal. Although members of the School Committee of 1845 were religious, only isolated cases support the proposition that any of them would have opposed Mason strictly on the basis of religious issues. Evidence suggests that their passivity to the action by the Committee on Music was probably due to concurrent public criticism of attempts at school reform within the Committee. While under such scrutiny, Committee members' inaction regarding Mason's dismissal may have reflected a desire not to jeopardize their own positions as a political body.
APA, Harvard, Vancouver, ISO, and other styles
4

Jones, Todd R. "The Relationship Between Lowell Mason and the Boston Handel and Haydn Society, 1815-1827." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/83.

Full text
Abstract:
The relationship between Lowell Mason (1792–1872) and the Boston Handel and Haydn Society (est. 1815) has long been recognized as a crucial development in the history of American music. In 1821, Mason and the HHS contracted to publish a collection of church music that Mason had edited. While living in Savannah, GA, Mason had imported several recent British collections that adapted for church tunes works by Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Ignaz Pleyel. His study with German émigré Frederick L. Abel allowed him to harmonize older tunes in standard counterpoint. In the historiography of American music, the collection has ever since been named as one of the chief forces establishing standard counterpoint in the mainstream of American music. The collection’s profits also helped the HHS survive the next several years, and the prestige of eventually being known as the collection’s editor helped launch Mason’s influential career in church music, music education, and music publishing. In 1827, that career took a dramatic turn when Mason returned to Boston to assume the presidency of the HHS and the care of music in several churches. This project shows that the social ties between Mason and the HHS begin earlier and are far more indebted to Calvinist orthodox Christianity than previous studies have shown. With special attention to Mason’s personal papers housed at Yale University, to the HHS records held at the Boston Public Library, and to newly indexed Savannah newspapers, it shows that Mason’s relationship with the Society grew from relationships begun before he left his native Massachusetts in 1812. The depth of the relationship grew steadily until 1827, marked at first by indirect contact and in 1821 by Mason’s trip to Boston. Mason’s 1827 return to Boston, often surprising to scholars, appears here as a logical consequence of the support given by the Society’s previous president, Amasa Winchester, for Mason’s work in church music. Mason’s departure from the Society seems to be based on his zeal, closely related to his evangelical goals, for universal music education.
APA, Harvard, Vancouver, ISO, and other styles
5

Hinson, Eugenia K. "Arthur William Foote : his contribution to chamber music in Boston and analyses of selected piano chamber works." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902511.

Full text
Abstract:
Arthur William Foote (1853-1937) was a member of the "Second New England" school of composers, and is known primarily for his work as a composer. This study shows that Foote was also very active in chamber music and that his influence in the musical community was by no means limited to his work as a composer.Several scrapbooks exist containing programs, letters, telegrams, newspaper articles, reviews, and photographs which Foote collected over a twenty-six-year period. These scrapbooks are arranged, for the most part, in chronological order and chronicle Foote's life and musical activity as no other source does.Foote was a very active chamber musician. He established and maintained a series of chamber music concerts where none had existed before; he sought out the best musicians of the time to write for, perform with, and learn from; and he traveled to many regions of the United States, and to parts of Europe, listening, learning, teaching, and performing.All of Foote's chamber music works, except for the works for cello, remain out-of-print or unpublished. Ten chamber works which include piano and that have been assigned opus numbers are examined historically and analytically in this study;TRIO IN C MOLL, fir Pianoforte, Violine and Violoncell, Op. 5DREI CHARAKTERSTUCKE, fair Clavier and Violin, Op. 9 SONATE IN G MOLL, fir Klavier and Violine, Op. 20QUARTETT IN C DUR, fir Klavier, Violine, Bratsche and Violoncell, Op. 23 TROIS PIECES, pour hautbois et piano, Op. 31
School of Music
APA, Harvard, Vancouver, ISO, and other styles
6

Michelsen, Catherine Bingman. "Julius Eichberg (1824-1893): Composer and String Pedagogue." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/323447.

Full text
Abstract:
This document examines the life and string pedagogical contributions of German-American violinist, composer, and pedagogue Julius Eichberg (1824-1893). Biographical information about Eichberg is presented to demonstrate his expertise in the areas of education and performance, as well as to provide some context for his compositions. As little has been written about Eichberg and his contributions to music and music education, much of the information gathered about his life and musical background was found in primary sources in the form of scrapbooks compiled by Eichberg and his daughter. These scrapbooks are housed in the Special Collections at the Boston Public Library. Three of Eichberg's intermediate-level chamber works were selected for the dual purposes of examining their pedagogical worth and editing and clarifying the fingerings and bowings for use by current string students. The American String Teachers' Association Certificate Advancement Program guidelines and the Christina Placilla/Kenneth Law String Quartet grading guidelines were used in conjunction with one another to determine the appropriate placement of the three selected Eichberg works in the extant chamber repertoire. The document includes both facsimiles of the original works transferred from microfilm and the newly edited parts.
APA, Harvard, Vancouver, ISO, and other styles
7

Englesberg, Barbara J. "The Life and Works of Ethel Barns: British Violinist-Composer (1873-1948)." Thesis, Boston University, 1987. https://hdl.handle.net/2144/8791.

Full text
Abstract:
Thesis (Ph.D.)--Boston University. Bibliography: [p. 157]-161.
Although little remembered today, Ethel Barns was recognized in London between 1895 and 1928 as an accomplished violin virtuoso and composer, who performed her own and others' works in chamber music concerts and occasionally in orchestra concerts as violin soloist. Like many performers of her day, Barns wrote music which both she and those closely associated with her performed, in the tradition of such nineteenth-century virtuosi as Henryk Wieniawski and Henri Vieuxtemps. Many of her works, particularly for violin, deserve to be incorporated into present-day repertoires. In keeping with popular tastes of the time, Barns wrote more short pieces for violin and piano (53), short piano pieces (19), and songs (37) than she did large-scale works, which include 5 violin sonatas, 2 works for piano trio, 2 suites for violin and piano, a Fantaisie-Trio for Two Violins and Piano, and three works for violin and chamber orchestra. Of the more than 120 compositions attributable to Barns, 87 are extant. The 15 manuscripts which this study has brought to light and which are now located in the British Library, together with her 72 published works, are discussed in this dissertation. Many of Barns's violin works utilize virtuosic techniques such as double-stops (most notably sixths), ricochet, staccato, and arpeggiando figures, the melodic use of the G-string, and cadenza-like passages. Writing first in the High-Romantic harmonic style, with Brahmsian characteristics evident in her well-written, though conservative Sonata No. 2 in A major, Op. 9 (1904), Barns gradually incorporated Late-Romantic style characteristics such as extensive chromaticism and formal expansiveness, as well as Debussy-like traits such as parallel harmonic progressions, metric flexibility, and added-note harmonies in her mature compositions [e.g., the Sonata No. 4 in G minor, Op. 24 (1910) and the Fantaisie for Two Violins and Piano]. Chapter One of this dissertation gives Barns's life history, while the two chapters on her career are largely devoted to details of the Barns-Phillips Chamber Music Concerts (1895-1913), which featured Barns and her baritone husband, Charles Phillips. The last four chapters comprise a complete discussion of her works by genre and are followed by appendices, including excerpts from some of her major compositions, a list of works, and a discography.
APA, Harvard, Vancouver, ISO, and other styles
8

Gardner, Matthew. "Handel and Maurice Greene's circle at the Apollo Academy the music and intellectual contexts of oratorios, odes and masques." Göttingen V & R Unipress, 2007. http://d-nb.info/99013962X/04.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Morse, Matthew C. 1967. "The West Point Band's Wind Commissioning Project in Celebration of the Bicentennial of the United States Military Academy." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984246/.

Full text
Abstract:
The United States Military Academy Band, also known as the West Point Band is the oldest active band in the United States Army and the oldest unit at the United States Military Academy, and is considered to be one of the finest military musical organizations in the world. The band has also been instrumental in facilitating the creation of new works for wind band.As the commissioning of new music has been essential to the expansion of the wind band's repertoire, several major commissioning projects were undertaken in the mid-twentieth century by various organizations, including the West Point Band, the Goldman Band in conjunction with the League of Composers and later the American Bandmasters Association, Kappa Kappa Psi and Tau Beta Sigma, the American Wind Symphony, and the College Band Directors National Association. These commissioning projects and many others have contributed hosts of new quality works to the repertoire of the wind band. The West Point Band's 1952 commissioning project celebrating the Sesquicentennial of the United States Military Academy was among the first of these mid-twentieth century commissioning projects to seek out prominent composers of the day and have them write works for wind band. The project contributed several seminal pieces to the wind band's repertoire, including Morton Gould's Symphony for Band: West Point. In 1996, as tribute to both the Academy and to the earlier commissioning project, the West Point Band sought to celebrate the Academy's 2002 bicentennial in a similar fashion by commissioning well-known composers to contribute substantial wind works. These pieces would be premiered and recorded by the West Point Band over a number of years, including a gala Bicentennial Celebration concert at Carnegie Hall in March 2002. The purpose of this study is to create a consolidated written record of the wind music composed for the West Point Band as part of the band's Bicentennial Wind Commissioning Project, and to describe the process and circumstances by which this music was created and premiered. The continuing development of a quality original repertoire is important to the wind band community as a whole, and commissioning composers to write wind band music is the primary means by which new music is acquired. By any account, the twenty-six works produced through the West Point Band's Bicentennial Commissioning Project constitute a significant contribution to this repertoire. As this project and many of these pieces are not well known, it is the author's intent to bring increased attention to this commissioning project and to this music.
APA, Harvard, Vancouver, ISO, and other styles
10

Tran, Khanh Quang. "The Historical Significance of the Compositions for Clarinet by Nguyen Phuc Linh in Vietnamese Instrumental Music." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752390/.

Full text
Abstract:
The document provides an annotated bibliography of the compositions for clarinet by Dr. Nguyen Phuc Linh, one of Vietnam's foremost contemporary classical musician. Brief biography of Nguyen and his music aesthetic are also included. The dissertation also provides an overview of Vietnamese music and instrumental music.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Boston Academy of Music"

1

Music, politics, and the academy. University of California Press, 1995.

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

Simon, Clea. Boston rock trivia. Quinlan Press, 1985.

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

Főiskola, Liszt Ferenc Zeneművészeti. Ferenc Liszt Academy of Music Budapest. Liszt Ferenc Zeneművészeti Főiskola, 1989.

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

Liszt, Ferenc Zenemüvészeti Föiskola (Budapest Hungary). Ferenc Liszt Academy of Music Budapest. Liszt Ferenc Zeneművészeti Főiskola, 1989.

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

Quality Assurance Agency for Higher Education. Royal Academy of Music: Institutional audit. Quality Assurance Agency for Higher Education, 2003.

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

Music, Quebec Academy of. Constitution of the Quebec Academy of Music. s.n.], 1985.

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

Higher Education Quality Council. Quality Assurance Group. Royal Academy of Music: Quality audit report. Higher Education Quality Council, 1997.

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

Cazalet, William Wahab. The history of the Royal Academy of Music. Cambridge University Press, 2009.

APA, Harvard, Vancouver, ISO, and other styles
9

Göteborg International Organ Academy (1994 Göteborg, Sweden). Proceedings of the Göteborg International Organ Academy 1994. Department of Musicology, Göteborg University, 1995.

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

Boston boy. Faber and Faber, 1987.

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

Book chapters on the topic "Boston Academy of Music"

1

Copeland, B. Jack, and Jason Long. "Turing and the History of Computer Music." In Boston Studies in the Philosophy and History of Science. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53280-6_8.

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

Jahn, Bernhard. "Beggar’s Opera und Royal Academy of Music als Konkurrenz?" In Göttinger Händel-Beiträge, Band 20. Vandenhoeck & Ruprecht, 2019. http://dx.doi.org/10.13109/9783666504846.45.

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

Day, Ralph L., and Ellen Day. "Assessing Consumer Preferences for Live Music." In Developments in Marketing Science: Proceedings of the Academy of Marketing Science. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16976-7_35.

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

Gildart, Keith. "Encore: On the Road to Wigan Pier to see Georgie Fame and Billy Boston, Sunday 2 March 2003." In Images of England through Popular Music. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137384256_11.

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

Ferreira, Bruno Morgado, and Diana Marli. "Live Music and Consumers’ Attitudes: An Abstract." In Developments in Marketing Science: Proceedings of the Academy of Marketing Science. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02568-7_221.

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

Gibson, Elizabeth. "The Royal Academy of Music (1719–28) and its Directors." In Handel. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-09139-3_8.

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

Wendt, Helge. "Scientific Cooperation Between the German Academy of Sciences in Berlin (DAW) and Cuba in the 1960s and 1970s." In Boston Studies in the Philosophy and History of Science. Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8041-4_26.

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

Obermiller, Carl, and April Atwood. "The Effect of Music on Attention to Audio Ads." In Proceedings of the 1986 Academy of Marketing Science (AMS) Annual Conference. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11101-8_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Ferguson, Linda C. "Music in the Academy: Process, Product, and the Cultivation of Humanity." In Exploring, Experiencing, and Envisioning Integration in US Arts Education. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71051-8_12.

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

Bahn, Kenneth D. "Popular Musicin Advertising: Does Popular Music In Advertising Influence Consumption Choices?" In Proceedings of the 1994 Academy of Marketing Science (AMS) Annual Conference. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13162-7_68.

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

Conference papers on the topic "Boston Academy of Music"

1

Eggington, Tim. "Raising the Status of Music and the Musician at the Academy of Ancient Music in Eighteenth-Century London." In Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.116.

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

Piotrowski, Krzysztof T., and Jan Jazownik. "GAME FOR STUDENTS OF THE EDUCATIONAL FACULTY OF THE ACADEMY OF MUSIC IN KRAKOW." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1148.

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

Bargum, Anders Riddersholm, Devansh Kandpal, Oddur Ingi Kristjansson, Simon Rostami Mosen, Jesper Andersen, and Stefania Serafin. "Virtual Reconstruction of a the Ambisonic Concert Hall of the Royal Danish Academy of Music." In 2021 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2021. http://dx.doi.org/10.1109/vrw52623.2021.00026.

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

Indira, Eddy Supriyatna Marizar, and Maria Florencia. "Implementation of Acoustic Materials in The Auditorium of Daya Indonesia Performing Arts Academy (DIPAA) Music Institute." In The 2nd Tarumanagara International Conference on the Applications of Social Sciences and Humanities (TICASH 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201209.053.

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

"Got Filk? Lament for Apollo in Modern Sci-Fi Folk Music." In 55th International Astronautical Congress of the International Astronautical Federation, the International Academy of Astronautics, and the International Institute of Space Law. American Institute of Aeronautics and Astronautics, 2004. http://dx.doi.org/10.2514/6.iac-04-iaa.6.16.1.06.

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

Kogler, Susanne, Julia Mair, Juliane Oberegger, and Johanna Trummer. "Erich Marckhl – Musikausbildung in der Steiermark nach 1945. Brüche und Kontinuitäten." 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/10.25366/2020.58.

Full text
Abstract:
Nowadays, a detailed examination of the structure and development of music education in Styria after 1945 seems absolutely necessary, considering an overall lack of research on that topic and a predominant thematization of Vienna. The composer, music pedagogue and cultural politician Erich Marckhl played a pivotal role in music education before and after 1945. His network reached far beyond Styria. This article shall illustrate the development and interaction of all institutions connected to music education after 1945.the reorganization of the music school system, the reopening of the State Conservatory and its transformation into the Academy of Music and Performing Arts.
APA, Harvard, Vancouver, ISO, and other styles
7

Lucena, Juan, Jason Delborne, Katie Johnson, Jon Leydens, Junko Munakata-Marr, and Jen Schneider. "Integration of Climate Change in the Analysis and Design of Engineered Systems: Barriers and Opportunities for Engineering Education." In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-64975.

Full text
Abstract:
The goal of this paper is to begin mapping perspectives of engineering faculty on barriers and opportunities related to the integration of climate change in the analysis and design of engineered systems (CC&ES). Although both sustainability and renewable energy have been receiving increasing attention in engineering education for quite some time, climate change, especially as it relates to engineered systems, has yet to become a widely accepted topic of teaching and research. From recent literature on engineering education and from interviews with engineering faculty, a picture emerges of whether and how climate change is an important dimension in the analysis and design of engineered systems. From those sources, we begin to see what it might take to incorporate the relationship between climate change and engineered systems in engineering education, what the barriers and opportunities to this incorporation might be, and what strategies might be available to institutionalize this incorporation in engineering education. Support for this paper comes from a larger research project on “Climate Change, Engineered Systems, and Society” which has the goal to develop conceptual and educational frameworks and networks of change agents to promote effective formal and informal education for engineering students, policymakers and the public at large. The project partners include the National Academy of Engineering (NAE), Arizona State University, Boston Museum of Science, Colorado School of Mines (CSM), and the University of Virginia. Within this larger team, the CSM team is planning to develop a testbed for the incorporation of CC&ES in engineering education. Hence, our first step is to find related curricular innovations in the engineering education literature and perspectives from engineering faculty on barriers and opportunities to the integration of CC&ES in engineering education.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Boston Academy of Music"

1

Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

Full text
Abstract:
What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
APA, Harvard, Vancouver, ISO, and other styles
2

Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

Full text
Abstract:
Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
APA, Harvard, Vancouver, ISO, and other styles
3

Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

Full text
Abstract:
As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
APA, Harvard, Vancouver, ISO, and other styles
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