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Journal articles on the topic 'Child composers'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Perwira, Elbana Duta. "Music Composition “Kala Senja” (Melody Variation Overview)." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 5, no. 1 (2022): 19–27. http://dx.doi.org/10.26740/vt.v5n1.p19-27.

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The musical "Kala Senja" is an expression of the composer's feelings and memories from his childhood. This melody variation has 4 reviews of melodic variations, namely; Melodic Variation and Fake namely, Rhytmyc Variation and Fake, Dead Spot Filler, Counter Melody. The purpose of the creation of this work is as a means to achieve the goals of character education for ancient children with millennials in a musical work and as a creation of artistic texts or social texts about the character of ancient children with millennial times in a musical work. The method of finding the focus of the work ca

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İradə, Abbasova, та Çilingir Vasif. "Opera janrında yazılmış əsərlərdə valideyn-övlad münasibətlərinin təcəssümü". Musiqi Dünyası 25, № 2(99) (2024): 40–45. https://doi.org/10.5281/zenodo.11203042.

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 The embodiment of parent-child relations in works written in the opera genreIn the presented article, parent-child relationships are considered in works of the opera genre, written indifferent years. In the article, in some operas of Western European, Russian and Azerbaijani composers, theinfluence of relations between fathers, mothers and their children on the storyline of the work is considered and theobtained results are summarized. The article examines the operas “Rigoletto” and “Aida” by G.Verdi, “Rusalka” byA.Dargomyzhsky, “Prince Igor&rdqu

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ELKIND, DAVID. "Miseducation: Young Children at Risk." Pediatrics 83, no. 1 (1989): 119–21. http://dx.doi.org/10.1542/peds.83.1.119.

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Imagine talking to a fetus in utero via a "pregaphone," showing infants flash cards of various esoteric insects and famous composers, teaching infants to swim to protect themselves from drowning, or giving preschoolers lessons in everything from reading to karate. Consider having young children witness the "birthing" of their siblings, describing to them the horrors of nuclear war, the "bad touching" of child abuse, and the symptoms of AIDS. These practices are not the excesses of a small number of overenthusiastic East Coast parents but have become commonplace across America today. A program

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Kopieikina, Alina. "GENRE DIVERSITY OF THE LULLABY IN MUSIC." Doxa, no. 1(41) (June 27, 2024): 79–86. https://doi.org/10.18524/2410-2601.2024.1(41).316161.

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A lullaby is a genre that has been known since ancient times. Humanity has always had the need to lull a child and induce sleep. Based on the folklore tradition, the lullaby genre attracts the attention of professional composers. From the simplest songs to part of the complex synthetic genre of opera – such a wide genre inclusion of the lullaby. Songs, choral works, instrumental works of solos and various ensembles, operas – lullabies appear in various musical genres. Koliskova is manifested in poetry and children’s literature, stage art and art of animation. It is known that the lullaby was e

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Lee, William R. "Book Review: Child Composers in the Old Conservatories: How Orphans Became Elite Musicians." Journal of Historical Research in Music Education 44, no. 1 (2022): 124–28. http://dx.doi.org/10.1177/15366006221126857.

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Hafkamp, Maurits P. J., Joris P. J. Slaets, and David van Bodegom. "Intellectual maturity and longevity: late-blooming composers and writers live longer than child prodigies." Aging 9, no. 5 (2017): 1433–39. http://dx.doi.org/10.18632/aging.101245.

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Lipov, Anatolii Nikolaevich. "John Milton Cage. A look at the most famous composer of the American avant-garde of the twentieth century." Культура и искусство, no. 7 (July 2022): 68–81. http://dx.doi.org/10.7256/2454-0625.2022.7.36139.

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The subject of the research in the article is the work of the American composer John Milton Cage (1912-1992), who is considered one of the most famous and influential avant-garde musicians of the twentieth century. The composer's ideas about sound, the "open form of music", "random operations", "extended" musical instruments and many others were developed in the complex technical, discursive, institutional, cultural and political conditions of life in the United States, constantly changing in the course of his long and productive career. The article analyzes the "artistic and theoretical" lega

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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. T

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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 172–87. http://dx.doi.org/10.34064/khnum2-49.12.

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Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no

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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 172–87. http://dx.doi.org/10.34064/khnum1-49.12.

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Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no

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11

Sorokov, D. G., and M. G. Sorokova. "“Five Minutes of Composers”: A Technique for Evaluating Productivity of Verbal Memory in the System of Basic Music Education." Психологическая наука и образование 22, no. 5 (2017): 57–66. http://dx.doi.org/10.17759/pse.2017220507.

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The paper addresses the need for developing criteria-based diagnostic tools for quick individual and group evaluation of musical knowledge in children within the system of basic music education. The proposed technique called “Five Minutes of Composers” allows one to evaluate musical knowledge in a single child, in a whole class or in an educational organisation. The paper provides a full description of the technique and the process of its standartisation: stanines and corresponding normative values are assigned to each age group; the differential validity of the technique is statistically prov

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Hill, David S., Stuart B. Kamenetsky, and Sandra E. Trehub. "Relations among Text, Mode, and Medium: Historical and Empirical Perspectives." Music Perception 14, no. 1 (1996): 3–21. http://dx.doi.org/10.2307/40285707.

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We examined, by historical and empirical means, relations among text (positive, negative), mode (Ionian, Phrygian), and medium (organ, vocal) in settings of a popular Christian melody from the baroque era. A descriptive analysis of 51 representative settings indicated that baroque composers tended to link Ionian settings of the melody to a "salvation" text and Phrygian settings to a "condemnation" text. They also set vocal pieces more frequently in the Ionian mode and organ pieces in the Phrygian mode. A series of experiments confirmed that contemporary adult and child listeners linked reward

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Majzner, Rafał. "Aesthetic experience as a condition for giving meaning to the music of 20th-century Polish composers by children." Problemy Opiekuńczo-Wychowawcze 594, no. 9 (2020): 60–71. http://dx.doi.org/10.5604/01.3001.0014.4870.

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In the study, the author attempts to reconstruct theoretical issues related to listening to classical music as a form of the child's music activity, and in this context presents the results of the research on the perception of music by Mieczysław Karłowicz, Ludomir Różycki and Grzegorz Fitelberg. The paper analyzes children's statements inspired by selected works. Furthermore, in the article, the author attempts to substantiate the thesis saying that the fact of the presence of a musical work creates a potential possibility of impact, but only the engaged hearing, seeing and understanding of t

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Ivanova, Irina. "“The Confession” of a Child of the Century (Concerto for orchestra with solo viola by Anton Lubchenko)." Aspects of Historical Musicology 16, no. 16 (2019): 259–80. http://dx.doi.org/10.34064/khnum2-16.15.

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Introduction. Recent decades have seen a revival of interest the problems of genre-creating and typology of genres in musicology, an interest largely stimulated by the complexity of processes happening in this area of modern composers’ creativity. Given article considers a work by A. Lubchenko, entitled “Confession” (Concerto for orchestra with solo viola) from this standpoint. While the second part of the title, placed in brackets, doesn’t need to be commented, the first one, in quotation marks, must be considered additionally. Theoretical background. In order to comprehend it as sign of genr

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MIYAKAWA, FELICIA M. "“A Long Ways from Home?” Hampton Institute and the Early History of “Sometimes I Feel like a Motherless Child”." Journal of the Society for American Music 6, no. 1 (2012): 1–49. http://dx.doi.org/10.1017/s1752196311000393.

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AbstractThe history of the well-known spiritual “Sometimes I Feel like a Motherless Child,” is wrapped up in the legacy of the Hampton Students, an ensemble of African American students modeled after the Fisk Jubilee Singers. The song's inclusion in the 1901 edition ofCabin and Plantation Songs as Sung by the Hampton Studentssolidified its place in the growing canon of spirituals. Although the tune remained in Hampton Institute's repertoire through subsequent printings ofCabin and Plantation Songs, it also entered the art music world, quickly becoming a favorite of performers and arrangers. Bu

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Leppert, Richard. "Civil War Imagery, Song, and Poetics: The Aesthetics of Sentiment, Grief, and Remembrance." 19th-Century Music 40, no. 1 (2016): 20–46. http://dx.doi.org/10.1525/ncm.2016.40.1.20.

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The American Civil War (1861–65) produced staggering numbers of casualties, including from what to this day remains the bloodiest one-day battle (Antietam) in the country's history. Most combatants were young, many still teenagers, or at most in their early twenties, a fact repeatedly and poignantly acknowledged in the poetry and prose of Walt Whitman. The Civil War was the first to be extensively photographed, which brought the realities of its extreme violence into sharp relief throughout the country on both sides of the conflict. Battlefield photographers often focused their cameras on the

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Rowe, Deborah Wells, and Mary E. Miller. "Designing for diverse classrooms: Using iPads and digital cameras to compose eBooks with emergent bilingual/biliterate four-year-olds." Journal of Early Childhood Literacy 16, no. 4 (2016): 425–72. http://dx.doi.org/10.1177/1468798415593622.

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This paper reports the findings of a two-year design study exploring instructional conditions supporting emerging, bilingual/biliterate, four-year-olds’ digital composing. With adult support, children used child-friendly, digital cameras and iPads equipped with writing, drawing and bookmaking apps to compose multimodal, multilingual eBooks containing photos, child-produced drawings, writing and voice recordings. Children took digital cameras home, and home photos were loaded onto the iPads for bookmaking. In Year 1, eBook activities successfully supported children’s multimodal composing. Child

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18

Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.

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Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational langu

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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 70–84. http://dx.doi.org/10.34064/khnum2-49.05.

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Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most comp

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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 70–84. http://dx.doi.org/10.34064/khnum1-49.05.

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Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most comp

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Zharkova, Valeriya. "Music by Claude Debussy and Maurice Ravel: a Modern View of the Problem of Style Identification." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 24–51. http://dx.doi.org/10.31318/2522-4190.2021.130.231181.

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The relevance of the article is determined by the appeal to the debatable issues of stylistic differentiation of the works by Claude Debussy and Maurice Ravel as the French musical culture leading representatives of the late 19th and the first third of the 20th centuries. The research reflections about the connections betwen Debussy and Ravel on the principle “for / against” have not subsided for more than a hundred years. This testifies to the special urgency of this problem and the need to search for modern approaches to understanding the artistic identity of two brilliant contemporaries.Sci

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Simlett-Moss, Joyce. "Adolph Hummel: Music Publisher in Eighteenth-Century London." Royal Musical Association Research Chronicle 52 (April 2021): 90–182. http://dx.doi.org/10.1017/rrc.2020.5.

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AbstractAdolph Hummel, from Hesse, established in Soho a music publishing business that lasted 12 years (1760–1772). His publishing strategy differed in several ways from that commonly adopted by London publishers: he published only foreign-born (mostly German or Italian) composers; he did not issue vocal music; and, while taking the common routes of advertising his publications by notices in contemporary newspapers and listing issues in the imprints to title pages, he was highly unusual in that he produced no catalogue. He was also unusual in obtaining a royal licence to protect his copyright

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van Tour, Peter, and Nicholas Baragwanath. "Introduction." Music Theory and Analysis (MTA) 11, no. 1 (2024): 1–5. http://dx.doi.org/10.11116/mta.11.1.0.

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The study of European music in the long eighteenth century has advanced rapidly since the publication in 2007 of Robert O. Gjerdingen's Music in the Galant Style, which not only consolidated the theory of stock patterns (or schemas) used in composition and im provisation during this period, but also highlighted the importance of contemporary solfeggio and partimento as ways of learning these patterns. In 2012, Giorgio Sanguinetti published The Art of Partimento, encouraging the revival of such techniques and enabling scholars and musicians to incorporate historical practice into curricula. Thr

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Popova, Liudmyla, and Olha Protsenko. "Genre and style features of creative heritage by Mark Karminskyi: educational and methodological aspects." Aspects of Historical Musicology 19, no. 19 (2020): 65–79. http://dx.doi.org/10.34064/khnum2-19.04.

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Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for hi

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Rivera, Isabel Aretz De Ramon Y. "The universal language of all cultures." International Journal of Music Education os-29, no. 1 (1997): 52–58. http://dx.doi.org/10.1177/025576149702900108.

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Music is a language that is expressed through the audible sounds for which no one requires a translation, therefore music can be utilized, when shared between cultures in the right fashion, as a tool to increase brotherhood among people in the world. Sharing music by means of a concert or audio-visual tools falls short when it comes to penetrating the human sentiment. Our concert audiences always tend to prefer the music that they were brought up with; our music schools only answer to the European tradition. One can conclude that an appreciation of different musical cultures in the world depen

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Vyshynskyi, Vitalii. "Piano Cycles “Children's Music” No. 1 and No. 2 in the Works by Valentyn Sylvestrov: Distinctive Features of Interpretation of the Concept of Childhood." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 137 (October 30, 2023): 57–67. http://dx.doi.org/10.31318/2522-4190.2023.137.294662.

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Relevance of research. Even though a lot of scholarly research has been devoted to study Sylvestrov’s music, most of it does not have a thorough analysis as it simply repeats the composer's own remarks about his work. Therefore, there is a need to update methodology of researching Sylvestrov's music and to find new approaches that will consider both, contemporary as well as earlier composed music. One of such insufficiently researched works is piano cycles called “Children's Music”. Its detailed and more thorough research will allow to better understand the nature of the stylistic reversal tha

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Dickey, Timothy J. "Barry Cooper. Child Composers & Their Works: A Historical Survey. Lanham, Md.: Scarecrow Press, 2009. 216p. alk. paper, $65 (ISBN 9780810869110). LC2009-000236." College & Research Libraries 71, no. 4 (2010): 391–92. http://dx.doi.org/10.5860/0710391.

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Mueller, Adeline. "Child Composers in the Old Conservatories: How Orphans Became Elite Musicians Robert O. Gjerdingen New York: Oxford University Press, 2020 pp. 355, ISBN 978 0 190 65359 0." Eighteenth Century Music 19, no. 1 (2022): 66–69. http://dx.doi.org/10.1017/s1478570621000415.

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Kenney, Susan. "Every Child a Composer." General Music Today 20, no. 2 (2007): 31–33. http://dx.doi.org/10.1177/10483713070200020108.

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Gül, Gülnihal. "In Terms of Music Teachers, the Evaluation of Music Types in the Curriculum for Music in Secondary Education in Turkey." European Journal of Social Sciences Education and Research 2, no. 1 (2014): 19. http://dx.doi.org/10.26417/ejser.v2i1.p19-24.

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Along with the establishment of the Republic, a song repertoire consisting of transferred songs was previously endeavoured to be formed by taking school music samples of foreign countries and writing Turkish words below them. Afterwards, with the same percept, an imitation songs repertoire was attempted to be formed by our composers. Since the 1950s, the idea that school music should be on the axis of folk music and that music education should be carried out through school music samples composed from the close environment of the child has begun to take place. Together with the various developm

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Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.

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Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distor

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Leunupun, Sepnath Yambres, Rachel Mediana Untung, and Poedji Soesila. "“Fattened by Friendship” of the Papuan Sawi Tribe: Creative Process and Analysis." Journal of Urban Society's Arts 12, no. 1 (2025): 108–23. https://doi.org/10.24821/jousa.v12i1.14668.

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“Fattened with Friendship” is the title for the creation of a musical work in the story of Tarop Tim (Child of Peace) of the Sawi Tribe. The creation of this musical work is an effort to contribute to the treasury of Indonesian musical compositions that elevate the cultural values of the Sawi tribe of Papua. The method of music composition creativity applies practice-led research in four creative stages, namely preparation, incubation, illumination and verification. The creation of this new composition elevates the culture of the Papuan Sawi tribe innovatively in melody, rhythm, and other musi

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Ball, Wesley A. "The Young Child as Composer and Performer." Soundings (Reston, VA) 3, no. 1 (1989): 7–10. http://dx.doi.org/10.1177/104837138900300103.

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Чэнь, Цзыжань. "Music as a space for the dialogue of Russia and China: on the “Chinese trail” in the works of composer Klimenty Korchmarev." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(297) (October 31, 2022): 165–71. http://dx.doi.org/10.53598/2410-3489-2022-2-297-165-171.

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В статье исследуется присутствие китайской темы в творчестве русского композитора К.А. Корчмарёва. Обосновывается идея о том, что, будучи учеником В.О. Малишевского, входившего в «беляевский кружок» и овладевающего композиторским ремеслом под руководством Н.А. Римского-Корсакова и А.К. Глазунова, Корчмарёв выступает продолжателем традиций, заложенных в русской музыкальной культуре его предшественниками, по-своему разрабатывая тему Востока. Наряду с первым туркменским балетом «Веселый обманщик», акцентируется внимание на таких творческих достижениях композитора, как создание музыки к мультфильм

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CARRASCO E., FRANCISCO R., and RICHARD G. SMITH. "The Role of Music in the UK’s Chile Solidarity Campaign and in Developing an Exile’s Sense of Self and Place: Francisco Carrasco, Musician, and Member of Merseyside’s Chilean Community." Bulletin of Hispanic Studies 102, no. 6 (2025): 571–82. https://doi.org/10.3828/bhs.2025.33.

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The role of music in the UK’s Chile Solidarity Campaign and in developing an exile’s sense of self and place are explored in this article through the artistic and political life of Francisco Carrasco. Francisco arrived in the UK with his family in 1975, a child refugee aged almost eleven, and his first public performances were with his family at solidarity events in Leeds. His cultural activism developed when he moved to Liverpool, where, years later, he founded Luma Creations to promote Latin American culture. Francisco is a singer–songwriter–composer, has written poems and books, produced pl

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Poluboiaryna, Iryna. "Patriotic Education of Children's Music School Students in the Process of Studying Compositions for Kobza." Professional Education: Methodology, Theory and Technologies, no. 18 (December 20, 2023): 142–54. http://dx.doi.org/10.31470/2415-3729-2023-18-142-154.

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The article substantiates the relevance of the problem of the formation of patriotism among students of children's music schools by means of epic musical works for kobza. The purpose of the article is to consider the educational work of patriotic orientation in the educational process of a children's music school, to determine the purpose, tasks, forms and methods, pedagogical conditions of patriotic education. Research methods. The following research methods are used to realize the defined goal: theoretical (analysis of scientific literature, synthesis, generalization, classification); empiri

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Honisch, Erika Supria. "Drowning Winter, Burning Bones, Singing Songs." Journal of Musicology 34, no. 4 (2017): 559–609. http://dx.doi.org/10.1525/jm.2017.34.4.559.

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In 1587 the Flemish composer Carolus Luython, employed by Holy Roman Emperor Rudolf II, published an unusual motet collection in Prague. Titled Popularis anni jubilus, the collection describes the sounds and rituals beloved by Central European peasants, recasting them as the ecstatic songs of rustic laborers (jubilus) famously celebrated by Saint Augustine in his Psalm commentaries. Highlighting the composer’s collaboration with the Czech cleric who wrote the motet texts, this study serves as a corrective to the interpretative frameworks that have broadly shaped discourses on Central European

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Gilmore, Bob. "ON CLAUDE VIVIER'S ‘LONELY CHILD’." Tempo 61, no. 239 (2007): 2–17. http://dx.doi.org/10.1017/s0040298207000010.

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There is an uncanny symmetry in the life of the French–Canadian composer Claude Vivier: we do not know the exact time or circumstances of his birth, and we do not know the exact time or circumstances of his death. The first of these two facts haunted Vivier all his life. Born to unknown parents in Montreal in April 1948 and placed in an orphanage, he became obsessed with the identity of his birth mother, whom he never knew. Several of his compositions can be heard as a poignant attempt to communicate with her. The second fact – his murder in March 1983 by a young Parisian criminal in circumsta

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Moiseev, Grigory A. "Anton Rubinstein and Grand Duke Konstantin Nikolayevich. Concerning the History of Their Interactions." Contemporary Musicology, no. 4 (2023): 9–28. http://dx.doi.org/10.56620/2587-9731-2023-4-009-028.

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The topicality of the research and the academic novelty of the work are stipulated by the fact that for the first time on the basis of unpublished archival documents it presents an overview of the interactions between the august director of the Imperial Russian Musical Society, Grand Duke Konstantin Nikolayevich (1827–1892) and the founder of this largest concert and educational organization, the outstanding Russian musician Anton Rubinstein (1829–1894). Various methods of analysis are made use of in the article, including comparative analysis of source materials and the biographical method. T

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Moore, Stephen Thomson. "John Francis Gilder, American Composer, Pianist, Writer, 1837–1908." AMP: American Music Perspectives 3, no. 2 (2022): 135–88. https://doi.org/10.5325/ampamermusipers.3.2.0135.

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ABSTRACT John Francis Gilder, born in Philadelphia on April 3, 1837, the eldest child of the Reverend William Henry Gilder Sr. and Jane Nutt, was a notable and highly successful pianist, organist, church musician, and organist in his day but now forgotten. This article surveys his life and works.

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White, Rachel, and Jim Coyle. "Cryptozoologica: Developing the Child as Performer." Journal of General Music Education 36, no. 2 (2022): 28–33. http://dx.doi.org/10.1177/27527646221139438.

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Music, movement, and imaginative play are essential for young children to explore and understand the world around them. It is important for educators of early primary students to consider how they can facilitate meaningful learning experiences that are practical, engaging, and allow children to investigate unfamiliar musical ideas in supportive, fun environments. This article introduces Cryptozoologica, a new work for flute, viola, and cello with Storyteller by Australian composer Jim Coyle, and describes how educators of young children can use music from a range of cultures and genres, includ

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HERRERA, EDUARDO. "Electroacoustic Music At CLAEM: A Pioneer Studio in Latin America." Journal of the Society for American Music 12, no. 2 (2018): 179–212. http://dx.doi.org/10.1017/s1752196318000056.

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AbstractDuring the 1950s and ’60s, many composers began exploring the possibilities provided by commercially available magnetic tape recording and electronically produced sound. In Latin America, the most successful early electroacoustic studio was hosted at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM), part of the Torcuato Di Tella Institute in Buenos Aires, Argentina. This article chronicles the eight years of existence of CLAEM's Laboratorio de música electrónica (1964–1971), and its role in the training of composers hailing from Argentina, Bolivia, Brazil, Colombia, Costa

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Kropova, Daria S. "Traits of Mystery (miracle play), Tragedy and Commedia Dell'Arte in a Fairy-Opera-Film." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 76–83. http://dx.doi.org/10.17816/vgik8476-83.

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This article deals with a fairy-opera-film and its specifics. The author reveals traits of mystery (miracle play) in a fairy-opera-film, basing upon a notion of mystery of Carl Orffs theory, in the way as Orff meant it. Syncretism in different kinds of art, specifics of word as an art facility (meaning of a word and a word as sound) are specified. As examples the following films are taken: Bluebeard's Castle (composer Bela Bartok, filmmaker W. Golovin,1968), Iolanta (composer Pyotr Tchaikovsky, filmmaker W. Gorriker,1963) and animated musical The Snow Maiden (composer Nikolai Rimsky-Korsakov,

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Li, Lucia Dong Chang. "Excessive Anxiety of Chinese Parents about Education." Journal of Education, Humanities and Social Sciences 23 (December 13, 2023): 601–5. http://dx.doi.org/10.54097/ehss.v23i.13125.

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Education is always the most concerning issue in raising a child. Research has demonstrated that diligence is believed to be the most changeable factor in improving one’s social status. This study aims to answer the question of why Chinese parents are anxious about their children’s education. Overall, environmental issues, both demographically and socially, have contributed significantly to parents' rush mentality. This analysis reviews past research to conclude that an excessive focus on early education can have adverse effects on children's behavior and may lead to the deterioration of the p

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Soden, Oliver. "TIPPETT AND ELIOT." Tempo 67, no. 266 (2013): 28–53. http://dx.doi.org/10.1017/s0040298213000843.

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AbstractMichael Tippett called T.S. Eliot his ‘spiritual and artistic mentor’, but the relationship between the two men has never been studied in detail. Eliot's numerous discussions with Tippett in the 1930s proved a lasting influence on the composer's beliefs about the coming-together of words and music. This article has three aims: first, to use Tippett's correspondence and writings to bring together the most accurate and complete biographical description of the relationship to date; second, to show that Tippett quoted from and alluded to the work of T.S. Eliot not only in his early pieces

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Smith, Ken. "Interviews with American Composers: Barney Childs in Conversation ed. by Virginia Anderson." Fontes Artis Musicae 70, no. 1 (2023): 71–74. http://dx.doi.org/10.1353/fam.2023.0006.

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Choi, Moonhwan, Haeyoon Jeong, Sol Kim, Minkyung Kim, Minhyung Lee, and Taiyoun Rhim. "Targeted delivery of Chil3/Chil4 siRNA to alveolar macrophages using ternary complexes composed of HMG and oligoarginine micelles." Nanoscale 12, no. 2 (2020): 933–43. http://dx.doi.org/10.1039/c9nr06382j.

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Fauser, Annegret. "Lili Boulanger's La Princesse Maleine: A Composer and her Heroine as Literary Icons." Journal of the Royal Musical Association 122, no. 1 (1997): 68–108. http://dx.doi.org/10.1093/jrma/122.1.68.

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On 22 July 1917 Maurice Maeterlinck wrote to the composer Lili Boulanger:Dear Mademoiselle and Friend,All my thoughts are with you in your pain and your anxiety. But I have a confidence which comes to me from I don't know where and which I would like to share with you. I feel – I would nearly say, I know – that the child-genius who must give a voice to La princesse Maleine cannot pass away before having accomplished her work, which seems fused with her destiny.

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Gordon-Pershey, Monica, and Ashley M. Hodge. "Communicative behaviours of sibling dyads composed of a child with autism and a typically developing child." Journal of Interactional Research in Communication Disorders 8, no. 2 (2017): 246–73. http://dx.doi.org/10.1558/jircd.33333.

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Zharkikh, T. V. "Musical Stained-glasses by Olivier Messian." Aspects of Historical Musicology 14, no. 14 (2018): 23–35. http://dx.doi.org/10.34064/khnum2-14.02.

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Background. As it is well-known from the statements by O. Messiaen himself in conversations with K. Samuel [10; 7], the French composer had the phenomenon of “colored hearing” associated with the effect of synesthesia. A prerequisite in modern performing art, as in the work of a musicologistresearcher, is the introduction to the worldview of an author-composer. The study of Messiaen’s synesthetic associations helps the interpreter to expand his timbre range in connecting with emotional “immersion” in the essence of the work, and the researcher of his music – to interpret correctly (often – to

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