Relevant bibliographies by topics / Church music. Instrumental music. Music theory

Contents

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

Academic literature on the topic 'Church music. Instrumental music. Music theory'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Church music. Instrumental music. Music theory"

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Speyer, Kathrin. "Musik und Moral: Intertextuelle Bezüge zwischen Lact. inst. 6,21 und Sen. epist. 123,9 f." Philologus 163, no. 2 (November 6, 2019): 298–319. http://dx.doi.org/10.1515/phil-2018-0043.

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Abstract The goal of this article is to use structural, lexical and content analysis to make the case that the Church Father Lactantius, when composing Divinae institutiones 6,21, engaged with Sen. epist. 123,9 f. and pointedly refers to it. In the process, this whole chapter of Lactantius will be examined to see what the relation is between the decisive influence of the Seneca passage and that of other pre-texts that have already been identified as such in existing publications, especially the works of other Church Fathers. The content under discussion concerns the risks of purely instrumental music compared to those of artistically designed speech for the spirit of the listener, closely linked to the question of whether Christian writings, too, may – or even should – be aesthetically appealing. The treatment of this question leads ultimately to a general discussion of the relation of pleasure to virtue in the sense of a life pleasing to God.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Thomas, Cathy. "Reverberations of the Black Feminist Breathing Chorus." Resonance 2, no. 2 (2021): 281–95. http://dx.doi.org/10.1525/res.2021.2.2.281.

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Alexis Pauline Gumbs is a writer, poet, activist, and independent scholar whose experimental triptych (Spill, M Archive, Dub) offers both mundane and unearthly interventions for humanity’s struggles against histories of ecological extraction and Black feminist refusals. Sangodare is a multimedia artist, musician, and theologian drawing from Black feminist writings and African Diaspora wisdom. They are co-founders of several multi-platform undertakings such as the Mobile Homecoming Project that birthed the Black Feminist Breathing Chorus (BFBC). It is one of many online and in-person spaces supporting QPOC and Black feminist communities. The BFBC, in particular, blends theory, meditation, music, poetics, and Black church traditions. In this asynchronous mantra practice, hundreds of participants receive daily “ancestor” mantras via the Mobilehomecoming.org website. These mantras are shortened quotes from the diverse writings and speeches of figures such as Marsha P. Johnson, Zora Neale Hurston, Pat Parker, and Joseph Beam. The social, juridical, and digital records of violence against women, POC, queer, and non-binary bodies and communities is not new. However, as consequences of the COVID-19 pandemic have overlapped with conspicuous displays of anti-Black policing and asymmetric economies, the BFBC has provided an alternative space to rebuild and re-enchant social, political, and intellectual life through a remixed spiritual practice of amplifying voices. This interview highlights how race, gender, location, and time do not limit the quest for freedom. Thus, the primacy of Black queer positionality is instrumental in the chorus’s examination of both liberating and oppressive social hierarchies.
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Venišnik, Vesna. "Instrumental Music and Franciscan Liturgy." Musicological Annual 50, no. 2 (April 3, 2015): 93–99. http://dx.doi.org/10.4312/mz.50.2.93-99.

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The Franciscan Library in Novo mesto holds a rather large collection of 18th century sacred and secular music. Among the preserved music there are also several symphonies. The article deals with their characteristics and the possibilities of their performance during the church liturgy.
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Kuebel, Christa R. "Preparedness of Instrumental Music Majors Teaching Elementary General Music." Journal of Research in Music Education 67, no. 3 (June 14, 2019): 304–22. http://dx.doi.org/10.1177/0022429419850110.

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The purpose of this multiple-case study was to examine the career development, choices, and goals of elementary general music teachers who identified as instrumental majors during their undergraduate degree programs. Data collection included a questionnaire, interviews, participant journals, and observation field notes; data were organized using the theoretical framework of social cognitive career theory. Themes are presented in two categories: internal influences (self-efficacy and perceived differences between elementary music and instrumental music) and external influences (economy, undergraduate preparation, and working in elementary general music). Implications regarding the development of self-efficacy and preparation for teaching outside of one’s specialization are discussed.
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Mitchell, Nicholas. "Choral and Instrumental Pitch in Church Music 1570-1620." Galpin Society Journal 48 (March 1995): 13. http://dx.doi.org/10.2307/842800.

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Hulková, Marta. "Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)." Studia Musicologica 56, no. 1 (March 2015): 3–37. http://dx.doi.org/10.1556/6.2015.56.1.1.

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Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely.
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Achikeh, Cordis-Mariae, and Raphael Umeugochukwu. "The value of good liturgical music." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (October 30, 2020): 133–50. http://dx.doi.org/10.4314/ujah.v20i3.8.

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It is disturbing that in recent times, the worshiping community in the capacity of some church ministers, composers and musicians have deviated from the specifications of liturgical music even as recommended by Vatican Council II (The Constitution of The Sacred Liturgy). Also misunderstood and misappropriated is the idea of inculturation that permits composers in different countries to write music using the language of the locality as well as the indigenous instruments. This is partly due to inadequate enlightenment and training on the part of the liturgical music practitioners on the real meaning of liturgical music. A lot ofproblems have come up from these misconceptions and misinterpretations which include but a few making noise in place of music, negligence of the core features of liturgical music ranging from little or no attention to the solemn nature of the liturgy to relevance for some unimaginable selfish interests. In remedying these challenges, the researcher has made lots of recommendations. One of them is that the practitioners of liturgical music be exposed through seminars and workshops to relevant church documents on liturgical music from time to time. It is necessary and most pertinent that the church retains its solemnity in worship as against the recent mediocrity which has come to envelop the liturgical music making practices. The great value of good liturgical music needs to be sustained. Keywords: Liturgical Music, Gregorian Chant, Sacred Polyphony, Instrumental Music, Catholic Church, Liturgical Musician, Choir, Congregation
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Lebaka, Morakeng Edward Kenneth. "Integration of Vocal Music, Dance and Instrumental Playing in St Matthews Apostolic Church: Maphopha Congregation." European Journal of Interdisciplinary Studies 4, no. 2 (July 24, 2018): 34. http://dx.doi.org/10.26417/ejis.v4i2.p34-44.

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There are a number of different approaches to determining the functions of music. Members of St Matthews Apostolic church – Maphopha congregation in Sekhukhune district – Limpopo Province in South Africa identify themselves by their music and allow music to become a representation of themselves. In responding to a song, to a hymn, they are drawn into affective and emotional alliances. Their relationship to music is inevitably based upon their emotions and internal connection to a particular song. Emotionally intense songs are even used during funerals to cue specific emotions from the audience for suspense, heartbreak, or a peaceful resolution. Songs, then, become an active ingredient in their lives as they find ways to employ music as a tool to share in their life experiences and bring them to a desired emotional state. The purpose of this study was to contribute towards documenting and describing the integration of vocal music, dance and instrumental playing in this church. To achieve this aim, the study employed a naturalistic approach and data was collected through video recordings of church services, interviews and observations. The primary question the study addressed is: how is collective identity formed through music and how does religious music serve as a core part of culture? The results have shown that in this church, music is manipulated to serve congregational purposes. The investigation has also shown that identity is largely related to musical preference, and the congregants use music to understand who they are and define themselves internally as well as externally.
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Branscombe, Peter, Mary Sue Morrow, and Cecelia Hopkins Porter. "German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music." Modern Language Review 95, no. 3 (July 2000): 884. http://dx.doi.org/10.2307/3735588.

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Dissertations / Theses on the topic "Church music. Instrumental music. Music theory"

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Traill, John Peter. "The study of instrumental combinations." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670179.

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Kuebel, Christa. "PREPARATION, CONTINUING EDUCATION, AND PROFESSIONAL DEVELOPMENT OF INSTRUMENTAL MUSIC MAJORS TEACHING ELEMENTARY GENERAL MUSIC." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491408733327604.

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Alexander, Dina. "An investigation of the relationship between the music aptitude and the music achievement of beginning instrumental students who are taught according to the principles of Gordon's music learning theory /." Digitized version, 1989. http://hdl.handle.net/1802/7560.

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Thesis (M.A.)--University of Rochester, 1989.
Includes bibliographical references (leaves 33-35). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7560
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Arblaster, Winston Vaughn 1984. "Music Theory and Arranging Techniques for the Church Musician." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10831.

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xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms.
Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski
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Buerer, Harry F. "Winds of praise symphonic band recital /." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.

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Rao, Madhuri Preeti. "Senior Composition Thesis." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/812.

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I had performed a recital of my compositions on April 22, 2016. This thesis is a portfolio of all of my compositions, including the program from my recital, program notes for each piece, and all scores. My senior recital consisted of two distinct halves. The first half was an exploration of abstract, theoretical, and experimental concepts in Western Art Music. The second half was an exploration in synthesizing the Carnatic music system with Western Art Music styles. This half was also an experiment in reversing musical orientalism, which has been historically prevalent in Western Art Music.
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Alley, Zachary W. "Michael Praetorius's Theology of Music in Syntagma Musicum I (1615):A Politically and Confessionally Motivated Defense of Instruments in The Lutheran Liturgy." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1402316351.

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Oddie, Jonathan J. "Counterpoint, 'fuge', and 'air' in the instrumental music of Orlando Gibbons." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:eae0a0b5-9cf2-41af-bca0-eb8db9cfcb40.

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This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language.
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Fashun, Christopher Herbert. "Developing musicianship from the podium : adapting the Theory of multiple intelligences to the instrumental rehearsal." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3291.

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The purpose of this study is to collect a variety of conducting texts and resources and assess which texts, if any, suggested pedagogical techniques that make appropriations for various learning styles of individuals in the ensemble. The term learning styles is derived from Howard Gardner's Theory of Multiple Intelligences wherein he makes the assertion that every person possesses the nine intelligences and that each person has a natural disposition to at least one intelligence (or learning style). After having evaluated numerous conducting texts and resources, there exists a lack of assessing and teaching to learning styles. Most conducting curricula do not give attention to the idea that the musicians and students represent many learning styles and need to be provided with a variety of examples to enhance their understanding of the music. Consequently, enhancing understanding raises the level of their musicianship and elevates the overall quality of the ensemble and music program. The most significant contributor in music education to integrating pedagogical techniques that address a broad range of learning styles is Edward S. Lisk. A former band director and now an internationally renown clinician and conductor, Mr. Lisk has written several books on alternative rehearsal strategies. His most recent book, The Creative Director: Conductor, Teacher, Leader, briefly explains how the Theory of Multiple Intelligences is uniquely suited for both the conductor and the students. Mr. Lisk's claims regarding the benefits of teaching to multiple learning styles focus on individual enhancement and understanding of playing a instrument and to provide compelling evidence to administrators, parents, and the community to show the inherent value of a music program. This study acknowledges and supports Lisk's observations and claims, but sets out to enhance musical understanding and performance levels through rehearsal techniques that address multiple learning styles. Before providing a model for incorporating pedagogical techniques that address multiple learning styles, assessment methods of student's MI (multiple intelligences) will assist the conductor in determining what types of intelligences the students possess. When this information is gathered, a conductor/music educator can begin to infuse examples into the rehearsal. The final goal of this study is to present several rehearsal strategies categorized by each MI as a model as to how conductor/educators can incorporate pedagogical strategies into their rehearsals to draw each student into a deeper understanding of the music, raise the level of musicianship, which promotes more expressive music-making. These rehearsal strategies can be utilized with technical or expressive issues. For example, a director is teaching the string section the difference between playing accompanimental motor rhythms in Mozart to those of Beethoven. For the visual-spatial learner, drawing a diagram on the board showing the trajectory shape of the bow across the string can assist the student by seeing what each bow stroke looks like. For a bodily-kinesthetic learner, showing what each bow stroke looks like, allowing the student to try it, and solidifying understanding with feeling the difference of each stroke and recognizing how each sounds. As an additional strategy to the former, the director could have each section demonstrate each bow stroke and ask the other students for feedback that incorporates a technique for the interpersonal learning style. Further examples with suggestions for expressive aspects of music for various learning styles are also included.
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Grajter, Małgorzata. "Małgorzata Grajter, Relacje słowno-muzyczne w twórczosci Ludwiga van Beethovena [The characteristics of music-text relationships in Ludwig van Beethoven’s output] (Dissertationes Lodzienses de Musicae Theoria 3), Łódz: Akademia Muzyczna im. Grazyny i Kiejstuta Bacewiczów [2015], 274 S., Abb., polnisch, ISBN 978-83-60929-46-9 [Zusammenfassung]." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2016. https://ul.qucosa.de/id/qucosa%3A16198.

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Books on the topic "Church music. Instrumental music. Music theory"

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Praetorius, Michael. De organographia: Estratto dal Syntagma musicum : 1616. Udine: Pizzicato, 2003.

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Praetorius, Michael. Syntagma musicum.: Parts I and II. Oxford [Oxfordshire]: Clarendon Press, 1991.

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Praetorius, Michael. Syntagma musicum.: Parts I and II. Oxford [Oxfordshire]: Clarendon Press, 1986.

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Praetorius, Michael. De organographia: Estratto dal Syntagma musicum : 1616. Udine: Pizzicato, 2003.

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Barrett, Bob. Contemporary music styles. Mission Viejo, Calif: Taylor Made Music, 1996.

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Thrasher, Alan R. Sizhu instrumental music of South China: Ethos, theory and practice. Leiden: Brill, 2008.

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Thrasher, Alan R. Sizhu instrumental music of South China: Ethos, theory and practice. Leiden: Brill, 2008.

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Thrasher, Alan R. Sizhu instrumental music of South China: Ethos, theory and practice. Leiden: Brill, 2008.

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The instrumental music of Iannis Xenakis: Theory, practice, self-borrowing. Hillsdale, NY: Pendragon Press, 2011.

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Brooks, Tom. The language of music: Practical music theory for the worshipping musician. Montclair, NJ: Hal Leonard Books, 2011.

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Book chapters on the topic "Church music. Instrumental music. Music theory"

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Olley, Jacob. "Towards a new theory of historical change in the Ottoman instrumental repertoire 1." In Theory and Practice in the Music of the Islamic World, 22–41. Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: SOAS musicology: Routledge, 2017. http://dx.doi.org/10.4324/9781315191461-2.

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Todd, R. Larry. "From the Church to the Concert Hall." In Theology, Music, and Modernity, 109–28. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0006.

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‘Every room in which Bach is performed is transformed into a church.’ We do not know the context for this remark attributed to Mendelssohn (sometime before March 1835), but it reflects one significant thread in the nineteenth-century ‘emancipation of music’, namely the revival of the music of J.S. Bach, and his transformation from a largely forgotten Leipzig church musician into a dominant, canonic figure in European concert music. This chapter revisits some familiar aspects of Mendelssohn’s revival of Bach’s music, for example the seminal revival of the St. Matthew Passion in 1829, and Mendelssohn’s spiritual trajectory from Judaism to Christianity, and then explores ways in which his own music tested boundaries between sacred music for performance in church versus the concert hall. One way in which Mendelssohn allied his music with the spiritual was through the use of imaginary, ‘free’ chorales—that is, newly composed, textless chorale melodies that he inserted into a number of his purely instrumental compositions as a means of underscoring his newly acquired Protestant faith. The chapter concludes by exploring the significance of this device for several other nineteenth-century composers who similarly invoked the divine and sacred in their concert music
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Gussow, Adam. "Heaven & Hell Parties." In Beyond the Crossroads. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469633664.003.0002.

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This chapter explores the origins and meaning of the phrase "the devil's music," paying particular attention to the way in which black southern blues performers, male and female, contest the term. Africa, through the mechanism of the slave trade and the condemnation of instrumental music by Islamic clerics, offers one possible origin for devil's music concept. The prelude to the demonization of the blues and its representative instrument, the steel-stringed guitar, is the evangelization of the slaves and the demonization of the fiddle during the second Great Revival. As blues emerged in the Mississippi Delta early in the Twentieth Century, blues musicians like John Lee Hooker, Robert Johnson, and the Mississippi Sheiks, along with an irreverent "young modern" generation of black youth, mocked the hypocrisy of black ministers and spurned the religious certainties of their parents and the church.
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McCarthy, Kerry. "The Mulliner Book." In Tallis, 99–112. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.003.0009.

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Tallis was known as an organist for fifty years, but only a small amount of his keyboard music has been preserved. Most of it is found in a manuscript called the Mulliner Book. This chapter takes a closer look at the Mulliner Book itself, at Tallis’s instrumental works, and at the context in which they were played. Much of this music was rooted in a flourishing Tudor tradition of keyboard improvisation. The organ substituted for the voices of singers or alternated with them, adding an extra dimension to the soundscape of church services. The latter part of the chapter discusses Tallis’s few surviving secular songs (also found in the Mulliner Book) and his equally few known works for viol consort—two groups of pieces that reveal some unexpectedly close ties with the music of the broader European Renaissance.
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Townsend, Peter. "Musical Development Assisted by Technology." In The Evolution of Music through Culture and Science, 17–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0002.

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In Europe, the first millennium life and music were tightly controlled by religion. Instruments were limited, with major differences between folk music for the masses, the aristocracy, and the church. Much early music was just a single line sung in unison. Progressions to several lines, chords, and the complexity of polyphony developed in parallel with written works and printing of religious and secular music. This liberating feature stimulated a wide range of new types of composition. By around 1600, there was an Italian explosion into opera and a major demand for secular music. Mathematicians devised a scheme of equal temperament tuning, which replaced the earlier ‘natural’ musical scales and this enabled keyboard instruments to play in any key. Low-cost printed music was widely available. Despite the volume of compositions, a relatively small fraction has survived as performance music in the present day and the reasons for this are mentioned.
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"Chapter Four. Yuelü: Music Theory and practice." In Sizhu Instrumental Music of South China, 75–112. BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004165007.i-218.19.

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Jones-Bamman, Richard. "The Old-Time Nation." In Building New Banjos for an Old-Time World. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041303.003.0003.

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This chapter delves into the musical community associated with old-time music and its beginnings within the American folk music revival of the 1950s. From the start, this was an intentional community largely urban based and focused on recreating music many of its adherents viewed as embodying a simpler time, and representing vaguely defined notions of tradition. Various influential musicians are profiled, all of who contributed to the popularity of this music especially among college aged, predominantly white individuals. These include the New Lost City Ramblers, Hollow Rock String Band, Fuzzy Mountain String Band and Highwoods String Band. The interest in this music during the revival era also inspired the first small-scale banjo builders who became important participants in this process by making instruments available at a time when the major instrument manufacturers were ignoring this phenomenon. Several of these makers are profiled and their contributions discussed: Chuck Ogsbury (Ode banjos); Art Gariepy; Kate Spencer (A.E. Smith banjos); Bart Reiter.
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LOWE, MICHAEL. "The Lute: An Instrument for All Seasons." In The Music Room in Early Modern France and Italy. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265055.003.0009.

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During the sixteenth century in Italy, the lute became the most important musical instrument in secular settings, whether as a solo instrument or for voice accompaniments and ensembles. By the early seventeenth century, the growth of monody encouraged the addition of neck extensions to strengthen the bass lines, eventually leading to the introduction of the theorbo or chitarrone. While these larger instruments became popular in theatres and even churches, the traditional lute, with an increased number of courses, remained the pre-eminent solo instrument within smaller, more intimate spaces, especially in France.
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"Exploring Metareference in Instrumental Music – The Case of Robert Schumann." In Metareference across Media: Theory and Case Studies, 235–57. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789042026711_009.

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"Informal Learning and Aural Learning in the Instrumental Music Lesson: A Research-And-Development Pilot Project." In Music Education as Critical Theory and Practice, 315–48. Routledge, 2017. http://dx.doi.org/10.4324/9781315090887-18.

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Conference papers on the topic "Church music. Instrumental music. Music theory"

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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