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Journal articles on the topic 'Concert des Amateurs'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Loshkov, Yurii, and Sergey Kostohryz. "“Musical circle” and concert life of Kharkiv in the second half of the 1880." Aspects of Historical Musicology 38, no. 38 (2025): 349–64. https://doi.org/10.34064/khnum2-38.16.

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Statement of the problem. The activity of educational organizations in Ukraine in the XIX – early XX centuries was a notable feature of and one of the leading factors in the formation of cultural space in the Ukrainian regions of the period. One among these associations was the Kharkiv Musical Circle, which functioned between 1884 and 1912, with a break of seven years, and played a significant role in the cultural life of Kharkiv. Over the years, both talented amateurs and experienced professional musicians such as S. Nemets, E. Liuba-Yevdokymova, A. Bensh, O. Litynsky, and others were active

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FABBRI, FRANCO. "Orchestral Manoeuvres in the 1970s: l’Orchestra Co-operative, 1974–1983." Popular Music 26, no. 3 (2007): 409–27. http://dx.doi.org/10.1017/s0261143007001353.

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AbstractL’Orchestra, a cooperative established in 1974/75, based in Milan, Italy, was a unique organisation, involving musicians, sound and lighting engineers, music critics and teachers, and concert managers. It was started as a kind of artists’ union, a federation of folk, rock, political song, jazz, avant-garde groups, but in a few months it became a concert agency and a record company; it held music courses for amateurs and published music tutorials; it helped managing the first multipurpose art/social centre in Milan. L’Orchestra promoted studies along various disciplinary perspectives (s

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3

Hoffmann, Bernd. "JAZZBANDITEN oder die Mär vom seligen Amateur." Kieler Beiträge zur Filmmusikforschung 17 (September 4, 2023): 107–48. http://dx.doi.org/10.59056/kbzf.2023.17.p107-148.

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»Jazzbanditen« oder die Mär vom seligen Amateur. Dixieland- und Skiffle-Szene als westdeutsche Jugend-Bewegung: Der fiktionale Dokumentarfilm berichtet – Ende der 1950er Jahre – von dem Aufbau eines Musik-Überaums unter einer Düsseldorfer Bäckerei. Parallel zur Einrichtung des Raumes finden Beobachtungen eines sozio-musikalischen Findungsprozesses statt, in dem sich ein improvisierendes Ensemble von Jazz-Amateuren in eine „Jazz-Band“ verwandelt. Die von Regisseur Bodo Ulrich bevorzugte starke Kontrastierung der Filmbilder und die häufige Verwendung von Nahaufnahmen schaffen eine dichte Atmosph

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Bayramova, Alla. "Traditional Musical Instruments in the Light of Museum Interpretation." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 15 (May 30, 2025): 102–9. https://doi.org/10.30819/aemr.15-10.

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How to explain Azerbaijani traditional music, especially musical instruments, to museum visitors, be they children or adult amateurs, musicians or researchers, locals or foreigners? This article shares the experience of the State Museum of Musical Culture of Azerbaijan in a multilayered approach to interpreting musical instruments, focusing on those that were common in the Muslim world in the Middle Ages and have largely disappeared. Reconstructed by Professor Majnun Kerimov, they have taken their place in the museum’s exposition and in the concert practice of the museum’s Ensemble of Ancient

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Garrido, Sandra, and Jennifer Macritchie. "Audience engagement with community music performances: Emotional contagion in audiences of a ‘pro-am’ orchestra in suburban Sydney." Musicae Scientiae 24, no. 2 (2018): 155–67. http://dx.doi.org/10.1177/1029864918783027.

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Research into audience engagement in the arts is a growing area of interest because of the need to build audiences and to provide convincing evidence of the value of arts programs to funding bodies. In addition, the way in which music works so as to touch the listener is of ongoing interest to music psychologists and is increasingly being considered in the context of live listening situations. This paper considers the phenomenon of emotional contagion, or the transference of emotion between audience members, and how this contributes to the audience experience. Audience members ( N = 105) were

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Zhyrov, Oleksandr. "ARTISTIC AND PEDAGOGICAL HERITAGE OF KIM VASYLENKO AS A CULTURAL AND HISTORICAL PHENOMENON." Aesthetics and Ethics of Pedagogical Action, no. 18 (September 9, 2018): 103–14. http://dx.doi.org/10.33989/2226-4051.2018.18.176327.

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The article attempts to generalize and supplement the notion of the phenomenon of the creative personality of the famous Ukrainian teacher-artist K. Vasylenko. Various aspects of his activity as a scientist, choreographer, teacher, researcher of dance art, organizer of cultural life in the country, founder of higher choreographic education in Ukraine are considered. His artistic and pedagogical ideas are systematized. The role played by K. Vaselenko in the processes of formation and development of Ukrainian folk-stage choreography has been established.The pedagogical experience of K. Vasylenko

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Vernet, Thomas, Robert-Henri Tissot, and Camille Bellissant. "Le Concert des Amateurs à l'Hôtel de Soubise (1769-1781). Une institution musicale parisienne en marge de la Cour." Revue de Musicologie 92, no. 2 (2006): 420. http://dx.doi.org/10.2307/20141685.

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8

Edwards, Richard. "Amateurism and professionalism in work and learning." Journal of Workplace Learning 26, no. 6/7 (2014): 406–17. http://dx.doi.org/10.1108/jwl-08-2013-0059.

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Purpose – This article aims to explore the concept of amateurism as a form of critique and addition to the concepts of professionalism, professional work and education. Design/methodology/approach – This is a theoretically driven article based upon a review of the historical and sociological literature on amateur–professional relations in various work contexts. Findings – While amateurism is usually conceived pejoratively, the notion of doing something “for the love of it”, even if one is not formally qualified, opens up the possibilities for conceiving new forms of work, worker and sets of wo

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Bolshakova, T. V. "Formation of performance on string-plucked instruments in Kharkiv (based on periodicals of the mid-XIX — early XX centuries)." Culture of Ukraine, no. 76 (June 29, 2022): 126–38. http://dx.doi.org/10.31516/2410-5325.076.14.

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The purpose of this article is to learn the chronology of introduction in the musical-cultural way of life of Kharkiv of Western European and the Eastern European stringed instruments (zither, guitar, mandolin, balalaika, domra). The study of chronology is aimed at a more active introduction of the facts of use of string-plucked instruments in Kharkiv into the scientific circulation. The methodology for writing this article is the combination of comparative, cultural and historical, musicological approaches and methods. The result of scientific research of this article is demonstra

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10

Garipova, Ninel F. "Amateur Piano Music-Making and the Ufa Section of the Imperial Russian Musical Society." ICONI, no. 1 (2019): 73–82. http://dx.doi.org/10.33779/2658-4824.2019.1.073-082.

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The geographic position of Ufa, which in the early 19th century was a deep province, was not conducive to the development of musical culture. However, we must consider as an important element in its formation the active spread of household music-making and the wish of amateurs to participate in the city’s concert life. The “Society for Singing, Music and the Art of Drama” was founded in 1885 in Ufa following the wishes of the city residents. The twenty-year-long existence of the Society has left a considerable trace in the development of musical education and the exposure of the public to the

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Peno, Vesna, and Aleksandar Vasic. "Voices from the beginning: The early phase of musical historiography in Serbia." Muzikologija, no. 25 (2018): 77–90. http://dx.doi.org/10.2298/muz1825077p.

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The beginnings of Serbian musical historiography can be traced back to the nineteenth century. The first half of that century is marked by the work of musical amateurs, and later professionals were gradually trained. The beginnings of Serbian musical historiography can be found in articles published in memorials of singing societies, as well as in periodicals. These were portraits of composers and performers, texts on church and folk music, obituaries and other articles. The first history of music in the Serbian language appeared in 1921 in Pancevo. Its author was Ljubomir Bosnjakovic (1891-19

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Vasic, Aleksandar. "Music critic Gustav Michel." Muzikologija, no. 4 (2004): 167–95. http://dx.doi.org/10.2298/muz0404167v.

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The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a

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Muñoz Sánchez, Pablo. "Video Game Localisation for Fans by Fans." Journal of Internationalization and Localization 1 (January 1, 2009): 168–85. http://dx.doi.org/10.1075/jial.1.07mun.

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The aim of this paper is to show the particularities of the so-called “romhacking”, a methodology developed by amateurs to localise mainly classic video games. In the first section, the concept and origin of the term “romhacking” is presented. The second section offers an overview of the workflow followed by romhackers to localise video games. In the third section, an analysis of the differences between professional and amateur translations is given. The fourth section includes a discussion of the legal aspects of this practice. The paper concludes with a reflection on the impact of amateur tr

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Красильников, Игорь Михайлович. "Instrumentation in Condition of Real and Virtual Acoustics Around Music." Музыкальная академия, no. 3(771) (September 30, 2020): 178–84. http://dx.doi.org/10.34690/94.

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Инструментовкой сегодня занимаются не только композиторы, создающие оркестровые партитуры, но и широкий круг музыкантов - профессионалов и любителей, работающих в различных жанрах электронной музыки. Электронная инструментовка имеет много общего с ее традиционным видом, поскольку в обоих случаях решаются одинаковые задачи: реализация колористического потенциала исходного текста, выстраивание композиционной формы с помощью выделения ее разделов, выстраивание фактуры путем заполнения акустического пространства и прорисовки ее пластов. Различия же обусловлены разной природой музыкального материал

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15

Pokrovskaya, Nadezhda. "From the History of Russian-French Musical Relations. Harpists’ Tours in Russia in the Mid-Nineteenth Century." Ideas and Ideals 12, no. 3-2 (2020): 290–304. http://dx.doi.org/10.17212/2075-0862-2020-12.3.2-290-304.

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In the middle of the XIX century the musical component of Russia’s cultural ties with Europe significantly increased. This was due to the emergence of romanticism – a revolutionary phenomenon in all forms of art. The touring activity of its creators was a characteristic feature of musical romanticism. Outstanding composers, masterly playing their instruments, introduced a lot of new things to the technique of playing them and to the imaginative sphere of music. They sought to promote their skills in major cities around the world, including St. Petersburg and Moscow. The announcement of their p

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16

Богомолова, Е. Д. "MUSICAL PETERSBURG OF THE GLAZUNOV’S PERIOD: THE OEUVRE OF J. BLEICHMANN." Music Journal of Northern Europe, no. 4(32) (March 22, 2024): 140–53. http://dx.doi.org/10.61908/2413-0486.2022.32.4.140-153.

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В статье даётся общая характеристика жизни и творчества петербургского композитора Юлия Ивановича Блейхмана. Музыка забытой на сегодняшний день личности, творившей в период активной деятельности А. К. Глазунова в эпоху Серебряного века, звучала не только на концертной эстраде, но и пользовалась популярностью среди исполнителей и слушателей в светских залах салонов. Сложившийся в советское время стереотип в отношении несерьёзного настроения салонов, а также прочтение эпохи Серебряного века как расцвета деятельности сотрудников Петербургской консерватории на сегодняшний день всё чаще вызывает ди

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17

Seidengart, Jean. "Amateur Astronomy from Its Origins to Camille Flammarion." International Astronomical Union Colloquium 98 (1988): 2–10. http://dx.doi.org/10.1017/s0252921100092034.

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It is not possible to sketch the history of astronomy by amateurs without first defining what the term “amateur astronomer” truly means. But we must avoid using “the benefit of hind-sight” to interpret the past in terms of a concept, the relevance of which has been perceived only during the course of the last one hundred years. In order to avoid the sophistry arising from such a purely imaginary history that is based on false conceptions, it is useful to examine amateur astronomy’s precise status, since its emergence in the dawn of classical science, by outlining the type of relationship that

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18

BAILEY OGILVIE, MARILYN. "Obligatory amateurs: Annie Maunder (1868–1947) and British women astronomers at the dawn of professional astronomy." British Journal for the History of Science 33, no. 1 (2000): 67–84. http://dx.doi.org/10.1017/s0007087499003878.

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This paper explores the careers of several British women astronomers in the late nineteenth and early twentieth centuries. I postulate that the only category of scientific practice open to most of these women was that of an ‘amateur’. They would have become professionals had they had the opportunity but since they were barred from professional status they used their talents to promote the importance of amateur science. I propose the term ‘obligatory amateur’ for these women who, unlike men, were unable to choose amateur or professional status. I explore this concept of a ‘gendered’ amateurism

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19

Moore, Christopher. "Les critiques et les crochets : le concours de chant amateur au music-hall des années 1930 devant la presse." Volume ! 22 : 1 (2025): 91–104. https://doi.org/10.4000/140pq.

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Au début des années 1930, de nombreux critiques français sonnent l’alarme quant aux défis que rencontre la chanson française. Avec la disparition des cafés-concerts, le « tour de chant » a progressivement trouvé refuge au music-hall, une institution elle-même sous pression suite à l’essor des technologies de diffusion telles que le cinéma, la radio et le disque. Sauvegarder les traditions scéniques et communicatives de la chanson devient une préoccupation critique majeure qui incitera à l’expérimentation de nouvelles formules de spectacles dédiés à la chanson. Cet article se penche sur l’une d

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Ben, Gu. "Starry Sky Lightens the Hearts of Music Lovers." Russian Musicology 140, no. 2 (2025): 121–29. https://doi.org/10.56620/rm.2025.2.121-129.

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The author begins with his own experiences as an amateur trumpeter during his school years, and explains the current situation of an amateur orchestra in China, especially in Beijing, and then tells about the formation and events of the Starry Sky Orchestra that include their classical music concerts and educational lectures. Starry Sky formed from the Three Highs Orchestra that was begun by the Vice Premier of China, Lanqi Li, in 2012. The new orchestra Starry Sky now comprises amateurs, or “lovers of music,” from the governmental, medical, engineering, academic and other professions, open to

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Dymshits, Valery. "Commandment or Good Deed? The Concept of Mitzvah in the Traditions of East European Jews." Slavic & Jewish Cultures: Dialogue, Similarities, Differences, no. 2018 (2018): 67–75. http://dx.doi.org/10.31168/2658-3356.2018.6.

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The term mitzvah is very significant in the traditional culture of the East European Jews. It meant a commandment when it was carried out by a professional for money, and a good deed when the same work was performed by an “amateur” gratis. The not received fee was credited to “amateur’s” heavenly account and accumulated there. The idea of a list of sins and mitzvot continuously maintained in heaven gave rise to the idea of heavenly bookkeeping, a kind of personal account with income (mitzvot) and expenses (sins) in a monetary form.

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Forbes, Melissa, Amanda E. Krause, and Xanthe Lowe-Brown. "Descriptions and Evaluations of "Good Singing" in the Age of 'The Voice'." Australian Voice 22 (2021): 16–28. http://dx.doi.org/10.56307/vrxq8982.

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What constitutes “good singing” can be hotly contested amongst singing voice pedagogues, yet little is known about what the general public considers to be “good singing”. Within a program of research on musical identity and singing self-concept, this mixed-methods pilot study considered how members of the public (N = 52) described and evaluated stylistically different versions of a sung melody to test a hypothesis that reality TV singing may be deemed as “good singing”. Participants were exposed to three versions of “Happy Birthday”: 1) amateurs singing “as they would normally sing”; 2) profes

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DOGARU, Claudiu. "Pedagogy Theater in the Sphere of Amateur Creations." Theatrical Colloquia 15, no. 1 (2025): 90–100. https://doi.org/10.35218/tco.2025.15.1.08.

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In the context of contemporary theater, the concept of the amateur actor has acquired a metamorphic character. Its functionality is no longer limited to an extracurricular activity, fractured from the professional theatrical climate. Whether it represents an incipient stage in the development of the theater practitioner or it is used in the elaboration of a new decomposed post-post-dramatic or performance language, the amateur actor rediscovers his new status. Acting in its primordial sense becomes vital in the amateur's development and eventual assimilation of theatrical systems and mechanism

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Woolley, Andrew. "Snapshots of a genre in the making: Francesco Geminiani's Sonate a violino, Op. 1, and Francesco Scarlatti's 11 Sonatas a 4 as precursors of English Corellian concertos." Recercare - Rivista per lo studio e la pratica della musica antica - Journal for the study and practice of early music XXXIV (2022) (July 26, 2022): 113–33. https://doi.org/10.5281/zenodo.10853113.

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Concertos were first cultivated in Britain by professional musicians who performed them in London concerts as early as the 1690s. The earliest were five-part “sonatas” by the Moravian viol player and composer Gottfried Finger (c.1660–1730), the German Gottfried Keller (1657–1704), and the English organist and composer William Croft (1678–1727), whose structural technique involved pitting pairs of solo treble instruments against each other in dialogue; later concertos intended mainly for performance by professionals in concerts were modelled on the north Italian co

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Devyatova, Olga L. "Family Dynasty in the Musical Culture of Ekaterinburg (to the 300th Anniversary of the City)." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 29, no. 4 (2023): 147–60. http://dx.doi.org/10.15826/izv1.2023.29.4.073.

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The article is devoted to the problem of the development of musical amateurism and professionalism in the culture of Yekaterinburg in the 19th and 20th centuries. Using the example of the characteristics of family dynasties (the Kronebergs, the Klers, the Mislavskys, the Solomirskys, the Berenovs, the Pavlinovs, the Postnikovs), various facets of their musical activity in the Ural Society of Natural History Lovers, the Yekaterinburg Music Circle, and in the field of music education in educational institutions of the city are revealed . It is concluded that members of family dynasties made a si

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Taylor, Paul. "The Birth of the Amateur." Nuncius 31, no. 3 (2016): 499–522. http://dx.doi.org/10.1163/18253911-03103001.

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Between the 16th and the 19th centuries the concept of “the amateur” shifted in sense. At the beginning of the period it referred to lovers, either of people or things, but by the end it had come to refer to non-professionals and dilettantes. This article traces the change in the word’s meaning, arguing that the shift of sense took place due to economic developments in the art trade. During the course of the seventeenth century the modern art market emerged, in which purchasers acquired art works through a network of dealers, without making contact with artists. This new anonymity of exchange

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Marshall, Owen. "Shibboleths in the studio: Informal demarcation practices among audio engineers." Social Studies of Science 50, no. 6 (2020): 881–900. http://dx.doi.org/10.1177/0306312720922314.

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Recording engineers have an interest in maintaining their roles as skilled professionals as compared to external competitors, which increasingly include unpaid amateurs and automated software tools. They do this through a variety of material-semiotic demarcation practices. Formal modes of demarcation, such as unionization and professional attire, have largely eroded in recent decades, making informal practices increasingly important. These informal demarcation practices, which I term ‘shibboleths’, allow engineers to locally observe and perform differences between ‘real’ engineers and non-engi

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Salnikova, A. A., and S. Yu Malysheva. "HOW CULTURAL HISTORY BOOKS ARE WRITTEN: FROM SPECIAL CASE TO GENERAL PATTERNS." Вестник Пермского университета. История, no. 1 (64) (2024): 188–93. http://dx.doi.org/10.17072/2219-3111-2024-1-188-193.

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The article analyzes the content, structure, and concepts of Igor V. Narskii's monograph on choreographic amateurism in the USSR, focusing on his use of “cultural history” as a research strategy. Narskii’s work presents amateur art as a successful state project that also became an important component of the leisure time of Soviet people of several generations, practices of their self-realization, building their “worlds of their own”. To support his argument, Narskii draws on a variety of sources, including official documents, specialized printed publica-tions, materials of initiative documenta

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KOROL, Oksana. "THE FORMATION OF UKRAINIAN CREATIVE GROUPS IN STRYI AND THE STRYI REGION IN THE EARLY TWENTIETH CENTURY: ARTISTIC AND CULTURAL DIMENSION." Bulletin of the Lviv University. Series of Arts Studies 199, no. 23 (2022): 41–48. http://dx.doi.org/10.30970/vas.23.2022.12193.

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The article discusses the evolution of public concerts in Galicia during the 19th century, which were primarily of two types: commemorative events and entertainment concerts. Concert programs were diverse, featuring vocal and inStrumental performances, as well as recitations of poems and popular science lectures. An important mileStone in the development of concert life in WeStern Ukraine were the evenings dedicated to the memory of T. G. Shevchenko. These events Stimulated various forms of artiStic performance and their significance for the development of musical culture in WeStern Ukraine is

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Kostyukhina, Marina. "“CALLING UP BIANKI’S SPIRIT” (BASED ON CORRESPONDENCE BETWEEN MIKHAIL ZVEREV AND NIKOLAY SLADKOV)." Children's Readings: Studies in Children's Literature 22, no. 2 (2022): 303–18. http://dx.doi.org/10.31860/2304-5817-2022-2-22-303-318.

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The article is dedicated to a review of the literary and personal communication of Soviet nature writers in the 1960s and 1980s. V. Bianki was the inspirer and literary teacher of this writing community, and his students were Leningrad authors who wrote about nature. V. Bianki referred to N. Sladkov as his heir in literature. The correspondence between N. Sladkov and the Kazakh naturalist writer M. Zverev provides material for the analysis of the artistic and philosophical attitudes of the authors who ranked themselves among the literary school of V. Bianki and also allows to understand not on

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Trifonova, Marina Sergeevna, and Elena Viktorovna Godovova. "Concert life of the South Ural province in the post-war decade." Samara Journal of Science 10, no. 4 (2021): 197–200. http://dx.doi.org/10.17816/snv2021104210.

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The paper studies the main patterns of productive life development in the South Ural province. The geography of the paper is limited to the rural areas of the Bashkir Autonomous Soviet Socialist Republic, Chelyabinsk and Chkalov (Orenburg). The chronological framework covers the first post-war decade. This is a period when the country gradually returned to the realities of the world life. The source base for the research was the materials of the State Archive of the Russian Federation and the archives of Orenburg, Chelyabinsk and the Republic of Bashkortostan. The methodological basis of the p

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BARCSI, Tamás, and Csilla FILÓ. "Sports Ethics Issues Among Young Adults Participating in Competitive Sports." Tanulmányok, no. 2 (November 1, 2023): 77–93. https://doi.org/10.19090/tm.2023.2.77-93.

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Introduction: Our research’s essential goal was to clarify the most relevant association between sports and ethics from a theoretical aspect. In our questionnaire, we sought to know how basic moral concepts impact amateur competitive athletes and those involved in professional sports. Additionally, we pursued the moral principles athletes consider important, and if they disregard these principles once victory is within their grasp. Lastly, we examined how often athletes confront the most serious moral (and legal) levels of abuse. Material and methodology: The acquisition of data regarding our

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Guiguet, Kristina. "Opera as Trans-Atlantic Culture in Pre-Confederation British North America: Mozart’s “Crudel! perchè finora” on an 1844 Toronto Concert Programme." Articles 28, no. 1 (2008): 151–75. http://dx.doi.org/10.7202/019295ar.

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Abstract Why was Mozart’s duet, “Crudel! perchè finora” (Le Nozze di Figaro, III (i)) among the operatic excerpts sung by amateur and professional musicians at Mrs. Widder’s private Toronto soirée musicale? Typically Victorian, the formal programme for this musical party mixed opera with glees, popular ballads, and instrumental music, but the Mozart duet is rarely found on such programmes. The British hostess may have relied on her socially prominent audience in colonial Canada to recognize that her concert echoed the programming practices of London (England), as she positioned the concert to

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Vanhamel, Jurgen, Marc Berwaerts, Stefano Speretta, and Sevket Uludag. "Concept of Sporadic E Monitoring Using Space-Based Low Power Multiple Beacon-Systems." Atmosphere 15, no. 11 (2024): 1306. http://dx.doi.org/10.3390/atmos15111306.

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Current monitoring systems to detect sporadic E use ground-based setups, ionosondes, and the network of GNSS satellites in order to assess the phenomenon of sporadic E. This paper aims to monitor sporadic E using a miniature space-based platform in an atypical way. The setup consists of multiple radio-amateur beacon systems aboard satellites, each having a specific modulation and transmission scheme. This Radio Amateur Beacon System for the Investigation of the Ionosphere (RABSII) is coupled to a GNSS receiver, revealing the location of the platform. Multiple beacon data streams are sequential

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Paston, Eleonora. "The “Dilettantism” of Savva Mamontov in Russian Art." Experiment 25, no. 1 (2019): 33–52. http://dx.doi.org/10.1163/2211730x-12341328.

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Abstract This article examines questions related to dilettantism, typically defined in negative terms as engagement in an activity without proper professional training. However, this concept can also prompt a positive association, connoting freedom from inertia, ossified techniques, and professional stereotypes and clichés. The present article contends that dilettantism is especially necessary in transitional periods of art history. At such moments, innovations may arise more readily in intimate and amateur circles, rather than in professional contexts. Such a circle developed in the 1870s-90s

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Latham, Alan, and Jack Layton. "Kinaesthetic cities: Studying the worlds of amateur sports and fitness in contemporary urban environments." Progress in Human Geography 44, no. 5 (2019): 852–76. http://dx.doi.org/10.1177/0309132519859442.

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Developing the concept of kinaesthetics, this article undertakes a critical re-description of amateur sports and fitness to explore the topographies, materials, innovation, and socialities that make up urban environments. Extending work on affect and urban materiality within geography and elsewhere, we argue that amateur sport and fitness animates many cities in ways that are frequently overlooked. The paper aims to 1) broaden understandings of amateur sport and fitness practices; 2) reframe perspectives on the kinds of environments cities are; 3) develop a prospective politics of provision in

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Kang, Yingzheng. "Jean Rémusat's Musical and Educational Activity in the Context of Forming European Orchestral Traditions in Shanghai." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(54) (March 21, 2022): 91–104. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255430.

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The author considered the main stages of creative formation and musical-educational as well as concert-performance activities of Jean Rémusat (J. Rémusat) in Europe and China. J. Rémusat's achievements as a flutist are examined in the context of his orchestral practice in Parisian and London theaters. Concert programs of J. Rémusat's performances as a soloist and member of ensemble groups on the basis of music-critical publications of Shanghai periodicals of 1860-1870 were analyzed. The main directions of his creative collaboration with other European musicians (G.B Fentum, J. C. H. Iburg) is

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Haney, Joel. "“Empty Claims of Fellowship”? Erich Doflein, Paul Hindemith, and Übungsmusik as Shared Task." Journal of the American Musicological Society 76, no. 2 (2023): 407–61. http://dx.doi.org/10.1525/jams.2023.76.2.407.

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Abstract Studies of the Weimar-era discourse of Gebrauchsmusik (utility music, or music for everyday use) have emphasized Heinrich Besseler’s appropriation of Martin Heidegger’s concept of knowledge gained through immediate participatory experience. Along with Germany’s musical youth movement (Jugendmusikbewegung), Besseler rejected formal concert institutions and promoted musical practices that solicited active involvement in everyday social contexts. The focus on Besseler has kept alive Theodor Adorno’s critique of the amateur movement’s claims of participatory immediacy as being illusory an

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Zhang, Lichuan. "Amateur symphonic performance in an educational environment: the student orchestra of Kharkiv University in the 1880s — 1890s." Culture of Ukraine, no. 82 (December 13, 2023): 86–93. http://dx.doi.org/10.31516/2410-5325.082.10.

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The purpose of the publication is to determine the specifics of the functioning of the student orchestra of Kharkiv University in the 1880s — 1890s in the context of amateur symphonic performance. The methodology. In the process of studying the activity of the orchestra of Kharkiv University, the approach of comparative analysis was applied, thanks to which the peculiarities of developing the repertoire and concert practice of the team were revealed. Determination of the specifics of work with the team of orchestra leaders was carried out within the framework of the application of the sy

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Melinescu, Nicolae. "NEW MEDIA AND THE CHANGES IN THE COMMUNICATION PARADIGM." Professional Communication and Translation Studies 6 (December 8, 2022): 19–26. http://dx.doi.org/10.59168/wslv7706.

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The emergence of the new digital platforms, a diversified number of approaches and providers cannot damage too much a rather crowded info sphere. What may come as a general challenge is the “performance” amateurs who have the devices, the will but not the skills to become reliable communicators. Good training and an expanded concern for the accuracy of messages should distinguish between fact and fiction and between information and opinion. The smart phone, the iPod, the lap top or the tablet have expanded the means of communication. They have also diversified the types of messages circulated.

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Cánepa, Laura Loguercio, and Alfredo Suppia. "Perspectivas sobre o cinema amador de ficção no Brasil: o caso das “bordas”." Revista Laika 2, no. 4 (2013): 76–91. http://dx.doi.org/10.11606/issn.2316-4077.v2i4p76-91.

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This paper discusses the concept of amateur fiction film (Shand 2013) under the perspective of borderline cinema (Lyra 2009). The purpose of this discussion is to offer different ways of mapping the Brazilian audiovisual production in order to attain a more comprehensive and inclusive history of the Brazilian independent film scene. In this sense, borderline cinema, as both a genre and a method of approach, will be related to the history of Brazilian amateur film (Foster 2010; Foster 2013) and to discussions of amateur fiction films worldwide (Edmonds 2013; Craven 2013).

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Loeser, Martin. "Zur Rezeption der Oratorien Haydns in Paris zwischen 1800 und 1850: Institutionelle und ästhetische aspekte." Studia Musicologica 51, no. 1-2 (2010): 201–13. http://dx.doi.org/10.1556/smus.51.2010.1-2.14.

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In German speaking countries Haydn’s oratorios, and particularly TheCreation , have played an important role in the repertoire of choral societies and music festivals since the 1810s. However, in France, and also in Paris — “the capital of the 19th century” —, Haydn’s oratorios were performed only on rare occasions, and then they were given mostly in parts. The reasons for these circumstances can be seen in the institutional and esthetical context of the Parisian concert life. With respect to professional concert societies, like the Société des Concerts du Conservatoire , rigid obstacles were

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Anatolyevna Ivashova, Valentina, Yuliya Borisovna Nadtochy, Lidia Sergeevna Budovich, Evgeniya Valeryevna Volobuyeva, and Natalia Mikhailovna Volkova. "Motivational Field of Creative Activities of the Population of the South of Russia Based on the Materials of Research in the Stavropol Territory." International Journal of Engineering & Technology 7, no. 4.38 (2018): 220. http://dx.doi.org/10.14419/ijet.v7i4.38.24448.

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The article considers the results of study of the motivational field, ensuring the participation of the population of the Stavropol Territory in amateur arts. The analysis of factors and conditions that contribute to the involvement of residents of the South of Russia in the creative activity on the basis of branch organizations of culture. The motivational sphere of professional activities of the heads of amateur groups of artistic creativity is considered as an important factor ensuring stable reproduction of positive social practices aimed at preserving the original cultural environment of

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Martin, Danielle, and Jan Willem Hoftijzer. "A “fashion design for DIY” poiesis: enabling DIY to support awareness and responsible consumption." Journal of Textile Engineering & Fashion Technology 11, no. 1 (2025): 48–57. https://doi.org/10.15406/jteft.2025.11.00403.

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Do-It-Yourself (DIY) product design offers an alternative approach to traditional top-down industrial product design practices and promises to support reviving consumer awareness and appreciation of how things are made. Similar to the consumer product industry, ready-to-wear fashion is facing the hegemonic trend of neomania – an obsession for novelty that causes serious overconsumption issues. Even more in the last three decades, there is an enormous accumulation of fabric and garment waste sent to landfills each year. A change should come from questioning traditional design processes to alter

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Haws, Claire. "The Death of Amateurism in the NCAA: How the NCAA Can Survive the New Economic Reality of College Sports." Michigan Business & Entrepreneurial Law Review, no. 11.2 (2022): 343. http://dx.doi.org/10.36639/mbelr.11.2.death.

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In October 2019, the National Collegiate Athletic Association (NCAA) announced it would be making a major change to its rules: student-athletes would soon be permitted to receive compensation for the use of their name, image and likeness (NIL). The announcement came in response to an increasing volume of state legislation allowing for student-athlete NIL compensation. On July 1, 2021, student-athletes finally had the opportunity to receive NIL benefits as the NCAA’s interim NIL policy went into effect. This change represents a nail in the coffin for traditional notions of amateurism. For decad

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Morgan, Kenneth. "Promoting high culture: The evolution of the Brisbane Musical Union, 1872–98." Queensland Review 27, no. 1 (2020): 21–38. http://dx.doi.org/10.1017/qre.2020.2.

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AbstractThis article analyses the musical work of the Brisbane Musical Union (BMU) between its founding in 1872 and the consolidation of its position by 1898. During this period, the BMU benefited from the dedicated leadership of its main conductor, R. T. Jefferies, who drew upon his high standing as a violinist, ensemble player and conductor in Brisbane to present regular choral concerts, mainly comprising oratorios, with an amateur choir. Despite financial challenges, difficulties over rehearsal and concert venues, periodic problems concerning the choice of repertoire, an insufficient number

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Sutcliffe, Bret. "Kunqu Concert at Lion Hill and Kunqu Amateur Convention at Suzhou, November 2001." CHINOPERL 24, no. 1 (2002): 133–36. http://dx.doi.org/10.1179/chi.2002.24.1.133.

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Irawan, Rahmat Edi. "Aplikasi Citizen Journalism di Era Konvergensi Media." Humaniora 5, no. 2 (2014): 816. http://dx.doi.org/10.21512/humaniora.v5i2.3137.

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Citizen journalism has now become one of the most developed television program concepts. If the concept was initially more widely used in radio and online media, this time with easier and cheaper technology coverage and delivery of images, it is a concept that provides a place for people to become amateur journalist that can also be easily applied in the medium of television. Research raised the issue on how the concept and implementation of citizen journalism on television in the era of media convergence. The purpose of this study is to explain concepts and demonstrate the implementation of c

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Loshkov, Yu I. "Kapellmeister’s activity of J. Jurjāns in musical life of Kharkiv at the turn of the XIX and XX centuries." Culture of Ukraine, no. 83 (March 21, 2024): 27–34. http://dx.doi.org/10.31516/2410-5325.083.03.

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The purpose of the article is to clarify the specifics and role of J. Jurijāns’ kapellmeister’s activity in the musical life of Kharkiv at the turn of the XIX and XX centuries. The methodology of the research is based on a combination of historical, systematic and art-historical approaches, empirical and comparative methods of analysis, the application of which ensures the determination of the specifics and role of the kapellmeister’s activity of J. Jurijāns in the musical life of Kharkiv at the turn of the XIX and XX centuries. The scientific novelty lies in the introduction into

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Parzonko, Anna, and Martyna Szuba. "Uczestnictwo w imprezach biegowych jako forma rekreacji ruchowej." Turystyka i Rozwój Regionalny, no. 7 (December 29, 2017): 61–70. http://dx.doi.org/10.22630/tirr.2017.7.6.

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This study attempts to define the concept of running tourism and investigate the motives of running enthusiasts behind their decisions to participate in running events and the criteria for choosing a particular event. The paper discusses the concept of running tourism and relationships between amateur running and tourism. The analysis of empirical material obtained in a survey showed that many amateur runners take part in running events not to fight for the best result or travel to new places but for fun, atmosphere and recreation with people sharing similar interests. The factors that have th

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