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Journal articles on the topic 'Concert performances'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Afanasieva, E. Yu. "PREPARING MUSIC STUDENTS FOR CONCERT PERFORMANCES." Innovate Pedagogy 19, no. 3 (2019): 15–17. http://dx.doi.org/10.32843/2663-6085-2019-19-3-2.

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2

Rademacher, Wiebke. "Beethoven's Leonore in Berlin around 1900: On Contextual Factors of Music Performances as Source Material for Past Emotional Practices." Cultural History 7, no. 2 (2018): 167–86. http://dx.doi.org/10.3366/cult.2018.0172.

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The last decades have seen a steady increase of historians and historical musicologists whose research focuses on concert audiences and music performances. While previous research on music predominantly dealt with the analysis of works, their ‘great’ composers, and musical styles, now musical events and their audiences have more and more come into consideration. Scholars have tried, for instance, to explain how the ascending bourgeoisie influenced various parameters of concert life in the eighteenth and nineteenth century. They have examined changing behavioural patterns of the audience (Mülle

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3

Chaffin, Roger, Anthony F. Lemieux, and Colleen Chen. ""It is Different Each Time I Play": Variability in Highly Prepared Musical Performance." Music Perception 24, no. 5 (2007): 455–72. http://dx.doi.org/10.1525/mp.2007.24.5.455.

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PERFORMANCES BY CONCERT PIANISTS in the Western classical tradition are normally highly prepared, yet must sound fresh and spontaneous. We propose that musicians achieve the necessary spontaneity by strategic management of the variability inherent in any action. Musical gestures that make up the artist's interpretation (e.g., crescendos, ritardandos) are attenuated or exaggerated to different degrees in each performance, while movements critical for technique are less varied.We examined 7 highly polished performances of J.S. Bach's Italian Concerto (Presto) by a concert pianist. There were sma

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Bergee, Martin J. "A Theoretical Structure of High School Concert Band Performance." Journal of Research in Music Education 63, no. 2 (2015): 145–61. http://dx.doi.org/10.1177/0022429415585959.

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This study used exploratory (EFA) and confirmatory factor analysis (CFA) to verify a theoretical structure for high school concert band performance and to test that structure for viability, generality, and invariance. A total of 101 university students enrolled in two different bands rated two high school band performances (a “first” band’s Performance 1, and “second” band’s Performance 2) using items from Sagen’s Band Performance Rating Scale. EFA methods verified a structure consisting of three interrelated primary-order factors. Items did not have the same factor loadings in both performanc

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Chen, Jiahui, Xunming Mai, and Yangyang Zhou. "Analysis of the Present Situation, Growth Trend and Potential Problems of Concert Economy." Advances in Economics, Management and Political Sciences 158, no. 1 (2025): 61–67. https://doi.org/10.54254/2754-1169/2025.19701.

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The economic background of concerts can be summarized as follows: During the economic downturn, concerts have become an important consumption mode, driving the development of related industries, and also reflecting the new trend of experiential consumption among young people. The study of concert economy involves many fields, including music industry, marketing, economics, sociology and so on. The purpose of this paper is to elaborate a systematic research method of concert economy, and to deeply explore the operation rules and influencing factors of concert economy through scientific methods

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6

Henry, Jasmine A. "Tiny Desk Concert as an emerging site of hip hop intimacy, authenticity and accessibility." Global Hip Hop Studies 2, no. 2 (2021): 237–43. http://dx.doi.org/10.1386/ghhs_00046_5.

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From the late Mac Miller’s introspective 2018 session to Megan Thee Stallion’s sexually empowering show in 2019, National Public Radio’s (NPR) Tiny Desk Concert (TDC) series has showcased several unique and memorable hip hop performances over the last few years. Many of these concerts have garnered millions of views and critical acclaim, making the series an important artistic medium and promotional tool for contemporary hip hop artists. TDCs challenge artists to put forth creative and intimate performances which offer unique audio-visual experiences to YouTube users. In addition to being a we

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7

Devindriati Kusuma, Putu Sandra. "Children Virtual Concert in the Covid-19 Pandemic." Journal of Music Science, Technology, and Industry 3, no. 2 (2020): 247–60. http://dx.doi.org/10.31091/jomsti.v3i2.1160.

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Purpose: This article aims to see a children virtual concert held by La Prima Course and Bandung Philharmonic. Both of them held an online concert in June 2020, when the world was entering new normal era due to Covid-19 pandemic. Research methods: The method used in writing this article is descriptive-qualitative by observing watching two virtual concert and long-distance interviews through social media. Results and discussion: Children virtual concert have a positive impact for children as activities at home during the Covid-19 pandemic. Other impacts were also felt by the organizers so that

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Harrington, Ann M. "The Effect of Implied Performer Age and Group Membership on Evaluations of Music Performances." Update: Applications of Research in Music Education 36, no. 2 (2017): 5–12. http://dx.doi.org/10.1177/8755123317725726.

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This study examined the effects of implied performer age and group membership on listeners’ evaluations of music performances. Undergraduate music majors ( n = 23), nonmusic majors ( n = 17), and members of a New Horizons ensemble ( n = 16) were presented with six 30-second excerpts of concert band performances. Excerpts were presented to all respondents in three implied performer age conditions: audio-only (no implied age), audiovisual presentations that featured digital images of middle school concert bands, and audiovisual presentations that featured digital images of older adult concert ba

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9

Göttlich, Susanne. "Performing and Premiering in spite of a Global Crisis: Gerd Kühr’s Corona Meditation and its Usage of Online Platforms." INSAM Journal of Contemporary Music, Art and Technology, no. 5 (December 15, 2020): 127–37. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.127.

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Through the challenges that can arise in connection with a global crisis, in which live performances are prohibited, musicians and music institutions, such as concert houses, have to find solutions in order to give the recipients the opportunity to convey music through a different medium. Gerd Kühr’s Corona Meditation for any number of pianos was especially composed to adjust to the recently changing situation concerning the typical structures of concert life. The concept offers a direct connection between technology – here in the form of using a conference programme and a livestream platform

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10

Ambadar, Alleyda Maharani. "Swifties Experience: Examining Taylor Swift The Eras Tour (2023) Movie as Concert Mediatization." EKSPRESI DAN PERSEPSI : JURNAL ILMU KOMUNIKASI 7, no. 3 (2024): 520–36. http://dx.doi.org/10.33822/jep.v7i3.8381.

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This research examines Taylor Swift’s concert documentary movie called The Eras Tour (2023) that created a shift in audience’s cinema experience by not customarily watching a movie but emerge themselves which resulting in a ‘concert-feel- like’ activity. This study shows an alternative and complement live performance and streaming technology that previously researched by Scherzinger (2019) as music distribution method. Using Hjarvard’s concept of mediatization and Harvey’s theory of the production of space, I analyze how this movie concert influences audience interactions which create a new so

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Jeong, Cheol-Ho, Pierre Marie, Jonas Brunskog, and Claus Møller Petersen. "Audience noise in concert halls during musical performances." Journal of the Acoustical Society of America 131, no. 4 (2012): 2753–61. http://dx.doi.org/10.1121/1.3689558.

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12

Katalinić, Vjera. "Models of Performances of Travelling Virtuosi in the Period of Classicism - Giornovichi in Stockholm." English version, no. 10 (October 22, 2018): 321–31. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.321.

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Giovanni Giornovichi/Ivan Jarnović (1747–1804), a famous violin virtuoso, performed in many European towns and aristocratic palaces, playing mostly his own concerti. The author analyses his sojourn in Stockholm in 1803. The models of his performances there have been investigated and related to concert performances which he gave in other European centres.

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KNIAZIEV, Vladyslav, and Stepan YEDNAK. "CONCERT PERFORMANCES IN THE PROCESS OF DEVELOPMENT OF INSTRUMENTAL ENSEMBLE PERFORMANCE SKILLS." Humanities science current issues 2, no. 85 (2025): 80–84. https://doi.org/10.24919/2308-4863/85-2-12.

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14

Wang, Wei-Chun. "Soundscape exploring through choral performance and music creation." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A101. http://dx.doi.org/10.1121/10.0022929.

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With a profound concern for the local environment and culture in Taiwan, this project integrated collected soundscape clips and mobile devices to compose and perform a cross-domain audiovisual soundscape choral concert. Drawing inspiration from M. Schafer’s soundscape concept and music education philosophy, as well as the “Three-S Model” of soundscape—sound, setting, and significance, the project aimed to develop university students’ performance and music creation skills and enhance their perception of soundscapes. Employing the concept of choral theater, the concert creatively combined collec

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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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Vinky Rahman and Muhammad Khairy Humaizy. "The Design Medan Concert Hall with Metaphor Architecture Approach." International Journal of Architecture and Urbanism 4, no. 1 (2020): 54–61. http://dx.doi.org/10.32734/ijau.v4i1.3857.

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The theater usually has an attractive form to attract the attention of visitors and also has good sound control in the auditorium so as not to cause sound distortion. Performances in Medan are still inadequate to accommodate international performances. Particularly in Medan, the enthusiasm of the community towards art tends to be high, but the facilities of the place lack to accommodate performances. Data collection methods are carried out by collecting primary data through a process of field comparative study and secondary data through literature studies & comparative studies. The design

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Rahmatov, Shoxrux Murod o'g'li. "DISTINCTIVE CHARACTERISTICS OF THEATER AND CONCERT MANAGEMENT." ACADEMIC RESEARCH IN MODERN SCIENCE 2, no. 8 (2023): 218–23. https://doi.org/10.5281/zenodo.7726829.

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This article describes the development of theater and concert performances in Uzbekistan and the specific features of its management. Examples of management organization system based on art management principles are given.

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18

Oram, Celeste. "DARMSTADT'S NEW WAVE MODERNISM." Tempo 69, no. 271 (2015): 57–65. http://dx.doi.org/10.1017/s004029821400093x.

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This year's Darmstadt Summer Courses for New Music were plugged-in, wired-up, mixed-down, line-out. Scarcely a main-stage concert wasn't amplified, at the very least. More often, new works synthesised spatialised sound design, video material, lighting and electronics in high-tech, high-concept performances.

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Edmonds, Rohan, Meaghan Wood, Patricia Fehling, and Sarah DiPasquale. "The Impact of a Ballet and Modern Dance Performance on Heart Rate Variability in Collegiate Dancers." Sports 7, no. 1 (2018): 3. http://dx.doi.org/10.3390/sports7010003.

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Heart rate (HR) variability (HRV) is a useful tool for assessing cardiac autonomic function and identifying potential readiness to perform in athletic populations, but has yet to be investigated in dance populations. As such, HRV may be able to provide valuable insight into the preparedness of dancers and the demands of performance in a collegiate dance population. 29 female dancers were monitored leading up to and following a dance performance. Analysis of HRV focused on the square root of the mean squared differences of the successive RR intervals (RMSSD). A one-way ANOVA, with Bonferroni po

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20

Fuller, Sophie. "‘Putting the BBC and T. Beecham to Shame’: The Macnaghten–Lemare Concerts, 1931–7." Journal of the Royal Musical Association 138, no. 2 (2013): 377–414. http://dx.doi.org/10.1080/02690403.2013.830488.

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ABSTRACTThis article explores and contextualizes the Macnaghten–Lemare concerts, a London concert series run for six seasons in the 1930s by the violinist Anne Macnaghten and the conductor Iris Lemare, with the help of the composer Elisabeth Lutyens and others. Notable for their performances of the work of emerging British composers such as Benjamin Britten and Elizabeth Maconchy, the concerts are also remarkable for the central role played by women – as performers, organizers and composers – and for the space they provided for the unconventional and ignored. Drawing on interviews with Macnagh

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21

Et.al, Ayu Nur Hidayati. "The Effect of Nostalgia Emotion to Brand Trust and Brand Attachment towards Repurchase Intention." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (2021): 4492–503. http://dx.doi.org/10.17762/turcomat.v12i3.1836.

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A music concert or live music performance is an event that can give more experience to their audiences than just listening to music and this makes people go to their favorite musician’s concert several times. This study has an objective to analyze the effect of nostalgia emotion to brand trust and brand attachment towards repurchase intentions by adding the repurchase intention from the previous studies as a new variable and applying it to the music industry, especially in the live music performance sector. The data used for this study were collected from 120 respondents who have watched music

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22

Paparella, M. M. "Incidence of spontaneous hearing threshold shifts during modern concert performances." Yearbook of Otolaryngology-Head and Neck Surgery 2007 (January 2007): 23. http://dx.doi.org/10.1016/s1041-892x(07)70022-7.

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23

OPPERMAN, D., W. REIFMAN, R. SCHLAUCH, and S. LEVINE. "Incidence of Spontaneous Hearing Threshold Shifts During Modern Concert Performances." Otolaryngology - Head and Neck Surgery 133, no. 2 (2005): P192. http://dx.doi.org/10.1016/j.otohns.2005.05.443.

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Opperman, David A., William Reifman, Robert Schlauch, and Samuel Levine. "Incidence of Spontaneous Hearing Threshold Shifts during Modern Concert Performances." Otolaryngology–Head and Neck Surgery 134, no. 4 (2006): 667–73. http://dx.doi.org/10.1016/j.otohns.2005.11.039.

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25

Ruble, Blair A. "Riotous Performances." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 17–29. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235117.

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Theater audiences have been expressing their opinions about what is happing on stage and in the world around them for centuries. In some instances, uproarious behavior bordering on — and including — full-fledged riots, have provided early indications of profound conflicts taking shape within society that eventually can gather to overturn the political and social order. As the cases discussed here — drawn from Naples, London, Brussels, New York, Dublin, Paris, Miami, and Kyiv — suggest, such disturbances can reflect economic discontent, the rise of nationalist identities, and the emergence of n

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Tsapun, Raisa, and Valentyna Sinelnikova. "Concert Performance and Public Presentations as a Means of Creative Development of Folklore Students." Bulletin of KNUKiM. Series in Arts, no. 49 (December 15, 2023): 107–14. https://doi.org/10.31866/2410-1176.49.2023.293293.

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<strong>The aim of the article</strong> is to highlight aspects of preparing for a concert performance as a particular type of music performance activity in the context of the professional development of folklore students, particularly vocalist-interpreters of traditional singing. <strong>Results.</strong> The article examines important components of preparing folklore students for concert performance activities. In particular, it discusses the issues of selection, mastering, and performance interpretation of works of the musical tradition of a certain locus as the foundation for rep

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27

Brooks, Arthur C. "The Price of a Free Concert." Empirical Studies of the Arts 14, no. 1 (1996): 79–87. http://dx.doi.org/10.2190/hblw-wwjk-jmhu-0vr0.

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While many musicians have begun to compliment their work with elements and ideas taken from a number of other disciplines, these disciplines have typically not included economics. However, economics provides an effective analytical framework that people in many seemingly unrelated fields—including music—can use to illuminate issues they commonly face over the course of their professional activities. This article is intended as an example of this: using elementary economic tools, it examines from both a philosophical-aesthetic and practical standpoint the question of whether or not a music cons

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Nisenbaum, A. A. "Parade-Concert: Genre Origins and Particularities." Art & Culture Studies, no. 3 (September 2023): 410–35. http://dx.doi.org/10.51678/2226-0072-2023-3-410-435.

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The evolution of Russian military music culture is marked by continuous modification, reflecting socioeconomic, social and political mainstreams of the country. Since the beginning of the 19th century, the growing level of national military music has made foreign colleagues pay special attention to it. This article describes the circumstances under which the parade-concert genre was formed at the end of the 1980s, the further development of which brought the military music art into a wide sociocultural context through inextricable bond with the mass performance genre. This is illustrated by th

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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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Conway, Paul. "Liverpool, Philharmonic Hall and London, Barbican and Regent's Hall: Mark-Anthony Turnage." Tempo 67, no. 265 (2013): 73–75. http://dx.doi.org/10.1017/s0040298213000491.

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In a baffling case of unhelpful scheduling, major new works by Mark-Anthony Turnage were showcased by the Royal Liverpool Philharmonic Orchestra and the London Symphony Orchestra in concerts held at the Philharmonic Hall, Liverpool and London's Barbican, respectively, on the same evening – 7 February 2013. Apart from necessitating an explanation for the composer's absence from the RLPO concert in their season's programme book, this double booking resulted in audiences being unable to experience live performances of two of Turnage's most substantial recent orchestral pieces. Surely one of these

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Graham, Cameron. "London Sinfonietta: ‘Spectrum of Sound’ at Southbank Centre and White Cube Gallery residency, February/March 2015." Tempo 69, no. 273 (2015): 33–35. http://dx.doi.org/10.1017/s004029821500011x.

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How important is it for ensembles and orchestras to engage in performances outside of the typical concert environment? With a seemingly endless number of works commissioned and premiered every year, one could continue to experience new music without ever straying from the concert halls. Although cross-artistic endeavours between music and arts institutions are creating new and exciting performance environments, more often than not collaborative endeavours fail in their ability to communicate the relationship between mediums clearly and faithfully. Uniting different art forms into a single arti

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Sehovic, Lana. "Beethoven in Sarajevo: Socio-political discourses in the background of the first performances of the Eeroica and the Pastoral Symphony." Muzikologija, no. 38 (2025): 193–212. https://doi.org/10.2298/muz2538193s.

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The article explores the concert life of Sarajevo during the Austro-Hungarian administration (1878-1918), using the works of Ludwig van Beethoven as a case study. In addition to a series of concert events featuring a diverse repertoire - ranging from cabaret and operetta evenings to public performances by choral societies and concerts of serious music - the presence of Ludwig van Beethoven?s oeuvre can also be observed, with his works appearing in programs as early as 1881. Still, a culmination of Beethoven?s presence on the concert stage included Sarajevo premieres of Eroica and Pastoral Symp

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Lauer, Joanna. "The Dilemma of Empty Halls." Musical Offerings 14, no. 2 (2023): 53–66. http://dx.doi.org/10.15385/jmo.2023.14.2.1.

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Today, live classical concert attendance is low, a fact which threatens the careers of professional musicians. This paper examines recent statistics of classical concert attendance, theories as to why attendance rates are low, marketing methods for target audiences, and finally, recommendations to solve the dilemma of empty concert halls. To encourage concert attendance, classical music must be tastefully marketed to present-day audiences through the experience of technically excellent, musical, and interesting live performances. Ultimately, the relationship between art and its audience (the c

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Conceison, Claire. "What's New-and Renewed-Onstage in China." TDR/The Drama Review 47, no. 1 (2003): 74–80. http://dx.doi.org/10.1162/105420403321250008.

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This new feature of TDR presents reports on various performances and artists. In this issue we offer an account of the 2002 Chinese theatre season, a performance rumination on the atomic bomb and 9/11, the experience of groupies at a parodic “cock-rock” concert, and a selection of performative haikus composed by a San Francisco performance artist.

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Petroudi, Georgia. "The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene." Studia Musicologica 61, no. 1-2 (2021): 149–59. http://dx.doi.org/10.1556/6.2020.00011.

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The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to dem

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Tereping, Avo-Rein. "Listener Preference for Concert Sound Levels: Do Louder Performances Sound Better?" Journal of the Audio Engineering Society 64, no. 3 (2016): 138–46. http://dx.doi.org/10.17743/jaes.2016.0004.

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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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Silveira, Jason M., and Brian A. Silvey. "Effects of Ensemble Size and Repertoire Difficulty on Ratings of Concert Band Performances." Journal of Research in Music Education 68, no. 2 (2020): 138–55. http://dx.doi.org/10.1177/0022429420908280.

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The purpose of this study was to examine effects of ensemble size and repertoire difficulty on listeners’ perceptions of concert band performances. Undergraduate music majors ( N = 210) viewed an audiovisual stimulus consisting of various images of large and small concert bands paired with identical audio performances of either an easy or difficult composition. Participants rated each ensemble’s tone quality/intonation, musicianship/expression, and rhythm/articulation using a 10-point Likert-type scale. Results indicated no main effects for ensemble size or order. There was a significant main

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Zorn, Magdalena, and Juan Manuel García. "On the concept of ‘music performance’ in the context of the COVID-19 lockdown: A brief musicological discussion based on a public survey among listeners in Argentina." INSAM Journal of Contemporary Music, Art and Technology, no. 5 (December 15, 2020): 89–107. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.89.

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In this work, the concept of music performance in the context of the Covid-19 lockdown is assessed through a brief musicological discussion based on a public survey performed on the broad population in Argentina during the lockdown. Traditionally, listeners and performers interact in concert halls sharing the same space and time. During the Covid-19 lockdown, listeners and performers were obliged to stay home and thus, online music consumption in the genres of Classic, Jazz, Pop and Folk became “state of the art”. With the increasing importance of performances through the internet, the intera

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Dukov, E. V. "PERFORMING ARTS IN RUSSIA IN THE CONTEXT OF THE PANDEMIC." Arts education and science 1, no. 4 (2021): 108–18. http://dx.doi.org/10.36871/hon.202104014.

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This article is devoted to the modern history of performing arts during the pandemic. It examines the activities of authorities and theaters, concert organizations and concert organizers from 2020 to mid-2021. Countries plunged into self-isolation. The cultural sphere has been restructured, cultural contacts minimized, while video communication systems have evolved into virtual platforms in homes. The artists, left without full-fledged "live" concerts and performances were distressed. Halls could be accessed by documents and in very limited numbers. The article discusses two fundamental docume

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Schab, Alon. "Purcell performances in Palestine under the British Mandate." Early Music 47, no. 4 (2019): 533–50. http://dx.doi.org/10.1093/em/caz076.

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Abstract Palestine, from the end of World War I to the foundation of the state of Israel, had a vibrant concert scene led partly by local musicians (and from 1933 onwards, by an elite of leading performers and composers who fled from Europe), and partly by the cultural institutions of the British Mandate, including the Palestine Broadcasting Service. While the collaborations between these two forces often yielded inspired musical results, each had its own agendas and priorities. The music of Henry Purcell was perceived as a cultural asset of the British and, as such, its performance became the

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Zahradníková, Zuzana. "Acpects of Resilience in Organ Performance." Roczniki Humanistyczne 72, no. 12 (2024): 99–115. https://doi.org/10.18290/rh247212.7.

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The term “resilience” is also encountered more and more often in the field of musical art. In this paper, we explore the connection between resilience and the performing arts, specifically focused on organ playing. The survey concerns active, professional performers, who have to overcome not only the stress of public performance but also other stressful moments in their artistic activity. In the questionnaire and the subsequent discussion, we seek answers to the following questions: What are the most frequent stressful moments in organ playing? What problems do organists encounter in their con

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Leon, Crina. "Andreas Sønning – Keys to Concert Productions and Creative Entrepreneurship." Romanian Journal for Baltic and Nordic Studies 12, no. 1 (2020): 121–30. http://dx.doi.org/10.53604/rjbns.v12i1_8.

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Andreas Sønning is a Norwegian flute soloist, an Associate Professor at the Norwegian Academy of Music and at the same time the owner and artistic director of Sønning Music Performance in Oslo, a company yearly producing more than 100 performances both in Norway and abroad. The company established in 1994 has had partnerships with for instance Telenor, Nordea and Total E&P Exploration Norway but has also prepared various productions for Norwegian authorities. Andreas Sønning has been a visiting professor to the Norwegian universities of Oslo and Agder and to universities, conservatories an

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LISTER, WARWICK. "THE FIRST PERFORMANCE OF HAYDN’S ‘PARIS’ SYMPHONIES." Eighteenth Century Music 1, no. 2 (2004): 289–300. http://dx.doi.org/10.1017/s1478570604000168.

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Haydn composed his ‘Paris’ Symphonies, Nos 82–87, in 1785–1786 on commission from the Concert de la Société Olympique, whose orchestra gave the first performances, probably in 1787. This essay considers aspects of these first performances – the audience, the venue and the performers, about which there is all too little information and a certain amount of confusion.

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JEON, Jin Yong, Haram LEE, Hyowon YOON, Beta Bayu SANTIKA, Dongchul PARK, and Juin KIM. "Soundscape design methodology using a perception model for activity transition in future mobility." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 270, no. 4 (2024): 7403–8. http://dx.doi.org/10.3397/in_2024_3956.

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In the context of Future Mobility, a methodology for soundscape design using a perception model has been developed to facilitate the implementation of performance spaces among various activity transitions. This approach involved evaluating the soundscape and room acoustics of orchestra performances and solo singing that penetrate the vehicle interior, aimed at comparing with the auditory and visual environments of a concert hall. The performance hall being compared was a large, rectangular concert hall, and the evaluation point was located in the center of the audience. To investigate audio-vi

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Lee, Wonseok, and Grace Kao. "“I Need U”." Journal of Popular Music Studies 35, no. 1 (2023): 46–66. http://dx.doi.org/10.1525/jpms.2023.35.1.46.

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We analyze four online concerts by K-pop group BTS (Bangtan Sonyeondan) during the COVID-19 pandemic (2020 to the present) from the view of participant observation. The pandemic served as a catalyst for the evolution of these concerts. BTS set new records for revenue generated by a single online concert in June 2020, only to beat their own record in October 2020, and again in June 2021. While BTS delivered high-quality online concerts to its fans, known as ARMY, these concerts highlighted the challenges to both audience members and performers despite the use of “virtual reality” technologies.

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Ahlgren, Angela K. "“In Search of Something Else”: Tiffany Tamaribuchi, Taiko Drumming, and Queer Spectatorship." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 1–7. http://dx.doi.org/10.1017/s2049125500000431.

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This paper argues for the possibility of queer spectatorship in renowned taiko player Tiffany Tamaribuchi's performances. Taiko is an athletic and spectacular form of ensemble drumming with roots in Japanese culture. An award-winning taiko player who has trained and performed in the United States and Japan, Tiffany Tamaribuchi also founded the Sacramento Taiko Dan and Jodaiko, an all-women's taiko group comprised of members from throughout North America. Despite working within a conservative performance framework and within a form that is often framed as “multicultural” performance, Tamaribuch

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Kyrychenko, Alуona. "Virtual Reality Technology for Contemporary Concert Shows." Issues in Cultural Studies, no. 36 (December 28, 2020): 206–18. https://doi.org/10.31866/2410-1311.36.2020.221068.

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The purpose of the article is to characterise contemporary concert shows in the context of virtual reality technology. The research methodology is based on the application of an interdisciplinary approach to the analysis of concert shows; the theoretical approach is to study scientific literature; analytical and comparative are to determine the influence of the technological component on the direction of contemporary shows. The scientific novelty lies in the fact that virtual technology integrated into a concert show is considered for the first time. Conclusions. Virtual/augmented reality tech

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Pehkonen, Samu. "Choreographing the Performer–Audience Interaction." Journal of Contemporary Ethnography 46, no. 6 (2016): 699–722. http://dx.doi.org/10.1177/0891241616636663.

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The article introduces the concept of choreography, defined as situationally enacted participation and action framework that provides sequential structure for social interaction, for studying performer–audience interaction during musical performances. Performers develop a preferred type of interaction during a repeated series of concerts. Audiences become absorbed in the choreography through participation in the concerts and the circulation of the Internet videos from earlier concerts. As the audience learns to expect certain actions from the side of the performers, improvisation is required f

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Lee, David. "New Music Biennial, Glasgow Royal Concert Hall." Tempo 69, no. 271 (2015): 79–81. http://dx.doi.org/10.1017/s0040298214000734.

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Amidst the wide range of events staged as part of Glasgow's 2014 Cultural Programme in celebration of the Commonwealth Games, the New Music Biennial Showcase occupied the closing weekend of the Games. Hosted at the Glasgow Royal Concert Hall on 1 and 2 August, it made use of three separate performances spaces: the main hall, the newly redeveloped Strathclyde Suite and the more intimate brand new City of Music Studio. As at its London partner event, which took place between 4 and 6 July at the Southbank Centre, audiences were provided with an opportunity to hear 20 new commissions from a divers

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