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Dissertations / Theses on the topic 'Concerts'
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Garcia, Teurel Daniel. "Halmstad Concerts Hall." Thesis, Halmstad University, School of Business and Engineering (SET), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-1076.
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Steward, Janet Gail. "The encore piece for piano from 1920-1990 : historical overview and programing patterns." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833670.
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The encore piece for piano is viewed both as an historical study and an investigation of current programing trends. Data from the New York Times, music reviews and questionnaires completed by distinguished American pianists provided information that was compiled and charted.A study of the years 1920 through 1990 showed a discernible move away from extended encore segments, with a shift toward a single encore offering. Spontaneous rushing of the stage by theaudience and demanded immediate re-hearings of works faded shortly after 1940.Questionnaires revealed present-day artists are most influenced by length and character of the work, as well as the ending program piece in selecting encores. Two additional influences are the desire for contrast in succeeding encores and spontaneity in encore choice. Questionnaire answers reaffirmed that fewer encores are given in the 1990's; also noted were the facts of encores becoming shorter, more substantial, and less virtuosic. An inclusion of lesser-known works from the twentieth century was indicated.Research indicates that selecting the appropriate encore is both an art and a science. The importance of the intuitive art of judging audience response and spontaneity of encore choice is matched only by the role of the analytical in studying past successful encore models and programing an effective encore sequence. A successful encore is determined as much by what precedes and follows its performance as by its own character.<br>School of Music
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Foster, Thomas K. "Program-building : an investigation of the design of graduate and artist piano recitals." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897484.
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This study was conducted to ascertain and report attitudes of faculty-artist piano teachers at NASM-accredited music units with graduate programs concerning the diverse aspects of designing graduate student and artist piano recitals. A second objective was to compare and contrast the principles which govern program-building practices of graduate and artist piano recitals.The study consists of five chapters. Chapter 1 presents background information and the purpose, delimitations, and significance of the study. Chapter 2, a review of related literature, reveals that discontent toward program-building practices began as early as the middle of this century.Chapter 3 delineates the methods and procedures employed to collect the data. Responses collected from the questionnaire are reported in Chapter 4. Four recital types--graduate recitals, faculty-artist recitals, artist recitals in major cultural centers, and artist recitals in outlying areas are examined in terms of program length, format, content, and balance. Chapter 5 provides a summary of the study as well as comparisons and conclusions.It was found that graduate student and artist recitals enjoy few program-design commonalities. Analysis of the data revealed that only four commonalities were shared by all four recital groups: 1) Consider the respective moods of the repertory "Almost Always" or "Often" when determining the construction of a program, 2) a program's format should be chronological "Sometimes," 3) the "First Half" of a recital should be longest, and 4) lengthy works may be placed in "Both Halves" of a program.Respondents gave "Performer's Security" top priority when selecting the opening work for all recital types. Four criteria considered very important when selecting closing works were: 1) Mood, 2) Intensity, 3) Effectiveness, and 4) Performer's Security.Challenging the notion that there is one correct way to design a recital, participants offered a variety of strategies and formats. Finally, lists of suggested opening and closing works, works generally considered difficult for audiences and works composed post-1950 which have found favor with audiences are appended to the study.<br>School of Music
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Steed, Janna T. "Duke Ellington's jazz testament the sacred concerts /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.
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Donaldson, Fiona McCallum. "Reid Concerts at the University of Edinburgh : the first 100 years, 1841-1941." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33058.
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Reid Concerts began in 1841 and were defined by Donald Francis Tovey as those concerts presented by the University of Edinburgh under the auspices of the Professors of Music, based on the guidance laid down in the will and codicil of General John Reid. Reid was a major benefactor who bequeathed funds for the establishment of the Chair of the Theory of Music at The University of Edinburgh with a condition attached to the bequest that a concert be held each year in his memory. This thesis will explore the development and evolution of the first 100 years of these concerts through the contents of the available original concert programmes and related ephemera held in the Centre for Research Collections at The University of Edinburgh - a valuable historical resource which has never been fully recorded or researched. Analysis of this resource will focus on the programming, people, personalities, places, and perspectives associated with the performances and offer insight into the choices and influences of the Professors of Music charged with the organisation and implementation of the concerts over an extended timescale from 1841 to 1941. To aid this analysis a searchable online database has been designed and developed to provide outline performance details and some background information on the contents of many of these Reid concert programmes: http://www.reidconcerts.music.ed.ac.uk. The database is both a finding aid to these contents and a research tool providing a basis for future studies. This research will contribute to the history of the University and City of Edinburgh and the social and musical history of concerts in the University from 1841. The findings emphasise the usefulness of printed concert programmes in recording trends in concert presentation and programming and will broaden the knowledge of this use of such ephemera for academic research.
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Hólmgeirsson, Jón Helgi. "Enhancing the Performer-Spectator Communication at Electronic Concerts." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22468.
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During the traditional electronic musical performances there is a lack of communication between the performer and spectator. Communication is necessary to a performance as it is a social act, created both by the performer, as well as the spectator. Through exploring the augmentation of visibility and physicality in regards to the electronic performance I attempt to enhance that communication through a concept called Sonicality, created out of the findings of this paper, that addresses the use of tactile vibrations, controlled by a performer in a visible manner, received on the spectator’s body, in relation to the music heard. Through the validation of this concept I manage to get an insight into the spectators’ needs and desires, grounding the validity of the concept as something that augments experience, interaction and understanding, enhancing the performer-spectator communication.
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Lamm, Sigurlaug Regina. "Musik und Gemeinschaft einer Nation im Werden : die Einführung der Kunstmusik in Island in der Zeit von ca. 1800 bis 1920 /." Uppsala : [S. R. Lamm], 2001. http://catalogue.bnf.fr/ark:/12148/cb388734097.
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Pickering, Jennifer Mary. "Polite or commercial concerts? : concert management and orchestral repertoire in Edinburgh, Bath, Oxford, Manchester and Newcastle, 1750-1799." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359743.
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Johnston, Roy. "Concerts in the musical life of Belfast to 1874." Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318733.
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Sahely, Megan. "Blueprints for Outreach| Educational Concerts for the Solo Violinist." Thesis, The Florida State University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784552.
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<p> This treatise explores the historical background of instrumental educational outreach concerts, and provides an overview of current educational outreach programming. The closing section discusses educational outreach concerts presented by a solo violinist, and provides a blueprint for a teaching performance which explores the storytelling power of music. Newly commissioned works for solo violin are included which are especially suited for outreach performances for children.</p><p>
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Wagner, Romain. "Restaurant with classical music concerts: Developing a business plan." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-194260.
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The goal of this master's thesis is to develop the concept of a restaurant located in Paris, playing weekly live classical music concert, to test this concept through existing literature, potential customers and develop a full business plan. The first part of the thesis investigates theoretical background and a test of the concepts to potential customers. The first is composed of four main topics: factors influencing customer's loyalty in a restaurant, the influence of the physical environment, the effect of music on the atmosphere's perception and associated purchasing behaviour in a restaurant and finally key success factors in the restaurant industry. The second part will be composed of three sub-parts, the first stating the goal of the survey, the second how the survey was realised and the third will present the results and conclusions. The second major part of the thesis is the development of the concept after it was confirmed in the previous part. It is composed of a business plan, the latter describing the concept, the market, the business model, marketing strategy & plan, management, development plan and risks. Financial data will be provided in annexes.
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Bashford, Christina. "Public chamber-music concerts in London : 1835-1850 : aspects of history, repertory and reception /." London : King's College, 1996. http://catalogue.bnf.fr/ark:/12148/cb37718172t.
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Fayolle, Laurène. "Le placement de produits et l'image de marque : le cas des concerts de musique." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30093/document.
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La crise du disque se manifeste par une baisse conséquente du revenu des artistes. C’est pourquoi, les concerts apparaissent comme une source de revenu importante. Dans ce contexte, le placement de produits durant les concerts est une pratique qui tend à se développer. Ces constats nous ont conduit à formuler la problématique de recherche suivante : quelles sont les opportunités de placement de produits dans les concerts de musique (technique où le public n’a pas forcément conscience de la tentative de persuasion) et quel est l’impact du placement de produits sur l'image de marque ?La revue de la littérature présente trois processus de persuasion expliquant l’efficacité du placement : le concept de congruence entre l’artiste et la marque (Russell, 1998), l’intéressement perçu de l’artiste (Friestad et Wright, 1994) et l’endossement de personnalité (Mac Cracken, 1989). De plus, le cadre théorique de la servuction (Eglier et Langeard, 1987) a permis de mettre en lumière l’importance des interactions entre le personnel en contact et le consommateur. Il nous a permis de proposer une typologie du placement de produits (selon le niveau de participation de l’artiste et du public).La méthodologie de la recherche se décline en trois phases. La première phase est de nature qualitative par le biais d’entretiens semi-directifs. Ces entretiens menés auprès d’artistes de renoms, d’organisateurs de concerts et de responsables d’agences de communication ont permis d’analyser les pratiques de placement de produits d’une part et d’évaluer les motivations et les freins des professionnels vis-à-vis de cette technique d’autre part. La deuxième phase est de nature quantitative. L’efficacité de quatre techniques de placement sur l’image de marque a été comparée au moyen d’une expérimentation. Quatre concerts ont été organisés dans des conditions aussi proches que possibles de la réalité. Les résultats démontrent la supériorité du placement interactif (forte participation de l’artiste et du public au placement) en termes d’image de marque. Enfin, la troisième phase a consisté en une étude quantitative ad hoc durant un concert d’un groupe à forte notoriété utilisant la technique du placement interactif. Les résultats confirment l’influence du placement produits sur l’image de marque.En synthèse, cette thèse décrit les opportunités offertes par les concerts de musiques en termes de placement de produits. Le dispositif méthodologique permet d’évaluer l’efficacité de quatre techniques de placement sur l’image de marque et démontre l’intérêt du placement interactif. Enfin, elle contribue à mettre en lumière le rôle de l’attitude vis-à-vis de l’artiste et de la congruence entre la marque et l’artiste. Les limites de ce travail et les nombreuses voies de recherches offertes par ce champ encore peu étudié sont présentées en conclusion<br>Product placement is becoming an increasingly significant communication tool in cultural products. Product placement is traditionally studied in the field of films, but music concerts are also an attractive medium. Indeed, the crisis of the music industry leads the artists to find another way to other sources of financing. Our research takes into account the influence of this technique in connection with congruence, personality endorsement and how the audience copes when they recognize the persuasion attempt. Moreover, we considered the effect of product placement on brand image, because it is one of the most important goals according to the firms which want to use the technique of product placement. We aim to better understand the ins and outs of product placements in music concerts thanks to three studies. The first one is qualitative. We interviewed various artists, companies which deal with product placement, concert music producers and a legwoman. The second one is quantitative, and compares 4 types of product placements thanks to an in situ study. The last one is also quantitative and is linked with the previous study. It aims to focus on interactive product placement in which the interaction between the artist and the audience becomes the medium for new forms of product placement. We are not able to demonstrate significant results of interactive product placement on brand image but there is a trend showing that interactive product placement leads to a better brand image compared with the other kinds of placements. Subsequently, we underline the complex role of congruence. Moreover when the audience identifies the persuasion attempt, it does not influence negatively the brand image contrary to what the Persuasion Knowledge Model indicates. In return, product placement efficiency on brand image is linked with endorsement. Indeed the attitude towards the artist has a positive influence on brand image. The research concerning product placements in music concerts is still in its early stages but this kind of sponsorship offers promising opportunities for brands and artists alike
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Möller, Rebecka. "How to create interaction moments at concerts : Designing user experiences." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-232128.
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The concert industry has been expanded enormously the last couple of years. At the same time as the increasing engagement for concerts, the digital market is growing rapidly. Today during concerts, people use their smartphones to send text messages, connect on social media, take photos, record film clips, and use the flashlight function in a replacement of a lighter. This behaviour may be perceived as a distracting moment and instead moves the person’s focus from the live performance to the phone. The distracting moment can be solved by making an application that makes the interaction more enjoyable through the study of user experience. This can lead to more focus on the music and therefore, enhance the concert experience. In this project, the work behind the development of designing prototypes is described. The method used in the thesis is the process of Design Thinking. The process is divided into a five-step model: empathize, define, ideate, prototype and test. The result presents three prototypes that are based on digital competitions that interact the audience during a concert experience. At the end of the thesis, a discussion about how to secure a positive outcome of interacting the audience and the artist is presented. The conclusion was that the interactions have good potential to work in a concert environment, but the interactions need to be additionally tested to secure a positive outcome. Another conclusion was that the time before a concert has more scope to make interactions work well and to not distract the users from the live performance.<br>Konsertindustrin har expanderat enormt de senaste åren. Samtidigt som det ökande engagemanget för konserter, växer den digitala marknaden snabbt. Idag använder publiken sina mobiltelefoner under en konsert för att skicka textmeddelanden, ansluta på sociala medier, ta foton, spela in filmklipp och använda ficklampans funktion som en tändare. Det här beteendet kan uppfattas som ett distraherande ögonblick och i stället flytta personens fokus från konserten till telefonen. Det distraherande ögonblicket kan undvikas genom en studie av användarupplevelse som gör att en mobilapplikation gör samspelet smidigare. Det kan leda till mer fokus på musiken och genom det förbättra konsertupplevelsen. I det här projektet beskrivs arbetet bakom utvecklingen av prototyper. Metoden som används i rapporten är processen Design Thinking. Processen är uppdelad i en femstegsmodell: sympatisera, definiera, föreställa, prototyp och testa. Resultatet presenterar tre prototyper som bygger på digitala tävlingar som interagerar publiken under en konsertupplevelse. I slutet av rapporten presenteras en diskussion om hur man kan få ett positivt resultat av att interagera publiken och artisten med varandra. Slutsatsen var att interaktionerna har god potential att fungera i en konsertmiljö, men interaktionerna måste testas ytterligare för att säkerställa ett positivt resultat. En annan slutsats var att tiden före en konsert har mer spelrum för interaktionerna att fungera bra och att inte distrahera användarna från konsertupplevelsen.
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Karlsson, Conny. ""What does music mean?" : En undersökning av Leonard Bernsteins pedagogiska metoder i hans första Young People's Concert." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1743.
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Dirigenten och komponisten Leonard Bernstein (1918-1990) var en av sin tids ledande kulturella celebriteter i Amerika. Bernsteins berömmelse vilade på hans mångsidighet inom skilda artistiska områden. Särskild uppmärksamhet fick dock hans banbrytande verksamhet som musikfolkbildare i tv. En allmän uppfattning är att Bernsteins personliga karisma och affinitet för tv-mediet var anledningen till programmens succé. Denna undersökning har istället undersökt de pedagogiska metoder som han tillämpade i sin undervisning. För detta ändamål har den första Young People's Concert från 1958, ”What does music mean?”, valts ut. Undersökningen har genomförts med hjälp av observation av film och analys av engelsk texttranskription. Genom att använda ett kulturpsykologiskt perspektiv, har återkommande drag kunnat konceptualiseras och extraheras i teman och helhetsintryck. Resultatet visade bl.a. att Bernstein behärskade en varierad uppsättning av presentationsmetoder, språkliga stilar och musikaliska genrer som var strategiskt tillvaratagna i programmet. Bernsteins metod for att besvara den initialt ställda frågan var att undersöka flera olika föreställningar om musikens mening och värdera deras relevans erfarenhetsmässigt, tillsammans med barnen. Han ansåg sig därför fortsatt kunna hävda att musikens mening låg i de emotioner som den kunde framkalla.<br>The conductor and composer Leonard Bernstein (1918-1990) was one of the leading luminaries of contemporary American culture. His fame rested on his diversity in different artistic areas. Special attention, however, was made to his groundbreaking work as music educator on television. There is a common perception that the success of those programs was due to his charisma and affinity for the television medium. This thesis, on the other hand, has set about to investigate the pedagogical methods Bernstein employed in his teaching. For that purpose his first Young People's Concerts “What does music mean?”, from 1958, was chosen. The research has been done by observing the program on film with additional analysis of the text transcripts. By use of the perspective of cultural psychology certain recurrent traits could be conceptualized and extracted into themes and overall impressions. The results showed that Bernstein was in command of various sets of presentation methods, types of languages and musical genres. Bernstein's method of answering the initially asked question was to investigate different conceptions of the meaning of music and assess their relevance experientially with the children. He therefore was able to maintain that the meaning of music was the emotions it could induce.
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Victor, Pujebet Bruder Danielle. "Les concerts de musique classique à Paris : description et analyse de la saison 1982-1983." Paris 4, 1987. http://www.theses.fr/1987PA040421.
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L'analyse des concerts de musique classique à paris (intra-muros) en 1982-1983 a été réalisée à l'aide d'un traitement informatique des 3416 concerts recensés. L'étude est limitée à 3 aspects de la saison : calendrier et organisation-programmation-critique musicale. Le calendrier et l'organisation des concerts sont décrits d'une part au niveau des principales instances parisiennes : Radio-France, formations symphoniques, de chambre, et de musique contemporaine, grandes salles, festivals. D'autre part au niveau des concerts organisés occasionnellement. Les lieux sont étudiés par types et classes par nombres de concerts, par jauge, par places offertes au public, par arrondissement : 222 lieux recensés, parc de 107000 places, 2 366 000 places offertes au public, estimation des entrées entre un million et un million et demi. L'analyse de la programmation est effectuée par type d'interprète : orchestres symphoniques, de chambre, groupes vocaux, solistes (piano, orgue, solistes vocaux, guitare, carillon) quatuors à cordes, duos piano : violon, chorales, et diverses formations de chambre. Le traitement informatique a permis de donner la liste des compositeurs (1290 compositeurs recensés) classés suivants divers paramètres : par siècle, du plus joué au moins joué, et par type d'interprète. La revue de presse a porté sur 8 quotidiens, 4 hebdomadaires, et 3 mensuels musicaux.
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Beale, James Robert. "The Halle Concerts Society 1899-1999 : financial constraints and artistic outcomes." Thesis, City University London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340016.
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Ramacciotti, Paolo. "Elektron Elohim : a cosmic oratorio for soloists, chamber choir, electric guitars and keyboard synthesisers." Thesis, University of West London, 2016. https://repository.uwl.ac.uk/id/eprint/2961/.
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The doctoral composition concerned by this document is a contemporary oratorio of 95 minutes: it involves seven solo singers (two sopranos, a mezzo, two altos, a tenor and a bass), a polyphonic chamber choir (divided in three to sixteen parts) and an electroacoustic quartet of guitars and synthesisers. The title refers to the otherworldly guardians of the Jewish canon (Tanakh) and speculates on the energetic appearance of the Elohim, reflected by the timbral qualities of the electronic instruments. The narrative, built around four angelic characters (Seraphim) and a female earthling counterpart, outlines in seven movements a fictional cosmogony, and the evolution of human society overseen by astral mentors. The libretto has been written on purpose by the composer himself, mostly in Italian: some multi-linguistic fabrics blend poetry with Christian fragments in Greek and Latin.
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Cooper, Jeffrey Hawley. "A renaissance in the nineteenth-century : the rise of French instrumental music and Parisian concert societies : 1828-1871 /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059845q.
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Harbor, Catherine. "The birth of the music business : public commercial concerts in London 1660-1750." Thesis, Royal Holloway, University of London, 2012. http://digirep.rhul.ac.uk/items/646996db-a880-7e0c-bd3b-13dcd85b0196/1/.
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As a case study in cultural production and consumption and of the commodification of culture in late seventeenth- and eighteenth-century England, this study examines how musicians in London began to emerge from their dependence on the patronage of court, aristocracy and church into a more public sphere, moving from positions as salaried employees to a more freelance existence where they contributed to their income by putting on public commercial concerts. Taking as its starting point the almost 50,000 references to music recorded in the Register of Music in London Newspapers 1660–1750, a database has been built to record detailed information extracted from over 12,000 advertisements, puffs and news items related to commercial concert giving in London between 1660 and 1750. Concert advertisements and other material may thus be studied longitudinally in relation to each other, providing a valuable source of data for the growth of concert giving in London over a long and important period of its development. Public commercial concerts emerged in London in the period following the restoration of Charles II in 1660, developing from private music meetings dominated by amateur performers and informal public performances by professionals in taverns via John Banister's first advertised concerts in 1672. By 1750, public commercial concerts in London may not have achieved their final form or the heights of popularity that accompanied the ‘rage for music' of the 1790s, but they were promoted regularly and with a clear sense of programme planning, laying the foundations for later expansion. The possibility for musicians to make a living as freelance professionals without having to rely solely on patronage, their development of commercial skills, their emerging links with music publishers, all this is witness to the birth of music as a business in London in the period between 1660 and 1750.
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Elsdon, Peter Stanley. "Keith Jarrett's solo concerts and the aesthetics of free improvisation from 1960-1973." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364749.
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Thomason, Geoffrey Edward. "Brodsky and his circle : European cross-currents in Manchester chamber concerts, 1895-1929." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/617794/.
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Adolph Brodsky (1851-1929) is today remembered principally as a Russian violinist, notably as the soloist in the first performance of Tchaikovsky’s Violin Concerto. Like many performers he has otherwise received little scholarly attention in a historiography hitherto weighted towards discussion of music as a compositional act and thereby undervaluing the roles of performers as intermediaries between composers and their audiences. This study, the first to examine Brodsky’s career as a chamber musician, focusses on the interrelationship between the contacts and formative influences developed in his earlier years in Europe and the USA, and his period as Principal of the Royal Manchester College of Music, 1895-1929. It argues that these influences placed him in an advantageous position to stamp his own imprimatur on the repertoire he chose to present in his adopted city and thereby influence the tastes of his audiences there. Brodsky was able to take advantage of the substantial German community in Manchester to offer a repertoire centered largely on the Austro-German canon, at the same time introducing to Manchester audiences less familiar repertoire by those composers with whom he had forged friendships in Europe. These included Grieg, Busoni and Nováček as well as Tchaikovsky and Brahms, all of whom formed part of his circle during his professorship at the Leipzig Conservatoire, 1883-1891. Building on a tradition developed by Charles Hallé, Brodsky established Manchester as a thriving centre for chamber music which not only complemented its reputation for orchestral music, created by Hallé and continued by Hans Richter, but also rivalled the contemporary chamber music culture in London. Whereas late nineteenth- and early twentieth-century concert life in the capital is beginning to emerge as a fruitful area of study, parallel developments in Manchester have to date received next to no attention. What little body of writing exists has concentrated on orchestral music, ignoring both chamber music and the interrelationships between performers, audiences and repertoire. This thesis charts Brodsky’s increasingly predominant role in shaping the discourse of chamber music in Manchester over the best part of the two decades prior to the First World War, bringing to the city a distinctive “brand” in its chamber concerts which at that stage no other British city could offer. Central to its argument is the positioning of the war and its aftermath as a cultural watershed in Manchester, accelerating an incipient decline in the popularity of chamber concerts and necessitating the emergence of new models in order for the tradition to continue. The dissipation and increasing ostracism of the city’s German community, many of whom supported Brodsky’s chamber concerts, weakened the link between Brodsky and his audiences. Brodsky’s absence from Manchester as a wartime internee, a questioning of the pre-eminence of the Austro-German repertoire he had championed, the rise of a younger generation of performers bringing newer repertoire, and the emergence of new audiences are all viewed as contributing to a decline in Brodsky’s role within the city’s post-war pattern of chamber concerts. In his final years Brodsky thus found it increasingly difficult to maintain his status within a musical landscape offering challenges to pre-war patterns of repertoire and a shifting demography of performers and audiences. This study draws on sources including letters, concert programmes and press reports to examine Brodsky’s contribution to a period in Manchester’s cultural history, and to a specific musical genre, both as yet overlooked within the emerging discourse of nineteenth- and twentieth-century British music studies. It thereby accords the city its due importance as one whose musical life prior to the First World War was particularly susceptible to the absorption of European influences to carve out its own distinctive role in British chamber music, the legacy of which, though moderated by the war, was strong enough to survive and continues today.
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Bomberger, Douglas. "All-American Concerts in Germany. The F. X. Arens Tour of 1891/1892." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71896.
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Bleek, Tobias. "Die Concerts Jean Wiéner. Eine Begegnungsstätte unterschiedlicher Musikkulturen im Paris der 1920er Jahre." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71981.
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Collins, Derek Paul. "Concert life in Dublin in the age of revolution." Thesis, Queen's University Belfast, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.483467.
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Fayolle, Laurene. "Le placement de produits et l'image de marque : le cas des concerts de musique." Phd thesis, Université Jean Moulin - Lyon III, 2012. http://tel.archives-ouvertes.fr/tel-00814832.
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La crise du disque liée aux avancées technologiques et au téléchargement illégal de la musique a eu une répercussion conséquente sur les revenus des artistes. Leur baisse est notable, c'est pourquoi les artistes se tournent plus volontiers vers la multiplication des concerts, source de revenu importante pour eux. Dans ce contexte, le placement de produits durant les concerts est une pratique qui peut être synonyme de rentabilité et qui, donc, tend à se développer. Dans ce contexte, le placement de produits durant les concerts est une pratique qui tend à se développer. Ce constat nous a conduits à formuler la problématique de recherche suivante : quelles sont les opportunités de placement de produits dans les concerts de musique (technique où le public n'a pas forcément conscience de la tentative de persuasion) et quel est l'impact du placement de produits sur l'image de marque ? La revue de la littérature présente trois processus de persuasion expliquant l'efficacité du placement : le concept de congruence entre l'artiste et la marque (Russell, 1998), l'intéressement perçu de l'artiste (Friestad et Wright, 1994) et l'endossement de personnalité (Mac Cracken, 1989). De plus, le cadre théorique de la servuction (Eglier et Langeard, 1987) a mis en lumière l'importance des interactions entre le personnel en contact et le consommateur, ce qui nous a permis de proposer une typologie du placement de produits (selon le niveau de participation de l'artiste et du public). La méthodologie de cette recherche se décline en trois phases. La première est de nature qualitative par le biais d'entretiens semi-directifs. Ceux-ci auprès d'artistes de renoms, d'organisateurs de concerts et de responsables d'agences de communication, ont permis d'analyser les pratiques de placement de produits d'une part et d'évaluer les motivations et les freins des professionnels vis-à-vis de cette technique, d'autre part. La deuxième phase est de nature quantitative. En effet, l'efficacité de quatre techniques de placement sur l'image de marque a été comparée au moyen d'une expérimentation qui a consisté en quatre concerts organisés dans des conditions aussi proches que possible de la réalité. Les résultats démontrent la supériorité du placement interactif (forte participation de l'artiste et du public au placement) en termes d'image de marque. Enfin, la troisième phase a consisté en une étude quantitative ad hoc durant un concert d'un groupe à forte notoriété, utilisant la technique du placement interactif. Les résultats confirment l'influence du placement de produits sur l'image de marque. En synthèse, cette thèse décrit les opportunités offertes par les concerts de musiques en termes de placement de produits. Le dispositif méthodologique permet d'évaluer l'efficacité de quatre techniques de placement sur l'image de marque et démontre l'intérêt du placement interactif. Enfin, elle contribue à mettre en lumière le rôle de l'attitude vis-à-vis de l'artiste et de la congruence entre la marque et l'artiste. Les limites de ce travail et les nombreuses voies de recherches offertes par ce champ encore peu étudié sont présentées en conclusion.
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Bartley, Alan Philip. "Chamber music concerts in suburban London, 1895-1915 : aspects of repertoire, performance and reception." Thesis, Oxford Brookes University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404757.
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Bashford, Christina Margaret. "Public chamber-music concerts in London, 1825-50 : aspects of history, repertory and reception." Thesis, King's College London (University of London), 1996. https://kclpure.kcl.ac.uk/portal/en/theses/public-chambermusic-concerts-in-london-182550--aspects-of-history-repertory-and-reception(49fd20fc-be12-4495-b0e9-6cb82deb2914).html.
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Agresta, Rosalba. "Présences de Chopin en Angleterre 1833-1860 : la critique musicale, les concerts, les éditeurs." Paris, EPHE, 2011. http://www.theses.fr/2011EPHE4013.
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Chopin n’a fait que deux voyages en Angleterre : le premier, en 1837, de quelques jours et le second, en 1848, de quelques mois. Pourtant, comme d’autres compositeurs, il choisit d’y publier sa musique et, pour cela, il s’adressa presqu’exclusivement à Christian Rudolph Wessel. L’absence du compositeur de la capitale anglaise contribua à instaurer une perception de son art particulière et différente de celle qu’on avait en France. Initialement assimilées à la « nouvelle école », ses compositions furent rejetées comme extravagantes et excentriques. Après la parenthèse de 1842-44, où il fut acclamé comme le meilleur compositeur pour piano de l’époque, Chopin fut relégué au rang de « compositeur de petites choses ». Ce travail analyse les tendances principales de la perception de l’art de Chopin de son vivant ainsi que pendant les dix années qui suivirent sa mort. Le point de vue des critiques est replacé dans son contexte historique, par une reconstitution des implications idéologiques de leur discours et des liens existants avec les courants esthétiques de l’époque. A côté des critiques, une attention particulière est portée aux interprètes qui, par leurs exécutions, véhiculèrent l’idée de Chopin comme d’un compositeur « sérieux ». Leurs concerts font l’objet d’une étude visant à reconstituer les implications sociologiques (la perception du public) ainsi que la place des oeuvres du compositeur polonais dans le répertoire. La dernière partie de ce travail est consacrée à l’éditeur et à son rôle dans la création d’une image particulière de Chopin. L’analyse de ses pratiques commerciales et de ses relations avec le compositeur permet d’émettre de nouvelles hypothèses à propos de l’attitude eue par Chopin vis-à-vis des publications londoniennes de ses oeuvres<br>Chopin visited England only twice: a few days in 1837, a few months in 1848. Yet, as other composers, he chose to publish his music there and he dealt almost exclusively with Christian Rudolph Wessel. The composer’s absence from the English capital contributed to form a particular perception of his art, which was different from that held in France. Initially put on the same category as “new school”, his compositions were rejected as eccentric and extravagant. During the parenthesis of 1842-44, Chopin was acclaimed as the best piano composer of his times. But subsequently he was relegated to the rank of “composer of little things”. This study analyses the main characteristics of the reception of Chopin’s art during the composer’s lifetime as well as in the ten years following his death. The views of critics are replaced in their historical context by the analysis of the ideological implications and of the links existent with the aesthetical tendencies of the period. Besides critics, a particular attention is addressed to pianists, whose executions conveyed the idea of Chopin as a “serious” composer. The study of their concerts has a double aim: first, the reconstruction of their sociological implications (the public’s perception of Chopin), second, the place held by his works in the repertoire. The last part of this study is devoted to publisher and to his role in the creation of a particular image of the Polish composer. The analysis of commercial issues and that of Wessel’s relationship with the composer suggest new hypothesis on Chopin’s aptitudes towards the London editions of his music
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Kubala, Ricardo Lobo. "O concerto para viola e orquestra de Antonio Borges-Cunha : a obra e uma interpretação." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284662.
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Orientador: Emerson Luiz de Biaggi<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T03:18:02Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009<br>Resumo: O Concerto para Viola e Orquestra de Antônio Borges-Cunha foi composto em 2007 e estreado no mesmo ano, em apresentação que teve o autor desta investigação como solista e o próprio compositor como regente. Desde o início do projeto do Concerto, ocorreu amplo diálogo entre compositor e solista acerca da natureza da viola e da concepção estética da obra. Dessa forma, o intérprete pôde acompanhar o processo de criação da obra com proximidade, que, ao permitir uma visão abrangente dos procedimentos composicionais e ideário estético de Borges-Cunha, forneceu informações acerca da organização do material musical e expectativas do compositor em relação a aspectos expressivos. No primeiro capítulo, investiga-se a obra por meio da observação de sua estruturação formal, o que resulta em associações entre variedade de elementos de relevância, tanto para o entendimento da obra em si como para tomadas de decisões no âmbito interpretativo. Nos capítulos que se seguem, estudam-se aspectos do processo criativo, com enfoque na participação do intérprete durante a elaboração da escrita para a viola solista. No segundo capítulo, observa-se o tratamento das possibilidades tímbricas da viola. Por meio de viés histórico, realiza-se uma reflexão sobre maneiras de manipular o potencial sonoro da viola, as quais resultaram no estabelecimento de alguns padrões de atribuição de valor ao timbre do instrumento. Verifica-se a ocorrência desses modelos sonoros e suas variações na obra investigada. No terceiro capítulo, desenvolvem-se considerações sobre gesto em música, circunscritas ao contexto do percurso de elaboração da escrita para viola solista. São seguidas de aplicação desses conceitos a questões específicas da área de práticas interpretativas, mediante um trabalho de delineamento de sensação de movimento e direção, coadunado com características estilísticas levantadas anteriormente. Por fim, no último capítulo, disserta-se sobre temas relacionados à técnica instrumental. Busca-se conciliar aspectos ligados à dificuldade técnica demandada pela escrita do Concerto com atributos estilísticos dessa obra, entre os quais está a intenção do compositor de escrever algumas passagens propositalmente de maneira pouco idiomática. Listam-se exemplos de alterações que resultaram do diálogo entre compositor e intérprete. Esta investigação versa sobre o tema interpretação e sobre questionamentos quanto aos caminhos que instrumentistas podem tomar na busca por resultados ricos em elementos expressivos, resultados esses que, conclui-se, também são objetivos de Borges-Cunha. É um estudo dirigido especificamente para a área de práticas interpretativas e, em âmbito mais abrangente, também para compositores que se interessem pelo ponto de vista do intérprete sobre o processo de criação de uma obra<br>Abstract: The Concerto for Viola and Orchestra by Antônio Borges-Cunha was composed in 2007 and premiered in the same year in a concert, which featured the author as soloist and the composer as conductor. From the very beginning of the project, there was ample dialogue between composer and soloist as to the nature of the viola and as to the aesthetic concept of the work. The performer was thus able to closely accompany the work's creative process, which permitted an allencompassing vision of Borges-Cunha's compositional procedures and aesthetic ideal, and which rendered information on the organization of the musical material and the composer's expectations regarding expressive aspects. In the first chapter, the work's formal structure is investigated. This results in associations between a variety of elements which are relevant to the comprehension of the work itself and to decisive procedures in its interpretation. The subsequent chapters are dedicated to the study of aspects which relate to the creative process, focusing on the interpreter's participation during the elaboration of the compositional process for the solo viola. In the second chapter we observe the treatment of the viola's timbristic possibilities. We then discuss the manners in which the viola's potential sound qualities have been manipulated in the past, and this enables us to establish some standards of measure which are attributed to the instrument's timbristic qualities. We subsequently verify the occurrence of these sound models and their variations in the concerto. The third chapter examines musical gesture circumscribed to the context of the path chosen for the elaboration of the compositional process for the solo viola. These concepts are then applied to specific issues in the area of performance practice, by means of a process whereby the sensations of movement and direction, combined with the stylistic characteristics described above, are delineated. In the last chapter we discuss topics related to instrumental technique. An attempt is made to reconcile aspects linked to the technical demands of the compositional process in the concerto with the stylistic attributes of the work, such as the composer's intention to purposefully write some passages in a non-idiomatic manner. Examples are listed of alterations that resulted from the dialogue between the composer and performer. This investigation discusses interpretation and the queries regarding the paths which performers can choose in their quest for positive results in expressivity, which one concludes is also Borges-Cunha's objective. It is a study specifically geared to the area of performance and, in a broader sense, serves composers that are interested in the performer's contribution to the creative process of a work<br>Doutorado<br>Mestre em Música
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Viotti, Leonardo Teixeira. "Pirateando o caminho para o show business: os efeitos da pirataria sobre o mercado de apresentações ao vivo." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/12/12138/tde-05042016-162140/.
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Este trabalho busca mensurar os efeitos do compartilhamento de arquivos na internet sobre o mercado de shows, importante canal de remuneração para músicos. São utilizados dados retirados do Guia da Folha, uma das principais publicações especializadas em cultura na cidade de São Paulo. A especificação principal adota um estimador de diferença em diferenças tendo shows como grupo de tratamento e peças teatrais como grupo de controle. As estimações indicam que a pirataria provocou um choque positivo de oferta, reduzindo os preços de ingressos em até 8,2% e aumentando a quantidade em 14 apresentações por semana. Além disso, a capacidade média foi reduzida, e a diversidade de apresentações e de casas de show aumentou. Esses resultados apontam para a ocorrência de um processo de pulverização do mercado, onde artistas menores fazem shows menores e mais baratos. Artistas muito famosos, entretanto, subiram os preços em torno de 10% e reduziram em até 2,5 o número de apresentações semanais<br>This dissertation measures the effects of file-sharing on the market for music concerts, an important source of income for most musicians.We use information published by Folha de São Paulo, one of the most popular Brazilian newspapers. The main analysis consists of using a differences-in-differences estimator with music concerts as treatment group and theatrical plays as control group.We find evidence that music piracy had a positive effect on the supply of concerts with an up to 8.2% reduction of ticket prices and an increase of 14 weekly performances.We also find a decrease in the mean capacity of venues; an significant increase in the variety of music venues and of unique musicians performing. These results indicate an increasingly competitive market with less popular musicians performing at lower prices for smaller audiences. Famous musicians however have risen ticket prices up to 10% and reduced their number of concerts at around 2.5 weekly performances
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Stiller, Barbara. "Erlebnisraum Konzert : Prozesse der Musikvermittlung in Konzerten für Kinder /." Regensburg : ConBrio, 2008. http://d-nb.info/986203424/04.
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McQuaide, Rosalie. "Le concert spirituel (1725-1790) : a reflection of French musical taste /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059854p.
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So, Hanna Na. "A compositional and stylistic analysis of selected works by Eak-Tai-Ahn / Two examination concerts." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62657.
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Bruder-V, Pujebet Danielle. "Les Concerts de musique classique à Paris description et analyse de la saison 1982-1983 /." Lille 3 : ANRT, 1990. http://catalogue.bnf.fr/ark:/12148/cb37610682d.
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Charlie, Forsgren. "This euphoric feeling that I get : A qualitative mapping of concerts and how to augment them." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-141579.
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Today many people experience that their phones are taking them out of the present. This is the case at concerts too where some perceive them to be a distraction from the actual experience. This paper maps what the concert experience consists of from a qualitative perspective and then uses the same phones that people perceive to be distracting for making them more engaged in the event.
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Bower, Bruno Benjamin. "The Crystal Palace Saturday Concerts, 1865-1879 : a case study of the nineteenth-century programme note." Thesis, Royal College of Music, 2016. http://researchonline.rcm.ac.uk/386/.
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In recent decades, historical concert programmes have emerged as a fascinating resource for cultural study. As yet, however, little detailed work has been done on the programme notes that these booklets contained. This thesis concentrates on the notes written for the Crystal Palace Saturday Concerts between 1865 and 1879. The series held an important place in London concert life during this period, and featured a number of influential authors in the programmes, such as George Grove, August Manns, James William Davison, Edward Dannreuther, and Ebenezer Prout. Grove in particular made use of his notes as part of entries in the first edition of the Dictionary of Music and Musicians. Close critical readings of the Saturday Concert booklets illustrate the complex combination of context, content, and function that the programme notes represented. These readings are supported by short histories of the series, the programme note, and the various authors, along with a study of the audience through booklet construction and advertising. A database covering the repertoire performed and programme note provision during the case-study period is included on the attached CD. Programme notes that outlined pre-existing or newly-invented plots make it clear that one of their functions was to give music a narrative. Even notes that did not contain stories per se were filled with material that served a very similar purpose. The most obvious examples were explanations of how the work was created, and it's place in history. However, all of the language used to describe a piece could signal wider meanings, which then became part of the story being told. References to gender, families, education, morality, religion, politics, or race imbued the works with a wide variety of pre-existing 'texts' (in the broadest sense of the word), and formed social and cultural narratives for music.
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Asber, Joyce Ellen. "Clementi the Scientist: Contemporary Reception of His Symphonies." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707289/.
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Muzio Clementi's symphonies were first performed in London between 1786 and 1796. After an extended hiatus from 1796 to 1813, his symphonic works appeared on programs again from 1813 to 1824. Clementi's career as a symphonist corresponds closely with trends in London's concert life. The reception of Clementi's symphonies during his lifetime has frequently been misinterpreted by scholars who oversimplify the use of "science" in musical discourse of the day and fail to consider the positive connotations of this adjective, so frequently applied to Clementi. Musical discourse at the time addressed the science and art of music emphasizing a composition, or its composer's, science, harmony, effects, genius, and the audience's response. Though an unstated ideal, reviews evince a preference for balancing scientific and artistic display. Reviews of Clementi's symphonies suggest he initially struggled to balance the technical and artistic qualities of his compositions but succeeded, according to reviews, in finally doing so in 1796. After his early efforts, Clementi was consistently praised as worthy to stand among the current and most prestigious composers of the continent: Haydn and Mozart initially, and Beethoven and Rossini later.
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Lais, Peggy Jane. "Chamber-music in Melbourne 1877-1901 : a history of performance and dissemination /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/3825.
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KAHLE, ECKHARD. "Validation d'un modele objectif de la qualite acoustique dans un ensemble de salles de concerts et d'operas." Le Mans, 1995. http://www.theses.fr/1995LEMA1019.
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Le but de cette these est de verifier, en conditions reelles de concert, un modele objectif de la perception de la qualite acoustique issu d'une serie de tests en laboratoire. Apres une etude bibliographique des differents facteurs qui influencent notre perception de la qualite acoustique, le modele, etabli a l'ircam, est decrit en detail. Des mesures acoustiques objectives et des tests d'ecoute ont ete effectues, a des positions identiques, dans une dizaine de salles de concerts et d'operas. Pour les mesures objectives, le nombre d'emplacements des sources et des recepteurs, ainsi que leurs directivites, a ete multiplie. Pour les tests d'ecoute, une dizaine d'auditeurs experimentes remplissait des questionnaires, lors de deux concerts et en changeant de place aux entractes. Il a ete revele que les reponses au questionnaire ne dependent pas uniquement de la qualite acoustique. D'autres facteurs influencant les reponses ont pu etre identifies: le sujet, l'uvre musicale et un effet d'interaction entre l'acoustique et l'uvre musicale. Une methode a ete etablie permettant, dans la mesure du possible, de separer les differentes influences, et de mener a des correspondances plus fiables et plus stables entre les reponses a chaque question et la caracterisation objective de la salle. Grace a cette methode, il a ete par ailleurs possible de quantifier l'incertitude des reponses subjectives. Une analyse statistique a permis d'isoler, au sein du questionnaire, un jeu de questions independantes. Une etude systematique a ete consacree a la correspondance entre les reponses et des criteres acoustiques, aboutissant a un critere objectif optimise pour chaque question. Les tests d'ecoute effectues en situation reelle de concert ont donc permis la formulation d'un nouveau modele de la perception de la qualite acoustique. Ce dernier est tres proche de celui etabli a partir des tests en laboratoire, ce qui permet d'accorder une confiance tres grande dans le modele perceptif resultant de leur confrontation
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Mann, Patricia. "La sensibilité esthétique et la sensibilité à l'interaction sociale : deux nouvelles variables pour expliquer le comportement de fréquentation des concerts de musique classique." Dijon, 2000. http://www.theses.fr/2000DIJOE010.
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La culture est un domaine très vaste aux contours mal définis et souvent fluctuants, et qui mêle des dimensions très diverses: sociales, esthétiques, économiques, politiques en particulier. Aujourdh'hui, avec l'augmentation du temps libre, les entreprises culturelles ont un poids très important dans l'économie nationale. C'est pourquoi, il est nécessaire de s'intéresser tout particulièrement à ces entreprises, d'autant plus qu'elles évoluent dans un environnement complexe où la concurrence est rude. Les entreprises culturelles ne peuvent pas définir objectivement des performances maximales à leurs productions puisqu'elles ne maitrisent pas leurs conditions de valorisation. La problématique de la valorisation se trouve dans de nombreuses consommations et tout particulièrement dans le domaine culturel. Au même titre que d'autres formes de consommation, la consommation d'activités culturelles semble impliquer la subjectivité des individus. La valeur des produits culturels parait être liée à la réponse subjective provoquée par l'expérience de consommation chez l'individu. La consommation culturelle est une expérience individuelle qui peut être qualifiée d'esthétique mais aussi une expérience sociale du fait que la manifestation culturelle peut être le support d'interactions sociales. La consommation peut donc être orientée vers soi ou vers les autres. Ce critère a été retenu dans la thèse pour expliquer la valorisation de la manifestation culturelle faite par l'individu. Les deux dimensions de la valorisation de la manifestation culturelle ont été théorisées à l'aide de deux nouvelles variables propres à l'individu qui sont la sensibilité esthétique et la sensibilité à l'interaction sociale. La recherche permet donc d'apporter une lecture nouvelle de la manifestation culturelle à travers sa valorisation par le public et apporte des éléments de réponse aux interrogations des professionnels.
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Francoeur, Mikaël. "Enrichir la pratique des pianistes classiques : la contribution du public à la construction de sens dans un récital commenté interactif." Doctoral thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/40129.
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La relation entre artiste et public en musique classique est traditionnellement définie par unparadigme où le professionnel de l’art est le constructeur exclusif du sens des œuvres artistiques, et où le public reconnaît une supériorité artistique ou scientifique dans lesens transmis par le professionnel de l’art. Or, on observe dans divers domaines un changement paradigmatique oùles consommateurs revendiquentune participation accrue à la construction du sensdes produits qu’ils reçoivent. Une pratique répandue chez les pianistes classiques, celle du récital commenté, s’accorde mal à ce changement paradigmatique, car la fonction de construction de sens repose essentiellement sur l’artiste. Dans une démarche de recherche-création, et afin d’explorer les impacts d’un élargissement de la fonction de construction de sens à une coopération artiste–public dansun récital commenté, nous avons élaboré un récital commenté interactif (RCI) où le public sélectionnait le matériau textuel et musical en direct au moyen d’une application numérique. Les auditeurs devaient construire un sens cohérent à partir d’un ensemble épars d’éléments culturels,qui gravitaient autour de la figure du compositeur Léo Roy (1887–1974). Ils retraçaient ensuite, dans un sondage,le récit qu’ils avaient perçu lors du RCI. En tant qu’artiste, nousavons personnellement présenté trois RCI, à la suite desquels les auditeurs ont rempli un sondage visant à évaluer leur expérience de concert ainsi que la construction de sens qu’ils avaient opéréeau cours de l’événement.Les auditeurs étaient généralement enthousiastes à l’idée d’occuper une fonction de construction de sens plus active, bien que ceci diffère d’un individu à l’autre et se décline en une variété d’attitudes face à la coopération artiste–public. La difficulté accrue résultant d’une telle réception demande des stratégies d’adaptation conséquentes de la part de l’artiste. Notre analyse montre que celui-ci peut moduler cinq paramètres pour adapter un RCIaux habiletés depublics variésdans le but d’offrir une expérience optimale aux auditeurs: la distance conceptuelle entre les modulesdu matériau culturel, l’ajout ou le retrait de données chronologiques, la consistance de l’introduction, la présentation des liens entre les moduleset la présentation des pièces musicales. Nous avançons que cette dynamique de réception confère une pertinence accrue à une pratique des pianistes classiques en l’adaptant à un paradigme de consommation contemporain.<br>The relation between artist and audience in classical music is traditionally defined by a paradigm in whichthe arts professional is the exclusive maker of the art work’s meaning, and where the audience recognizes an artistic or scientific authority in the meaning he receives from the arts professional.This is contrary to a paradigmatic shift that has been observed in various areas, and where consumers claim an increased control over the meaning-making of the products they consume. This leads to the realization that a favoured practice of classical pianist, the lecture-recital, is ill suited to this paradigmatic shift, since meaning-making in a lecture-recital is the sole responsibility of the artist.Using a research-creation approach, we devised in Interactive Lecture-Recital (ILR) in which the audience was responsible for selecting textual andmusical material by emitting live votes through a digital interface.Listeners therefore had to make a coherent meaning from scattered cultural elements, all of which revolved around Québécois composer Léo Roy (1887–1974).After eachof thethree ILR’s that I presented, audience members completed a survey aiming to assess their concert experience and their meaning-making at the ILR.Audience members generally welcomed enthusiastically the opportunity to play a more active meaning-making role, although individuals presented a variety of attitudes pertaining to artist–audience cooperation.This type of reception brings an increased difficulty for the spectator. This prompts an artist to use adaptation strategies, in order to enhance spectators’reception.An analysis of survey data shows five parameters that an artist can vary in order to adapt an ILR to various publics, with the goal of providing an optimal experience to audience members: conceptual distance between modulesof cultural material, addition or deletion of chronological data, completeness of the introduction, presentation of links between modules, and presentation of musical pieces. We argue that this kind of reception brings a new relevance to classical pianism, by adapting it to a contemporaryconsumption paradigm.
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Edwards, Thomas Hayward. "'So much neglected?' : an investigation and re-evaluation of vocal music in Edinburgh 1750-1800." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15765.
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This thesis gives a comprehensive account of the vocal music performed in Edinburgh between 1750 and 1800. One of its aims is to highlight the importance of vocal music to a contemporary audience, an area which has hitherto been neglected in investigations into the musical culture of the city in the eighteenth century. It also attempts to place the Edinburgh Musical Society in the wider context of the vibrant concert and musical culture which developed through the second half of the century. The study attempts to demonstrate the importance of singing, not just within concerts, but as an integral part of many other social and cultural aspects of life, including: gentlemen’s clubs, schools, and the city’s churches. The careers of singers, as impresarios and teachers, and the influence they held over prevailing tastes and culture are examined. In addition to discussing the many foreign musicians active in the city this investigation also traces the impact of native born singers and teachers. It calls into question the assertions made by previous studies which suggested the primacy of instrumental music over vocal music and it attempts to demonstrate that the interest in, consumption of, and participation in vocal music grew over the course of the century. It also attempts to show that vocal music became a dominant influence following the demise of the Musical Society. The information contained in this account has been drawn from previously neglected newspapers and other archival sources, such as diaries, personal letters, the archives of the Musical Society preserved by Gilbert Innes, the Sederunt Books of the Musical Society, the repertoire of the Harmonical Society and published works on music, culture and history. The repertory itself has also been closely examined. By means of this work it has been possible to examine and expand the whole spectrum of musical life in the Scottish capital and thus establish the thriving vocal musical culture which existed at the time.
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Lordin, Denise. "Consumer Engagement During Concerts : A Study on Using Mobile Interactive Technology to Enhance the Live Music Event Experience." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-209767.
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The emergence and development of mobile technology has changed traditional behavior during live music events and challenges concert etiquette. Artists have polarized reactions to the ubiquity of smartphones and companies have started realizing the potential to develop systems which allow the audience to interact more with both the performer and the light and sound show itself. Research has looked into how people traditionally behave and how consumer expectations have altered due to the digital revolution, but has not looked into differences between age groups, gender and concert genre to find out how different people express engagement. The research question is: How can interactive technology be used to enhance audience engagement? With the sub-questions: What engages individuals at concerts? How can engagement be measured? Findings within the study show that there are some differences between both age groups and between concert genres but engagement is expressed in similar ways regardless of gender. The differences that do exist between generations and genre preference are slight. People most commonly express engagement with a combination of voice and movement. Interactive technology designed for live music events settings needs to be based on existing patterns of behavior as people do not want too much focus to be on technology during concerts. The technology should enhance existing behavior and have a low learning curve as interactive technology risks becoming disengaging if it requires too much focus from the user.<br>Framväxten och utvecklingen av mobil teknik har förändrat traditionellt beteende under live musik konserter och lett till att konsertetikett utmanats. Artister har polariserade reaktioner gällande användningen av smartphones och företag har börjat realisera potentialen att utveckla system som gör det möjligt för publiken att interagera mer med både artisten samt ljus- och ljudspelet. Forskning har undersökt hur folk traditionellt sett beter sig och hur konsumenternas förväntningar har förändrats på grund av den digitala revolutionen, men har inte tittat på skillnader mellan åldersgrupper, kön och konsertgenrer för att ta reda på hur olika människor uttrycker engagemang. Forskningsfrågan är: Hur kan interaktiv teknik användas för att öka publikens engagemang? Med delfrågorna: Vad engagerar individer under konserter? Hur kan engagemang mätas? Resultatet i studien visar att det finns vissa skillnader mellan åldersgrupper och mellan konsertgenrer men att engagemang uttrycks på liknande sätt oavsett kön. Skillnaderna som finns mellan generationer och genrepreferenser är få och små. Folk uttrycker oftast engagemang genom en kombination av röst och rörelse. Interaktiv teknik som är designad för live musikevent måste baseras på befintliga beteendemönster eftersom människor inte vill att alltför stort fokus hamnar på teknik under konserter. Tekniken bör förbättra det befintliga beteendet och ha en låg inlärningskurva eftersom interaktiv teknik risker att blir oengagerande om det kräver för mycket fokus från användaren.
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Andrews, Christine. "Nineteenth century English oratorio festivals : chronicling the monumental in music." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:bdeff62f-fead-42a7-9724-5c79d5c2cdf9.
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Oratorio festivals were an important cultural feature of nineteenth-century English society. These massive musical events lasted for three or four days and some involved up to 4,000 musicians and 83,000 in the audience. This dissertation advances the hypothesis that the oratorio festivals, and the grand new buildings in which they were staged, coalesced to create a musical monumentalism in a society steeped in the (mainly Protestant) Christian sentiments of the day. In particular, the dissertation contends that a central premise of nineteenth-century musical thought was that the musical value of a performance was directly in proportion to the size of the performing forces and the audience. A framework devised mainly from Stephen Little's definition of monumental art (2004) is used as a critical tool to examine from a new perspective aspects of nineteenth-century oratorios such as 'physical scale', 'breadth of subject matter', and 'ambition to be of lasting significance'. Furthermore, this dissertation argues that a complex ideology of an English musical monumentalism underpinned the concatenation of circumstances that allowed oratorio festivals to flourish at this time. The spectacle of the Crystal Palace in London and the Great Handel Triennial Festivals it housed are contrasted with the provincial festivals, such as those of Bristol, Manchester, Liverpool, Birmingham, and Leeds. The analyses of the latter rely on substantial original material uncovered from rich primary source documents about the provincial oratorio festivals and the buildings in which they were held. Musical scores themselves, including some of Sir Michael Costa's orchestral manuscripts, are also examined as monuments. A comprehensive study of these festivals is well overdue and this study will aim to understand why these events grew to such a mammoth size at this time.
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Davis, Clifton Allen. "Developing an annotated guide for collaborative planning of choral concerts based on Sawyer's Eight Stages of the Creative Process." Thesis, Ball State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10251550.
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<p> This dissertation provides a guide with prompts to help people access the benefits of creativity research in the collaborative process of programming choral concerts. To highlight the distinctive characteristics of choral music in ways that engage the audience, programmers can utilize the Eight Stages of the Creative Process as found in R. Keith Sawyer’s book Explaining Creativity: The Science of Human Innovation. These stages, as applied to choral programming, are 1) finding a problem statement for the concert, 2) acquiring the knowledge of the choral domain, 3) gathering information related to the specific concert, 4) taking time off from programming tasks for incubation, 5) generating ideas related to the problem statement of that particular concert, 6) combining those ideas in unexpected ways, 7) selecting the best ideas according to the criteria for that particular choir concert design, and 8) externalizing those ideas. The dissertation details current practices of choral programmers who already use the principles behind Sawyer’s Eight Stages. The guide includes specific prompts that are tied to each of Sawyer’s Eight Stages of the Creative Process for use by individuals or team leaders in a collaborative planning process. Annotations (Chapter 4) provide context for understanding and using the prompts to aid creative choral programming.</p>
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Farmer, William Dale Walls Kimberly C. "Relationships of dimensions of the meaning of the choral experience to high school students preferences for concerts vs show choir." Auburn, Ala, 2009. http://hdl.handle.net/10415/1869.
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Fischer, Corinna. "Einfluss von Live-Musikveranstaltungen auf den Tonträgerkonsum : eine explorative Studie." Aachen Shaker, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=014977587&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Roué, Nathalie Yvette. "Exploring music education as an agent of social development and change in Mamelodi a community in South Africa / Two examination concerts." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65600.
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This research aimed to explore how music education can serve as an agent of social development in Mamelodi, a community in South Africa. After the democratic elections in 1994, the concept of ‘Magnet’ schools was established by the Gauteng Department of Education in order to provide specialised skills such as music in disadvantaged communities. A qualitative intrinsic case study was followed to better understand how music learners experience music education as a whole and how they apply it to their lives. Six participants from the Mamelodi Magnet School were selected and interviewed to gain insight regarding how music education may contribute towards the personal and social development of music learners at the school. Additionally, weekly observations were made during individual instrumental music lessons and described in a reflection journal. Data analysis revealed that music education is a powerful catalyst in the lives of music students at the Magnet School, leading to extensive values and benefits to these individuals and the wider community. Three main themes emerged from data analysis, namely personal value and life skills development; social development and social capital; and transformation through music education. These themes are interrelated and link to several subthemes, such as the development self-esteem, motivation, responsibility, self-discipline, and time-management skills on a personal level. Themes related to enhanced social skills include friendships and social inclusion, learning new skills, networks and connections, reciprocity, and improved social norms and values. By providing a structured learning environment, the Magnet School offers learners the opportunity to learn a musical instrument, expand their knowledge of music, and to acquire life-skills. In doing so, these learners not only improve their education and possibilities for sustainable futures; they also gain important personal and social values that contribute towards their holistic education. By teaching more than music, the Magnet School can be the key to unfold a student’s life journey, filling it with creativity, dreams and hope.<br>Dissertation (MMus)--University of Pretoria, 2017.<br>Music<br>MMus<br>Unrestricted
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Lapointe, Isabelle, and Isabelle Lapointe. "Les corps de la chanson : étude et expérimentation des stratégies de théâtralisation dans le concert de chansons." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37664.
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Ce mémoire s’intéresse à la rencontre de l’objet-chanson et du théâtre dans le cadre d’un concert de chansons. Il le fait à travers trois corps: le chant-acteur, le musicien-acteur et le «corps» musical. La visée principale de cette recherche est de dévoiler et de tester des stratégies de théâtralisation brouillant la frontière entre les genres, avec le désir de donner au concert de chansons toute l’amplitude qu’il peut prendre, voire de lui ouvrir les portes d’un nouveau langage. Pour ce faire, après avoir analysé un corpus d’œuvres au profil hybridant, nous avons cherché des pistes de réponse à nos questions de recherche dans des ouvrages dédiés à la musique contemporaine. Les hypothèses issues de cette phase de travail ont été mises à l’épreuve lors de la création du spectacle expérimental Le spectacle raté de la chanteuse écrapoutie. Le présent essai retrace donc ce processus en mettant en évidence les stratégies qui nous ont semblé les plus efficaces, tant parmi celles que nous avions formulées au départ que parmi celles qui sont nées du travail de création lui-même. En annexe, le lecteur pourra consulter nos différents outils de travail, suivre notre processus de création en images et lire la partition finale du spectacle en version simple ou commentée. Un enregistrement du spectacle est aussi disponible.<br>Ce mémoire s’intéresse à la rencontre de l’objet-chanson et du théâtre dans le cadre d’un concert de chansons. Il le fait à travers trois corps: le chant-acteur, le musicien-acteur et le «corps» musical. La visée principale de cette recherche est de dévoiler et de tester des stratégies de théâtralisation brouillant la frontière entre les genres, avec le désir de donner au concert de chansons toute l’amplitude qu’il peut prendre, voire de lui ouvrir les portes d’un nouveau langage. Pour ce faire, après avoir analysé un corpus d’œuvres au profil hybridant, nous avons cherché des pistes de réponse à nos questions de recherche dans des ouvrages dédiés à la musique contemporaine. Les hypothèses issues de cette phase de travail ont été mises à l’épreuve lors de la création du spectacle expérimental Le spectacle raté de la chanteuse écrapoutie. Le présent essai retrace donc ce processus en mettant en évidence les stratégies qui nous ont semblé les plus efficaces, tant parmi celles que nous avions formulées au départ que parmi celles qui sont nées du travail de création lui-même. En annexe, le lecteur pourra consulter nos différents outils de travail, suivre notre processus de création en images et lire la partition finale du spectacle en version simple ou commentée. Un enregistrement du spectacle est aussi disponible.