Relevant bibliographies by topics / Diego de Bruceña (composer

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Academic literature on the topic 'Diego de Bruceña (composer'

Author: Grafiati
Published: 2 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Diego de Bruceña (composer"

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Noone, Michael. "Susana Muñoz, ympressora de los libros de musica, y el Libro de canto de misas y magnificas y motetes y una salue (Salamanca, 1620) de Diego de Bruceña." Anuario Musical, no. 75 (December 28, 2020): 23–60. http://dx.doi.org/10.3989/anuariomusical.2020.75.03.

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Entre sus muchos tesoros, la Catedral de Miranda do Douro en el distrito de Bragança en Portugal alberga el único ejemplar conocido del libro de polifonía de Diego de Bruceña (Salamanca: Antonio Vázquez, 1620). Este libro de coro conserva el conjunto más significativo de las obras de un compositor cuyas composiciones se pensaba que estaban casi completamente perdidas. El estudio detenido del libro de coro nos permite elaborar una comprensión más detallada y matizada de la impresión de la música sacra, y especialmente de los libros de coro polifónicos, en la Salamanca de las primeras décadas de
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Green, Edward. "Interview with Composer Diego Sánchez Haase." ICONI, no. 1 (2020): 57–67. http://dx.doi.org/10.33779/2658-4824.2020.1.057-067.

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ICONI Magazine is proud to present an interview conducted by Dr. Edward Green, professor at the Manhattan School of Music, with Maestro Diego Sánchez Haase, the most distinguished musician yet produced by the nation of Paraguay. First and foremost a composer, with works in many different genres, Haase is likewise a major orchestral conductor, and a powerful advocate for the music of Bach. This interview includes discussion of his operas Pancha y Elisa (2018) and Ñomongeta (2019) — each rooted in the history and culture of Paraguay: the latter opera being the fi rst ever to have its libretto in
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Höstman, Anna. "I COULDN'T MAKE A PIECE AS BEAUTIFUL AS THAT: A CONVERSATION WITH ALLISON CAMERON." Tempo 72, no. 286 (2018): 17–30. http://dx.doi.org/10.1017/s0040298218000323.

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AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini
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Wolff, Larry. "Operatic Representations of Habsburg Ideology: Ottoman Themes and Viennese Variations." Austrian History Yearbook 50 (April 2019): 1–14. http://dx.doi.org/10.1017/s006723781900002x.

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Forty years agoR. J. W. Evans, in his now classic study ofThe Making of the Habsburg Monarchy, observed that, in the absence of a coherent early modern central government, the Habsburg enterprise rested crucially upon the baroque court and Habsburg patronage of the arts. Evans especially noted that “two great synthetic achievements, alike commissioned by court, magnates, and Church, alike immortally associated with the age of baroque in the Habsburg lands: the dramatic extravagance of opera; and its physical counterpart, the monumental architecture of the years around 1700.” Evans argued furth
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Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.

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Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comp
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Ruiz, Jiménez Juan. "El libro de ministriles de Juan Esquivel de Barahona (1623)." Paisajes sonoros históricos (c.1200-c.1800), December 16, 2023. https://doi.org/10.5281/zenodo.10395059.

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Ruiz, Jiménez Juan. "Instrumentos y libros de música para la galera real (1572)." Paisajes sonoros históricos (c.1200-c.1800), December 16, 2023. https://doi.org/10.5281/zenodo.10395246.

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Un documento del Archivo de Simancas nos proporciona un valioso testimonio en el que se da cuenta de una serie de instrumentos e impresos musicales que se compraron en Venecia, en 1572, por encargo de Juan de Austria, hermano del rey Felipe II. La tarea fue encomendada a Diego Guzmán de Silva, embajador del monarca en esa ciudad, el cual se valió del compositor y cornetista Girolamo Dalla Casa para dar cumplimiento a su misión. A document in the Simancas Archive provides us with a valuable testimony in which a series of musical instruments and printed music books were purchased in Venice in 15
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Boussina, Aaron, Supreeth P. Shashikumar, Atul Malhotra, et al. "Impact of a deep learning sepsis prediction model on quality of care and survival." npj Digital Medicine 7, no. 1 (2024). http://dx.doi.org/10.1038/s41746-023-00986-6.

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AbstractSepsis remains a major cause of mortality and morbidity worldwide. Algorithms that assist with the early recognition of sepsis may improve outcomes, but relatively few studies have examined their impact on real-world patient outcomes. Our objective was to assess the impact of a deep-learning model (COMPOSER) for the early prediction of sepsis on patient outcomes. We completed a before-and-after quasi-experimental study at two distinct Emergency Departments (EDs) within the UC San Diego Health System. We included 6217 adult septic patients from 1/1/2021 through 4/30/2023. The exposure t
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Ruiz, Jiménez Juan. "Juan del Encina en Sevilla (1512)." Paisajes sonoros históricos (c.1200-c.1800), May 11, 2025. https://doi.org/10.5281/zenodo.15382057.

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En enero de 1512, Juan del Encina visitaría la ciudad para asistir al concilio provincial, convocado por el arzobispo Diego Deza, en representación de la catedral de Málaga de la que era su arcediano. Queda para la especulación un posible encuentro con Pedro de Escobar, maestro de capilla de la catedral en esa fecha y que, al igual que Encina, cultivó con maestría el villancico polifónico. In January 1512, Juan del Encina visited the city to attend the provincial council convened by Archbishop Diego Deza, representing Malaga Cathedral, of which he was archdeacon. There remains for speculation
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Ruiz, Jiménez Juan. "Primera edición cordobesa de El viage de Hierusalem de Francisco Guerrero (c. 1596)." Paisajes sonoros históricos (c.1200-c.1800), December 16, 2023. https://doi.org/10.5281/zenodo.10395560.

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La primera edición cordobesa de <em>El viaje de Hierusalem</em> de Francisco Guerrero no tiene ni fecha ni impresor. Probablemente salió del taller que Diego Galván tenía en la calle Azonaicas, c. 1596, y fue compuesta a partir de una de las ediciones hispalenses del siglo XVI. The first Cordovan edition of Francisco Guerrero's <em>El viaje de Hierusalem</em> has neither date nor printer's name. It probably came out of the workshop that Diego Galván had in Calle Azonaicas, c. 1596, and was composed from one of the 16th-century Sevillian editions.
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Books on the topic "Diego de Bruceña (composer"

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Snow, K. Mitchell. A Revolution in Movement. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.001.0001.

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A Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico’s postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance—the emulation of Diaghilev’s Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortóla Valencia, who helped motivate Mexico to express its
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Book chapters on the topic "Diego de Bruceña (composer"

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Roads, Curtis. "25. La Légende de Xenakis." In Meta-Xenakis. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.27.

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This is a personal account of the impact Xenakis had on my life over several decades. I am not an expert on Xenakis’s life. These recollections view Xenakis through the narrow lens of my encounters with him. The story begins with his course in Formalized Music at Indiana University in 1972. This encounter was life changing. It gave me clear focus and direction, which was crucial in my university studies. The idea of using algorithmic processes in music composition attracted me from an intellectual standpoint as a formidable design problem. In 1973 I flew to Paris to attend the Festival d’Autom
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Skeel, Sharon. "“If you don’t have money, you can’t dance.”." In Catherine Littlefield. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0006.

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Catherine is hired by William Goldman to stage dances for the Stanley Theatre in Philadelphia. Goldman becomes her boyfriend. At the Mastbaum Theatre, she is appointed assistant to dance director Robert Alton. The Littlefield School moves to the Fuller Building. William Dollar, Douglas Coudy, and Thomas Cannon, students of Mikhail Mordkin and Ethel Phillips in Philadelphia, join Catherine’s ensemble. Mommie takes Catherine, Dorothie, and other dancers to Paris to train with Russians Lubov Egorova and Alexandre Volinine. In Paris, the sisters become friendly with choreographer George Balanchine
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