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Relevant bibliographies by topics / European Music

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Journal articles
Dissertations / Theses
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Academic literature on the topic 'European Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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Journal articles on the topic "European Music"

1

Laing, Dave. "The European music industry and European music policy." Cultural Trends 9, no. 34 (1999): 31–56. http://dx.doi.org/10.1080/09548969909365078.

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Gammeltoft-Hansen, Hans. "European Music Year." International Journal of Music Education os-7, no. 1 (1986): 41–42. http://dx.doi.org/10.1177/025576148600700111.

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Babington, A. L. "European Renaissance music." Early Music 39, no. 2 (2011): 281–83. http://dx.doi.org/10.1093/em/car029.

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Fairley, Jan. "European world music charts." Popular Music 11, no. 2 (1992): 241–44. http://dx.doi.org/10.1017/s0261143000005055.

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Loos, Helmut. "World Music or Regionality? A Fundamental Question for Music Historiography." English version, no. 10 (October 22, 2018): 13–22. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.13.

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The term “world music” is still relatively new. It came into use around the end of the twentieth century and denotes a new musical genre, one which links European-American pop music to folk and non-European music cultures. It can be seen in a larger context as a phenomenon of postmodernism in that the challenge to the strict laws and boundaries of modernism allowed for a connection between regionality and global meaning to be established. Music in the German-speaking world had previously been strictly divided into the categories of “entertainment music” (U-Musik) and “serious music” (E-Musik),

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Dawe, Kevin. "Minotaurs or musonauts? ‘World Music’ and Cretan Music." Popular Music 18, no. 2 (1999): 209–25. http://dx.doi.org/10.1017/s0261143000009053.

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In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affini

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Salisbury, I. P. "Music Education in European Music Year – and Beyond." British Journal of Music Education 2, no. 3 (1985): 279–84. http://dx.doi.org/10.1017/s0265051700000644.

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From the viewpoint of European Music Year (EMY) the author, currently HM Staff Inspector for Music and Chairman of the EMY Advisory Committee for Education, makes some general observations about the present condition of and future prospects for music education in the United Kingdom. Reviewing educational initiatives which have been taken during EMY, he relates these to the wider issues which inevitably preoccupy many of us at the present time. Despite the gloomy prognostications being made by some concerning the future of music education, he prefers at this stage to point to positive achieveme

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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music

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Urquhart, Alistair P. "European Music Year in Scotland." British Journal of Music Education 2, no. 3 (1985): 327–28. http://dx.doi.org/10.1017/s026505170000067x.

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Wagner, Aleksandra, and Zdravko Blažeković. "European fiction—Facts or music?" History of European Ideas 20, no. 1-3 (1995): 461–67. http://dx.doi.org/10.1016/0191-6599(95)92978-4.

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Dissertations / Theses on the topic "European Music"

1

Isted, Lisa. "Modal structures in European art music (1870-1939)." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.386226.

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Wilson, Charles Adrian. "Pitch spaces and their transformation in European music since 1945." Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300669.

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Grant, Morag Josephine. "Redefining 'die Reihe' : information on European serial music, 1955-1962." Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322306.

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Burgstaller, Georg. "Kritikerdämmerung : Heinrich Schenker and music journalism." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/378160/.

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Despite the steady amount of research that has gone into the life and mind of Viennese music theorist Heinrich Schenker (1868-1935) in recent decades, certain facets of his thinking continue to puzzle scholars. These include the question of how a thinker nowadays highly regarded for his considerable powers of insight into the music of Bach, Mozart, and Beethoven came to hold views that were bigoted, odious, and militantly German-nationalist. This thesis confronts the issue by recapturing Schenker’s hitherto uncharted engagement with one of the phenomena of modern life that he vocally rejected:

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Dilokkunanant, Komsun. "Strategies for classical music audiences: an exploration of existing practices used by western European art music organizations." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6937.

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Music has been part of human culture since the beginning of civilization. All musical types, styles, and genres are products of different cultures at different times. What we refer to today as Classical Music are the musical compositions written for standard Western European orchestral instruments ranging from solo to chamber music to symphony orchestra. Towards the end of the nineteenth-century classical music gradually came to be seen as "serious" music that required deeper knowledge in order to truly appreciate it. With the rise of the popular music category, classical music itself has beco

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McGinnis, Julie Kay 1959. "German Harmonielehren, 1800-1854: An annotated bibliography with discussion of the societal and technological factors in their development and publication." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/282202.

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As a result of the French Revolution and its aftermath, the early nineteenth century saw substantial social changes in Germany which fueled unprecedented activity in the field of music theory. The more progressive democratic spirit introduced to Germany by early Napoleonic reforms was a major factor in the solidifying of a real class consciousness among the bourgeoisie and, perhaps more importantly, a strong sense of pride in this newly defined identity. This fact helps to explain the increased public interest in the more sophisticated aspects of music such as wazzu music theory, and the found

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Buis, Johann S. "Hindemith and early European music in the United States (1940-53)." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833671.

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Paul Hindemith (1895-1963)--composer, teacher, and performer of early music--was one of the inaugurators of the early music revival in the United States. During his tenure at Yale University (1940-53) Hindemith directed concerts of primarily medieval and Renaissance music in 1941 (Tanglewood), 1945-47 (Yale), 1948 (Yale and the Metropolitan Museum of Art), 1950 (Harvard), 1951 and 1953 (Yale and the Metropolitan Museum of Art). He participated in a concert of 17th-century music at Yale in 1943. The success of these performances gave Hindemith national recognition. He was able to establish thes

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Schiller, R. M. "Traditional Irish music in Berlin : musical exchange in a European context." Thesis, Queen's University Belfast, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419427.

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Rischitelli, Victor Emanuel, and res cand@acu edu au. "Henry Cowell (1897-1965) and the Impact of His First European Tour (1923)." Australian Catholic University. School of Arts and Sciences, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp130.17052007.

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In 1923, American composer and pianist, Henry Cowell (1897-1965) gave his first highly successful concert tour of Europe, playing his own unique compositions. This thesis details this tour and discusses its impact. Considering the enormous impact of Cowell’s tour, it has only been discussed briefly. Cowell performed in many European cities, especially in Vienna, Berlin, Paris and London, achieving positive reviews and some notoriety. I discuss how and why he created such an impact, not only during the tour but also immediately following it, in relation to musical life in Europe and the differe

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Pierce, Kathryn. "THE CORONATION MUSIC OF CHARLES II." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1177601564.

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Books on the topic "European Music"

1

Miguel, Mera, and Burnand David, eds. European film music. Ashgate, 2006.

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Bettina, Bartz, and Nouwens Peter, eds. European music directory 1999. Saur, 1999.

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Bettina, Bartz, and Nouwens Peter, eds. European music directory 1999. Saur, 1999.

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Apel, Willi. Early European keyboard music. Steiner, 1989.

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Schorr-Kon, Sophia. Balance: European hardcore music. Mark Batty Publisher, 2011.

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Neunzig, Hans A. A new European music. Inter Nationes, 1985.

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7

Carlin, Richard. European classical music 1600-1825. Facts on File, 1988.

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Carlin, Richard. European classical music, 1600-1825. Facts on File, 1988.

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9

Henk, Smeijsters, Rogers Penny, and Music Therapy Research Group of the Dutch Association for Creative Therapy., eds. European music therapy research register. Werkgroep Onderzoek Muziektherapie NVKT, 1993.

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Henk, Smeijsters, and Music Therapy Research Group of the Dutch Association for Creative Therapy., eds. European music therapy research register. Werkgroep Onderzoek Muziektherapie NVKT, 1995.

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Book chapters on the topic "European Music"

1

Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "European Village Music." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-12.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Early European Polyphonic Music." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-8.

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Hoskyns, Janet. "Music education and a European dimension." In Teaching Music. Routledge, 2023. http://dx.doi.org/10.4324/9781003419495-15.

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Pearse, D. Linda, and Sandria P. Bouliane. "European Art Music is an Ethnic Music." In Navigating Stylistic Boundaries in the Music History Classroom. Routledge, 2024. http://dx.doi.org/10.4324/9781003415954-3.

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Tsuji, Kinko, and Stefan C. Müller. "Comparison with Non-European Systems." In Physics and Music. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68676-5_5.

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Rink, John. "2.3.4. Music." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxv.35rin.

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This chapter begins by acknowledging the impossibility of capturing musical thought in notational form and by highlighting the concomitant provisionality of music scores. It then considers the creative input required of performers when they bring musical notation “to life” in sound and in time. This leads to a case study on the Polish composer Fryderyk Chopin, for whom the act of notation posed innumerable difficulties not least because he continually reimagined and revised his musical ideas. The chapter as a whole thus challenges any assumptions we might have about the identity and stability

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Rink, John. "2.3.4. Music." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.35.35rin.

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This chapter begins by acknowledging the impossibility of capturing musical thought in notational form and by highlighting the concomitant provisionality of music scores. It then considers the creative input required of performers when they bring musical notation “to life” in sound and in time. This leads to a case study on the Polish composer Fryderyk Chopin, for whom the act of notation posed innumerable difficulties not least because he continually reimagined and revised his musical ideas. The chapter as a whole thus challenges any assumptions we might have about the identity and stability

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Cenedese, Marta-Laura. "Beyond Tolstoy: Music." In Palgrave Studies in Modern European Literature. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44203-3_4.

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Milner, Anthony. "English Contemporary Music." In European Music in the Twentieth Century. Routledge, 2025. https://doi.org/10.4324/9781003645474-8.

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Brindle, Reginald Smith. "Italian Contemporary Music." In European Music in the Twentieth Century. Routledge, 2025. https://doi.org/10.4324/9781003645474-10.

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Conference papers on the topic "European Music"

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Garoufis, Christos, Athanasia Zlatintsi, and Petros Maragos. "Pre-training Music Classification Models via Music Source Separation." In 2024 32nd European Signal Processing Conference (EUSIPCO). IEEE, 2024. http://dx.doi.org/10.23919/eusipco63174.2024.10715105.

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Bayd, Hamza, Patrice Guyot, Benoit Bardy, and Pierre Slangen. "Scoring Synchronization Between Music and Motion: Local vs Global Approaches." In 2024 32nd European Signal Processing Conference (EUSIPCO). IEEE, 2024. http://dx.doi.org/10.23919/eusipco63174.2024.10715297.

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Hakala, Aapo, Trevor Kincy, and Tuomas Virtanen. "Automatic Live Music Song Identification Using Multi-level Deep Sequence Similarity Learning." In 2024 32nd European Signal Processing Conference (EUSIPCO). IEEE, 2024. http://dx.doi.org/10.23919/eusipco63174.2024.10715468.

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Schuller, Christoph. "Modernism – Postmodernism – Anti-Americanism? The Negative Reception of American Minimal Music in West Germany." In Ninth International Conference on Music and Minimalism. Institute of Musicology SASA, 2024. https://doi.org/10.46793/mininters.049s.

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This chapter aims to shed light on reasons for the highly ambivalent reception of American minimalism in West Germany. Starting with reactions to Michael Fahres’s European Minimal Music Project from 1982 on minimalism’s situation in Europe, this chapter elaborates on two reasons for the negative reception of American minimal music in West Germany: the debate of modernism versus postmodernism on the one hand, and European anti-American narratives on the other. A particularly vivid example of the connection between these two misunderstandings is the controversy between Clytus Gottwald and Steve

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Ghaemmaghami, Pouya, and Nicu Sebe. "Brain and music: Music genre classification using brain signals." In 2016 24th European Signal Processing Conference (EUSIPCO). IEEE, 2016. http://dx.doi.org/10.1109/eusipco.2016.7760340.

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Abdallah, Samer, Emmanouil Benetos, Nicolas Gold, Steven Hargreaves, Tillman Weyde, and Daniel Wolff. "Digital music lab: A framework for analysing big music data." In 2016 24th European Signal Processing Conference (EUSIPCO). IEEE, 2016. http://dx.doi.org/10.1109/eusipco.2016.7760422.

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Suzuki, Ryohei, Takashi Watanabe, and Takashi Iba. "Music Composition Patterns: A Pattern Language for Touching Music." In EuroPLop '22: 27th European Conference on Pattern Languages of Programs. ACM, 2022. http://dx.doi.org/10.1145/3551902.3565071.

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Buyens, Wim, Marc Moonen, Jan Wouters, and Bas van Dijk. "A model for music complexity applied to music preprocessing for cochlear implants." In 2017 25th European Signal Processing Conference (EUSIPCO). IEEE, 2017. http://dx.doi.org/10.23919/eusipco.2017.8081352.

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Nuanáin, Cárthach, Esther Lozano, Kadri Steinbach, et al. "A Quantitative Survey of Digital Competencies of Music Teachers in the European Union." In 5th International Special Session on Computer Supported Music Education. SCITEPRESS - Science and Technology Publications, 2024. http://dx.doi.org/10.5220/0012763700003693.

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Sulyok, Csaba, Andrew McPherson, and Christopher Harte. "Corpus-taught Evolutionary Music Composition." In European Conference on Artificial Life 2015. The MIT Press, 2015. http://dx.doi.org/10.7551/978-0-262-33027-5-ch102.

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Reports on the topic "European Music"

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Feller-Simmons, Paul G., and Cesar D. Favila. The Virgin Mary's Essence in New Spanish Song. Society for Seventeenth-Century Music, 2025. https://doi.org/10.53610/bdlm1317.

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This edition features thirteen villancicos transcribed from the Sánchez Garza Collection held in Mexico City’s Centro Nacional de Investigación, Documentación e Información Musical Carlos Chávez (CENIDIM). Their publication provides ensembles music for performance that was originally notated for and performed by women, in this case the nuns of Puebla’s Santísima Trinidad convent. This convent was founded in the seventeenth century in colonial Mexico (New Spain) and left behind the largest collection of women’s notated music from New Spain. The novel organization of this edition, featuring vill

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Ma

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Chaitoo, Ramesh. The Entertainment Sector in CARICOM: Key challenges and Proposals for Action. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0009113.

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Although small in terms of population, the Caribbean is renowned for its creativity. Its cultural diversity is manifested in a variety of artistic expressions including folklore, crafts, performances, music festivals, and carnivals. Despite the Caribbean's great potential in the entertainment sector, important domestic challenges - emanating from both public and private sectors - have long impeded the successful growth of creative industries. The paper explains how the implementation of the Economic Partnership Agreement with the European Union should serve as an impetus for stakeholders in th

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