Relevant bibliographies by topics / Four Rhapsodies

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Four Rhapsodies'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Four Rhapsodies"

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Andrews, Avery D. "Homeric Recitation, with Input from Phonology and Philology." Antichthon 39 (2005): 1–28. http://dx.doi.org/10.1017/s0066477400001532.

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It is widely assumed that the aoidoi, the original performers of Homeric poetry or its antecedents, sang a chant restricted to three or four notes, to the accompaniment of a 4-stringed instrument (Danek and Hagel 1995, Marshall 2002). The prestigious later performers from classical times, the rhapsodes, did not have the instrument, and the vocal characteristics of their performances are quite uncertain. In this paper I will discuss various aspects of a conjectured rhapsodic style, based on the reconstruction of the Ancient Greek pitch accent by Devine and Stephens (1994), together with some co
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Mandzhieva, Bayrta B. "Пролог эпического репертуара джангарчи Давы Шавалиева". Монголоведение (Монгол судлал) 13, № 1 (2021): 134–46. http://dx.doi.org/10.22162/2500-1523-2021-1-134-146.

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Introduction. The article deals with the prologue to the cycle of songs recorded from jangarchi Dava Shavaliev. In 1939, the famous Mongolist A. Burdukov visited Kalmykia and recorded the epic repertoire of Dava Shavaliev that consisted of a prologue and four songs. The songs of Dava Shavaliev recorded by the scholar were not published during the latter’s lifetime. His daughter, Mongolist T. Burdukova, made a copy of her father’s manuscript (March-April 1977). Goals. The work aims to study the prologue as an important compositional part of Dava Shavaliev’s epic repertoire. Results. The latter
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Christodoulides, George. "Acoustic Correlates of Prosodic Boundaries in French A Review of Corpus Data / Correlatos acústicos de fronteiras prosódicas em francês: uma revisão de dados de corpora." REVISTA DE ESTUDOS DA LINGUAGEM 26, no. 4 (2018): 1531. http://dx.doi.org/10.17851/2237-2083.26.4.1531-1549.

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Abstract: In this article we investigate the acoustic correlates of prosodic boundaries in French speech. We compare the prosodic structure annotation performed by experts in two multi-genre corpora (Rhapsodie and LOCAS-F). A uniform analysis procedure is applied to both corpora. The results show that the main acoustic correlates of prosodic boundaries are silent pauses and pre-boundary syllable lengthening. Pitch movements contribute to the perception of boundaries but are essentially correlates of boundary function, rather than boundary strength. Two levels of four-level annotation of bounda
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Campo-Bowen, Christopher. "Bohemian Rhapsodist: Antonín Dvořák's Píseň bohatýrská and the Historiography of Czech Music." 19th-Century Music 40, no. 2 (2016): 159–81. http://dx.doi.org/10.1525/ncm.2016.40.2.159.

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Standard histories of Antonín Dvořák's life have largely ignored his output in the field of the symphonic poem, especially his final work in the genre, Píseň bohatýrská (Heroic Song). Composed in 1897 after four other tone poems explicitly based on poems by the Czech writer and ethnographer Karel Jaromír Erben, this piece features a much more abstract program and depicts the life, travails, and ultimate victory of a Slavonic bardic hero, assumed by many to be the composer himself. It premiered in late 1898 and early 1899 in Vienna and Prague, respectively, inviting mostly favorable reviews and
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Zubay, Péter, Jakob Kunzelmann, András Ittzés, Éva Németh Zámboriné, and Krisztina Szabó. "Allelopathic effects of leachates of Juglans regia L., Populus tremula L. and juglone on germination of temperate zone cultivated medicinal and aromatic plants." Agroforestry Systems 95, no. 2 (2021): 431–42. http://dx.doi.org/10.1007/s10457-020-00572-9.

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AbstractThe environmental benefits of agroforestry systems are well known. However, current knowledge of potential allelopathic interactions is inadequate. The decrease in soil fertility, the increasingly rhapsodic distribution of precipitation, and the special metabolism and cultivation of medicinal and aromatic plants are all harbingers of medicinal-agroforestry systems. The authors aimed to discover the allelopathic effects of Juglans regia L. and Populus tremula L. on germination of medicinal and aromatic plants cultivated in a temperate zone. Accordingly, an in vitro germination trial was
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Dissertations / Theses on the topic "Four Rhapsodies"

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Hwang, So Myung (Sonia). "Stylistic Elements within the Texture and Formal Structure of Ernst von Dohnányi's Four Rhapsodies, op. 11." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28434/.

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Hungarian pianist, composer, conductor, teacher and administrator, Ernst von Dohnányi (Ernö Dohnányi in Hungarian), was considered one of the most versatile musicians and the first architect of Hungary's musical culture in the late nineteenth and early twentieth-century. Dohnányi composed the Four Rhapsodies, op. 11, between 1902 and 1903, and among his many piano compositions, op. 11 are regarded as some of his most substantial works. Without directly imitating the earlier works of Liszt and Brahms, Dohnányi contributed to the rhapsody tradition with op. 11 by using his own unique stylistic c
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Currie, Neil Alan. "Rhapsody for saxophone and orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0026/NQ38874.pdf.

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Dougherty, Ryan. "Rhapsode Metaphor: Understanding the Student-Teacher Relationship in Philosophy for Children." UNF Digital Commons, 2017. https://digitalcommons.unf.edu/etd/757.

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This thesis examines some of the different kinds of metaphors employed in our pedagogical practices. By using the Four Pillars of Philosophy for Children, an alternative metaphor for teaching philosophy is put forth as a viable alternative to the traditional options. This is what we can reasonably call the Rhapsode Metaphor.
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Seligson, Robert Jan. "The Rapsodie for Orchestra and Saxophone by Claude Debussy: a Comparison of Two Performance Editions." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330587/.

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This paper discusses the historical background of the Rapsodie for Orchestra and Saxophone by Claude Debussy and includes a comparison of two piano performance editions. Chapter I includes information on Elise Hall, her work with the Boston Orchestra Club and the circumstances of her commission of Claude Debussy which yielded the Rapsodie. Chapter II discusses the Editions Durand piano reduction and the reasons for its neglect by saxophone performers. This chapter includes a study of the techniques used by Eugene Rousseau to create his arrangement of the Rapsodie for saxophone and piano. The s
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TANG, YA-TING, and 湯雅婷. "A Study on the Knowledge System of the Four Water Settings in the Harmonic Triplets Theory on the Three Rhapsodies of the Yuchi jing." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/5z9as8.

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碩士<br>國立臺北藝術大學<br>建築與文化資產研究所<br>105<br>The Yuchi jing (玉尺經The Jade Ruler Classic) is often considered as the progenitor of the Sanhe fengshui (三合派風水The Fengshui School of the Harmonic Triplets), whose paragraph "Yi Bing jiao er qu Xu, Xin Jen hui er ju Chen, Dou Niu na Geng Ding zhi qi, Jin Yang shou Gui Jia zhi ling (乙丙交而趨戌，辛壬會而聚辰，斗牛納庚丁之氣，金羊收癸甲之靈 )" is frequently quoted in later fengshui classics, which has initiated the discussion on the theory of the Sida shuiju (四大水局the Four Water Settings). The Yuchi jing has numerous rumored authors and hence results in various versions. According to th
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歐政旻. "The discussion of the variety of time signature and the usage of rhythm patterns on Wang Chien Ming 's four pieces of arhu rhapsodies." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/zx527g.

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碩士<br>國立臺南藝術大學<br>中國音樂學系碩士班<br>105<br>The purpose of this study is aim to analyze four pieces of Wang Chien Ming’s arhu rhapsodies and especially research more on time signature and rhythm pattern. We understand about the vitality of music work; therefore, the significant effects are based on whether rhythm and time signature’s work well or not. Wang wants to be different and various than predecessors when he create these four pieces of arhu rhapsody. In other words, if you do things which were already done by others, eventually turns out meaninglessness. Moreover, Wang put lots of efforts on
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Peng, Ting-Yuan, and 彭定源. "The Jiangnan Discourses of Pre-medieval Rhapsodies: Discussion Based on the Songs of Chu, “Rhapsody on Mountain Dwelling,” and “Lament for Jiangnan”." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/77733173888743823319.

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LIN, I.-WEN, and 林怡彣. "The Study of Jewish Spiritual Symbol in Ernest Bloch’s “Jewish Cycle”: Taking Schelomo, Rhapsodie Hébraïque for Cello Solo and Large Orchestra for Example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/69vx3j.

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博士<br>輔仁大學<br>音樂學系<br>107<br>The "Jewish Circle" of Ernest Bloch (1880-1959) is a collection of seven works, including vocals, chamber music and orchestral works. Because of his awakening of Jewish spiritual and the experience of faith. He entered the four-year Jewish series and placed some trait of the Jewish symbol and elements into the music from 1912 to 1916. These elements include intervals, melody, harmony materials, scale materials, rhythm materials, Shofar like sounds, decorative improvisations, etc. Bloch also trying to add the other twentieth century creative trend in his music after
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WU, MENG-HSUAN, and 吳孟璇. "An Analysis of Character Pieces by Eugène Bozza’s - Taking《Fantaisie Italienne for Clarinet and Piano》and 《Rhapsodie Niçoise for Clarinet and Piano》as Examples." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/97s5wu.

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碩士<br>國立臺南大學<br>音樂學系碩士在職專班<br>106<br>Eugène Bozza, a great twentieth-century French composer, composed an number of character pieces for woodwinds. His music style was elegant and delicate, and inherited rich coloristic characteristics from French music. The splendid operatic elements applied in Bozza’s music were derived from his background of Italian family. Along with the biography and the compositional style of Bozza, the study analyzes the formal structures and other music elements on both《Fantaisie Italienne for Clarinet and Piano》and《Rhapsodie Niçoise for Clarinet and Piano》. Using the
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Books on the topic "Four Rhapsodies"

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Álvarez, Marco Antonio Santamaría. The Sceptre and the Sickle. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198767206.003.0007.

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The Orphic Hieros Logos in Twenty Four Rhapsodies is one of the last Greek theogonies dating between the late Hellenistic and early Imperial era. The chapter seeks to analyse the way in which divine power is transmitted through six subsequent divine kingships, from Uranus to Dionysus, in the Rhapsodies. In doing so, it argues for a series of significant theological innovations in comparison to both Hesiod’s Theogony and previous Orphic theogonies (Derveni papyrus). The main novelty is that the violent transmission (as symbolized by the sickle) is complemented by the voluntary and pacific trans
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Braae, Nick. Rock and Rhapsodies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.001.0001.

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Rock and Rhapsodies is the first book-length musicological study of British rock band Queen. It primarily addresses the material written, recorded, and released between 1973 and 1991. The text provides readers with a nuanced analytical account of the group’s songs and illuminates the varied stylistic and historical contexts in which Queen’s music was created. The key conceptual basis for the analysis is an idiolect, which refers to the distinct musical style of a single artist. Having documented the key features of Queen’s idiolect, the book further explores the nature of specific musical char
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Folch, Marcus. Plato’s Hesiods. Edited by Alexander C. Loney and Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.23.

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This chapter surveys Hesiodic reception in fourth-century bce prose, with emphasis on Plato and especially the Laws. Passages of the Laws are read in context and used to illuminate the status of Hesiodic poetry in the fourth century. Topics discussed include rhapsodic performance, Hesiod’s relationship to Homer, study of Hesiodic poetry in schools, the fourth-century manuscript tradition, citation of Hesiod’s poems in conversation and Athenian courtrooms, and the politics of Hesiodic quotation. Whether understood as part of the rhapsode’s canon, a gnomic poet, a proto-sophist or proto-philosop
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Dohnanyl, Erno. Complete Rhapsodies and Other Works for Solo Piano. Dover Publications, 1999.

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Fung, Vivian. Rhapsody for trumpet and piano (1995). 1995.

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Marmodoro, Anna, and Irini-Fotini Viltanioti, eds. Divine Powers in Late Antiquity. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198767206.001.0001.

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What are divine powers? What is their relation to divine nature? Is power the essence of divinity, or are divine powers distinct from divine essence? Are they divine hypostases or are they divine attributes? How are they manifested? In what do their differ from the physical powers we find instantiated in nature? In which way, if at all, can they be apprehended by our limited cognitive capacities? The twelve chapters in this volume examine the way in which such and suchlike questions were addressed in the philosophical and theological debates that took place in a broad geographical spectrum, ex
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Romantic Rhapsodies, Book 2: For Intermediate/Late Intemediate Piano (Composers in Focus). The FJH Music Co., 2003.

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Meisner, Dwayne A. Orphic Traditions and the Birth of the Gods. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190663520.001.0001.

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Orphic Tradition and the Birth of the Gods is a literary history that attempts to reconstruct the fragments of four theogonies that were attributed to the legendary singer Orpheus: the Derveni, Eudemian, Hieronyman, and Rhapsodic Theogonies. Most modern scholars have described these poems as if they were similar to Hesiod’s Theogony—lengthy chronological accounts of the births of the gods from the beginning of time to the present—but this book suggests that a better model for understanding how these poems were composed is to see each of them as an individual product of bricolage (as explained
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Sassi, Maria Michela. The Beginnings of Philosophy in Greece. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691180502.001.0001.

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How can we talk about the beginnings of philosophy today? How can we avoid the conventional opposition of mythology and the dawn of reason and instead explore the multiple styles of thought that emerged between them? This book, available in English for the first time, reconstructs the intellectual world of the early Greek “Presocratics” to provide a richer understanding of the roots of what used to be called “the Greek miracle.” The beginnings of the long process leading to philosophy were characterized by intellectual diversity and geographic polycentrism. In the sixth and fifth centuries BC,
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Book chapters on the topic "Four Rhapsodies"

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Lacheret-Dujour, Anne, Paola Pietrandrea, Olivier Baude, Nicolas Obin, Anne-Catherine Simon, and Atanas Tchobanov. "Chapter 1. Collecting data for the Rhapsodie treebank." In Studies in Corpus Linguistics. John Benjamins Publishing Company, 2019. http://dx.doi.org/10.1075/scl.89.02lac.

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Martin, Philippe. "Chapter 14. Tools for fundamental frequency estimation in Rhapsodie." In Studies in Corpus Linguistics. John Benjamins Publishing Company, 2019. http://dx.doi.org/10.1075/scl.89.15mar.

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Laurìa, Antonio, Valbona Flora, and Kamela Guza. "The Mountain Village of Razëm." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-175-4.02.

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Part II of the book focusses on Razëm, a hamlet of the mountain village of Vrith, in the Municipality of Malësi e Madhe. Razëm lies within the Regional Natural Park of Shkrel and is considered the “gateway” to the Western Albanian Alps. The evocative landscape, the quality of the air and the proximity to Shkodër have transformed Razëm into a proper tourist resort. In the first chapters, the importance of the intangible heritage is stressed. The quality of the typical products and of the culinary tradition, the rhapsodic chants based on the Eposi i Kreshnikëve, the tradition of the customary law based on the Kanun code, the religious festivities and the xhubleta (as a most significant feature of local craftsmanship) are some of the issues addressed. In the following chapters, the multiple aspects of the tangible heritage are analysed. Here, the quality of the natural and pastoral landscape – characterised by alpine pastures and typical hut settlements –, together with the building tradition of the area, is highlighted. A special attention is dedicated to a complex of villas built by the rich bourgeoisie from Shkodër during the Twenties and Thirties, a unique phenomenon that deserves a proper in-depth study. For each of the aforementioned issues, the theoretical and historical analysis are closely bound to an evaluation of those features of the cultural heritage that could be enhanced to guarantee a sustainable tourism development of the area. Each chapter ends with a consistent set of specific intervention strategies. They are substantive tools for action aimed at public and private local actors.
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Braae, Nick. "Freddie Mercury." In Rock and Rhapsodies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0006.

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This chapter analyses and interprets the singing of Freddie Mercury. It is argued that the singer utilised four predominant voice types—powerful, gritty, sincere, exaggerated—which were defined by combinations of vocal techniques. These voice types often aligned with stylistic contexts but were also utilised to emphasise the structural dynamics of songs, such as moving from a lighter tone (e.g. sincere) to a powerful tone at the onset of a pre-chorus. Furthermore, Mercury’s deployment of these voice types in incongruous stylistic contexts (e.g. a breathy tone in a hard rock song), along with the ambiguity as to whether he possessed a ‘true’ voice, may be read as queer vocal strategies that challenge heteronormative conventions of male rock singing. It is argued that his vocal aesthetic was influenced by Liza Minnelli and Marilyn Monroe—theatrical voices—which underscores his ability to present a distinct performance identity.
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Meisner, Dwayne A. "The Rhapsodies." In Orphic Traditions and the Birth of the Gods. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190663520.003.0005.

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After introducing general matters concerning the Rhapsodies in the first section, this chapter questions in the second section Radcliffe Edmonds’ argument that the Rhapsodies were not a continuous Rhapsodic theogony but a Rhapsodic collection of separate poems, and finds evidence for both points of view, but concludes that the collection must have contained a Rhapsodic narrative. Thus, the following sections discuss this theogonic narrative episode by episode, attempting to disentangle a reconstruction of the narrative from the allegories applied to the text by the Neoplatonists who preserved these fragments. This includes a discussion of the presentation of Chronos and Phanes as preserved by the Neoplatonists, the question of whether there was one Night or three in the Rhapsodies, the Rhapsodic version of the core succession myth, and the episode of Zeus swallowing Phanes, which includes the Rhapsodic version of the Orphic Hymn to Zeus.
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Braae, Nick. "Introduction." In Rock and Rhapsodies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0001.

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This chapter presents an overview of the popular music literature that has addressed the music of Queen. It is argued that authors have previously been limited in their analysis of Queen’s style because of lacking methodological frameworks. Having introduced and established the concept of idiolect, a specific distinction is drawn between compositional strategies and sonic patterns, which account for the different types of shared characteristics across the band’s output. These ideas are supported through the application of Wittgenstein’s model of ‘family resemblance’, suggesting that some tracks share more resemblances with others, yet they remain part of, and contribute to the overall ‘family’ of Queen’s output. This approach to idiolect is extended to consider how individual tracks are also connected to wider styles, thereby establishing the wider dual framework for subsequent analyses.
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"Index for the Orphic Rhapsodies." In Defining Orphism. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110678451-010.

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Braae, Nick. "Queen’s Jubilee." In Rock and Rhapsodies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0011.

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Queen’s final album before Mercury’s death was widely viewed as a return to Queen’s distinct style, and also includes a number of reflective lyrics that were likely written with knowledge of the singer’s ill health. It is demonstrated how the title track embodies the idiolect principles of Queen’s 1970s output in terms of exploring new stylistic ground, while staying rooted in the familiar textural and arrangement patterns. Drawing on Said and Straus, Innuendo can be viewed as reflecting a ‘late style’ for Queen, but one that is defined by a retreat to a past musical style of their own, in contrast to other conceptions of this aesthetic defined in relation to classical composers.
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Braae, Nick. "Artistic Craft and Crafted Artistry." In Rock and Rhapsodies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0003.

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This chapter presents three common strategies that account for the structures of Queen’s songs: conventional templates (such as AABA or Verse-Chorus), conventional templates with added material (such as Verse-Chorus with two bridge sections), and episodic (irregular sequence of multiple sections). These types of forms appear in relatively equal measure and with relative consistency across Queen’s output. Beyond these strategies, it is argued that Queen’s approach to form may be understood as balancing ‘artistic’ and ‘craft’ techniques, drawing on Covach’s analysis of The Beatles. Songs with simple structures are often imbued with modulations or other rich harmonic devices; songs with more complex structures still retain a strong sense of tonal security and phrase regularity. Queen is thus positioned in the middle of pop and progressive compositional aesthetics from the 1970s.
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Braae, Nick. "Was It All Worth It? Queen in the 1980s." In Rock and Rhapsodies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0010.

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Queen’s albums in the 1980s were received with mixed reactions by critics, and such reactions present a clear historiographical narrative: a downturn with Hot Space, followed by a return to mediocre hard rock from The Works onwards. This chapter considers how the themes of these receptions relate to musical details. It is argued that the disparaging of Hot Space rests on Queen altering the instrumental structures of their songs compared with their idiolect of the previous decade. By comparison, the later albums return to this sound-world, but with repetitive harmonic and rhythmic formulae, such that there is a lack of variety in the newer hard rock songs. The chapter closes with a reading of the 1989 track ‘Was It All Worth It?’ which aims to emulate a ‘classic’ Queen song from the 1970s, but appears jumbled and structurally incoherent, an apt metaphor for the band in the 1980s.
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