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Journal articles on the topic 'Humanities -> music -> classical'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Bull, Anna, and Christina Scharff. "Classical music as genre: Hierarchies of value within freelance classical musicians’ discourses." European Journal of Cultural Studies 24, no. 3 (2021): 673–89. http://dx.doi.org/10.1177/13675494211006094.

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In music studies, genre theory has primarily been used to study popular music rather than classical music. This article demonstrates how genre theory can be applied to studying classical music production in order to understand how its value is negotiated and reproduced. Drawing on data from interviews with early-career female classical musicians in London, it explores discourses of classical music as a genre in order to understand how genre shapes working lives. We identify three themes within the data: first, genre hierarchies contribute to the (re-)production of divisions of labour, in ways

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Dobrota, Snježana, and Ina Reić Ercegovac. "Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia." British Journal of Music Education 34, no. 1 (2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.

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The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relatio

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López de Aguileta, Ane, Marifa Salceda, Sandra Girbés-Peco, Juan Carlos Peña-Axt, and Marta Soler-Gallart. "Democratizing Taste on Classical Music for All." Qualitative Research in Education 12, no. 3 (2023): 236–51. http://dx.doi.org/10.17583/qre.13395.

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The right of every citizen to access cultural heritage, such as classical music, has been widely pointed out by international organizations. However, there are certain barriers that impede members of vulnerable groups from enjoying the benefits of this type of music, namely cultural elitism. Some authors have stated that the taste for classical music depends on the social class. Nevertheless, our research has found evidence that demonstrates that it is not so in nine different contexts. We present here results of Dialogic Music Gatherings (DMG), that demonstrate that everyone can enjoy classic

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G., E., and Bonnie C. Wade. "Music in India: The Classical Traditions." Journal of the American Oriental Society 110, no. 1 (1990): 178. http://dx.doi.org/10.2307/604000.

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Li, Ang. "Historical Evolution of the Popularization of Classical Music and the Development of the Fusion of Multiple Musical Styles." Herança 7, no. 1 (2023): 113–25. http://dx.doi.org/10.52152/heranca.v7i1.810.

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The historical evolution of classical music and its fusion with different musical genres is an important phenomenon in the field of music. The aim of this thesis is to explore the historical evolution of the popularization of classical music and its fusion with a variety of musical genres. First, we define the characteristics of classical and popular music. Then, we examine the development of classical music in the history of popular music, including its relationship to blues, jazz, and American country music. Next, we summarize the history of the fusion of classical and popular music and anal

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Vernia Carrasco, Ana Mercedes. "INTERVIEW ROIT FELDENKREIS." ARTSEDUCA 29, no. 29 (2021): 107–10. http://dx.doi.org/10.6035/artseduca.2021.29.8.

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    Roit Feldenkreis started in the arena of classical music in the “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical S

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Casali, Giovanna. "Ancient tragedy, yet modern music: musical compositions in the classical performances (1921–39)." Classical Receptions Journal 16, no. 1 (2024): 73–90. http://dx.doi.org/10.1093/crj/clad027.

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Abstract This contribution aims to analyse the role of music in the revival of Greek theatre that characterized twentieth-century Italy. In particular, it explores and compares the music composed for INDA productions between 1921 and 1939. From the beginning of the festival, music occupied a crucial role, thanks to Ettore Romagnoli’s emphasis on the musical component in reviving ancient Greek drama. The years from 1921 to 1927 were characterized by the collaboration between Romagnoli and Giuseppe Mulè, who attempted to revive ancient Greek music according to modern criteria. By 1930, the festi

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Shylnikova, Iryna. "Classical Crossover and Its Russian and Ukrainian Interpretations." Pamiętnik Teatralny 72, no. 2 (2023): 115–29. http://dx.doi.org/10.36744/pt.1287.

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This article aims to explore the phenomenon of “classical crossover,” a contemporary music trend that blends “high” and “low” elements. In addition to analyzing the genre’s main features and cultural preconditions for its emergence, the article will examine its historical origins and development. The second part of the article focuses on examples of classical crossover in Russian and Ukrainian music, with an analysis of several artists who have ventured into this new type of production, including the Terem Quartet, Anna Netrebko, Olga Chubareva, and Arina Domski. By applying historical and cul

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Barratt-Peacock, Ruth. "Aspirational cosmopolitanism in classical music anime: Adapting Romantic legacies in Forest of Piano." East Asian Journal of Popular Culture 8, no. 1 (2022): 9–26. http://dx.doi.org/10.1386/eapc_00060_1.

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This article argues that anime about musicians specializing in western classical music offers a vehicle for questioning normative narratives that tend to exclude East Asian musicians from classical music culture beyond tertiary education. This article explores how the series Forest of Piano, the 2018 anime adaptation of Makoto Isshiki’s manga, utilizes competing Romantic models of genius to negotiate the protagonists’ positions as East Asian musicians on the global stage. In the series, the idea that the spirit of a piece is bound to the composer’s relationship to a specific place competes wit

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Salamone, Frank A. "Jazz and Its Impact on European Classical Music." Journal of Popular Culture 38, no. 4 (2005): 732–43. http://dx.doi.org/10.1111/j.0022-3840.2005.00138.x.

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11

Song, Shuailong, and Patrick Niñalga Leo. "Improvement of Hebei College Students' Understanding of Haydn's Trumpet Concerto in E Flat Major." International Journal of Social Science and Humanities Research 12, no. 1 (2024): 150–58. https://doi.org/10.5281/zenodo.10695592.

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<strong>Abstract:</strong><em> </em>This thesis investigates the enhancement of Hebei College students' comprehension of Haydn's Trumpet Concerto in E-flat Major, focusing on strategies to improve music cognition and appreciation. The study delves into the realm of music education and cognitive theories, aiming to address challenges in understanding classical compositions among students. By utilizing a mixed-methods approach, including surveys, interviews, and music analysis, the research analyzes the effectiveness of various educational methodologies in fostering a deeper grasp of the intrica

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Nagel, Julie Jaffee. "Memory Slip: Stage Fright and Performing Musicians." Journal of the American Psychoanalytic Association 66, no. 4 (2018): 679–700. http://dx.doi.org/10.1177/0003065118795432.

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This paper discusses stage fright as seen primarily in classical music performers. A confluence of narcissistic sensitivities, developmental issues, shame dynamics, physical injury and pain, and terrors pertaining to both psychic and bodily disintegration can fuel anxiety reactions in many people but hold particular relevance for the performing musician. Two classical music performers who struggled with stage fright are discussed: one was in treatment with the author; the other is the author herself, reflecting on her own performance anxiety as revealed through her analysis and her countertran

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Scott, E. K. Ellington, and Jonas Braasch. "Computational aspects of real-time auralizations of jazz venues." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A280. http://dx.doi.org/10.1121/10.0023524.

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Historically, architectural acoustics has focused on concert halls for European Classical music, even though other genres, including rock, blues, and Jazz, have large groups of followers as well. Additionally, the acoustic requirements for European Classical music differ fundamentally from Jazz and other music. For example, Jazz venues are typically smaller and dryer than a traditional European Classical concert hall. A recent survey showed that reverberation in these venues plays a secondary role to parameters that describe the affordance of a space to allow communication between improvising

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DEMİRTAŞ, YAVUZ. "İSMAİL DEDE EFENDİ VE HOCA ZEKAİ DEDE ÜZERİNE BİR DEĞERLENDİRME." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 103 (September 20, 2022): 157–70. http://dx.doi.org/10.34189/hbv.103.007.

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İsmail Dede and Zekāi Dede are two great musicians who have contributed to the enrichment of the Classical Turkish Music Repertoire with their many works in many genres. They have been at the forefront of the main sources from which this repertoire has survived to the present day. Although there are many people with the title of “Dede” in Classical Turkish Music, the only person known as “Dede Efendi” is İsmail Dede who left his mark on the first half of the 19th century; Zekāi Dede, on the other hand, left his mark on the second half of the century as one of the few people known as “Hodja” (H

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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (1994): 533–43. http://dx.doi.org/10.2307/1161372.

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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as

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Robertson, David. "Listening to the Now." Daedalus 142, no. 4 (2013): 38–44. http://dx.doi.org/10.1162/daed_a_00241.

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The future of classical music is almost universally thought bleak. Attendance figures are dropping, and some even question whether it is possible to write new classical music that concertgoers will be able to appreciate. This essay locates the origins of such doomsday prophecy in unquestioned assumptions and seeks to establish just the opposite: that classical music is alive and vibrant, that new creative horizons are constantly opening up, and that audiences will actually enjoy many contemporary classical compositions. The key is to present these unfamiliar works as they are understood by the

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Dance, Stephen, and Eric Ballestero. "Feasibility study for the hearing assessment of classical music student using Otoacoustic Emissions." Journal of the Acoustical Society of America 151, no. 4 (2022): A256. http://dx.doi.org/10.1121/10.0011242.

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Since the introduction and enforcement of the Control of Noise at Work Regulations in 2008 continuing research has been undertaken on five thousand students of the Royal Academy of Music to understand their hearing acuity. Standard audiometric screening methods were employed for both entry and exit testing. It was established that the music students obtained results that in over 50% of cases presented negative hearing losses as compared against the Health and Safety Executive categories. This presented an interesting problem which has now been addressed in an attempt to understand the hearing

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Yamada, Masashi. "Continuous features of emotion in classical, popular, and game music." Journal of the Acoustical Society of America 133, no. 5 (2013): 3616. http://dx.doi.org/10.1121/1.4806750.

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Teniswood-Harvey, Arabella. "Presence, absence, distance and intimacy: How do virtual classical music concerts rate against the wonders of the musical metaverse?" Virtual Creativity 13, no. 1 (2023): 29–47. http://dx.doi.org/10.1386/vcr_00073_1.

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Disruptions to live performance caused by the recent pandemic have fuelled a surge in virtual concerts, impacting both classical and popular music. This article explores ways in which audio-visual media have been used during the pandemic to maintain the live performance of classical music, through comparison with recent examples of virtual creativity in popular music (including performances by virtual artists in virtual spaces, Vocaloid and holographic concerts). Insights into audience experience are revealed: the benefits of engaging with music performance through online platforms include opp

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20

Alshi, Pravin R. "Recent Trends in Research & Innovation Technology in Arts, Humanities and Culture In Connection with Indian Classical Music." International Journal of Advance and Applied Research 4, no. 36 (2023): 4–9. https://doi.org/10.5281/zenodo.10333648.

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<strong>Abstract:</strong>Changing trends in performing arts rarely manifest themselves with dramatic abruptness. More often than not, they creep up silently, diverting the flow of continuing traditions and practices stealthily but resolutely. As the relentless tidal wave of globalisation swept across the world in the last two decades, Indian performing arts too were swept, tossed high and hurled down, without many even noticing that some of the great rivers of performing traditions and systems had changed course or, at times, been reined in forcefully. Looking back on some of these changes, p

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Isaksen, Leif, Elton Barker, Eric C. Kansa, and Kate Byrne. "GAP: A NeoGeo Approach to Classical Resources." Leonardo 45, no. 1 (2012): 82–83. http://dx.doi.org/10.1162/leon_a_00343.

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Google Ancient Places (GAP) is a Google Digital Humanities Award recipient that will mine the Google Books corpus for classical material that has a strong geographic and historical basis. GAP will allow scholars, students, and enthusiasts world-wide to query the Google Books corpus to ask for books related to a geographic location or to ask for the locations referred to in a classical text. The traditional difficulty of identifying place names will be overcome by using a combination of URI-based gazetteers and an identification algorithm that associates the linear clustering of places within n

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Bulut, Mustafa Hilmi, Chi-Keung Victor Fung, Lisa J. Lehmberg, et al. "Varied Musical Experiences and Openness of University Students in Turkey and the United States." SAGE Open 12, no. 4 (2022): 215824402211394. http://dx.doi.org/10.1177/21582440221139468.

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The personality trait of openness has been shown to contribute to a person’s ability to function effectively. Additionally, scholars have suggested that openness to experience and foreign language experience were related to music preference. Extending from earlier scholarship, this study examined the relationship between openness to experience and the various types of musical and language experiences reported by undergraduate music majors in Turkey and the United States. Participants ( N = 380) were surveyed using the Openness to Experience domain of the NEO-PI-R and an author-designed survey

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Park, Yongsung, Peter Gerstoft, and Jeung-Hoon Lee. "Difference-frequency MUSIC for beamforming." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A56. http://dx.doi.org/10.1121/10.0018148.

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A beamforming method is derived to estimate direction-of-arrivals (DOAs) for high-frequency sources. The algorithm uses multiple frequencies and their difference frequencies (DFs). Due to the DFs below the aliasing frequency, the method mitigates spatial aliasing. DF-processing has been applied previously to the conventional beamforming [Abadi et al., J.Acoust. Soc. Am., 132(5):3018–3029, 2012]. The proposed method uses a classical beamformer, MUSIC, which is a subspace method. The MUSIC shows sharp peaks in the beamforming spectrum and high-resolution. The DF-MUSIC integrates data samples int

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Basu, Medha, SHANKHA SANYAL, Archi Banerjee, Kumardeb Banerjee, and Dipak Ghosh. "Does musical training affect neuro-cognition of emotions? An EEG study with instrumental Indian classical music." Journal of the Acoustical Society of America 151, no. 4 (2022): A60. http://dx.doi.org/10.1121/10.0010655.

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Music across all genres evokes a variety of emotions, irrespective of its timbre and tempo. Indian classical music (ICM) is no exception. Although being biased towards vocal musical styles, instrumental music forms one broad section of ICM. In this study, we have tried to compare the neural responses of music practitioners and non-musicians towards different emotions using audio clips from two popular plucked string instruments used in ICM, Sitar and Sarod. From pre-recorded performances of two eminent maestros, 20 clips of approximately 30 s duration were selected from the Alaap sections (ini

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Prasad, M. G., V. K. Raman, and Rama Jagadishan. "Various acoustical aspects of an Asian (South) Indian classical music concert." Journal of the Acoustical Society of America 120, no. 5 (2006): 3237. http://dx.doi.org/10.1121/1.4788248.

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Poulos, Panagiotis. "Rethinking Orality in Turkish Classical Music: A Genealogy of Contemporary Musical Assemblages." Middle East Journal of Culture and Communication 4, no. 2 (2011): 164–83. http://dx.doi.org/10.1163/187398611x571337.

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AbstractThis article examines the tensions surrounding the status of the Ottoman musical heritage in the context of Turkey's modernizing program, through the study of the transformation of the oral transmission process of music, from the late Ottoman through the Republican period. Employing the concept of mediation, this study aims to underline the complexities of the contemporary creative process in Turkish classical music, as a means of challenging simplistic readings of the relation between Turkish modernity and music, based on binary oppositions such as orality-literacy. Instead, this arti

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Rodríguez-Bailón, Rosa, Josefa Ruiz, and Miguel Moya. "The Impact of Music on Automatically Activated Attitudes: Flamenco and Gypsy People." Group Processes & Intergroup Relations 12, no. 3 (2009): 381–96. http://dx.doi.org/10.1177/1368430209102849.

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The two studies reported in this article agree in demonstrating that activating a positive side of the stereotype of a traditionally prejudiced group could be a useful strategy to improve the implicit attitude toward that group. The goal of the current research was to explore whether activating the present association between Flamenco music and Gypsy people would decrease the negative view of this group in Spain, using the IAT measure. In the first study, when a stereotype-consistent but positive feature of Gypsies (i.e. Flamenco music) was used as a positively valued attribute in the IAT meas

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Ojala, Juha. "On Subjectivity and Objectivity in the Semiotic Inquiry of Music." Roczniki Humanistyczne 72, no. 12 Zeszyt specjalny (2024): 45–57. http://dx.doi.org/10.18290/rh247212sp.4.

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This article juxtaposes the subjective and the objective in the study of musical signification. It makes an attempt at a vicious core problem of notions that are general in their essence and prevalence. The interest is driven by general trends challenging the position of research in music, semiotics, and humanities. The problem persists, for instance, in Western art music (WAM), where the performer has the task of assessing the composer’s objectives and mediating them, but with a subjective interpretation, for the breadth of the audience to experience. The gist is that the juxtaposition is a f

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ARNOLD-FORSTER, TOM. "Dr. Billy Taylor, “America's Classical Music,” and the Role of the Jazz Ambassador." Journal of American Studies 51, no. 1 (2016): 117–39. http://dx.doi.org/10.1017/s0021875815002662.

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The idea of jazz as “America's classical music” has become a powerful way of defining the music, asserting its national and artistic value, and shaping its scholarly study. The present article provides a history of this idea through a close analysis of its primary theorist and most visible spokesperson, Dr. Billy Taylor. It argues that the idea was not a neoclassical and conservative product of the 1980s, but had important roots in the Black Arts imperatives of the later 1960s and early 1970s. It suggests that Taylor initially made the idea work inventively and productively in a variety of con

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Chowdhuri, Sauhaarda. "PhonoNet: Multi-stage deep learning for raga preservation in hindustani classical music." Journal of the Acoustical Society of America 146, no. 4 (2019): 2947. http://dx.doi.org/10.1121/1.5137236.

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Sanyal, Shankha, Archi Banerjee, Dipak Ghosh, and Samir Karmakar. "Emotions from musical notes? A psycho-acoustic exploration with Indian classical music." Journal of the Acoustical Society of America 148, no. 4 (2020): 2700. http://dx.doi.org/10.1121/1.5147479.

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Chapman, Janice. "Priorities in developing the young adult classical singer at music college." Logopedics Phoniatrics Vocology 36, no. 1 (2010): 28–31. http://dx.doi.org/10.3109/14015439.2010.530987.

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Zepidou, Georgia, Stephen Dance, and Salvador Morant. "Noise induced hearing loss amongst classical music students ‐ An audiometry study of students of the Royal Academy of Music." Journal of the Acoustical Society of America 123, no. 5 (2008): 3795. http://dx.doi.org/10.1121/1.2935472.

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Gularnupong, Karn, and Ampai Buranaprapuk. "Influences of Béla Bartók’s Piano Compositions on Alberto Ginastera’s Piano Music." MANUSYA: Journal of Humanities 25, no. 1 (2022): 41–62. http://dx.doi.org/10.1163/26659077-25010003.

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Abstract This study seeks to reveal the musical relationship between Bartók’s and Ginastera’s piano compositions, showing stylistic conceptualizations of twentieth-century Western art music which held many interesting musical aspects, specifically in the classical piano repertoire. This musicological research employs stylistic analysis and theoretical analysis to shed some light on Bartók’s and Ginastera’s piano music vocabulary. Following this methodology, it is revealed that Ginastera’s compositional language was very much influenced by the highly unique characteristics of Bartók’s. Such cha

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Schicker, Juliane. "The Concert Hall as Agonistic Public Space: The Gewandhaus in Leipzig." New German Critique 49, no. 2 (2022): 77–106. http://dx.doi.org/10.1215/0094033x-9734819.

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This article deals with questions of the sociopolitical involvement of classical music performance spaces. During the last twenty years of the German Democratic Republic (GDR), the Gewandhaus in Leipzig provided opportunities for its users to emancipate themselves from Socialist Unity Party oppression. Through its architecture, music, and visual art, the Gewandhaus symbolized an agonistic space that aided in disrupting its sociopolitical surroundings, because it made visible what real-existing socialism was lacking: unity, openness, transparency, and internationality. Examining how the Gewandh

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Bain, Paula Clarke. "A melodic interlude: key notes for indexing books about music." Indexer 42, no. 1 (2024): 5–18. http://dx.doi.org/10.3828/index.2023.53.

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There is much to enjoy about composing indexes to books on music, but they can present a suite of different challenges. In this article, based on her presentation to the 2023 conference of the Indexing Society of Canada/Société canadienne d’indexation (ISC/SCI), Paula Clarke Bain shares her experience and tips on indexing several types of musical books, including scholarly works on classical music, and trade biographies/memoirs of contemporary pop/rock stars, offering insight into how to fine-tune your practice when indexing such materials.

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Edidin, Aron. "Playing Bach His Way: Historical Authenticity, Personal Authenticity, and the Performance of Classical Music." Journal of Aesthetic Education 32, no. 4 (1998): 79. http://dx.doi.org/10.2307/3333387.

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Weidman, Amanda. "Gender and the Politics of Voice: Colonial Modernity and Classical Music in South India." Cultural Anthropology 18, no. 2 (2003): 194–232. http://dx.doi.org/10.1525/can.2003.18.2.194.

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Echternach, Matthias, Fabian Burk, Jonas Kirsch, et al. "Articulatory and acoustic differences between lyric and dramatic singing in Western classical music." Journal of the Acoustical Society of America 155, no. 4 (2024): 2659–69. http://dx.doi.org/10.1121/10.0025751.

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Within the realm of voice classification, singers could be sub-categorized by the weight of their repertoire, the so-called “singer's Fach.” However, the opposite pole terms “lyric” and “dramatic” singing are not yet well defined by their acoustic and articulatory characteristics. Nine professional singers of different singers' Fach were asked to sing a diatonic scale on the vowel /a/, first in what the singers considered as lyric and second in what they considered as dramatic. Image recording was performed using real time magnetic resonance imaging (MRI) with 25 frames/s, and the audio signal

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Miura, Masanobu, Norio Emura, and Masuzo Yanagida. "An integrated system for learning musical theories from western classical and popular music." Journal of the Acoustical Society of America 120, no. 5 (2006): 3071–72. http://dx.doi.org/10.1121/1.4787373.

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Ahn, Si-hyeon. "A Study of the State of Applied Musicology Research －Focusing on Domestic Doctoral Thesis－." Korean Society of Human and Nature 5, no. 1 (2024): 331–63. http://dx.doi.org/10.54913/hn.2024.5.1.331.

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This thesis aims to establish foundational data for the field of applied musicology, with a focus on research conducted on practical music in Korea. To accomplish this, an analysis was conducted on the current status of doctoral dissertations related to practical music, categorizing them into practical and popular music. The Department of Applied Music in Korean universities was established in 1988. Although a doctoral program was introduced in 2003, research papers on applied music were not prevalent. There are over 1,500 theses and dissertations related to applied music stored in the Nationa

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Markham, Benjamin E., and Jonah Sacks. "Recital halls for K-12, higher education, and community music education: A trio of case studies." Journal of the Acoustical Society of America 151, no. 4 (2022): A236. http://dx.doi.org/10.1121/10.0011176.

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The recital halls at Deerfield Academy, UMass Boston, and the Brattleboro Music Center each play a critical role at the center of the music education programs at these institutions. Deerfield's 160-seat Elizabeth Wachsman Concert Hall, at the independent high school's Hess Center for the Arts, is both intimate and warmly resonant, and features adjustable curtains at the stage to suit varying repertoire for rehearsal and performance, particularly of Deerfield's student music ensembles. The 150-seat recital hall at UMass Boston's University Hall serves an even wider array of ensembles, from clas

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Turvey, Malcolm. "Introduction: A Return to Classical Film Theory?" October 148 (May 2014): 3–4. http://dx.doi.org/10.1162/octo_e_00180.

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When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called “classical” film theories—by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic film theorizing in the late ′60s—were either ignored or rejected as naive and outmoded. Due to the influence of the Left on the first generation of film

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Greenspan, Charlotte. "Hollywood as Music Museum & Patron: Bringing Various Musical Styles to a Wide Audience." Daedalus 142, no. 4 (2013): 73–81. http://dx.doi.org/10.1162/daed_a_00235.

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The role of Hollywood films in holding up a mirror–albeit sometimes a distorted one–to the American public is indisputable. Less discussed is their role in bringing a wide range of music–popular, classical, jazz, avant-garde, ethnic–to an unsuspecting audience. Whether the music is in the foreground, as in biographical movies about composers, for example, or in the background supporting the narrative, watching a movie educates the viewers' ears. Indeed, the role of movies in widening the public's aural palate has parallels with the role of art museums in broadening the public's visual taste. T

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Repp, Bruno H. "Further tests of “composers' pulses” in computer performances of piano music from the classical period." Journal of the Acoustical Society of America 85, S1 (1989): S66. http://dx.doi.org/10.1121/1.2027088.

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Sacks, Jonah, and Benjamin E. Markham. "Modifying a recital hall to extend its range of use: A case study." Journal of the Acoustical Society of America 151, no. 4 (2022): A236. http://dx.doi.org/10.1121/10.0011177.

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Rosen Concert Hall, in the Broyhill Music Center at the Appalachian State University Hayes School of Music, is a beloved 400-seat recital hall designed in the 1980s by architect Dennis Yates and acoustician Rein Pirn (Acentech/BBN) and was featured in the 1990 ASA publication “Acoustical Design of Music Education Facilities.” The hall was designed for pipe organ, vocal chorus, and smaller classical instrumental ensembles, with significant variable absorption in the form of curtains. Since then, the school’s program has broadened, and the hall is now used also for jazz band, large wind ensemble

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Omojola, 'Bode. "Style in modern Nigerian Art music: the pioneering works of Fela Sowande." Africa 68, no. 4 (1998): 455–83. http://dx.doi.org/10.2307/1161162.

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The Nigerian musical landscape changed significantly following the advent of Christian missionary activity and British colonial administration in the later nineteenth century. New idioms of musical practice which have evolved as a result of this historical process include a new tradition of religious, Christian, music, urban syncretic popular styles, new operatic forms and European-derived art/ classical music. This article focuses on one of these emerging styles, Nigerian art music, as reflected in the life and works of its most notable pioneer, Fela Sowande. After a brief historical backgrou

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Naqvi, Erum. "Reinventing Ruhowzi." Middle East Journal of Culture and Communication 13, no. 1 (2020): 28–48. http://dx.doi.org/10.1163/18739865-01301002.

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Abstract In the last few years, Tehran’s arts culture has seen the re-emergence of a thriving theater scene, including experimentation with various performance practices that were restricted in public forums for several years. In this article, I address a 2017 production called Gonbadgah which is a choreographed regional ethnic dance interwoven with classical music and staged as a story inspired by ruhowzi, the erstwhile cabaret theater of early twentieth-century Iran. Offering a genealogy of ruhowzi that traces its artists from from elite performers with royal patronage to low-brow urban ente

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Russell, J. R. "Parsi Zoroastrian Garbās and Monājāts." Journal of the Royal Asiatic Society of Great Britain & Ireland 121, no. 1 (1989): 51–63. http://dx.doi.org/10.1017/s0035869x00167863.

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It is a strange circumstance, yet one immediately observable, that the Parsi community in India, so innovative and so energetically creative in many other respects, has failed to distinguish itself in the sphere of indigenous arts. In the acquisition of tastes and skills in European or hybrid pseudo-Persian architecture, in European-style portraiture, and in Classical music, the Parsis have been diligent, even as they long ago became eloquent masters of the English tongue. What of their arts can properly be called Zoroastrian?

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Mehl, Margaret. "From Classical to National Scholarship: Konakamura Kiyonori’s History of Music in Japan (1888) and Its Foreign-Language Prefaces." History of Humanities 8, no. 1 (2023): 99–120. http://dx.doi.org/10.1086/723948.

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