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Journal articles on the topic 'Karl Amadeus'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Wright, David, and Siegfried Mauser. "Karl Amadeus Hartmann: Piano Works." Musical Times 133, no. 1788 (1992): 84. http://dx.doi.org/10.2307/965870.

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2

Grun, Constantin. "Richard Strauss und Karl Amadeus Hartmann." Die Musikforschung 62, no. 3 (2021): 251–61. http://dx.doi.org/10.52412/mf.2009.h3.458.

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3

Cha, Hosung. "A study on ‘Bekenntnismusik’ in the works of Karl Amadeus Hartmann." Journal of Society for Music and Korea 60 (October 15, 2020): 189–216. http://dx.doi.org/10.35441/mnk.60.2.6.189.

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4

McCredie, Andrew D. "Karl Amadeus Hartmann and the Hungarian Music of the Early Twentieth Century." Studia Musicologica Academiae Scientiarum Hungaricae 33, no. 1/4 (1991): 151. http://dx.doi.org/10.2307/902442.

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5

Warnaby, John. "Karl Amadeus Hartmann's ‘Klagegesang’ and the re-emergence of his early music." Tempo, no. 180 (March 1992): 6–12. http://dx.doi.org/10.1017/s0040298200025511.

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Since the Bavarian composer Karl Amadeus Hartmann died in 1963, his music has probably not received the recognition it deserves as one of the most important continuations of the German symphonic tradition in the 20th century. This is partly due to the fact that, despite studying briefly with Webern in 1942, Hartmann did not adopt the serial method espoused by his younger contemporaries (whom he materially assisted by organizing the famous Musica Viva concert series in Munich), but preferred to draw upon a variety of styles. In the ‘post-Modern’ hindsight of the last decade or so this creative

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6

Rothe, A. "Rethinking Postwar History: Munich's Musica Viva during the Karl Amadeus Hartmann Years (1945-63)." Musical Quarterly 90, no. 2 (2008): 230–74. http://dx.doi.org/10.1093/musqtl/gdn009.

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7

Reimer, Erich. "Nationalbewußtsein und Musikgeschichtsschreibung in Deutschland 1800-1850." Die Musikforschung 46, no. 1 (2021): 17–31. http://dx.doi.org/10.52412/mf.1993.h1.1140.

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Im Zuge der deutschen Nationalbewegung setzten um 1800 Reflexionen über die historische Entwicklung der deutschen Musik ein. An einschlägigen Texten läßt sich zwischen 1800 und 1850 eine fortschreitende nationale Interpretation der Musikgeschichte nachweisen. Während es Johann Karl Friedrich Triest (1801) darum ging, unter Hinweis auf Bachs Kontrapunktik und Haydns Symphonik zur Entwicklung eines noch schwach ausgeprägten Nationalbewußtseins beizutragen, standen bei Amadeus Wendt (1831), der in Haydns, Mozarts und Beethovens Instrumentalmusik den Höhepunkt der deutschen Musik sah, nationales u

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8

BLOMANN, ULRICH J., and JÜRGEN THYM. "A Semblance of Freedom: Karl Amadeus Hartmann between Democratic Renewal and Cold War, 1945–7." Twentieth-Century Music 9, no. 1-2 (2012): 143–59. http://dx.doi.org/10.1017/s1478572212000230.

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AbstractFor more than a decade, literature on the cultural politics of the Cold War in postwar Europe has done much to question the notion that the political manipulation of music was confined to the Soviet bloc, and that musicians in the West enjoyed untrammelled autonomy and freedom. This article focuses on the case of the German composer Karl Amadeus Hartmann, presenting evidence that the reorientation he underwent in the late 1940s (during which he revised, retitled, or suppressed nearly all the works he had composed between 1930 and 1945) was motivated not by purely aesthetic or personal

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9

Hommes, Marie-Therese. ""Wider das Vergessen"." Die Musikforschung 58, no. 2 (2021): 151–74. http://dx.doi.org/10.52412/mf.2005.h2.617.

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Karl Amadeus Hartmann, während des Dritten Reichs in der inneren Emigration und nach eigener Aussage Verweigerer jeglicher Öffentlichkeit in Hitlerdeutschland, schrieb die Schauspielmusik zu William Shakespeares "Macbeth" für eine Produktion des Bayerischen Staatsschauspiels im März 1942. In der gesamten Münchner Presse wurde Hartmanns Musik mit hoher Anerkennung aufgenommen; man sprach von einer Veroperung der Inszenierung. Hartmanns musikalische Dramaturgie, die sich inhaltlich auf die "Macbeth"-Interpretation Gustav Landauers stützt, konstituiert sich in einer Vielzahl flexibler musikalisch

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10

Gürbüz, Mustafa. "Book Review: Mark Amadeus Notturno, Science and the Open Society: The Future of Karl Popper's Philosophy (Budapest: Central European University Press, 2000, 287 pp., £14.95 pbk.)." Millennium: Journal of International Studies 31, no. 1 (2002): 185–87. http://dx.doi.org/10.1177/03058298020310010911.

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11

Scheding, F. "Karl Amadeus Hartmann: Komponist zwischen den Fronten und zwischen den Zeiten. Bericht uber das musikwissenschaftliche Symposium zum 100. Geburtstag in Munchen, 5.-7. Oktober 2005. Ed. by Inga Mai Groote and Hartmut Schick." Music and Letters 95, no. 4 (2014): 678–81. http://dx.doi.org/10.1093/ml/gcu077.

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12

Luxemburgo, Rosa. "Rosa Luxemburg: uma carta da prisão a Sonia Lliebknecht." Germinal: Marxismo e Educação em Debate 12, no. 1 (2020): 439. http://dx.doi.org/10.9771/gmed.v12i1.38451.

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<p>Soniucha, você conhece o poema de Platen, “Verhängnisvolle Gabel” [Garfo fatal]? Você poderia enviá-lo ou trazê-lo? Karl mencionou uma vez que tinha lido em casa. Os poemas de George são bonitos; agora sei de onde vem o verso “e sob o murmúrio do trigo erubescente”. [Umd unterm Rauschen rötlichen Getreides…] que você sempre recitava quando íamos passear no campo. Você poderia copiar para mim, quando for possível, o novo “Amadis”? Gosto tanto desse poema – naturalmente graças ao lied de Hugo Wolf –, mas não o tenho aqui. Você continua lendo a Lenda de Lessing? Retomei a História do mat

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13

"Record Reviews." Tempo, no. 211 (January 2000): 43–58. http://dx.doi.org/10.1017/s0040298200040705.

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EMI's Karl Amadeus Hartmann series Guy RickardsSchwertsik's House- and Court-Music John KerseyQuartets by Cerha and Ruzicka John WarnabyMaxwell Davies's ‘The Doctor of Myddfai’ Geoffrey AlvarezDavid Bedford's Notes for Women Mark CromarBainbridge's ‘Ad Ora Incerta’ Richard Leigh-HarrisJonathan Harvey with electronics Geoffrey AlvarezMore Women Composers Guy RickardsJoly Braga-Santos's Symphonies Bret JohnsonPiano Music miscellany Peter Palmer

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14

Wagner, Manfred. "Vier von 1905: Theodor Berger, Karl Amadeus Hartmann, Marcel Rubin, Winfried Zillig." Österreichische Musikzeitschrift 60, no. 8 (2005). http://dx.doi.org/10.7767/omz.2005.60.8.32.

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15

"50 Jahre danach: Robert Breuer, Otto Erich Deutsch, Hans Gài, Karl Geiringer, Hans Heinsheimer, Erich Wolfgang Korngold, Ernst Krenek, Ferdinand Piesen, Paul Amadeus Pisk, Marcel Rubin, Alfred Schlee, Arnold Schönberg, Peter Stadien, Karl Weigl, Egon Wellesz." Österreichische Musikzeitschrift 43, no. 4 (1988). http://dx.doi.org/10.7767/omz.1988.43.4.171.

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16

Index, GCS. "Volume 5 Index." Global Journal of Computer Science 5, no. 2 (2016). http://dx.doi.org/10.18844/gjcs.v5i2.214.

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<p align="center"><strong>Vol 5, Issue 1, April 2015</strong></p><p>Introducing a software to calculate the grade and ore deposit probability related problems</p><p>Seyyed Saeed Ghannadpour, Ardeshir Hezarkhani</p><p>01-06</p><p> </p><p>Using local binary patterns for object detection in images</p><p>Karel Petranek, Pavel Janecka, Jan Vanek</p><p>07-12</p><p> </p><p>Biometric Identification – between Necessity and Innovation</p><p>Monica Leba, Andreea Ionica

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