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Relevant bibliographies by topics / Mosses (Musci)

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Academic literature on the topic 'Mosses (Musci)'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Mosses (Musci)"

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Saritas, Yücel, Mesmin Mekem Sonwa, Hassan Iznaguen, Wilfried A. König, Hermann Muhle, and Rüdiger Mues. "Volatile constituents in mosses (Musci)." Phytochemistry 57, no. 3 (June 2001): 443–57. http://dx.doi.org/10.1016/s0031-9422(01)00069-3.

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Voglmayr, H. "Nuclear DNA Amounts in Mosses (Musci)." Annals of Botany 85, no. 4 (April 2000): 531–46. http://dx.doi.org/10.1006/anbo.1999.1103.

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Magill, R. E. "Musci Austro-Africana III. Alpine mosses of Lesotho." Journal of Bryology 14, no. 3 (January 1987): 527–30. http://dx.doi.org/10.1179/jbr.1987.14.3.527.

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Shaw, A. Jonathan, Michael S. Gutkin, and Bryan R. Bernstein. "Systematics of Tree Mosses (Climacium: Musci): Genetic and Morphological Evidence." Systematic Botany 19, no. 2 (April 1994): 263. http://dx.doi.org/10.2307/2419601.

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Christy, John A. "In vitro viability of diaspores in Limbella (Musci: Amblystegiaceae)." Canadian Journal of Botany 67, no. 2 (February 1, 1989): 332–33. http://dx.doi.org/10.1139/b89-048.

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Spores of Limbella tricostata and fragments of living gametophytes of L. tricostata and L. fryei germinated readily and grew prolifically in vitro. Viability of fragments of live plants was directly proportional to the size of the fragment. Growth rates were similar to those observed for other aquatic mosses. Plants dried above 20 °C for longer than 24 h did not regenerate. Fungi appeared in cultures as decomposers, not pathogens.

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Pradhan, Nirmala, and Sanu Devi Joshi. "A Diversity Account of Bryaceae (Bryophyta: Musci) of Nepal." Journal of Natural History Museum 23 (June 4, 2009): 19–26. http://dx.doi.org/10.3126/jnhm.v23i0.1836.

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Bryums are diverse mosses distributed widely throughout the country. The species diversity of Bryaceae which were documented in various periods has been presented here. This paper includes 82 species including three subspecies and five varieties under seven genera of the total recorded 1150 bryofloral species in Nepal so far. Besides published records, the field survey of the first author within last five years has also been included here.Key words: Bryoflora; cosmopolitan; diversity; distribution; speciesJournal of Natural History Museum Vol. 23, 2008 Page 19-26

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Reese, William D., and Richard H. Zander. "Serpotortellaceae, a New Family of Mosses (Musci) from Madagascar and Réunion." Bryologist 90, no. 3 (1987): 230. http://dx.doi.org/10.2307/3242931.

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Allen, Bruce H., Steven P. Churchill, and Patricia M. Eckel. "Musci Planitiebus Incolae Exsiccati, Mosses of the Great Plains of North America." Bryologist 92, no. 1 (1989): 152. http://dx.doi.org/10.2307/3244036.

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Waard, J. Florschütz-de. "A Catalogue of the Bryophytes of the Guianas. II. Musci." Bryophyte Diversity and Evolution 3, no. 1 (December 31, 1990): 89–104. http://dx.doi.org/10.11646/bde.3.1.11.

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This catalogue provides an annotated listing of the mosses (MUSCI) reported from the Guianas (Guyana, Surinam, French Guiana), based on work on the Moss Flora of Suriname, which is now nearing completion. In total 238 species in 90 genera are listed. A list of synonyms (including 10 new ones) and a systematic arrangement of the genera and families are also provided. The following new combinations are proposed: Callicostella guatemalensis (Bartr.), Sematophyllum lonchophyllum (Mont.), Sematophyllum pacimoniense (Mitt.) and Trichosteleum intricatum (Thér.).

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Chang, Ying, Chan Woon Khiong, Sean W. Graham, and Benito C. Tan. "Molecular evidence for the systematic positions of two enigmatic mosses: Pterogonidium pulchellum (Sematophyllaceae, Musci) and Piloecium pseudorufescens (Myuriaceae, Musci)." Canadian Journal of Botany 84, no. 3 (March 2006): 501–7. http://dx.doi.org/10.1139/b06-002.

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The systematic position of Pterogonidium pulchellum (W.J. Hooker) Muell. Hal. in the Sematophyllaceae and Piloecium pseudorufescens (Hampe) Muell. Hal. in the Myuriaceae is reexamined with new evidence derived from rbcL gene sequences. A total of 18 taxa from Sematophyllaceae, Hypnaceae, Myuriaceae, and Hookeriaceae were included, 11 of which were newly sequenced for the rbcL gene. Analyses were done using maximum parsimony, maximum likelihood (TrN + Γ + I model and GTR + Γ + I model), and Bayesian inference (GTR + Γ + I model). The results show that Pterogonidium pulchellum has a closer relationship with members of Hypnaceae than with Sematophyllaceae, while Piloecium pseudorufescens forms a clade with the Sematophyllaceae in all phylogenetic analyses, with robust branch support. Two SOWH tests were carried out and the results show that it is not appropriate to classify Pterogonidium pulchellum in Sematophyllaceae and it is also not appropriate to classify Piloecium pseudorufescens in Myuriaceae.

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Dissertations / Theses on the topic "Mosses (Musci)"

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Cox, Cymon John. "Phylogenetic relationships of the Eubryalean mosses (Bryineae, Musci)." Thesis, University of Reading, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270904.

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Christy, John A. "Identity and limits of Limbella tricostata (Musci: Amblystegiaceae)." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/24596.

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Investigation of morphology, karyotype, isozymes, cultivation, geography and habitat confirmed differences between Limbella tricostata (Sull.) CM. and Sciaromium fryei Williams. Significant differences were observed experimentally in branch bud frequency, leaf insertion angle, leaf areolation, chromosome length, mobility of superoxide dismutase and shoot orientation. Sciaromium fryei is considered a subspecies of Limbella tricostata. Chromosome numbers of both subspecies is n=11. L. tricostata ssp. tricostata has a Bryum type sporeling and a hypnaceous peristome, and is thought to have derived from L. pachyloma (Mont.) C.M. or its antecedent after long-distance dispersal from South America to Hawaii no later than the mid-Tertiary. L. tricostata ssp. fryei is thought to have derived from L. tricostata ssp. tricostata after long-distance dispersal from Hawaii to North America in the mid- to late Tertiary.
Science, Faculty of
Botany, Department of
Graduate

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3

Johnson, William E. "TONE ROW PARTITIONS IN SCHOENBERG'S MOSES UND ARON The Volk Partition and the Zwischenspiel Partition." Digital Commons @ Butler University, 2015. http://digitalcommons.butler.edu/grtheses/264.

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Arnold Schoenberg's development of twelve-tone serial ism in the early 20th Century had profound and far-reaching impact on the musical world. As Schoenberg himself grew and matured as a composer, so did the compositional technique of, and indeed his proficiency with, serialism. The opera Moses und Aron was composed in Schoenberg's third compositional period that lasted from 1923 through Schoenberg's death in 1951 and was characterized almost exclusively by this new technique of twelvetone serialism. Moses und Aron's first two Acts (as well as the libretto for the third) were written from 1930 to 1932 and based entirely on a single tone row. Though the opera itself was composed in the early 1930s, it had its beginnings as a religious play, similar to Schoenberg's earlier work, Oer Biblische Weg. Schoenberg left the opera as it was in 1932 and failed to return to score the libretto in Act III. Despite remaining unfinished, Moses und Aron is still widely regarded as one of Schoenberg's finest works and displays a composer working at the height of his skill. This project brings to light the brilliance of the tone row Schoenberg chose as his foundation for Moses und Aron through examining the various tone row transformations used throughout the opera as well as their specific setting and orchestration within the context of each scene. More than simply a musical background for the dramatic events of the Exodus narrative, the tone row becomes a character in-and-of itself, transforming and shifting to mirror dramatic events and becoming a driving force throughout the opera. In addition to informing dramatic content and context, the way in which Schoenberg scores the tone row also helps to illuminate the large scale musical form of each scene and is even essential to the dramatic tension and characterization within the narrative. In addition, this project endeavors to show that Moses und Aron displays Schoenberg's mastery of the compositional technique of twelve-tone serialism by examining in detail the significance of the functional orchestration as well as the divisions, or partitions, of Schoenberg's twelve-tone row. Inseparably connected with a discussion of the functional orchestration and partitioning of Schoenberg's tone row is a discussion of the different kinds of counterpoint that often occur as a result of such partitioning within the choral and instrumental orchestration of Moses und Aron. These concepts of functional orchestration, partitioning, and multiple forms of counterpoint are defined and unpacked in the upcoming chapters. As counterpoint functions as such an important aspect of the partitioning of the tone row, a brief discussion of counterpoint in serialism, specifically in Moses und Aron, accompanies the discussion of functional orchestration and the row partitioning. This understanding of the function of counterpoint in twelve-tone serial atonality is essential to this study. Much has been written, specifically by Michael Cherlin, about the formal and dramatic organization of Moses und Aron and how Schoenberg's permutations of his tone row both influence and are influenced by the formal and dramatic context. Cherlin has also given significant attention to defining links between tone row partitions and dramatic events or characters within Moses und Aron. An important part of my research, therefore, includes examining the analytical findings of Cherlin as well as those from other scholarly sources. This project also challenges or supports these findings based on my own analysis and discusses what I believe to be a new facet of the organization of Moses und Aron not previously revealed in other studies. In Chapter 5 of this project, I bring to light two specific partitions of the row that occur within the choral counterpoint of the opera and have not been mentioned in any study of Moses und Aron that I have discovered in my research.

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Cohn, Maurice E. "Finding Music’s Words: Moses und Aron and Viennese Jewish Modernism." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1521740116488967.

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Zorgniotti, Marc F. "Quotations and Constructivism in Twentieth-Century Violin Chaconnes by John Adams, Hans W. Henze, and Moses Pergament." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276530950.

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Inciso, Mendo Edgar Salvador. "Estudio comparativo de la actividad parasitaria de Spalangia endius y Muscidifurax sp. (Hymenoptera: Pteromalidae) como agentes biocontroladores de Musca domestica." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2003. https://hdl.handle.net/20.500.12672/1409.

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El empleo de microavispas como parasitoides de estado pupal de Musca domestica surge como una alternativa importante de control biológico que podría resultar efectiva. En el presente trabajo, se realizó un estudio comparativo de la actividad parasitaria de Spalangía endius y Muscídifurax sp. sobre pupas de M. domestica en bioensayos de laboratorio en condiciones controladas de temperatura (según ensayo), humedad relativa (75 ± 3%) y oscuridad. Se observó la influencia de la temperatura en el ciclo biológico y en la longevidad de ambos parasitoides para lo cual se trabajó a 5 temperaturas diferentes (15 ºC, 20 ºC, 250 ºC y 28 ºC) resultando 25 ºC la temperatura óptima para la crianza. A esta temperatura, se observó que la duración del ciclo biológico fue mayor en S. endius (22,6 días) que en Musidiífurax sp. (14,8 días) y que está inversamente relacionada con la temperatura, siendo rnayor en las hembras que en los machos. La longevidad fue similar para ambas especies (20,70 días en S. endius y 18,60 en Muscidifurax sp) siendo siempre mayor en las hembras que en los machos. Se determinó la capacidad de oviposición de las microavispas a 25ºC con 20 pupas como población constante de hospedero, obteniéndose para S. endius 15 días de oviposición con un promedio de 175 pupas parasitadas, promedio mayor que el de Muscidifurax sp. que parasitó 140 pupas en 16 días. Para ambas especies la mayor oviposíción ocurrió al tercer dia. Se determinó el estado fenológico de maduración de las pupas de M. domestica susceptibles de ser parasitadas, a 25ºC en grupos de 50 pupas con edades de 1, 2, 3 y 4 días, siendo las pupas de dos días de maduración, las más parasitadas, obteniéndose 66,4 % de parasitismo efectivo por S. endius y 60,2 % por Muscidifuraxsp. Se determinó el número óptimo de pupas de M. domestica para ser expuestas a ambos parasitoides; de las nueve relaciones de parasitación con que se trabajó el número óptimo de pupas fue 10 (relación 1:10). En condiciones de laboratorio, S. endius resultó más efectivo en comparación con Muscidifurax sp. por lo que puede considerarse como un eficiente controlador biológico de pupas de M. domestica.
---- The employment of parasitoid microwasps of pupae state of Musca domestica emerge as an important alternative of biological control which could result effective. In the current research, a comparative study of the parasitical activity of Spalangia endiuus and Muscidifurax sp. over pupae of Musca domestica in laboratory bioassays was performed, under controlled condition of temperature (accordíng to each assay), relative humidity (75 ± 3 %) and darkness. The temperature (15ºC, 20ºC, 25 ºC and 28 ºC) influence on biological cycle and longevity of both parasitoids was analyzed, being 25 ºC., the optimal temperature of breeding. At this temperature, the biological cycle duration of S. endius (22.6 days) was greater in comparison to Muscídifurax sp. (14,8 days). The biological cycle length was in inverse relation with temperature, being higher in females than in males for both species. The longevity in both species was statistically the same for both species (20.7) days for S. endius and 18.6 days for Muscidifurax sp.), being always higher in females than in males. The oviposition capacity at 25 ºC with 20 pupae as constant host population was analyzed, obtaining for S. endius, 15 days of oviposítion with 175 parasitized pupae in total, by contrast Muscidifurax sp. parasítized 140 pupae in 16 days. The highest oviposition for both species was the third day. The phenological state of maturation over susceptible pupae of M. domestica to be parasitized was determined, at 25 ºC in groups of 50 pupae of 1, 2, 3 and 4 days old. The pupae of two days of maturation, were the most parasitized obtaining 66.4 % of effective parasitism for S. endius and 60.2% for Muscidifurax sp. Moreover, the optimal number of pupae of housefly to be expose to both parasitoid species was determined; of the nine relations of parasitism performed (1:5 to 1:50), the optimal number of pupae was the relation 1:10. Finally, in laboratory conditions, the microwasp S. endius resulted being the parasitoid more effective in comparison to Muscidifurax sp. and could be considerate an efficient biological control of pupae of M. domestica.
Tesis

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Feezell, Mark Brandon. "The Light, for Two Narrators and Chamber Ensemble." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4220/.

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The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and structure were the result of informed intuition. Throughout the piece, each of these four elements interacts with the others, sometimes influencing and sometimes responding to them. My hope is that these subtle tensions propel the composition forward toward its ultimate resolution.

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Huang, Hann, and 黃裕敦. "“Idea” and/or “Love”? On the Ideal and Practice in Music Education from the Perspective of Schönberg’s Opera Moses und Aron." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/99sbcq.

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碩士
東吳大學
音樂學系
103
This thesis aims clarifying the conflicting interrelation between the Idea and Practice in the musical education through the point of view of the issue when the practical education influencing the religious education, from the perspective of Schoenberg's opera Moses und Aron, which the structure and framework based on Christian theology and the story, from the bible – Book of Exodus. In the opera, the standing of Christian theology indicated by 12-tone composition of Schoenberg, and also practice his musical theology pragmatically on the biblical way. The opera differences leads the conflicting interrelation, Idea and/or Love? Aron's educational philosophy will be Verified by the implementing in eminent method of musical educations with the Idea and Practice. The final chapter proposes some suggestion to musical education with the attitude in the method of practical education from the perspective of this thesis. Eventually, living for God or Israel? Aron proposed a compromise for the status and looking forward, but yet has been completely negated by Moses. The image for Moses, the innate character never changes, which never allowed existing in law. But for Aron the images could used as facilities. Make Israel to learn and obeying the Christian doctrine for God. Moses' idea criticized by Aron as burden: Through the way of path to the truth of God, anything visible and tangible must be negated. e.g.: Both the pillar of a cloud or fire. Therefore, those were always something new about the revelation by truth, and always something new about the creation as Aron could tell. The final conclusion relays the drama story and musical education: This thesis interprets both the opera's implication and Aron's practical education, conformed to the significance and interpretation of Schoenberg's New Arts. Comparing the method of knowledge educated for Idea by Moses, Aron made Israel reflects the practice of Idea. The practical education emphasizes being a process; deviated if emphasizes the subjectivity of the theology causes Rationality. Idealistic forms of education advocates object of knowledge is the meaning of things. Encourage students question themselves to reflect the practice of the subject in hearts. e.g.: The musical idea guiding the performance with the good performing technique, the audience is being inspired reflecting the understanding of meaning of music. The idea is about in the feel and also knowledgeable. This is the understanding for us.

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"Abstract conception versus concrete realization in twelve-tone music: uses of symmetry in Schoenberg's Moses und Aron and Webern's Symphony Op.21." 2012. http://library.cuhk.edu.hk/record=b5549043.

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此論文旨在探究對稱技巧在十二音創作概念與實踐之間的關係。前者抽象、後者具體。我先在第一章指出十二音系統内的對稱潛質，再在其後兩章分析對稱技巧在荀白克的《摩西與亞倫》及魏本的交響曲作品21第二樂章内的展現。荀白克“音樂意念及“發展變奏這兩個概念，在《摩西與亞倫》扮演着重要的角式，大大影響了作品内對稱的處理；而魏本對音樂的“一體性“及“可瞭解性“的堅持，亦決定了交響曲第二樂章中對稱的演譯。最後一章總括十二音作曲概念及實踐的關係，並展望日後的研究方向。
Through an analytical study of Schoenberg’s Moses und Aron and Webern’s Symphony Op.21, second movement, my thesis aims at exploring a central issue in interpreting symmetry in twelve-tone music: the relationship between abstract conception and concrete realization.
In Chapter one, I endeavour to contextualize the uses of symmetry in twelve-tone music within contemporary theoretical perspectives. After defining my methodology, subsequent chapters are analytical examinations of two pieces. Chapter two explores how Schoenberg’s uses of symmetry in the opening of Moses und Aron might be closely associated with his conception of “idea and “developing variation. Chapter three considers the ways in which the symmetrical manifestations in Webern’s variation movement demonstrate his concern for “unity and “comprehensibility. After studying the two composers’ different symmetrical treatments Chapter 4 revisits the relationship between abstract conception and concrete realization in twelve-tone composition, and suggests implications for further research.
Detailed summary in vernacular field only.
Liu, Man Yee.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in Chinese.
Abstract --- p.i
Abstract (Chinese) --- p.ii
Acknowledgements --- p.iii
List of Figures --- p.vi
List of Music Examples --- p.viii
Chapter Chapter 1 --- Abstract Conception versus Concrete Realization in Twelve-Tone Music --- p.1
The Twelve-Tone System and its Symmetrical Potentials --- p.5
Methodology, Selection of Pieces and Overview of Chapters --- p.8
Chapter Chapter 2 --- Schoenberg’s "Idea" and Twelve-Tone Symmetry --- p.11
Compositional Concerns
Row Design, Motive, Developing Variation and "Idea" --- p.14
Moses und Aron: The Idea of God and the Twelve-Tone System --- p.20
Pre-Compositional Plan
Schoenberg’s Divine Order --- p.28
Compositional Practice
Realization of Unimaginable God --- p.33
Realizations of Basic Set (P₉) and its Inversion (I₀) --- p.38
Implications: Manifestation of Divine Order --- p.44
First "Image": Musical Representation of the Row by Aron --- p.47
Second "Image": Musical Representation of God by Aron in the Golden Calf scene --- p.53
Schoenberg’s Allegory: Irreconcilability in Realizing "Idea" --- p.58
Chapter Chapter 3 --- Webern’s Variationen and Twelve-Tone Symmetry --- p.64
Compositional Concerns
Webern and Symmetry --- p.69
Analytical Perspectives on Symphony Op.21, Second movement --- p.70
Pre-Compositional Plan
Webern’s Statement on Symphony Op.21, Second movement --- p.73
Compositional Practice
Thema --- p.77
Variation I --- p.81
Variation II --- p.85
Variation III --- p.92
Variation IV --- p.96
Variation V --- p.101
Variation VI --- p.105
Variation VII --- p.107
Coda --- p.110
Summary --- p.112
Chapter Chapter 4 --- Epilogue --- p.115
Pre-Compositional Row Designs --- p.116
Presentations of Rows in Their Music --- p.116
Implications for Further Research --- p.119
Select Bibliography --- p.121

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Friedman, Allan Mitchell. "The sacred choral works of three composers of the St. Petersburg Society for Jewish Folk Music : theoretical analysis and historical context /." 2005. http://wwwlib.umi.com/dissertations/fullcit/3171145.

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Thesis (D.M.A.)--Boston University, 2005.
"The focus of this dissertation is the sacred choral compositions of three of the composers active in the St. Petersburg Society for Jewish Folk Music ... Lazare Saminsky, Joseph Achron, and Moses Milner"--p. v. "Included in the appendices [p. 72-329] are new editions of Unsane Tojkef by Moses Milner, the Sabbath Evening Service and Sabbath Morning Service by Lazare Saminsky and the Evening Service for the Sabbath by Joseph Achron"--p. vi. Includes bibliographical references (p. 330-332). Also available on the Internet.

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Books on the topic "Mosses (Musci)"

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Frahm, Jan-Peter. Afrikanische Campylopus-Arten (Dicranaceae, Musci). Berlin: J. Cramer, 1985.

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1950-, Buck William R., ed. Some Latin American genera of Hypnaceae (Musci). Washington, D.C: Smithsonian Institution Scholarly Press, 2009.

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Hyvönen, Jaakko. A synopsis of genus Pogonatum (Polytrichaceae, Musci). Helsinki: Finnish Botanical Pub. Board, 1989.

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Compilation of Musci in Symbolae sinicae in the light of H. Handel-Mazzetti's letters to V.F. Brotherus. Helsinki: Finnish Bryological Society, 2010.

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W, Allison K., Child John 1922-, and Allison K. W, eds. The mosses of New Zealand. 2nd ed. Dunedin, N.Z: University of Otago Press, 1992.

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J, Harrington A., ed. The conspectus of bryological taxonomic literature. Berlin: J. Cramer, 1988.

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Moses: The man and the myth in music. Sheffield: Sheffield Phoenix Press, 2014.

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Steinskog, Erik. Arnold Schoenberg's Moses und aron: Music, language, and representation. Trondheim: Dept of Musicology, fac. of Arts, Norwegian Univ. of Science and Technology, 2002.

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Kowalski, Emma. The story of Mosley Music Group. Philadelphia: Mason Crest Publishers, 2012.

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Richard, Newman. Go down Moses: A celebration of the African-American spiritual. New York: Clarkson Potter, 1998.

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Book chapters on the topic "Mosses (Musci)"

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Lewin, David. "Moses und Aron." In Studies in Music with Text, 367–81. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195182088.003.0018.

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Taylor, Joan E. "Gender Blenders: Moses, Miriam, and Music." In Jewish Women Philosophers of First-Century Alexandria, 311–40. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780199291410.003.0011.

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Linley, Thomas. "The Song of Moses." In Recent Researches in the Music of the Classical Era, 58. A-R Editions, 2000. http://dx.doi.org/10.31022/c058.

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"Jewishness, Internationalism and the Swedish Music Scene – The Reception of Moses Pergament." In A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950, 849–59. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004388291_053.

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Botstein, Leon. "The Philosophical Composer." In Rethinking Mendelssohn, 291–310. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611781.003.0013.

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Felix Mendelssohn’s philosophical convictions regarding faith and human reason not only hold a clue to his intentions as a mature composer but also set him apart from many contemporaries. His philosophical inclinations influenced his ambitions as a composer and helped him formulate and justify his aesthetic, particularly during the last decade of his life. This chapter examines the influence of his grandfather Moses Mendelssohn and the Protestant theologian Friedrich Schleiermacher, whom Mendelssohn knew from his youth in Berlin. Such philosophical affinities turn out to be illuminating and provocative, suggesting a way of recapturing a sense of the distinct character, beauty, and power of Mendelssohn’s music.

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Eisenstein-Baker, Paula. "Leo Zeitlin and the Flourishing of Jewish Art Music in Early 1920s Vilna." In Polin: Studies in Polish Jewry Volume 32, 279–308. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0016.

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This chapter looks into the activity of the composer Leo Zeitlin in Vilna in the 1920s. It explores Zeitlin's musical life and whirlwind of activity in Vilna between his arrival in January 1922 and his departure for New York in May 1923. It also details how Zeitlin hired musicians and organized, rehearsed, and conducted at least ten symphony concerts in Vilna, Warsaw, and łódz. The chapter mentions bass baritone Moshe Rudinow and his wife, mezzo soprano Ruth Leviash and violinist and concertmaster of the Warsaw Philharmonic Mischa Fiber, who were often featured in Zeitlin's concerts. It highlights Zeitlin's involvement in the performances of Tchaikovsky's “Eugene Onegin” in Yiddish, which was produced in Vilna by Aron Yitzchak Grodzenski in December 1922.

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Robin, William. "Lincoln Center." In Industry, 161–89. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190068653.003.0007.

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When Bang on a Can first hosted their marathon concert and All-Stars recitals at Lincoln Center in 1994, critics and observers wrote about them with hyperbolic rhetoric, emphasizing how different the upstart festival was from the hallowed grounds of the Manhattan presenter. But under the direction of curator Jane Moss, Lincoln Center had begun to embrace contemporary music, representing a moment in which some of classical music’s most mainstream organizations looked to new work in the hopes of reaching new audiences. Bang on a Can, too, found new audiences at Lincoln Center; in partnering with the major institution, the organization prioritized their marketplace aims—their desire for expanding its reach—over the anti-establishment image that they had previously cultivated.

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Laws, Chantal. "Responsible Entertainment Greening festivals and events." In Key Issues in the Arts and Entertainment Industry. Goodfellow Publishers, 2011. http://dx.doi.org/10.23912/978-1-906884-20-8-1453.

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This chapter explores the contemporary issue of responsible production within the arts and entertainment industries, focusing on live music events and festivals in particular. In its broadest context the entertainment industry is vast, encompassing 18 unique sectors (Moss, 2009), each providing a plethora of tangible and intangible products that, according to Vogel (2007), is estimated at US$1 trillion annually. This makes it the largest industry in the world, generating more revenue and growing at an exponential rate as leisure time becomes increasingly important as an escape from,or antidote to, the pressures of modern life. Live events bridge the distinction between high art products which are considered as a ‘merit good’ (Pratt, 2005) and forms of popular culture and leisure that can be consumed both at home and in designated public spaces. Hughes (2000) states that live performance of both art and entertainment is a distinct area for management, as such events require active participation on the part of an audience. As pop/rock consumers can now choose from ‘an almost limitless number of events’ (Mintel Group, 2008) at any given time, the viability of continued growth in the industry becomes of real concern, and the impact of such intense consumption levels can no longer be ignored.

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