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Journal articles on the topic 'Music and progress'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Ashman, Mike, and Sandra Corse. "Progress." Musical Times 132, no. 1786 (1991): 616. http://dx.doi.org/10.2307/965798.

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2

Iddon, Martin. "OUTSOURCING PROGRESS: ON CONCEPTUAL MUSIC." Tempo 70, no. 275 (2015): 36–49. http://dx.doi.org/10.1017/s0040298215000613.

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AbstractThis article addresses the phenomenon of New Conceptualism, otherwise known as conceptual music, or Konzeptmusik, and locates it within the German new music scene of the last decade. It is suggested that conceptual music may perhaps be a contradiction in terms, representing a nostalgic desire for the semantic strength of conceptual art. In particular the article focuses on Johannes Kreidler's 2009 work, Fremdarbeit, and scrutinises the composer's claim to have ‘outsourced’ the composition of the work to India and China. The significance of this – whether actual or fictional – as an exa

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3

Sulistyawati, Henny. "Pengaruh Terapi Musik Klasik Terhadap Lama Persalinan Kala I." J-HESTECH (Journal Of Health Educational Science And Technology) 3, no. 2 (2020): 129. http://dx.doi.org/10.25139/htc.v3i2.3225.

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ABSTRAKPersalinan normal adalah proses persalinan yang melalui kejadian secara alami dengan adanya kontraksi rahim ibu dan dilalui dengan pembukaan untuk mengeluarkan bayi. Penelitian yang bertautan dengan partus lama, ditemukan 65 % penyebabnya adalah kontraksi uterus yang tidak berkontraksi dengan baik. Apabila kemajuan persalinan terhambat dan tidak segera di tangani oleh tenaga kesehatan maka akan berakibat buruk terhadap kelancaran dan kemajuan persalinan. Maka dari itu, bila persalinan lancar diperlukan cara untuk mempercepat proses persalinan dengan cara pemberian musik klasik.Tujuan da

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4

Richards, Martin. "In Progress." Musical Times 134, no. 1809 (1993): 616. http://dx.doi.org/10.2307/1002793.

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5

Fredrickson, William E. "Progress." Journal of Music Teacher Education 17, no. 1 (2007): 5–6. http://dx.doi.org/10.1177/10570837070170010102.

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6

Eisler, Hanns. "Film Music—Work in progress (1941)." Historical Journal of Film, Radio and Television 18, no. 4 (1998): 591–94. http://dx.doi.org/10.1080/01439689800260401.

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7

Brooks, William. "Protest, Progress and (Im)possible Music." Contemporary Music Review 29, no. 4 (2010): 405–11. http://dx.doi.org/10.1080/07494467.2010.587318.

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8

Dean, Winton, Hans Busch, and Giuseppe Verdi. "Opera in Progress." Musical Times 130, no. 1758 (1989): 475. http://dx.doi.org/10.2307/1193605.

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9

Frit, Sajmon. "Can music progress?: Reflections on the history of popular music." Muzikologija, no. 7 (2007): 247–57. http://dx.doi.org/10.2298/muz0707247f.

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This paper considers schematically the various discourses through which popular music history is understood. My proposal is that five accounts of musical history (the business model, the musicological model, the sociological model, the historical model and the art history model) are commonly deployed in popular music discourse. One implies, superficially at least, that popular music evolves, gets better; four implies that, at least in the longer term, it does not. The concept of ?progress? is shown to be problematic.

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10

Straus, Joseph N. "The Progress of a Motive in Stravinsky's the Rake's Progress." Journal of Musicology 9, no. 2 (1991): 165–85. http://dx.doi.org/10.2307/763551.

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11

Straus, Joseph N. "The Progress of a Motive in Stravinsky's the Rake's Progress." Journal of Musicology 9, no. 2 (1991): 165–85. http://dx.doi.org/10.1525/jm.1991.9.2.03a00030.

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12

Thomas, Gavin. "Work Not in Progress." Musical Times 136, no. 1827 (1995): 225. http://dx.doi.org/10.2307/1003909.

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13

Knighton, Tess. "WORK IN PROGRESS. Music and Court History." Court Historian 1, no. 2 (1996): 10–11. http://dx.doi.org/10.1179/cou.1996.1.2.003.

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14

Roesner, David. "New Music Theatre – work in/and progress." Studies in Musical Theatre 11, no. 2 (2017): 85–88. http://dx.doi.org/10.1386/smt.11.2.85_1.

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15

Riley, Patricia E. "Video-conferenced music teaching: challenges and progress." Music Education Research 11, no. 3 (2009): 365–75. http://dx.doi.org/10.1080/14613800903151580.

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16

Lacoste, Debra, and Andrew Mitchell. "The Cantus Database: Progress Report." Studia Musicologica Academiae Scientiarum Hungaricae 45, no. 1 (2004): 119–30. http://dx.doi.org/10.1556/smus.45.2004.1-2.8.

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17

Green, London. "The Rake's Progress. Igor Stravinsky." Opera Quarterly 4, no. 2 (1986): 167–69. http://dx.doi.org/10.1093/oq/4.2.167.

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18

Lamont, Alexandra, and Tuomas Eerola. "Music and emotion." Musicae Scientiae 15, no. 2 (2011): 139–45. http://dx.doi.org/10.1177/1029864911403366.

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This special issue draws on a selection of papers presented at the inaugural International Conference on Music and Emotion in Durham in 2009, focusing on the scientific approach to understanding music and emotions. In this editorial we consider the current state of research into music and emotion, drawing comparisons with the earlier special issue of this journal published ten years ago and between the two edited collections which mark progress in this period. We consider issues of theory and methodology in relation to the wider field of psychology of music as illustrated by the papers in this

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19

Yang, Xuenan. "The Study of Music Teaching in Universities and the Inheritance of National Music Culture." Advances in Higher Education 3, no. 2 (2019): 159. http://dx.doi.org/10.18686/ahe.v3i2.1437.

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<p>With the development of the society and the progress of the time, the pace of China's education reform is more and more steady. The development of the education system is gradually perfect. Music teaching is an indispensable part of the teaching system of colleges and universities, which has a positive impact on the improvement of students' music literacy. However, due to the interference of various factors, the national music culture has not been well inherited and developed, leading to the increasingly westernized development of music in China. This paper analyzes and discusses the

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20

Wiebe, H. "The Rake's Progress as Opera Museum." Opera Quarterly 25, no. 1-2 (2009): 6–27. http://dx.doi.org/10.1093/oq/kbp023.

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21

Bregman, Albert S. "Progress in Understanding Auditory Scene Analysis." Music Perception 33, no. 1 (2015): 12–19. http://dx.doi.org/10.1525/mp.2015.33.1.12.

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In this paper, I make the following claims: (1) Subjective experience is tremendously useful in guiding productive research. (2) Studies of auditory scene analysis (ASA) in adults, newborn infants, and non-human animals (e.g., in goldfish or pigeons) establish the generality of ASA and suggest that it has an innate foundation. (3) ASA theory does not favor one musical style over another. (4) The principles used in the composition of polyphony (slightly modified) apply not only to one particular musical style or culture but to any form of layered music. (5) Neural explanations of ASA do not sup

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22

Smither, Howard E. "Messiah and Progress in Victorian England." Early Music 13, no. 3 (1985): 339–48. http://dx.doi.org/10.1093/earlyj/13.3.339.

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23

Clements, Andrew. "Vic Hoyland: A Report on Progress." Musical Times 128, no. 1734 (1987): 427. http://dx.doi.org/10.2307/965004.

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24

Rudenko, Oleksandr. "Development of Music Education: Legacy and Gradual Progress." Research Notes, no. 1 (March 30, 2017): 60–64. http://dx.doi.org/10.31654/2663-4902-2017-pp-1-60-64.

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25

Ceulemans, Anne-Emmanuelle. "Fétis and the Idea of Progress in Music." Music Theory and Analysis (MTA) 3, no. 2 (2016): 144–70. http://dx.doi.org/10.11116/mta.3.2.2.

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26

Katz, David L. "Making Beautiful Music: Less Dogma, More Harmonious Progress." Childhood Obesity 9, no. 3 (2013): 185–86. http://dx.doi.org/10.1089/chi.2013.9302.

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27

Salaman, William. "Reflections on progress in musical education." British Journal of Music Education 25, no. 3 (2008): 237–43. http://dx.doi.org/10.1017/s0265051708008073.

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This article raises questions about three features of musical education that have been explored in the pages of the British Journal of Music Education (BJME) over the last 25 years: the assessment of creative work; the nurturing of an elite among young musicians; the uses of electronics in music classrooms. The article suggests that teacher-based assessments of pupils' compositional work rarely promote deeper understanding because pupils learn better by considering the extent to which they have fulfilled their own musical intentions. The dilemma of serving the needs of all pupils while attendi

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28

Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.

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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills throu

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29

Ueshima, Hiromu, and Masaki Ohashi. "Music Game With Strike Sounds Changing In Quality In The Progress Of Music And Entertainment Music System." Journal of the Acoustical Society of America 130, no. 4 (2011): 2315. http://dx.doi.org/10.1121/1.3650360.

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30

Shin, Jihae. "Self-directed Learning in Music Teacher Education: Perspectives from Pre-service Music Teachers in South Korea." Malaysian Journal Of Music 9 (September 2, 2020): 29–41. http://dx.doi.org/10.37134/mjm.vol9.3.2020.

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This aim of this study is to investigate the perspectives of Korean pre-service music teachers on self-directed thesis seminar conducted in the graduate teacher education program. This research focused on 1) the attitude of pre-service music teachers towards self-directed thesis seminar and 2) the impact of self-directed thesis seminar on the progress of the pre-service music teachers’ performance. Ten pre-service music teachers participated in the researcher’s thesis seminar. The results demonstrated that most of the participants were anxious and insecure in managing the various educational r

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31

Lister, Rodney. "Arthur Berger: The Progress of a Method." American Music 13, no. 1 (1995): 56. http://dx.doi.org/10.2307/3052309.

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32

Somfai, László. "The Béla Bartók Thematic Catalog in progress." Studia Musicologica 53, no. 1-3 (2012): 21–40. http://dx.doi.org/10.1556/smus.53.2012.1-3.3.

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At the Bartók International Congress 2000 in Austin, Texas, I discussed basic questions related to the forthcoming Bartók thematic catalog with the temporary text of the entry BB 50 Fourteen Bagatelles as a sample. Thank to the interest of G. Henle Verlag, in addition to the continuation of the research on new items, basic reediting of the already written work entries have been carried out. The visual concept and typography of the forthcoming Bartók catalog, planned to be one large volume in English, is similar to Henle’s new Reger Werkverzeichnis. With the item BB 83 Improvisations on Hungari

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33

Fabris, D. "Reviving early opera: the past as progress." Early Music 41, no. 1 (2013): 33–34. http://dx.doi.org/10.1093/em/cat012.

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34

BRUCHER, KATHERINE. "Grant Park Music Festival and Music in Chicago's “Front Yard”." Journal of the Society for American Music 14, no. 1 (2020): 10–32. http://dx.doi.org/10.1017/s175219631900052x.

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AbstractChicago's Grant Park Music Festival, a free classical music series, provides a case study for exploring how music festivals contribute to the musical life of cities. Each summer, the Grant Park Music Festival Orchestra and Choir perform dozens of free performances at the Jay Pritzker Pavilion in Millennium Park and in residential neighborhoods. In 1935, James C. Petrillo, head of the Chicago local of the American Federation of Musicians, initiated the festival, then called Grant Park Concerts, to employ musicians during the Great Depression with funds from the federal Works Progress Ad

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35

Lamont, Alexandra, and Tuomas Eerola. "Music and Emotion: Themes and Development." Musicae Scientiae 15, no. 2 (2011): 139–45. http://dx.doi.org/10.1177/102986491101500201.

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This special issue draws on a selection of papers presented at the inaugural International Conference on Music and Emotion in Durham in 2009, focusing on the scientific approach to understanding music and emotions. In this editorial we consider the current state of research into music and emotion, drawing comparisons with the earlier special issue of this journal published ten years ago and between the two edited collections which mark progress in this period. We consider issues of theory and methodology in relation to the wider field of psychology of music as illustrated by the papers in this

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36

Li, YX. "Research progress of music therapy in treatment of tumor." Journal of Chinese Integrative Medicine 7, no. 5 (2009): 468–71. http://dx.doi.org/10.3736/jcim20090513.

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37

Puffett, Kathryn. "From the Diary of a Music Analyst: Puffett's Progress." Musical Times 142, no. 1877 (2001): 16. http://dx.doi.org/10.2307/1004573.

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38

Mills, Melissa M. "Capturing Student Progress via Portfolios in the Music Classroom." Music Educators Journal 96, no. 2 (2009): 32–38. http://dx.doi.org/10.1177/0027432109351463.

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39

Hood, Richard A. "Works in progress: Improvisation and tradition in mountain music." Popular Music and Society 17, no. 3 (1993): 63–75. http://dx.doi.org/10.1080/03007769308591524.

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40

Bailey, Kathryn. "'Work in Progress': Analysing Nono's 'Il Canto Sospeso'." Music Analysis 11, no. 2/3 (1992): 279. http://dx.doi.org/10.2307/854029.

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41

Kriščiūnaitė, Asta, and Diana Strakšienė. "THE FUTURE MUSIC TEACHERS’ ATTITUDE TOWARDS THE ASSESSMENT OF THE STUDENTS’ PROGRESS AND ACHIEVEMENTS UNDER THE CONDITIONS OF THE CHANGE OF EDUCATIONAL PARADIGMS." SOCIAL WELFARE: INTERDISCIPLINARY APPROACH 1, no. 6 (2016): 77. http://dx.doi.org/10.21277/sw.v1i6.242.

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The article deals with the topic that is especially relevant for the system of education of Lithuania that is undergoing the transformation of educational paradigms – assessment of students’ progress and achievements, which causes an especially great number of discussions in modern artistic/music education because of its specificity. The article focuses on the attitude of future music teachers towards the functions of the assessment of students’ progress and achievements, its impact on the microclimate of the educational process and having identified the relations of the assessment of students

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42

Meehan, Norman. "Wayne Shorter: Work in Progress." Jazz Perspectives 10, no. 1 (2017): 41–61. http://dx.doi.org/10.1080/17494060.2017.1340005.

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43

Crochet, Lorrie S., and Susan K. Green. "Examining Progress across Time with Practical Assessments in Ensemble Settings." Music Educators Journal 98, no. 3 (2012): 49–54. http://dx.doi.org/10.1177/0027432111435276.

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This article provides the rationale for effective music assessment that tracks individual progress across time and offers examples to illustrate assessment of a range of music-learning goals. Gauging progress across time helps students become more mastery-oriented, while showing more effort and positive attitudes. As instruction and assessment become more focused on individual students, practices such as private lessons within the group setting and individual performance assessment emerge. Examples based on current strategies used by practicing teachers illustrate these practices.

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44

Felz, Nelly. "The Rake's Progress: masque élisabéthain sous un loup vénitien." Revue de musicologie 77, no. 1 (1991): 59. http://dx.doi.org/10.2307/947180.

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45

Gritten, Anthony. "Edward T. Cone's Stravinsky. The Progress of an Essay." Musical Times 139, no. 1862 (1998): 4. http://dx.doi.org/10.2307/1004123.

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46

Braunschweig, K. "ENLIGHTENMENT ASPIRATIONS OF PROGRESS IN EIGHTEENTH-CENTURY GERMAN THEORY." Journal of Music Theory 47, no. 2 (2003): 273–304. http://dx.doi.org/10.1215/00222909-47-2-273.

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47

Wu, Xu Dong. "Analysis and Design of Pop Music Website Based on UML." Applied Mechanics and Materials 687-691 (November 2014): 2288–91. http://dx.doi.org/10.4028/www.scientific.net/amm.687-691.2288.

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The rapid development of Internet technology promotes the emergence of a large number of music website, and the design of pop music website meets the people's strong pursuit for pop music, so it has great significance in researching the analysis and design of pop music website based on UML technology. On the basis of understanding the UML concepts, this paper studied the requirement analysis of music website, mainly using the Unified Modeling Language (UML) to build the use case model that describes the progress of management and usage of the website; secondly, to build the class diagram of mu

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48

Nafde, Dr Mrs Tanuja. "Nationalism and Music." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (2021): 4982–84. http://dx.doi.org/10.22214/ijraset.2021.36040.

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It is a well-known fact, that music alone of all the arts and sciences has that dominating note of supreme mastership which compels unquestioned universal recognition. In painting, in sculpture, in architecture, in poetry, and in general literature in all its varying and varied moods and modes of expression, Indian music has won fame and occupied the highest place of appreciation in the world. It is admitted that Music is the last art to develop in any civilization, it must also be admitted that Indian civilization and culture have reached a point that would predicate a degree of development i

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49

Твердовская, Т. И. "A Little More about Rules and Progress." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 118–23. http://dx.doi.org/10.26156/om.2020.12.1.007.

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В рецензируемом сборнике, изданном к юбилеям профессоров Санкт-Петербургской консерватории К.И.Южак и А.П.Милки Проблемы и методы изучения старинной музыки: сборник статей по материалам международной конференции 45 декабря 2014 года (Санкт-Петербургская государственная консерватория имени Н.А.Римского-Корсакова. Санкт-Петербург: Скифия-принт, 2019), музыкальные явления разных эпох освещаются в различных ракурсах, в новых, подчас неожиданных, аспектах, в меняющихся контекстах. Благодаря публикации работ самих юбиляров, их коллег, представляющих крупнейшие музыкальные вузы России и зарубежья, а

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50

Chew, Geoffrey. "Pastoral and neoclassicism: A reinterpretation of Auden's and Stravinsky's Rake's Progress." Cambridge Opera Journal 5, no. 3 (1993): 239–63. http://dx.doi.org/10.1017/s0954586700004055.

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It is a commonplace that the poetry best suited to an operatic libretto has fewer pretensions, and more transparency in the range of interpretations that can be placed upon it, than ‘literary’ poetry. Otherwise, it will scarcely bear the weight of the music, much less contribute to the great emotional climaxes that justify opera for many listeners in the first place. And some might mistrust a libretto that is too ‘literary’ or too complicated, for metaphysical and other subtleties are not easily projected across the footlights. No one was more acutely aware of this ‘unliterary’ relationship be

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