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Journal articles on the topic 'Music – England – 20th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Barlow, Jill. "London, Royal Opera House: ‘The Blackened Man’." Tempo 57, no. 223 (January 2003): 87–89. http://dx.doi.org/10.1017/s004029820327008x.

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Will Todd, born in Durham in 1970, has an extensive output of compositions to his credit, including highly-charged operas and oratorios, largely centred around themes from northeastern England, notably the workers' struggle against early 19th and 20th-century injustice and oppression. I had heard his emotive cantata The Burning Road performed at St Albans Cathedral in February 2002 – it depicts the relentless, footsore Jarrow Marchers of 1936 who stopped in the city en route to London – and was interested to hear the follow-up in his new opera on an allied theme: The Blackened Man.

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2

Kertesz, Elizabeth. "Ethel Smyth’s The Wreckers: a cosmopolitan voice for English opera." Studia Musicologica 52, no. 1-4 (March 1, 2011): 485–97. http://dx.doi.org/10.1556/smus.52.2011.1-4.33.

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As debates raged about the parlous state of English opera in the first decades of the 20th century, the composer Ethel Smyth saw her opera The Wreckers staged in London. After writing two operas directed towards the German market and in an idiom steeped in the German Romantic tradition, Smyth consciously re-focused her style for The Wreckers, exploring the possibilities of creating opera that might simultaneously find favour in England and appeal to theatres on the continent.This paper will consider The Wreckers as an essay in a cosmopolitan style, that simultaneously employed internationally

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3

Logan, Jeremy. "Synesthesia and feminism: A case study on Amy Beach (1867-1944)." New Sound, no. 46 (2015): 130–40. http://dx.doi.org/10.5937/newso1546130l.

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As one of the most notable American woman composers of the early 20th Century, Amy Beach had to struggle with her social role as a woman born into the middle class of New England, USA. Before marrying into the upper class, she was already established as a concert pianist. Her husband pressured her not to perform in public, which affected her emotionally and compositionally. This paper will re-evaluate the work of Amy Beach within the context of her struggles as a woman composer and more specifically focus on her synesthesia and how it influenced her choice of keys and modes within her music. T

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4

Revill, George. "A New English Music: Composers and Folk Traditions in England’s Musical Renaissance from the Late 19th to the Mid-20th Century. By Tim Rayborn." Twentieth Century British History 29, no. 2 (August 9, 2017): 326–29. http://dx.doi.org/10.1093/tcbh/hwx040.

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5

Klendiy, O. M. "Interpretative aspect of C. Saint‑Saëns’s piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 136–53. http://dx.doi.org/10.34064/khnum1-56.09.

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Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Sa&#235;ns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Sa&#235;ns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim

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6

Marks, Anthony, and Paul Griffiths. "20th Century." Musical Times 128, no. 1732 (June 1987): 332. http://dx.doi.org/10.2307/1193737.

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7

Marks, Anthony. "20th Century." Musical Times 128, no. 1732 (June 1987): 337. http://dx.doi.org/10.2307/1193747.

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8

Marks, Anthony. "20th Century." Musical Times 127, no. 1718 (May 1986): 281. http://dx.doi.org/10.2307/965468.

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9

Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistic

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10

Banfield, Stephen. "20th-Century British." Musical Times 126, no. 1704 (February 1985): 99. http://dx.doi.org/10.2307/963479.

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11

Criswick, Mary. "20th-Century Guitar." Musical Times 127, no. 1726 (December 1986): 695. http://dx.doi.org/10.2307/964679.

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12

Criswick, Mary. "20th-Century Guitar." Musical Times 128, no. 1734 (August 1987): 442. http://dx.doi.org/10.2307/965019.

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13

O'Loughlin, Niall. "20th Century Wind." Musical Times 131, no. 1766 (April 1990): 206. http://dx.doi.org/10.2307/966272.

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14

Roseberry, Eric, and Robert P. Morgan. "Anthology of 20th-Century Music." Musical Times 133, no. 1797 (November 1992): 581. http://dx.doi.org/10.2307/1002593.

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15

Gbur, Bruce, and David DeBolt. "Bassoon Music of 20th-Century America." American Music 18, no. 1 (2000): 116. http://dx.doi.org/10.2307/3052397.

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16

Anderson, Julian, and Norman Lebrecht. "The Companion to 20th Century Music." Musical Times 134, no. 1799 (January 1993): 38. http://dx.doi.org/10.2307/1002636.

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17

Sabbe, H. "Open structure in 20th century music." Interface 16, no. 3 (January 1987): 121–22. http://dx.doi.org/10.1080/09298218708570494.

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18

Manuel, Peter, and Wim van der Meer. "Hindustani Music in the 20th Century." Asian Music 18, no. 1 (1986): 208. http://dx.doi.org/10.2307/834168.

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19

Jerome, Jennifer. "Archives and Archivists in 20th Century England." Australian Academic & Research Libraries 41, no. 1 (March 2010): 71–72. http://dx.doi.org/10.1080/00048623.2010.10721438.

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20

Holman, Peter. "17th-century England." Early Music 33, no. 2 (May 1, 2005): 352–54. http://dx.doi.org/10.1093/em/cah090.

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21

Jones, Mark. "20th century composers." Psychiatric Bulletin 15, no. 7 (July 1991): 442–45. http://dx.doi.org/10.1192/pb.15.7.442.

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At the turn of the century, opera was leaderless after the heady days of Verdi and Wagner. Puccini emerged as the new voice of Italian opera, where realism, or verismo, was the way forward. But verismo could never be the answer to the operatic dilemma that faced the latest composers, since it only gave a musical dimension to a stage painting of ‘life as it is’, without reference to underlying psychodynamics — I personally have never thought Puccini much of an intellectual. Beautiful his music may be, but as thinking pieces of theatre they are devoid of real challenges. Their appeal and potency

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22

Waldron, Janice. "Questioning 20th Century Assumptions About 21st Century Music Practices." Action, Criticism, and Theory for Music Education 17, no. 1 (April 2018): 97–113. http://dx.doi.org/10.22176/act17.1.97.

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23

Hopkins, Charles. "Godowsky's 'Phonoramas': A 20th-Century 'Wanderlust'." Musical Times 130, no. 1757 (July 1989): 400. http://dx.doi.org/10.2307/1193437.

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24

Schachter, Carl. "20th-century analysis and Mozart performance." Early Music XIX, no. 4 (November 1991): 620–28. http://dx.doi.org/10.1093/earlyj/xix.4.620.

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25

Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.

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These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism

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26

Knust, Martin. "20th-century Music in Sweden. An Overview." Musicological Annual 54, no. 2 (November 15, 2018): 31–43. http://dx.doi.org/10.4312/mz.54.2.31-43.

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Sweden appeared as a music exporting country on the map in the beginning of the 20th century. Located between different shifting military and political blocks it maintained a politics that contributed to some extent to the specific shape of Sweden’s music life which this overview outlines.

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27

Doty, David B., and Gardner Read. "20th-Century Microtonal Notation." Notes 48, no. 4 (June 1992): 1309. http://dx.doi.org/10.2307/942152.

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28

Ghuman, Nalini. "19th- and 20th-Century British and American." Musical Times 136, no. 1826 (April 1995): 196. http://dx.doi.org/10.2307/1004177.

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29

Craig, Dale A. "Trans–Cultural Composition in the 20th Century." Tempo, no. 156 (March 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.

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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement

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30

Stampfel, Peter. "The American 20th Century in 100 Songs." Journal of Popular Music Studies 31, no. 2 (June 2019): 3–14. http://dx.doi.org/10.1525/jpms.2019.312002.

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31

Bedford, Frances. "Major 20th-century composers and the harpsichord." Contemporary Music Review 20, no. 1 (January 2001): 17–24. http://dx.doi.org/10.1080/07494460100640031.

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32

Maglov, Marija. "Past music, future music: Technology and music institutions in the 20th century." New Sound, no. 48-2 (2016): 53–64. http://dx.doi.org/10.5937/newso1648053m.

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In his text Technology and the Composer Pierre Boulez writes about new technologies that emerged in the 20th century, primarily created for the purposes of music recording and reproduction, but also established as a means of innovation in electronic and electro-acoustic music practice. Boulez points to two directions where technology and music are in question: conservative historicism and progressive technology, enabling the development of new music material and innovation. By using Boulez's text(s) as a point of departure, the author considers the roles those new technologies had in the devel

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33

Ladič, Branko. "Transformations of folklorism in 20th-century Slovak composition." Studia Musicologica 56, no. 4 (December 2015): 367–95. http://dx.doi.org/10.1556/6.2015.56.4.6.

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Folkloristic musical works played an essential role in the creation of a ‘Slovak idiom’ in classical music of the post-war period. From the simple arrangement of folk songs to a more autonomous art music (which may have been only partly influenced by folk traditions) there existed a broad spectrum of musical practices, including also film music and music for the professional ‘folk music ensembles’ that appeared after 1948. By referring to specific examples from this large body of music, I will show how composers worked with harmonic and poetic elements that were particular to folk music: my di

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34

Sheludyakova, Oksana E. "The New Obikhod of the 20th Century: Compilations of Monastic Liturgical Music of the Late 20th Century." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2017): 93–99. http://dx.doi.org/10.17674/1997-0854.2017.4.093-099.

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35

Burnett, Robert, Russell Sanjek, David Sanjek, and Norton York. "American Popular Music Business in the 20th Century." Notes 50, no. 4 (June 1994): 1440. http://dx.doi.org/10.2307/898340.

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36

Barnard, Stephen. "The Faber Companion to 20th Century Popular Music." Popular Music 11, no. 1 (January 1992): 111–15. http://dx.doi.org/10.1017/s0261143000004888.

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37

Hyung-Joo Chi. "20th Century Korean music, opened a new path." Music and Culture ll, no. 32 (March 2015): 177–83. http://dx.doi.org/10.17091/kswm.2015..32.177.

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38

Christensen, Erik. "Overt and Hidden Processes in 20th Century Music." Axiomathes 14, no. 1 (2004): 97–117. http://dx.doi.org/10.1023/b:axio.0000006790.51374.4a.

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39

Savenko, Svetlana Savenko. "Stravinsky and Russian Music of the 20th Century." Musicological Annual 43, no. 2 (December 1, 2007): 93–98. http://dx.doi.org/10.4312/mz.43.2.93-98.

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The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most important stations of the perception of Stravinsky: 1. 1910–1920. Stravinsky’s works were regularly performed in Russia during this period. The reaction of the audience and the press was various and partly controversial. 2. End of the 30’s to the middle 1950’s. In this period Stravinsky’s music has almost disappeared from the USSR concert life. I

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40

Madsen, Clifford K., and John M. Geringer. "Responses of Multi-Aged Music Students to Mid-20th-Century Art Music." Journal of Research in Music Education 63, no. 3 (August 6, 2015): 336–48. http://dx.doi.org/10.1177/0022429415595621.

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This investigation replicates previous research into K–12 students’ responses to mid-20th-century art music. The study extends that research to include undergraduates and graduates as well as an additional group of graduate students who had taken a 20th-century music class. Children’s responses showed remarkable consistency and indicated that younger children gave higher mean liking ratings than did older students. Kindergarten and third-grade youngsters preferred all but two of the excerpts compared to their older counterparts. There appeared to be a large difference between younger students’

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41

Chu, Hsiao-Yun. "Book Review: Archives and Archivists in 20th Century England." Collections 6, no. 4 (December 2010): 324–25. http://dx.doi.org/10.1177/155019061000600410.

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42

ADLER, K. "Art Beyond the Gallery in Early 20th Century England." Oxford Art Journal 8, no. 2 (January 1, 1985): 73–74. http://dx.doi.org/10.1093/oxartj/8.2.73.

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43

Morton, Hugh G. "Child psychiatry in the 20th century (England & Wales)." British Journal of Psychiatry 159, no. 6 (December 1991): 884. http://dx.doi.org/10.1192/s0007125000032256.

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44

Rasch, Rudolf, and Gardner Read. "Review of Gardner Read, 20th-Century Microtonal Notation." Perspectives of New Music 29, no. 1 (1991): 258. http://dx.doi.org/10.2307/833079.

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45

Winn, James A., and Diane Kelsey McColley. "Poetry and Music in Seventeenth-Century England." Notes 55, no. 4 (June 1999): 904. http://dx.doi.org/10.2307/899597.

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46

Doughtie, Edward, and Diane Kelsey McColley. "Poetry and Music in Seventeenth-Century England." Yearbook of English Studies 30 (2000): 295. http://dx.doi.org/10.2307/3509281.

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47

Bailey, Candace Lea. "Music Theory in Seventeenth-Century England (review)." Notes 59, no. 2 (2002): 363–65. http://dx.doi.org/10.1353/not.2002.0155.

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48

Gushee, Marion S., and Paul Griffiths. "The Thames and Hudson Encyclopedia of 20th-Century Music." Notes 45, no. 4 (June 1989): 756. http://dx.doi.org/10.2307/941226.

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49

FRĂȚILĂ, Lioara. "Accompanying and the Orchestral Reduction of 20th Century Music." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 77–84. http://dx.doi.org/10.31926/but.pa.2019.12.61.31.

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50

Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.

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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europ

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