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Journal articles on the topic 'Music restoration'

Author: Grafiati

Published: 9 March 2023

Last updated: 31 July 2025

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1

Holman, Peter. "A New Source of Restoration Keyboard Music." Royal Musical Association Research Chronicle 20 (1987): 53–57. http://dx.doi.org/10.1080/14723808.1987.10540919.

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Restoration keyboard music has been well served in recent years by modern editions, source studies and thematic catalogues. Thus it is all the more surprising that Brussels Conservatoire MS XY 15139, a large manuscript from the early eighteenth century containing unique pieces by John Blow and William Croft as well as a number of early copies of music by Henry Purcell, has almost entirely escaped notice. It seems that the only references to it in the scholarly literature to date have been a brief description by Margaret Reimann in her article on the Kortkamp family in Die Musik in Geschichte u

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2

DeWitt, Lucinda A., and Arthur G. Samuel. "Perceptual restoration of music." Journal of the Acoustical Society of America 80, S1 (1986): S110. http://dx.doi.org/10.1121/1.2023559.

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3

Herissone, Rebecca. "Playford, Purcell, and the Functions of Music Publishing in Restoration England." Journal of the American Musicological Society 63, no. 2 (2010): 243–90. http://dx.doi.org/10.1525/jams.2010.63.2.243.

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Abstract During Purcell's lifetime the music-publishing business in England flourished, thanks mainly to John Playford. Since intellectual property rights did not yet exist, Playford and his successors were able to select music they were confident of selling, predominantly producing multicomposer anthologies of popular tunes. Composers may have benefited little from these publications so it is significant that some took the financial risk of printing their music without an established publisher's support. Analysis suggests that musical self-publication was undertaken for several quite specific

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4

Fang, Jianjun. "Experimental Restoration and Reconstruction in Music Archaeology." Journal of Music Archaeology 1 (December 4, 2023): 9–21. http://dx.doi.org/10.1553/jma-001-01.

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Restoration attempts to recover the original shape of excavated musical artifacts that have been damaged. Reconstruction is primarily focused on unearthed musical instruments or those depicted in images, and aims either at creating reproductions of playable replicas and imitations, or at simulative manufacturing and model reconstruction. Restoration, on the other hand, can be carried out in tangible or intangible ways. Tangible restoration can be perceived visually, while intangible restoration is instead sonic, and therefore aurally perceptible. Restoration not only recovers the integrity of

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5

Wolfe, Patrick J., and Simon J. Godsill. "Perceptually Motivated Approaches to Music Restoration." Journal of New Music Research 30, no. 1 (2001): 83–92. http://dx.doi.org/10.1076/jnmr.30.1.83.7122.

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6

McGeary, T. "Music and science in Restoration London." Early Music 38, no. 4 (2010): 591–92. http://dx.doi.org/10.1093/em/caq084.

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7

Morehen, John. "From Jacobean to Restoration." Early Music XXII, no. 4 (1994): 685–87. http://dx.doi.org/10.1093/earlyj/xxii.4.685.

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8

Kaminska, Zofia, and Peter Mayer. "Transformation, migration and restoration." Contemporary Music Review 9, no. 1-2 (1993): 151–61. http://dx.doi.org/10.1080/07494469300640411.

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9

MEMELSDORFF, PEDRO. "New music in the Codex Faenza 117." Plainsong and Medieval Music 13, no. 2 (2004): 141–61. http://dx.doi.org/10.1017/s0961137104000105.

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New photographic images and digital restoration have finally permitted the integral restoration and transcription of several diminutions from the manuscript Faenza, Biblioteca Comunale Manfrediana 117, hitherto impossible because of illegible passages. Above all, it has been possible to restore two completely new pieces: a Kyrie Orbis factor (virtually complete) and part of its corresponding Gloria dominicalis (Vatican Edition XI). The two new pieces are here transcribed and published for the first time, along with the completion of the diminution of Jacopo da Bologna's madrigal Sotto l'impero

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10

Bailey, C. "Restoration keyboard music in the digital age." Early Music 37, no. 2 (2009): 320–22. http://dx.doi.org/10.1093/em/cap012.

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11

KORIAKIN, Oleksii. "RECORDING RESTORATION AS A REINTERPRETATION OF MUSIC." Humanities science current issues 2, no. 86 (2025): 54–59. https://doi.org/10.24919/2308-4863/86-2-8.

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12

Green, Andrew J. "Reforesting About Music? Auralities of Restoration in Southern Mexico City." Ethnomusicology 69, no. 2 (2025): 177–99. https://doi.org/10.5406/21567417.69.2.04.

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Abstract In this article, I explore reforestation as a form of ethnomusicological “practice research.” I build on fieldwork with community reforesting groups in southern Mexico City for whom reforesting provokes participants to develop new kinds of musicking and auditory engagement. The article proposes the term “auralities of restoration” to describe the fluid, exploratory, adaptive ways that those seeking to restore natural environments appropriate and rework the musical and aural cultures around them. It advocates listening to, with, and through such restorative work as a way to articulate

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13

Dyer, Mark. "Interpreting Telemann: restoration and reconstruction." Early Music 46, no. 2 (2018): 345–47. http://dx.doi.org/10.1093/em/cay030.

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14

Metzer, David. "Musical Decay: Luciano Berio's Rendering and John Cage's Europera 5." Journal of the Royal Musical Association 125, no. 1 (2000): 93–114. http://dx.doi.org/10.1093/jrma/125.1.93.

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Restoration and reproduction have served as two of the primary means by which the present has approached the past. These practices are the focus of Luciano Berio's Rendering and John Cage's Europera 5, two recent works that draw upon earlier compositions. In Rendering, Berio ‘restores ’ the drafts for what would have been Schubert's Tenth Symphony. Contrary to conventional restorations, Berio not only builds up the sketch materials but also fragments them, having Schubert's themes disappear into musical voids. Europera 5 looks back at eighteenth- and nineteenth-century opera, which is presente

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15

Pollens, Stewart. "Curt Sachs and Musical Instrument Restoration." Musical Times 130, no. 1760 (1989): 589. http://dx.doi.org/10.2307/965574.

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16

Kuremoto, Takashi, Kazuma Fujino, Hirokazu Takahashi, et al. "Restoration of Guqin Music by Deep Learning Methods." Proceedings of International Conference on Artificial Life and Robotics 29 (February 22, 2024): 320–24. http://dx.doi.org/10.5954/icarob.2024.os12-1.

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17

Kotašová, Daniela, and Tereza Žůrková. "Zpráva z konference Dokumentace, konzervace a restaurování hudebních nástrojů." Muzeum Muzejní a vlastivedná práce 59, no. 1 (2022): 57–60. http://dx.doi.org/10.37520/mmvp.2021.005.

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The conference of the Methodological Center for Documentation, Conservation and Restoration of Musical Instruments presented specific approaches and methods of care for musical instruments in museum collections. Great attention was paid to restoration ethics or terminology in the documentation of musical instruments. At the end of the program, specific examples of restoration practice were presented as part of an excursion to the restoration workshops of the Czech Museum of Music.

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18

Mazur, Olexander. "Sound recordings from radio archives: the restoration of music in digits." Obraz 35, no. 1 (2021): 142–51. http://dx.doi.org/10.21272/obraz.2021.1(35)-142-151.

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A holistic historical and informational analysis was conducted in the scientific context of the synergy of two systems – sound recording and radio broadcasting. Methodological support of the study was based on the use of general scientific and special methods. Taking into account the experience of «BBC Radio 1» in creating a unique collection of sound recordings and areas of use of music collections as objects of archival storage, the features of recording music sessions in recording studios of radio stations are revealed. The main methods of restoration, restoration and digitization of stock

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19

Runge, Laura L. "“But first let’s have a dance”: Music in Aphra Behn’s Plays." Restoration and Eighteenth-Century Theatre Research 35 (December 2023): 27–51. http://dx.doi.org/10.5325/rectr.35.0027.

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ABSTRACT This quantitative analysis of Aphra Behn’s musical terms demonstrates that her comedies need to be understood in the context of seventeenth-century music. As a Restoration dramatist, Behn experienced the early phase of the Baroque. Despite the considerable presence of music in her works, scholarship on Behn and music has been neglected. Nodes of her preferred terms—dance, sing, song, and musick—are mapped and analyzed, focusing on four of the most musical plays: The Revenge (1680), The Roundheads (1682), The Luckey Chance (1687), and The Emperor of the Moon (1687). As a collaborator w

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20

MABBETT, MARGARET. "ITALIAN MUSICIANS IN RESTORATION ENGLAND (1660–90)." Music and Letters 67, no. 3 (1986): 237–47. http://dx.doi.org/10.1093/ml/67.3.237.

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21

Lebedinski, Ester. "‘Obtained by peculiar favour, & much difficulty of the Singer’: Vincenzo Albrici and the Function of Charles II's Italian Ensemble at the English Restoration Court." Journal of the Royal Musical Association 143, no. 2 (2018): 325–59. http://dx.doi.org/10.1080/02690403.2018.1507116.

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AbstractThis article discusses the function of Vincenzo Albrici and Charles II's Italian ensemble at the English Restoration court. The article cites newly discovered archival evidence to suggest that Albrici arrived at the English court in 1664 to become the leader of an exclusive ensemble performing Italian chamber music. The employment of the Italian ensemble imitated Mazarin's patronage of Italian music at the French court, arguably to rehabilitate the recently restored Stuart dynasty in the eyes of Continental courts. The article suggests that the ensemble performed chamber music privatel

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22

Prest and Goble. "Language, Music, and Revitalizing Indigeneity: Effecting Cultural Restoration and Ecological Balance via Music Education." Philosophy of Music Education Review 29, no. 1 (2021): 24. http://dx.doi.org/10.2979/philmusieducrevi.29.1.03.

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23

Creel, Sarah C. "Metrical Restoration From Local and Global Melodic Cues." Music Perception 38, no. 2 (2020): 106–35. http://dx.doi.org/10.1525/mp.2020.38.2.106.

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What factors influence listeners’ perception of meter in a musical piece or a musical style? Many cues are available in the musical “surface,” i.e., the pattern of sounds physically present during listening. Models of meter processing focus on the musical surface. However, percepts of meter and other musical features may also be shaped by reactivation of previously heard music, consistent with exemplar accounts of memory. The current study explores a phenomenon that is here termed metrical restoration: listeners who hear melodies with ambiguous meters report meter preferences that match previo

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24

HOONDERT, MARTIN J. M. "The ‘restoration’ of plainchant in the Premonstratensian Order." Plainsong and Medieval Music 18, no. 2 (2009): 141–61. http://dx.doi.org/10.1017/s0961137109990040.

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ABSTRACTIn 1910 the Premonstratensian Order acquired its own Graduale. Soon after the publication of this Graduale doubts were expressed about its authenticity. Still, to this very day the Premonstratensians stand by their ‘own’ chant and use the 1910 Graduale. In this article, I reveal that the Graduale is not a reconstruction of Premonstratensian chant of the twelfth or thirteenth centuries and I also attempt to explain why the Premonstratensians undertook the quest for their ‘own authentic’ Premonstratensian chant.

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25

Bari, Andrea, Sergio Canazza, Giovanni De Poli, and Gian Antonio Mian. "Toward a Methodology for the Restoration of Electroacoustic Music." Journal of New Music Research 30, no. 4 (2001): 351–63. http://dx.doi.org/10.1076/jnmr.30.4.351.7490.

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26

Fadeev, A. S., V. I. Konovalov, T. I. Butakova, and A. V. Sobetsky. "Music Tune Restoration Based on a Mother Wavelet Construction." Journal of Physics: Conference Series 803 (January 2017): 012039. http://dx.doi.org/10.1088/1742-6596/803/1/012039.

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27

Sasaki, Takayuki. "Music sound restoration and the effect of presentation conditions." Journal of the Acoustical Society of America 120, no. 5 (2006): 3204. http://dx.doi.org/10.1121/1.4788100.

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28

Tsukahara, Yasuko. "State Ceremony and Music in Meiji-era Japan." Nineteenth-Century Music Review 10, no. 2 (2013): 223–38. http://dx.doi.org/10.1017/s1479409813000244.

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The music culture of Japan following the Meiji Restoration of 1868 is characterized by the coexistence and interdependent development of three types of music: (1) traditional music passed down from the Edo period (1603–1867) as exemplified by gagaku (court music); (2) the Western music that entered the country and became established after it was opened to the outside world; and (3) modern songs that were the first to be created in East Asia, such as shōka and gunka (school and military songs). These three types of music each played the role required of them by the Meiji state, and they became

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29

Lee, Haram, Ylhong Luo, Hyowon Yoon, Seonkyeong Kim, Yunjin Lee, and Jin Yong Jeon. "Restoration Effect Through VR Soundscape and Traditional Music Contents Experience." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 268, no. 1 (2023): 7118–22. http://dx.doi.org/10.3397/in_2023_1065.

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It was conducted to verify the psychophysiological restoration effect caused by the experience of the so-called Gugak soundscape, which is a combination of Korean natural VR soundscape contents and Korean traditional music, Gugak. Visual stimulation was provided through the VR CAVE environment, and auditory stimulation was provided through 4-channel microphone recording and closed type headphones for immersive and practical experience. The subjects experienced the content in a comfortable capsule-shaped chair, and experienced the content three times a week for 6 weeks, each time for 15 minutes

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30

le Huray, Peter. "Music in a Provincial Cathedral: Chichester from Reformation to Restoration." Musical Times 128, no. 1729 (1987): 161. http://dx.doi.org/10.2307/964514.

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31

Wood, Julia K. "‘A flowing harmony’: music on the Thames in Restoration London." Early Music XXIII, no. 4 (1995): 553–84. http://dx.doi.org/10.1093/earlyj/xxiii.4.553.

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32

Moon, Sukhie. "A Study on Restoration of the 15th Century Boheoja Music." Korean Literature and Arts 36 (December 31, 2020): 5–36. http://dx.doi.org/10.21208/kla.2020.12.36.5.

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33

Feller, Ross. "Matthew Burtner: Soundscapes of Restoration: Music, Sonifications & Field Recordings." Computer Music Journal 46, no. 3 (2022): 83–86. http://dx.doi.org/10.1162/comj_r_00653.

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34

SOUZA, A. G. R. "The sacred music of Alberto Nepomuceno." Cuadernos de Educación y Desarrollo 16, no. 2 (2024): e3390. http://dx.doi.org/10.55905/cuadv16n2-056.

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This paper discusses the sacred music of Alberto Nepomuceno according to the ultramontane Catholicism’, the Motu Proprio Tra le sollecitudini (1903) issued by the Supreme Pontiff Pius X (1903-1914), and the movement for the restoration of sacred music in Brazil in the first decades of the 20th century.The analytical approach is based on "discourse", that is, meanings constructed in the process of interlocution. It is also based on conceptions derived from Mikhail Bakhtin's thought as dialogism, performance spaces and discursive genre.

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35

Mehl, Margaret. "Between the Global, the National and the Local in Japan: Two Musical Pioneers from Sendai." Itinerario 41, no. 2 (2017): 305–25. http://dx.doi.org/10.1017/s0165115317000389.

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Western visitors to Japan are often surprised at how widely European art music can be heard. The roots of what is arguably one of Japan’s greatest success stories lie in the systematic introduction and dissemination of Western music by the government after the Meiji Restoration of 1868. Much research has focused on the government’s role; but how was Western music disseminated and received in different parts of Japan? This article discusses the roles of two brothers, Shikama Totsuji (1853–1928) and Shikama Jinji (1863–1941), who in different ways contributed significantly to the dissemination o

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36

HULSE, LYNN. "MATTHEW LOCKE: THREE NEWLY DISCOVERED SONGS FOR THE RESTORATION STAGE." Music and Letters 75, no. 2 (1994): 200–213. http://dx.doi.org/10.1093/ml/75.2.200.

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37

Walkling, A. "Masque and politics at the Restoration court: John Crowne's calisto." Early Music 24, no. 1 (1996): 27–62. http://dx.doi.org/10.1093/em/24.1.27.

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38

Wang, Jiayi. "The Influence of Temple Economy on Modern Japanese Buddhist Music." Communications in Humanities Research 14, no. 1 (2023): 80–86. http://dx.doi.org/10.54254/2753-7064/14/20230411.

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Buddhist music was introduced to Japan from China in the 6th century and marked the origins of chanting in temple and court rituals by Japanese monks. However, after the Meiji Restoration, Buddhist music underwent a transformative phase due to policy changes and western influences. Additionally, technological developments in music and increased scholarly attention have played a significant role in restoring lost ancient Buddhism music. This paper focuses on current research landscape of modern and contemporary Japanese Buddhist music, primarily addressing two issues: the diverse forms of moder

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39

McAuley, Tomas. "Music and Belonging Between Revolution and Restoration. By Naomi Waltham-Smith." Music Theory Spectrum 42, no. 1 (2020): 158–63. http://dx.doi.org/10.1093/mts/mtz027.

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40

Gritten, Anthony. "Music and Belonging between Revolution and Restoration. By Naomi Waltham-Smith." Music and Letters 100, no. 1 (2019): 145–50. http://dx.doi.org/10.1093/ml/gcz014.

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41

Lampert-Greaux, Ellen. "Engineers for an Icon." Mechanical Engineering 123, no. 09 (2001): 56–59. http://dx.doi.org/10.1115/1.2001-sep-3.

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This article highlights the restoration of Radio City Music Hall that returns a landmark to its original glory with a number of updates. At the height of its glory, the hall was a glamorous showplace for first-run films and live entertainment on a stage that measures 144 by 66½feet. When the army of architects, engineers, and consultants attacked the restoration of Radio City Music Hall, they discovered that many of the technical systems in the building were the same ones that were in place when the building opened more than 65 years earlier. The goal of architectural lighting throughout the b

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42

Bernard, Jonathan W. "Ligeti's Restoration of Interval and Its Significance for His Later Works." Music Theory Spectrum 21, no. 1 (1999): 1–31. http://dx.doi.org/10.1525/mts.1999.21.1.02a00010.

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43

CHEN, YUNG-SHENG, FENG-SHENG CHEN, and CHIN-HUNG TENG. "AN OPTICAL MUSIC RECOGNITION SYSTEM FOR SKEW OR INVERTED MUSICAL SCORES." International Journal of Pattern Recognition and Artificial Intelligence 27, no. 07 (2013): 1353005. http://dx.doi.org/10.1142/s0218001413530054.

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Optical Music Recognition (OMR) is a technique for converting printed musical documents into computer readable formats. In this paper, we present a simple OMR system that can perform well for ordinary musical documents such as ballad and pop music. This system is constructed based on fundamental image processing and pattern recognition techniques, thus it is easy to implement. Moreover, this system has a strong capability in skew restoration and inverted musical score detection. From a series of experiments, the error for our skew restoration is below 0.2° for any possible document rotation an

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44

Hunter, David. "English Country Psalmodists and their Publications, 1700–1760." Journal of the Royal Musical Association 115, no. 2 (1990): 220–39. http://dx.doi.org/10.1093/jrma/115.2.220.

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The singing of metrical psalms, canticles, some anthems and a few hymns in the ‘old way’ constituted almost the sole musical activity in English parish church services after the Restoration. By the start of the eighteenth century a reform was under way. Parish clerks ceased to line out the psalms for the benefit of congregations. As the clergy and gentry generally disdained to assist the improvement of music and only the wealthiest urban churches could afford organs, congregations took their lead from choirs trained by itinerant singing-masters. Church music became divided between the art musi

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45

Canadas-Quesada, F. J., P. Vera-Candeas, D. Martinez-Munoz, N. Ruiz-Reyes, J. J. Carabias-Orti, and P. Cabanas-Molero. "Constrained non-negative matrix factorization for score-informed piano music restoration." Digital Signal Processing 50 (March 2016): 240–57. http://dx.doi.org/10.1016/j.dsp.2016.01.004.

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46

Savile, Anthony. "The Rationale of Restoration." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 463. http://dx.doi.org/10.2307/431518.

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47

Wilsmore, S. J. "Unmasking Skepticism about Restoration." Journal of Aesthetics and Art Criticism 46, no. 2 (1987): 304. http://dx.doi.org/10.2307/431871.

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48

WILSMORE, S. J. "Unmasking Skepticism About Restoration." Journal of Aesthetics and Art Criticism 46, no. 2 (1987): 304–6. http://dx.doi.org/10.1111/1540_6245.jaac46.2.0304.

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49

SAVILE, ANTHONY. "The Rationale of Restoration." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 463–74. http://dx.doi.org/10.1111/1540_6245.jaac51.3.0463.

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50

Veksler, Yulia S. "Interpretive Restoration: Othmar Schoeck’s Das Schloß Dürande in a New Edition." Contemporary Musicology 8, no. 4 (2024): 112–34. https://doi.org/10.56620/2587-9731-2024-4-112-134.

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The article highlights a high-profile project by the Bern Academy of Arts to bring back into musical life one of the key works in the history of 20th-century Swiss music — Othmar Schoeck’s opera Das Schloß Dürande (1941). For many decades, despite its manifest musical merits, the performance of this composition seemed absolutely impossible due to the political overtones with which it is associated. Various “interpretive restoration” strategies were aimed at creating a new version of the opera. In the first place, the libretto, which was created by the Nazi writer Hermann Burte and based on the

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