Relevant bibliographies by topics / Musical album

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Musical album'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Musical album.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Musical album"

1

Goldberg, Halina. "Chopin's Album Leaves and the Aesthetics of Musical Album Inscription." Journal of the American Musicological Society 73, no. 3 (2020): 467–533. http://dx.doi.org/10.1525/jams.2020.73.3.467.

Full text
Abstract:
Abstract During the nineteenth century, major composers—such as Schubert, Schumann, Wieck Schumann, Mendelssohn, Mendelssohn Hensel, Liszt, and Chopin—contributed musical compositions to a kind of volume known as a friendship album (also keepsake album, album amicorum, or Stammbüch). Album inscriptions penned by Fryderyk Chopin provide a lens through which we can study these compositions, thereby gaining an understanding of the ways in which musical meaning, genre, and text were governed by conventions of gift exchange. Complete compositions, musical fragments, and performative flourishes left in albums by music lovers as well as professional composers and performers took on the function of secular relics that were understood to preserve metaphysical traces of the inscribers, while handwriting was believed to represent the writer's character or momentary state of mind. These ideas intersect with a broader Romantic culture of collectorship. To invoke experiences and memories shared by the inscriber and the dedicatee, some composers engaged in dialogic relationships with mementos inscribed by others or employed intertextual references. An examination of these forms of interplay adds to our knowledge of the way context can shape the use and meaning of musical borrowing and allusion. The authors of inscriptions also employed intrinsically musical vocabulary to impart the sense distortions that neuroscientists and scholars of memory describe as typical of a recalled experience. Moreover, albums provided a censorship-free private venue for political and national discourses. These musical texts constitute a separate class of presentation manuscripts that serve a specific social function and audience.
APA, Harvard, Vancouver, ISO, and other styles
2

Jovanovic, Jelena. "The appearance of concept albums in Yugoslav popular music: Kamen na kamen - long play records." Muzikologija, no. 17 (2014): 167–94. http://dx.doi.org/10.2298/muz1417167j.

Full text
Abstract:
It is commonly understood that a concept album is ?a studio album where all musical or lyrical ideas contribute to a single overall theme or unified story? (Shuker 2002: 5). In this paper this term will be used to denote an album containing extra-musical themes and not simply collections of compositions defined only by genre or theme. In order for an album to belong to this category, it must have taken a thematic unity realized by the common content (thematically) of its compositions and common musical means. Although the beginnings of such creative trends can be traced from 1940, the 1960s and 1970s brought the most influential releases of this kind, especially The Beatles? album Sgt. Pepper?s Lonely Hearts Club Band (1967), which has had a great impact on many authors. As far as is known, the topic of concept albums in Yugoslavia has not yet been elaborated, so this article seems to be the first dedicated to this subject. It seems that in Yugoslavia there had been albums with elements of concept released before the appearance of the Kamen na kamen group album in 1973, entitled LP-60993 (Zagreb: Jugoton). The author of the album was Nikola Borota Radovan. After that, a double LP by the same ensemble and songwriter appeared in 1975 entitled OOUR/AVNOJ (RTV Ljubljana), with even more clearly expressed characteristics of concept. The aim of this article is to show that the thematic and conceptual elements of these editions are firmly connected to those of the concept album. These LPs were formed within the following thematic and contextual frames: 1) Borota`s general inclination towards folklore tradition(s) as a permanent source of inspiration, 2) models among the greatest popular music works that influenced his writing projects, primarily The Beatles? concept albums, and 3) social, economic and political circumstances in Yugoslavia at the time when these albums appeared. Even if it is not strictly a concept album in the full sense, the album LP- 60993 might be regarded as the first album with elements of concept published by a Yugoslav author, according to all the criteria and analyzed results. The elements that show a clear connection to the concept are as follows: leading subject(s)/idea(s) that demand(s) the order of compositions, organization of musical elements and motives on macro- and micro-levels (to produce formal and thematic unity), elements of narrative and musical/sound symbols, including elements of musique concr?te.
APA, Harvard, Vancouver, ISO, and other styles
3

Neimoyer, Susan. "The Cyclic Nature of Joni Mitchell's Court and Spark." Articles 34, no. 1-2 (May 26, 2015): 3–32. http://dx.doi.org/10.7202/1030868ar.

Full text
Abstract:
Current scholarship recognizes several of Joni Mitchell’s albums as being cyclic, or based on a unifying concept. Court and Spark (1974), however, is not numbered among them, despite Mitchell’s having described it as “a discourse on romantic love.” Following the inference that this album may have been conceived as an extended, multi-movement work, this article examines both its textual and musical aspects, seeking unifying characteristics. The cyclic nature of the album is uncovered, showing it to be more unified from a musical perspective than a textual one. This approach is the opposite of Mitchell’s perceived norm, suggesting her compositional process may have been more sophisticated than is currently thought.
APA, Harvard, Vancouver, ISO, and other styles
4

Goldberg, Halina. "Review: Album musical de Maria Szymanowska." Music and Letters 83, no. 4 (November 1, 2002): 671–73. http://dx.doi.org/10.1093/ml/83.4.671.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Sa Dias, Fernanda. "Album Apps: A New Musical Album Format and the Influence of Open Works." Leonardo Music Journal 24 (December 2014): 25–27. http://dx.doi.org/10.1162/lmj_a_00191.

Full text
Abstract:
Since 2011, the term “album app” has been used more frequently by journalists in the music and technology fields. It refers to a new album format that at first seemed an invitation to improvisation; one could re-create a musical piece while listening to it. The result is that the roles of composing, performing and listening become nearly indiscernible in the album app context. The author also discusses the album app’s relationship to “open works,” a term that was coined and investigated by Eco in 1959, a period that disposed of different technologies to apply very similar statements.
APA, Harvard, Vancouver, ISO, and other styles
6

Gusans, Ingars. "DESIGN OF LATVIAN METAL MUSIC ALBUM COVERS IN 2019." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 661. http://dx.doi.org/10.17770/sie2020vol5.5054.

Full text
Abstract:
Latvian metal music has a small but stable place on the map of the metal music world. Each year several music albums of this genre are issued in Latvia. With the decrease in demand for physical data storage devices, brochures and well designed back covers are no longer popular; however the only remaining album cover has gained even more importance – the image, photograph, picture that represents the musical material and acts either as a reflection of the content or as an element for attracting attention and is published on the Internet as well as in printed press as a concrete symbol of the album. The research aim is to describe the design of Latvian metal music album covers in 2019 in the visual context of the albums issued in the world. The research was conducted using the comparative method, looking for the local and global, the typical and different in the visualisation of album covers on the basis of not only theoretical literature but also the many years of experience of the author as a musician and a collector of music records. In general, the visual look of album covers issued in Latvia is typical for heavy metal music and fits in with the visual design of metal band albums in the rest of the world. However, there have been attempts to include eye-catching accents using national or pseudo-national elements or colours.
APA, Harvard, Vancouver, ISO, and other styles
7

Malawey, Victoria. "Musical Emergence in Björk's Medúlla." Journal of the Royal Musical Association 136, no. 1 (2011): 141–80. http://dx.doi.org/10.1080/02690403.2011.562717.

Full text
Abstract:
Björk's 2004 album Medúlla offers listeners radical and new combinations of vocal sounds in pop music. The album features emergent processes ranging from textural emergence, as in standard pop-rock formulas for song introductions, to less common emergent and transformative processes involving metrical, tonal, motivic and phrasal structure. When such processes involving different parameters are combined, other (non-emergent) processes recede to the background, and the effect of emergence assumes a fundamental role over the course of the composition as a whole. Recognizing emergent processes opens up connections with song lyrics and possibly also extra-musical narratives which can enrich our analytical understanding and ultimately our listening experiences of these songs. Furthermore, Medúlla models ways in which other contemporary songwriters could develop sophisticated emergent processes that disturb conventional understandings of popular music as simplistic and formulaic.
APA, Harvard, Vancouver, ISO, and other styles
8

Alexeyeva, Irina V., and Olga Yu Kirsanova. "The “Notebooks” of Leopold Mozart (“Die Notenbücher der Geschwister Mozart”) As a Specimen of Instructive Compositions." ICONI, no. 1 (2019): 92–101. http://dx.doi.org/10.33779/2658-4824.2019.1.092-101.

Full text
Abstract:
One of the interesting realms of contemporary musicology is the issue of study and evaluation of the historical musical text of the early classical period, remote from us in terms of time. No less significant is the comprehension of its didactic potential, as well as the adaptation of scholarly results of research and their application in pedagogical practice. More relevant is the study of the techniques of interaction on the part of the performer with this musical text. The article acquaints the readers with the unique album for clavier, absent in Russian performing and instructive practice — “Die Notenbücher der Geschwister Mozart” in its original version. Its study presents the possibility to immerse into the specificity of the artistic content and pedagogical “secrets” of one of the opuses of the instructive direction reflecting the specificity of 18th century instrumental music-making. Analytical immersion into the musical text of the “Notebooks” (such is the version of the translation of the title of the analogous albums of J.S. Bach, according to Russian publishers) as a historical document of the epoch is aided by turning to its “intonational-lexical vocabulary” stipulated by culturological context. The album discloses the practical secrets of adaptation of the musical score form of notation in its transcription into two-lined form and demonstrated signs of the reduction of the musical text in correspondence with the peculiarities of keyboard instruments. For a present-day beginning performer, the creative potential of the pieces in the collection consists in the possibility of reverse unfolding of two-line keyboard music into an ensemble score the means of which have been fixated into the musical text.
APA, Harvard, Vancouver, ISO, and other styles
9

Stimeling, Travis D. "‘Phases and stages, circles and cycles’: Willie Nelson and the concept album." Popular Music 30, no. 3 (September 21, 2011): 389–408. http://dx.doi.org/10.1017/s0261143011000213.

Full text
Abstract:
AbstractWhile many rock artists explored the compositional possibilities of the concept album in the 1960s and 1970s, Nashville's country music community largely ignored the format. But a few artists working on the fringes of country music – and who, notably, aligned themselves with the countercultural images and attitudes of the time – did begin to experiment with the format in the first years of the 1970s. Chief among them was country songwriter and recording artist Willie Nelson who, by the dawn of the 1970s, was on the verge of breaking away from Music Row to seek more lucrative opportunities in Texas. This article explores the role that Nelson's experimentation with the concept album played in his efforts to adopt a countercultural image, develop a younger audience and challenge the hegemony of the country music industry. Moreover, close examination of Nelson's compositional approach to three albums – Yesterday's Wine (1971), Phases and Stages (1974) and Red Headed Stranger (1975) – reveals that Nelson consciously blended the singles-based approach to songwriting that predominated in 1960s and 1970s Nashville and the extended narrative and musical forms of contemporaneous rock music to create musical products that suited the needs of country radio and rock fans alike.
APA, Harvard, Vancouver, ISO, and other styles
10

PALMER, JOHN R. "Yes, ‘Awaken’, and the progressive rock style." Popular Music 20, no. 2 (May 2001): 243–61. http://dx.doi.org/10.1017/s026114300100143x.

Full text
Abstract:
Going for the One was a good rebirth of Yes at that time, to find its feet and really know what it wanted to do. And we made ‘Awaken’ . . . (Morse 1996, p. 58).Since the release of their third recording, The Yes Album, in March 1971, the music of the English band Yes has been associated with the rock music substyle called ‘progressive rock’. The first two Yes albums showcase a very capable, inventive group of musicians who drew freely from the multitude of sounds around them, emulating aspects of the various musical styles they found engaging. However, it was not until they composed the works appearing on The Yes Album that the band coupled this eclecticism with a quest for originality to develop a voice highly idiosyncratic when judged against prevailing popular music styles. Subsequent albums reveal a predeliction for experimentation and expansion, and successful record sales in both the UK and US encouraged further development in the same direction. Although not members of the ‘first wave’ of progressive rock bands, Yes became ‘codifiers’ and for many, especially later detractors, the flagship of the ‘progressive' fleet. Before I go on to describe and illustrate, through the analysis of a particular song, aspects of Yes's musical language, I will briefly describe the environment in which it appeared and flourished.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Musical album"

1

Pereira, Filipe Conde. "Cinca vezes Vanusa : expressões em capas de álbuns musicais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/173813.

Full text
Abstract:
O presente trabalho busca apresentar os primeiros cinco álbuns da cantora Vanusa como exemplos de composição da unidade álbum e a relação essencial entre visualidade, som e poesia que este apresenta enquanto produção artística. Para isso, propõe uma compreensão mais ampla da produção capista na cena da música popular brasileira identificada como para público jovem nos arredores e durante os anos 1960 no país – considerando Jovem Guarda, Tropicalismo e Bossa Nova como suas principais linhas.
This work seeks to presente the early five albums of the singer Vanusa as exemples of composition of the album unity and their essencial relation between visuality, sound and poetry that it presentes as artistic production. For that, proposes a wider comprehension about the capist production on the brazilian popular music scene identified as for Young public around the 1960’s – considering Jovem Guarda, Tropicalismo and Bossa Nova as their main lines.
APA, Harvard, Vancouver, ISO, and other styles
2

Zevallos, García Hugo André. "El impacto de la teatralidad dentro de los conciertos de música popular contemporánea de género rock psicodélico, glam y progresivo (1970 – 2019)." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653208.

Full text
Abstract:
El término teatralidad es una de las palabras más utilizadas dentro del mundo espectáculo. Sin embargo, existe cierta confusión o ambigüedad a la hora de separar la utilización de este recurso dentro de distintas ramas artísticas. Así pues, si no es bien generalizado, es desatendido por el común artista musical; como consecuencia se ha desestimado el impacto que se puede ocasionar en el espectador, a partir de la mera corporalidad de los participantes de una puesta en escena. Por estos motivos, se ha contenido dentro del presente documento el uso y la transformación de este recurso dentro de la segunda mitad del siglo XX, de manera que se ha investigado la adopción de esta técnica por múltiples artistas a lo largo de las décadas; con el fin de poder esclarecer términos afines y dar a conocer uno de los avances artísticos musicales más elaborados dentro de nuestra coetaneidad. La teatralidad en la música es el resultado de una visión literaria dentro de la misma, por la cual se expanden los modos de composición, producción y ejecución. Así pues, esta viene a ser la introducción de nuevas formas en la lírica y en la narrativa. Se plasman personajes ficticios en la búsqueda de representar dramáticamente un nuevo espectáculo musical; el sonido, el material visual del escenario y la performance de sus componentes físicos son ahora herramientas en pos de consolidar un nuevo conjunto visual y sonoro, compartido entre artista y espectador.
The term theatricality is one of the most used words in show business. However, there is some confusion or ambiguity when it comes to separating the use of this resource within different artistic branches. Thus, if it is not well generalized, it is neglected by the common musical artist; as a consequence, the impact that can be caused on the viewer, from the mere corporality of the participants of a staging, has been dismissed. For these reasons, the use and transformation of this resource within the second half of the twentieth century has been contained in this document, so that the adoption of this technique by multiple artists over the decades has been investigated; in order to clarify related terms and publicize one of the most elaborate musical artistic advances within our contemporary age. Theatricality in music is the result of a literary vision, through which the modes of composition, production and execution are expanded. Thus, this comes to be the introduction of new forms in the lyric and in the narrative. Fictional characters are depicted in the quest to dramatically represent a new musical show; the sound, the visual material of the stage and the performance of its physical components are now tools in order to consolidate a new visual and sound set, shared between artist and spectator.
Trabajo de investigación
APA, Harvard, Vancouver, ISO, and other styles
3

La, Rosa Cuya Gabriela Verónica. "Influencia de la digitalización en el diseño de las portadas discográficas del rock peruano desde 2015 hasta 2019." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653057.

Full text
Abstract:
Esta investigación tiene como objetivo principal determinar la influencia de la digitalización en el diseño de las portadas de álbumes y sencillos discográficos del rock peruano desde 2015 hasta 2019. Es por esto que se planteó como hipótesis que la digitalización no tiene una influencia directa con respecto a la creación del concepto y elección de elementos o técnicas para el desarrollo del diseño de carátulas discográficas. La presente investigación corresponde a la categoría de enfoque qualitativo, debido a que se centró en un análisis de contenido de un total de 20 portadas discográficas, diez de ellas pertenecientes al marco temporal delimitado y las otras diez fueron carátulas elaborabas antes de la fecha seleccionada. Además, se realizaron entrevistas a dos informantes claves para obtener más información que complemente los resultados alcanzados a partir de los análisis. Entre los principales resultados podemos encontrar que el diseño discográfico del rock peruano presenta un nivel de literalidad en sus diseños, tanto en la era digital como en los diseños que fueron elaborados previamente. También se logró evidenciar que hay una diferencia con los elementos indispensables en el diseño de discográfico realizado en la era digital en comparación con el anterior a este. Por último, se logró concluir que a pesar que la función original de vestir el empaque ya no es la más importante, el rol de la portada de un álbum sigue siendo relevante, ya que sirve como una herramienta publicitaria para dar a conocer la existencia de producción musical.
The main objective of this research is to determine the influence of digitalization on the design of album covers of peruvian rock bands from 2015 to 2019. This is why it was hypothesized that digitalization does not have a direct influence on the creation of the concept and choice of elements or techniques for the development of the design of album cover artwork. This research corresponds to the category of qualitative design, because it focused on a content analysis of a total of 20 record covers, ten of them belonging to the defined time frame and the other ten were covers that were made before the selected date. In addition, two key informants were interviewed to obtain more information to complement the results obtained from the analysis. Among the main results, we can find that the peruvian rock record cover artwork presents a level of literalness in their designs, both in the digital age and in the designs that were previously elaborated. It was also possible to show that there is a difference with the indispensable elements in the record design carried out in the digital age compared to the previous one. Finally, it was concluded that although the original function of dressing the packaging is no longer the most important, the role of an album cover is still relevant, as it serves as an advertising tool to publicize the existence of every music production.
Trabajo de investigación
APA, Harvard, Vancouver, ISO, and other styles
4

Bowen, Mary Elizabeth. "Family Album." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/td/909.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Pare, Joelle. "Bagage excédentaire suivi de, Album narratif, album conceptuel." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27899.

Full text
Abstract:
Comme les poèmes forment des recueils, les chansons se rassemblent en albums, desquels se dégage parfois une unité. Dans les albums conceptuels se tissent des liens thématiques entre les chansons. La première partie de ma thèse en création littéraire, Bagage excédentaire, renferme une vingtaine de textes de chanson qui constituent un album conceptuel narratif qui raconte un deuil et un voyage. La deuxième partie, Album narratif, album conceptuel, met en relief les notions théoriques liées aux aspects narratifs et thématiques de l'album conceptuel. Les temps, les thèmes, les lieux et les personnages du récit sont étudiés, de même que la structure de la diégèse et l'ordre des chansons dans deux albums, Le voyage de Paul Piché et Deflaboxe de Daniel Bélanger. J'y effectue également un retour sur Bagage excédentaire. En somme, ma thèse offre une vue d'ensemble des caractéristiques littéraires des textes qui composent les albums conceptuels.
APA, Harvard, Vancouver, ISO, and other styles
6

Wärn, Morgan. "Ett Live-Album." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2440.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Brummel, Daniel Gorciak. ""Odalisque"| The story of an album." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10245672.

Full text
Abstract:

The album Odalisque by the indie rock band Sanglorians is the culmination of many years of deep personal, artistic, and technical work. Many aspects of the composition, arrangement, performance, and recording of the project album were widely influenced by the methodologies espoused within the Master of Music program in Commercial Music Composition and Arranging at California State University, Los Angeles. This project report explores these methodologies of commercial music composition as they were applied to each song during the songwriting, arranging, and production processes. Approached as a scholarly personal narrative manuscript, each song's genesis is sourced, and its meaning examined in proper creative context within the whole.

APA, Harvard, Vancouver, ISO, and other styles
8

Eriksson, Matilda. "Medvetenhet och röda trådar : Om att skapa ett konceptuellt album." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74030.

Full text
Abstract:
I denna uppsats undersöks hur ett konceptuellt album skrivs samt produceras med analyser av tre existerande konceptuella album i pop/indiepoprock genre som underlag. I arbetet utforskas hur specifika konceptuella parametrar så som text, struktur samt sound kan appliceras på det egna musikskapandet samt hur det påverkar arbetsprocessen. Det undersöks vilka svårigheter som uppkommer med att arbeta efter specifika konceptuella parametrar samt hur väl låtarna fungerar både i och utanför det konceptuella upplägget. Resultatet blir sju egenskriva låtar till ett konceptuellt album och i diskussionen analyseras konceptualitet som begrepp.
APA, Harvard, Vancouver, ISO, and other styles
9

Olson, Ted. ""Love’s 'Forever Changes': An Essentially Timeless Album Fifty Years On" and "Love’s 'Forever Changes': The Original Album Track-by-Track"." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1152.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Augspurger, Christine Anne. "Transience: An Album-Length Recording for Solo Percussion and Electronics." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/4802.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Musical album"

1

David, Henderson, Frank Proto, Teppo Hauta-aho, Teppo Hauta-aho, François Rabbath, Roger Ruggeri, and David Walter. A family album: Double bass solos. Cincinnati: Liben Music Publishers, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

The Kiss album focus. 3rd ed. [United States]: Xlibris, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Gill, Julian. The Kiss album focus. 3rd ed. San Francisco: KISSFAQ.COM, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Gill, Julian. The Kiss album focus. 3rd ed. San Francisco: KISSFAQ.COM, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Gill, Julian. The Kiss album focus. 3rd ed. San Francisco: KISSFAQ.COM, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Russo, Joe. The Monkees photo album. Saddle Brook, N.J. (P.O. Box 917, Saddle Brook 07662): CM Enterprises, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Lewin, Janey Scott. No man's mistress. Toronto: Harlequin, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Brandelius, Jerilyn Lee. Grateful Dead Family Album. New York: Warner Bks., 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Grateful Dead family album. New York, NY: Warner Books, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Shakespeare, William. Shakespeare song album: 23 songs to texts by William Shakespeare. London: Boosey & Hawkes, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Musical album"

1

Pennebaker, D. A. "Original Cast Album: Company." In 100 Film Musicals, 175–76. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-568-8_70.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Morrow, Guy. "Album Cover Design." In Music Business Research, 27–54. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48114-8_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kroeker, Joel. "The Red Album." In Jungian Music Psychotherapy, 7–11. Abingdon, Oxon ; New York, NY : Routledge, [2019]: Routledge, 2019. http://dx.doi.org/10.4324/9780429459740-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Whitley, Ed. "The Postmodern White Album." In The Beatles, Popular Music and Society, 105–25. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62210-8_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Braae, Nick. "A Day at the Races and the Gestural Unity of Queen." In Rock and Rhapsodies, 190–208. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0009.

Full text
Abstract:
One of the key themes in popular music historiography is the notion that artists should develop through their career. This chapter considers A Day at the Races, the album to emerge after the commercial success of A Night at the Opera, but critically considered a weak follow-up. It is argued that one of the features of A Day at the Races is gestural unity—the imitation of musical gestures among the band members. Drawing on two extended case studies, it suggests the 1976 album treads familiar ground to its predecessor but does so with comparatively unified arrangements and extended motivic development within the songs, an observation that can be understood as representing Queen’s evolution.
APA, Harvard, Vancouver, ISO, and other styles
6

Crist, Stephen A. "Metrical Experimentation." In Dave Brubeck's Time Out, 211–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190217716.003.0009.

Full text
Abstract:
A fundamental characteristic of Dave Brubeck’s Time Out album is that it eschews common meter, which had long formed the temporal basis for jazz. This chapter takes stock of this central aspect of Time Out. A judicious appraisal of Brubeck’s work with unusual meters and rhythms must be informed by several considerations. First, by 1959 Brubeck had been interested in metrical experimentation for more than two decades. Second, Brubeck’s fascination with the temporal aspects of jazz continued in four additional albums during the 1960s. Finally, Brubeck’s enduring legacy rests on his unique ability to pursue this progressive musical agenda while simultaneously achieving broad popular appeal.
APA, Harvard, Vancouver, ISO, and other styles
7

Wielanek, StanisŁaw. "Party na Nalewkach." In Polin: Studies in Polish Jewry Volume 16, 527–28. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0039.

Full text
Abstract:
This chapter explores Stanisław Wielanek's recording of Yiddish-tinged 'oldies' Party na Nalewkach (A Party in Nalewki Street). Released on vinyl in 1980 and later available on cassette, until recently the album was hard to find in either format. Whatever the reason for its disappearance, Wielanek's album has now reappeared on CD with a new cover and title, and with five new selections added to the earlier version's sixteen. Aficionados of Jewish popular song will find a veritable lost continent of fascinating repertoire attractively arranged and performed by Wielanek and his band, Kapela Warszawska. Something of an archaeologist and troubadour, Wielanek first discovered the genre of szmonces as an ardent collector of musical folklore from Warsaw. The encounter was inevitable, since, as Wielanek says, Jewish songwriters dominated the field of popular music in Poland between the wars.
APA, Harvard, Vancouver, ISO, and other styles
8

Jones, Alisha Lola. "Ritualizing the Unspoken." In Flaming?, 172–97. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065416.003.0007.

Full text
Abstract:
Chapter 6 continues exploration of Tonéx’s Unspoken album to consider unspokenness as a means of decentering the primacy of oration in African American worship leadership, while bringing to center the power of presence in ministry when the posture of standing in one’s truth is assumed in public worship. While music scholars have researched the moments in which the musical rest is a facet of sound, chapter 6 contends that unspokenness is a prized aspect of African American orality and nonverbal communication. More than a silent treatment, unspokenness manages musical moments in the face of censorship and oppression, during worship experiences where queer potential is assessed and rebuked. The multifold notion of standing in one’s truth is an animating principle that symbolizes a queer ministry of presence.
APA, Harvard, Vancouver, ISO, and other styles
9

Burrows, George. "A Mellow Bit of Rhythm." In The Recordings of Andy Kirk and his Clouds of Joy, 182–206. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199335589.003.0005.

Full text
Abstract:
This concluding chapter considers the 1957 album, A Mellow Bit of Rhythm, as a Signifyin(g) form of musical recollection. It rounded off the recorded output of Kirk as a bandleader in a way that re-illuminated the earlier recordings made by his Clouds of Joy within a 1950s hot-jazz context. The retrospective album is shown to be as much a form of stylistic mask-play as the original recordings, as it served to represent a particular kind of ‘authentic’ black-jazz legacy for Andy Kirk and His Clouds of Joy within contemporary stylistic parameters and expectations. The bigger band and its more voluminous sound are considered relative to contemporary audio technologies and tastes and the louder big-band style is shown to re-present Kirk’s recordings of the previous two decades in fresh stylistic and racial garb. Exploring that album ultimately presents an opportunity to reflect on the whole race-political enterprise of the records of Kirk and his band.
APA, Harvard, Vancouver, ISO, and other styles
10

Sloan, Nate, Charlie Harding, and Iris Gottlieb. "A Star’s Melodic Signature." In Switched On Pop, 21–35. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190056650.003.0003.

Full text
Abstract:
Taylor Swift changes her musical style from album to album, something that has earned her criticism for appearing “inauthentic.” Even as her sounds changes, though, one element remains intact—a three-note melodic motif present throughout her oeuvre dubbed the “T Drop,” discussed in this chapter. The T Drop may serve as Swift’s sonic signature, but the inherent plasticity of melody means that the motif signifies differently depending on small variations in its construction, as well as the overall context in which appears; small changes to the motif can make it resonate quite differently. Tracing this melody through Swift’s repertoire shows how artists can maintain their songcraft in the face of commercial demands.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Musical album"

1

Araujo, Carlos V. S., Rafael Giusti, and Marco A. P. Cristo. "Um Modelo de Predição para o Sucesso no Mercado Musical." In XXIV Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/webmedia.2018.4559.

Full text
Abstract:
In this paper we present an ongoing research that aims to produce a model to predict success in the musical market. To reach this goal, it is necessary, initially, to identify infl uence factors in the market, which is the current focus of this research. In this branch, we identify that tweets have infl uence over the popularity of an album in Spotify. We also found out that Pop has more tendency to have the most popular song of a year, among other analyses. The next steps of this research are to list even more infl uence factors, generate the model using artifi cial neural networks and validate it with real-world cases.
APA, Harvard, Vancouver, ISO, and other styles
2

Dorochowicz, Aleksandra, and Bozena Kostek. "Relationship between album cover design and music genres." In 2019 Signal Processing: Algorithms, Architectures, Arrangements, and Applications (SPA). IEEE, 2019. http://dx.doi.org/10.23919/spa.2019.8936738.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Morales-Arroyo, Miguel, and Tushar Pandey. "Identification of critical eWOM dimensions for music albums." In 2010 IEEE International Conference on Management of Innovation & Technology. IEEE, 2010. http://dx.doi.org/10.1109/icmit.2010.5492860.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Shemyakina, M. A. "THE SONG «SALT» AS A REPRESENTATION OF AUTHOR’S CONCEPTION IN DIPTYCH OF MUSICAL ALBUMS «SALT» AND «TIME N» BY B. GREBENSHCHIKOV." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-98.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Musical album' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography