Relevant bibliographies by topics / Musical criticism

Contents

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

Academic literature on the topic 'Musical criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Musical criticism"

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Swanwick, Keith. "Musical Criticism and Musical Development." British Journal of Music Education 8, no. 2 (July 1991): 139–48. http://dx.doi.org/10.1017/s026505170000824x.

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Musical criticism lies at the heart of music education. It is argued that there are five fundamental dimensions of musical criticism: control of sonorities; expressive characterisation; structural relationships; personal evaluation; historical and technical context. The first four of these – those directly concerned with response to a musical object or event – are the essential modes of criticism and these can be seen unfolding in the musical development of children. Following the publication in 1986 by Swanwick and Tillman of a musical development model, further research in Cyprus gives supportive results; showing strong agreement between judges on the use of critical criteria for assessing children's compositions and articulating the same sequential order of development. A random selection of children's compositions drawn from over 600 items collected in Cyprus is assessed by independent judges. There are correlations between assigned critical criteria and the age of the children. Thus the pattern of musical development can be seen to parallel a critical hierarchy. From these data we can also assume that, although the sequential order of development may be confirmed, the compositions of the UK children in our sample appear generally to be more advanced than those of their Cyprus peers. The quality and consistency of music education provision seems therefore to have a positive role in the development of critical powers. There are implications for music curriculum development, for assessment procedures and for further work on musical development, and on the relationship of composing to performing and of both to audience listening.
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Duchesneau, Michel. "French Music Criticism and Musicology at the Turn of the Twentieth Century: New Journals, New Networks." Nineteenth-Century Music Review 14, no. 1 (February 7, 2017): 9–32. http://dx.doi.org/10.1017/s1479409816000264.

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This article examines the efforts of French musicologists to create a specialized journal at the turn of the twentieth century that would clearly associate music criticism and musicology. Using as case study a set of music journals, from La Revue d’histoire et de critique musicales to the Mercure musical and the Revue S.I.M. that followed, I establish the connections that brought together the nascent musicological milieu, the musical press and the artistic affinities among the principal actors in their attempt to create a new network of music critics guided by musicological exigencies. Jules Combarieu, Romain Rolland, Louis Laloy, Jean Marnold, Émile Vuillermoz and Jules Écorcheville are some of the musicologists engaged in this project between 1900 and 1914. But historical contingencies make this project a relative utopia, and requirements of the young musicology hardly meet that of a music criticism divided between disciplinary tradition and the necessity to support contemporary music. After the war, with the founding of a new Revue musicale, René Prunières, prudently, would not hire musicologists to develop a music criticism. Instead, he took up the characteristically Republican project of promoting musical culture, and thus responding to the interests of both the cultivated bourgeoisie and the musical, literary and artistic milieus through diffusion of music knowledge.
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Swanwick, Keith. "Musical Criticism and Music Education." Revista Música 2, no. 2 (November 1, 1991): 134. http://dx.doi.org/10.11606/rm.v2i2.55030.

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I am concerned here with the concept of musical analysis and its role in school and college education. My starting point is simply that musical analysis is the most important branch of musical criticism. By criticism I mean any discourse about music involving judgement or appraisal at any level. Critical statements that have analytical force must by definition say something about how a particular piece of music functions. All analysis is musical criticism but not all criticism is analysis. Analysis cannot be simply an expression of preference or a statement about the social or historical context of a piece of music. Critical statements that are simple expressions of preference or statements about context are not particularly helpful to the process of music education. For this reason I shall confine myself to the branch of criticism we call analysis. Analysis is essentially discourse concerned with the internal functioning of a specific musical object. It is about the integrity of a particular work. To be more accurate, analysis is discourse about our perceptions of a musical object. From an educational perspective it is not helpful to conduct musical analysis as though a work existed independently of individual perceptions of it and in classrooms we have to conduct musical analysis in a way that involves students engaging with music in his or her own way.
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Herzog, Patricia. "Music Criticism and Musical Meaning." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 299. http://dx.doi.org/10.2307/431355.

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HERZOG, PATRICIA. "Music Criticism and Musical Meaning." Journal of Aesthetics and Art Criticism 53, no. 3 (June 1, 1995): 299–312. http://dx.doi.org/10.1111/1540_6245.jaac53.3.0299.

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Julich-Warpakowski, Nina. "Motion Expressions in Music Criticism." arbeitstitel | Forum für Leipziger Promovierende 8, no. 1 (April 2, 2020): 34. http://dx.doi.org/10.36258/arbeitstitel.v8i1.3310.

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Music is commonly and conventionally described in terms of motion: melodies fall and rise, and motifs may follow a harmonic path. The thesis explores the motivation of musical motion expressions in terms of conceptual metaphors (Lakoff & Johnson 1999). Specifically, it analyses whether musical motion expressions are based on the time is motion metaphor (Johnson & Larson 2003, Cox 2016). Furthermore, the thesis investigates whether musical motion expressions are perceived as low in metaphoricity because of their conventionality in music criticism, and because of a more general association of music with motion, given that people often literally move when they make music and when they listen to music.
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Gooley, Dana. "Hanslick and the Institution of Criticism." Journal of Musicology 28, no. 3 (2011): 289–324. http://dx.doi.org/10.1525/jm.2011.28.3.289.

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This article surveys Hanslick’s statements about the purpose and practice of criticism to argue that he viewed music criticism as a medium with the potential to effect political and social change, and not as a practical application of aesthetic principles. Hanslick took up the Enlightenment model of criticism—–which stressed the critic’s role in fostering the public’s independence of judgment through the exercise of reason—–and adapted it to the historical circumstances of post-1848 Vienna. The Enlightenment model had originated from an impetus to emancipate a civil public from top-down, absolute forms of authority. It resonated powerfully with Hanslick because he believed that artistic, social, and political life in Vienna after 1848 was gradually liberating itself from the paralyzing, passive, and repressive ethos of Vormärz, and that the critic could contribute to this historical emancipation. Hanslick thus broke his earlier identification with the Left Hegelian “philosophical” model of criticism, which did not share the Enlightenment’s optimistic conception of the public sphere. His commitment to the critic's public mission manifested as an effort to position his voice as the “silent” inner conscience of the average educated listener. His self-consciousness about aligning his voice with that of the public came to the surface in reviews where his opinion did not match the audience response. Many of Hanslick’s criteria for musical judgment were aimed at defending the listener’s freedom from the interference of external critical authorities as well as from composers and whose musical ideas were turgid or unclear. In service to these freedoms he was willing to criticize composers such as Beethoven, Schumann, and Brahms, as well as conservative classicists and music historians.
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Majer-Bobetko, Sanja. "Croatian Musical Journals between the Two World Wars and the Musical Criticism." International Review of the Aesthetics and Sociology of Music 23, no. 2 (December 1992): 177. http://dx.doi.org/10.2307/837014.

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Kogler, Susanne. "Adorno as Critics – Mozart, Wagner and Strauss in the Light of the Aesthetic Theory." Musicological Annual 41, no. 1 (December 1, 2005): 45–57. http://dx.doi.org/10.4312/mz.41.1.45-57.

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There is no doubt, that Adomo's critical monographs and essays on Wagner and Strauss, as well as the text on Sibelius, number among the most controversially discussed parts of his oeuvre. One important reason for this controversial reception is the fact that these writings combine philosophical and musical views. As far as the musicologists are concerned, the texts lack a detailed analytical perspective; from the philosophical point of view on the other hand, the deliberations are too much dominated by musical phenomena. This text, which was written for a lecture held at the Musicology Department of the University of Ljubljana in April 2005, aims at placing Adorno's music criticism in the context of his critical aesthetics and in his musical philosophy respectively, which he summed up in his Aesthetic Theory. By doing so the most important criteria, which refer directly to the critical perspective of his thought concerning language and culture in general, shall be focused upon. The article consists of four parts: The first part will focus on Adorno's ideas on 20th century art in general, for these theoretical thoughts constitute the basis of his thoughts on music and musicians. In the second part, Adorno's demands of musical criticism are placed in the centre of interest. The third part discusses Adorno's critique of Wagner by comparing it to his views on Mozart. The fourth and last part provides a detailed analysis of Adorno's two essays on Richard Strauss. Beside Adorno's Aesthetic Theory his writings on music criticism, in particular the paper held in 1967 at the Institute for Musical Criticism and Aesthetical Research of the former Music Academy in Graz entitled »Reflections on musical criticism«, his Essay on Wagner and his two papers on Richard Strauss written in 1924 and 1964 serve as textual basis for the following consideration.
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Qurrota Ayun, Hafizh. "Kritik Sastra Arab Pada Masa Jahilyah." `A Jamiy : Jurnal Bahasa dan Sastra Arab 11, no. 2 (September 18, 2022): 434. http://dx.doi.org/10.31314/ajamiy.11.2.434-444.2022.

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This study discusses the phenomenon of Arabic literary criticism that occurred during the period of ignorance. By knowing the critical phenomena that existed during the jahiliyyah period, it will be known how the character of Arabic literary criticism at that time was. Literary criticism during the jahiliyyah period was still very simple, namely by determining good and bad or comparing works with one another based on their natural literary taste. The result can be seen in the phenomenon of Muallaqa>t in which some of the best poems from various tribes are placed. The forms of literary criticism during the jahiliyyah period were generally in four forms, namely linguistic criticism, meaning criticism, musical criticism, and poet strata criticism. Linguistic criticism is criticism of the misuse of language. Meaning criticism is a criticism that judges the merits of a poem in terms of meaning. There are three basics in the critique of its meaning, namely its relevance to the life of the Arab community, the compatibility between the word and the meaning that shows it, and the aesthetic value or beauty of the meaning contained in the poem. Musical criticism is literary criticism seen from the good or bad standards of arud that exist in poetry. Criticism of the poet's strata is criticism based on the level of the poet during the jahiliyyah period.
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Dissertations / Theses on the topic "Musical criticism"

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Cameron-Caluori, George. "Philosophy and musical criticism." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5314.

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LaFleur, Brandon Kyle. "Musical Colors| On Establishing a Methodology for Color Applications in Musical Analysis." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271870.

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This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.

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Reside, Douglas Larue. "THE ELECTRONIC EDITION AND TEXTUAL CRITICISM OF AMERICAN MUSICAL THEATRE." UKnowledge, 2006. http://uknowledge.uky.edu/gradschool_diss/350.

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For many, contemporary theatre is represented by the musical. The form remains, however, virtually unstudied by literary scholars. In part, this may be a result of the difficulty of accessing the texts. Reading a musical from a traditional codex is no easy matter. The integration of text and music in a musical make it inappropriate to separate the two. One can try to follow along with a cast recording. In most cases, though, this is awkward. Many cast albums record a significantly modified version of the score and lyrics and few include the entire work. Further, musical theatre texts often exist in many different versions. This work begins with a summary of the problems one encounters when editing a multi-authored text (musicals often have a lyricist, librettist, and composer) which may be revised for practical (rather than aesthetic) reasons. The merits of restoring the material changed during the production process are debated. In this discussion some attempt is made to identify who should be considered the dominating collaborator (or auteur) of a musical. Ultimately, this dissertation argues that the notion of trying to restore an "authorial Ur-Text" makes little sense given the multitude of collaborators involved in the process of making musicals. Instead, an electronic variorum edition is presented as an alternative means of studying and teaching musical theatre texts. The study concludes with a narrative of the authors own work on an electronic edition of the 1998 Broadway musical Parade and ends with a critical introduction to this text.
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Jackson, Simon John. "The literary and musical activities of the Herbert family." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.

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Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.

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The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.
Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.
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Nilsson-Tysklind, Emma. "Marxist Comrades or Capitalist Pigs? : From Musical Proletarians to Musical Capitalists in Roddy Doyle's The Commitments." Thesis, Högskolan Dalarna, Engelska, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3421.

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Marxist themes of Roddy Doyle’s The Commitments have not often been looked at. Yet, they are decidedly prominent. The band make use of a Marxist image and of collectivist easy-played, easily-understood music in order to gain working class listeners. In fact, the band itself is based on an egalitarian structure, until it, due to an increasing individualist wish for success, falls apart. The aim of this essay is thus to argue, through pointing to the Marxist rhetoric of the band and the hypocrisy around it, and through a comparative reading between The Commitments and Orwell’s Animal Farm, that The Commitments has an allegorical value, much like Animal Farm does, when it comes to depicting the way Marxism has worked and failed as it has been practised in reality.
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Yeagley, David Anthony. "Franz Liszt's "Dante Sonata": The origins, the criticism, a selective musical analysis, and commentary." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186883.

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The earliest European Christian (Catholic) music was exclusively vocal. Western music's Renaissance (c.1400-1600) brought about independent instrumental music. However, the idea that religious sentiment could be expressed non-vocally, in non-liturgical contexts, on instruments not associated with religious circumstance, did not develop before Franz Liszt (1811-1886). Though Beethoven (1770-1827) wrote non-liturgical music regarded as "spiritual," (e.g., the late piano sonatas, the late string quartets), Liszt sought to articulate a category of music specifically religious, apart from vocal, liturgical associations. Liszt invented such music at the piano, an instrument incorporating the variety of sounds, gestures, and harmonies he considered evocative of religious sentiment. The Dante Sonata is such a composition. Except for a brief, early moment in the Dante Sonata, the score is void of scales and arpeggios--very basic pianistic musical gestures. The score instead comprises innovative harmonies, creative use of octaves, chords, and original concepts of notation and rhythm. However, scales arpeggios, and indeed the gamut of 19th century pianism, are used by Liszt in other "religious" piano solos. The Legendes de St. Francois, contain substantial use of scales and arpeggiated figures. Other Catholic works, such as Pater noster, Vexilla Regis Prodeunt, Ave Maria, and numerous death-oriented works, though not virtuosic, are not limited in pianistic style. The Harmonies Poetiques et Religious (1845-1852, Nrs. 1-10), contain pieces with both limited and non-limited pianism. The Invocation is void of scales and arpeggios, like the Dante Sonata; but the Benediction and the Cantique d'amour contain much typical arpeggiated accompaniment of melody. The present essay does not identify individual compositional elements as "religious." Each element of the Dante Sonata selected for present analysis, is simply cited as interesting. The Dante Sonata itself is put in the context of religious music. The subjects of religious music and pianistic innovation are both addressed, though neither is interpreted nor defended. That the Dante Sonata is religious music, and pianistically innovative, are the author's judgments a priori. This essay assumes responsibility for circumstantial, pragmatic exemplification of these judgments, not the due process of academic logistics by which they derive. (The latter process requires separate essays.)
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Riley, Matthew. "Attentive listening the concept of Aufmerksamkeit and its significance in German musical thought, 1770-1790 /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 2000. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.325815.

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Carneiro, Albuquerque Liliana. "Mockumentaries and the music industry : between flattery and criticism." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/125712.

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This thesis discusses the relationship between mockumentaries and the music industry. Because this subject has yet to be studied in depth, the original contribution to knowledge is to further examine this relationship. To do so, a literature review documenting what has thus far been written about mockumentaries is provided. This audiovisual strategy is also contextualized within contemporary practices. In the next section, the music industry is discussed in broad terms. Firstly, the relationship between cinema and music is addressed. Then, music is depicted as a cultural phenomenon, with recent issues also being brought to light. In the last chapter, four music-related mockumentaries are analysed. Then, extensive conclusions are drawn.
Esta tesis analiza la relación entre la industria de la música y los falsos documentales. Teniendo en cuenta que esta cuestión todavía no se ha estudiado en profundidad, la contribución original al conocimiento es centrarse en el análisis de esta relación. Para ello, una revisión de la literatura se proporciona, discutiendo lo que hasta ahora se ha escrito acerca de falsos documentales. Esta estrategia audiovisual también se estudia en el contexto de otras prácticas audiovisuales contemporáneas. En la siguiente sección, la industria musical es tratada en términos generales. En primer lugar se aborda la relación entre la música y el cine. A continuación, la industria de la música es analizada como un fenómeno cultural, y además se abordan cuestiones actuales. En el último capítulo cuatro falsos documentales relacionados con la música son analizados y por último se presentan una serie conclusiones.
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Santos, Diogo Maia. "A reelaboração e a relação com a obra musical: uma reflexão sobre fidelidade, criatividade e crítica na prática de reelaboração musical." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13012016-102541/.

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A presente dissertação expõe uma investigação histórica, conceitual e filosófica a respeito da prática de reelaboração musical. O objetivo desse estudo é revelar diferentes perspectivas através das quais podemos tratar a obra musical nessa atividade. Procuramos discutir o equilíbrio entre a criatividade e a relação de fidelidade/autenticidade estabelecida com o original, considerando a personalidade do intérprete/reelaborador. Para tal, construímos um panorama histórico das práticas de reelaboração: transcrição, orquestração, redução, arranjo, adaptação e paráfrase, e as definimos segundo seus propósitos e o grau de transformação de seus materiais musicais. Por fim, analisamos os conceitos de score compliance, werktreue, obra musical e interpretação, além de estabelecermos um paralelo com a tradução literária, a fim de estimular a crítica e compreender melhor a forma como essa atividade foi exercida ao longo da história e como podemos compreendê-la na atualidade.
This thesis presents a historical, conceptual and philosophical research about the practice of musical reworking. The aim of this study is to reveal different perspectives through which we can treat the musical work in this activity. We seek a balance between creativity and the relationship of fidelity/authenticity established with the original, considering the performer\'s personality. To this purpose, we will build a historical overview of reworking practices: transcription, orchestration, reduction, arrangement, adaptation and paraphrase, and we will define them according to their purpose and the degree of transformation of its musical material. Finally, we will analyze the concepts of score compliance, werktreue, musical work and interpretation. In addition, we will offer a parallel to the literary translation in order to stimulate a critical understand of how this activity was exercised throughout history and how we can understand it today.
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Books on the topic "Musical criticism"

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Bering, Rüdiger. Musical. Köln: Dumont, 1997.

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Feuer, Jane. Hollywood Musical. 2nd ed. Basingstoke: Macmillan Education, 1993.

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Mariz, Vasco. Vida musical. Rio de Janeiro: Civilização Brasileira, 1997.

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Swain, Joseph Peter. The Broadway musical: A critical and musical survey. New York: Oxford University Press, 1990.

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Motta, Nelson. Memória musical. Porto Alegre: Editora Sulina, 1990.

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Moyer, Ann E. Musica scientia: Musical scholarship in the Italian Renaissance. Ithaca: Cornell University Press, 1992.

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Mates, Julian. America's musical stage: Two hundred years of musical theatre. New York: Praeger, 1987.

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Ballester, Jordi. Music criticism 1900-1950. Turnhout: Brepols, 2018.

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Zajaczkowski, Henry. Tchaikovsky's musical style. Ann Arbor: UMI Research Press, 1987.

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Zajaczkowski, Henry. Tchaikovsky's musical style. Ann Arbor, Mich: UMI Research, 1987.

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Book chapters on the topic "Musical criticism"

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Golding, Rosemary. "Edmund Gurney, ‘Musical Criticism’." In Music in Nineteenth-Century Britain, 58–72. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-6.

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Hirshberg, Jehoash. "Criticism of Music and Music as Criticism in the Chantilly Codex." In Epitome musical, 133–59. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.em-eb.3.2664.

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Golding, Rosemary. "John F. Runciman, ‘Musical Criticism and the Critics’, and ‘The Gentle Art of Musical Criticism’." In Music in Nineteenth-Century Britain, 107–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-10.

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Golding, Rosemary. "Frederick J. Crowest, ‘Musical Criticism’." In Music in Nineteenth-Century Britain, 89–100. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-8.

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Golding, Rosemary. "Charles Kensington Salaman, ‘On Musical Criticism’." In Music in Nineteenth-Century Britain, 44–57. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-5.

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Golding, Rosemary. "John Stainer, ‘The Principles of Musical Criticism’." In Music in Nineteenth-Century Britain, 73–88. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-7.

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Golding, Rosemary. "C.V. Stanford, ‘Some Aspects of Musical Criticism in England’." In Music in Nineteenth-Century Britain, 101–6. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-9.

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Monelle, Raymond. "The criticism of musical performance." In Musical Performance, 213–24. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511811739.016.

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Richards, I. A. "The Impasse of Musical Theory." In Principles of Literary Criticism, 154–59. Routledge, 2017. http://dx.doi.org/10.4324/9781351223508-20.

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"FORMALIST AESTHETICS AND MUSICAL HERMENEUTICS." In Hermeneutics and Music Criticism, 71–82. Routledge, 2009. http://dx.doi.org/10.4324/9780203875155-10.

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Conference papers on the topic "Musical criticism"

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Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.

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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.
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FĂRCĂȘEL, Ligia. "A Perspective on the Musical Criticism of Iasi from the Interwar Period." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0007.

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The advantage of learning history through the perspective of the criticism of a certain period lies in the fact that the journalist does not merely reproduce the information, but also describes the state emanating from the events commented upon, himself being contemporary with them. For us, readers of later decades, newspapers are, objectively speaking, a genuine history textbook. However, discovering interwar periodicals from Iasi has proven to be a fairly difficult task. In order to identify the titles from Iasi, I have consulted the catalogues of three major libraries in the city: “Mihai Eminescu” Central University Library, “Gheorghe Asachi” County Library and the library of “George Enescu” National University of Arts. In this endeavor, I discovered titles that appear either in the pre-war or in the post-war periods. Moreover, publications such as Curierul de Iași issued both before and after the wars but ceased their activity in the interwar period. Finally, the titles that circulated in the interwar period and could be accessed are Flacăra Iașului, Ziarul Opinia, Evenimentul, Însemnări ieșene and Ziarul Scânteia. Starting from their pages, I have attempted to reconstruct a side of the interwar artistic climate of Iași.
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Koriakin, O. О. "Substantiation of pedagogical conditions of sound engineering training of students of higher education institutions of specialty 025 musical art." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-87.

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Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.
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Knoth, Ina. "Art Criticism and the Professional Perspective: The Functions of Analogies between Music and Painting in Charles Avison’s Essay on Musical Expression and William Hogarth’s Analysis of Beauty." In Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.118.

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Ramos, Marina Abadia, Márcia Artiaga Colantoni, Huara da Silva Pessoa Oliveira, Natalia Rosa e. Souza Caldeira, and João Batista Destro Filho. "Revisao sistematica sobre a estimulaçao musical de pacientes criticos." In XIII SEB – Simpósio de Engenharia Biomédica. AYA Editora, 2021. http://dx.doi.org/10.47573/xiiiseb.92.

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Liang, Yao, and Hu Wang. "Sentiment Analysis of Music Criticism Based on Data Mining." In 2018 2nd International Conference on Education, Economics and Management Research (ICEEMR 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iceemr-18.2018.84.

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Sapsovych, O. А. "Initial positions for the formation of the professional memory of a musician-performer." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-132.

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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935
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Vikulova, Larissa G. "Music Critics Avoiding Conflicts: Take Five Or Why Stars Matter." In Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.03.14.

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