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Relevant bibliographies by topics / Musical periods

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Academic literature on the topic 'Musical periods'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Musical periods"

1

Trainor, Laurel J. "Are there critical periods for musical development?" Developmental Psychobiology 46, no. 3 (2005): 262–78. http://dx.doi.org/10.1002/dev.20059.

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Penhune, Virginia B. "Sensitive periods in human development: Evidence from musical training." Cortex 47, no. 9 (2011): 1126–37. http://dx.doi.org/10.1016/j.cortex.2011.05.010.

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Repp, Bruno H. "The Difficulty of Measuring Musical Quality (And Quantity): Commentary on Weisberg." Psychological Science 7, no. 2 (1996): 121–22. http://dx.doi.org/10.1111/j.1467-9280.1996.tb00341.x.

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In a recent article in this journal, Weisberg (1994) examined the hypothesis that creative individuals suffering from manic-depressive disease not only are more productive during hypomanic phases (which they commonly are) but also produce works of higher quality than during normal or depressed periods As his test case, he took the composer Robert Schumann (1810-1856), who suffered from a bipolar affective disorder (Jamison, 1993, Ostwald, 1985, Slater & Meyer, 1959) and who left extensive records of his mood swings in letters and diaries A plot of the number of Schumann's compositions by y

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Rapatskaya, Lyudmila A., and Rasha Harfush. "Cultural Approach to Periodization Development of Syrian Music Culture as a Scientific Instrument of Its Development Future Musician-Teachers of Russia." Musical Art and Education 7, no. 3 (2019): 138–50. http://dx.doi.org/10.31862/2309-1428-2019-7-3-138-150.

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The article is devoted to the little-studied problem of pedagogy of music education-the definition of scientific grounds for the content and process of studying the Syrian musical culture by future musicians-teachers in higher educational institutions of Russia. According to the author’s concept, the necessary scientific prerequisite for solving this problem is the theoretical justification of the main periods of the historical formation and development of musical culture of Syria as a way of learning the art of music in the context of the evolution of culture. The article reflects the views o

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Clarke, Eric F., and Carol L. Krumhansl. "Perceiving Musical Time." Music Perception 7, no. 3 (1990): 213–51. http://dx.doi.org/10.2307/40285462.

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Three experiments are described that investigate listeners' perceptions of the segmentation of a piece of atonal piano music, the location of segments extracted from the piece, and the duration and structural qualities of each segment. The experiments showed that listeners segmented the music in broad agreement with the grouping principles proposed by Lerdahl and Jackendoff (1983) and perceived the location of randomly presented segments of the music in a strongly veridical manner. Listeners' location judgments did, however, show systematic departures from veridicality, segments towards the be

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Strenacikova, Maria. "Ancient Musical Discoveries in Slovakia." ICONI, no. 3 (2019): 6–9. http://dx.doi.org/10.33779/2658-4824.2019.3.006-009.

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The article is devoted to the musical artefacts discovered on the territory of Slovakia. During the remotest ancient periods of time music served chiefly as a means for ceremonies, cults and magic rituals, and accompanied the process of work. Present-day perceptions about music in prehistorical times are formed from various types of evidence: archeological artifacts, pictures, carved figures and musical instruments. The most ancient of the latter are various rattles and pipes. An inherent part of musical activities was formed by dances and singing. Although there is an absence of direct eviden

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Charlton, Michael. "Performing gender in the studio and postmodern musical." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 19–35. http://dx.doi.org/10.33178/alpha.3.02.

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This essay explores two distinct historical periods in the Hollywood musical through a Butlerian reading of gender as a performance. The two example films from the studio era, Howard Hawks’ Gentlemen Prefer Blondes (1953) and the restored version of George Cukor’s A Star is Born (1954), are contextualised not only within the studio system but through the constructed star personae of their leads—Marilyn Monroe and Judy Garland. Baz Luhrmann’s Moulin Rouge! (2001) and Rob Marshall’s Chicago (2002), the two example films from the twenty first century, are contextualised within a Jamesonian post-m

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Petsche, H., K. Linder, P. Rappelsberger, and G. Gruber. "The EEG: An Adequate Method to Concretize Brain Processes Elicited by Music." Music Perception 6, no. 2 (1988): 133–59. http://dx.doi.org/10.2307/40285422.

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Whether or not processing of music by the brain can be reflected in an ongoing EEG was studied in a group of 75 healthy students. The parameters considered were location, power, frequency, and coherence. By means of the Fisher permutation test, significant changes of these parameters with respect to control EEG periods were computed and represented as probability maps of brain electrical activity. In spite of the great individual differences in musical ability, education, and interest of the subjects, a number of specific group differences of the EEG parameters could be elucidated for differen

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Demchenko, Alexander I. "The Musical Oeuvres of Rodion Shchedrin." ICONI, no. 1 (2021): 148–59. http://dx.doi.org/10.33779/2658-4824.2021.1.148-159.

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The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian and Georgy Sviridov. This series is continued with a lecture about the music of Rodion Shchedrin. Following the portions of the lecture which deal with the early and middle periods of the composer’s music, the drama and even the tragic quality of his world perception and their overcoming. the present situation acquired maximal tension upon Shchedrin’s turn

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Elkoshi, Rivka. "When sounds, colors, and shapes meet: Investigating children’s audiovisual art in response to classical music." International Journal of Music Education 37, no. 4 (2019): 576–92. http://dx.doi.org/10.1177/0255761419866084.

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This study was designed to investigate children’s audiovisual art, following intuitive listening to complete classical works from different historical periods. The study aimed to examine the effect of different musical stimuli on children’s audiovisual output. Two related questions were asked: (1) How do children visually and verbally represent music from different historical periods? (2) What musical and extra-musical elements are represented? Participants were 181 second graders (age 7.0–8.5). Three compositions were presented: a 12th-century anonymous choral from the liturgical drama “ Dani

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Dissertations / Theses on the topic "Musical periods"

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Cannon, Robert S. "An Investigation of Musical Styles and Applications in Select High School Choral Music." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1335226836.

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Bishop, David Martin. "Chromatic and diatonic pitch-class motives and their influence on closural strategies : analytical studies of three middle-period string quartets of Ludwig van Beethoven /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Barrera, Juan David. "La musique pour orgue en France à l'âge classique : une représentation du sacré." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC003/document.

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Notre étude de la musique pour orgue en France à l’Âge classique se centre sur sa dimension signifiante, et tout particulièrement sur sa fonction représentative du sacré. Notre intérêt a pour origine un constat : à l’heure actuelle, les travaux les plus importants consacrés à ce répertoire négligent la question, alors que la genèse de cette école organistique coïncide avec l’un des moments historiques les plus remarquables de la spiritualité catholique française (en effet, le XVIIe siècle n’est pas seulement le « Grand Siècle des idées » mais aussi le « Grand Siècle des âmes »). Dans cette opt

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King, S. J. T. "The musical language of Elliott Carter : analysis of selected works from the transitional period (1945-55)." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/the-musical-language-of-elliott-carter--analysis-of-selected-works-from-the-transitional-period-194555(38b52a12-7921-47c1-b3bd-5732db7cab86).html.

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Phillips, Nicholas Lloyd. "A critical theory of the musical theatre : with specific reference to shows from the period 1957-1989." Thesis, University of Hull, 1990. http://hydra.hull.ac.uk/resources/hull:3906.

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Placing the musical theatre in the context of its most recent developments, between 1957 and 1989, the study begins by aiming to define the term, 'musical theatre',and notes the lack of serious critical attention paid to it. In the succeeding four chapters, the author constructs a basic model for critical analysis of musicals, rooted firmly in dramatic principles, not musical ones. He also examines: a) the inherent expressive qualities of its four basic media and their dramatic functions; b) the traditions and conventions which have developed to give theatrical life and dramatic significance t

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Duclos, Marie-France. "A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/141.

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The French baroque petit motet was the most prolific genre of seventeenth-century France. In this study, three petits motets, specifically Regina caeli settings of French composers Marc-Antoine Charpentier, Nicolas Bernier and François Couperin are examined with an emphasis on the motets’ historical context in relation to the French monarchy and the Italian concepts that the composers incorporated into each work. All three Regina caeli settings display some Italian compositional techniques of the stile moderno in various degrees and were written in different contextual ecclesiastic milieux. Th

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Yie, HyounKyoung. "Harmonic syntax in Delius's late period chamber music (1905-1930)." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1206316836.

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Moschos, Petros. "Performing Classical-period music on the modern piano." Thesis, City University London, 2006. http://openaccess.city.ac.uk/8485/.

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Most performances of Classical-period keyboard music today are given on the modem piano. However, the understanding of the sound-differences between the modem piano and the instrument for which this music was composed will most probably reveal that some features of Classical music can be problematical on our present-day instrument. This study will present the main differences between early and modem pianos and will focus on certain aspects of performance practice of the music under discussion, including articulation, dynamics, pedalling and timbre relationships that can prove challenging when

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Robin, Brad. "Creating Musical Momentum: Textural and Timbral Sculpting with Intuitive Compositional Systems and Formal Design." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862829/.

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This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece,

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Rawbone, Trevor Mark. "The butterfly schema as a product of the tendency for congruence and hierarchical selection in the instrumental musical grammar of the classical period." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/34477/.

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Diverging explanations of local multiparametric schemata are found in music of the common practice period (c. 1600–c. 1900). Associative statistical theories describe schemata as situated structures in particular times and places, whereas generative theories present these constructions as features formed through stability in universal and general rule systems. Associative-statistical theories of schemata elucidate the culturally conditioned relationships between features (distinctive attributes commonly used in grammars and schemata), but do not show the influence of universal psychological co

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Books on the topic "Musical periods"

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Music in ancient China: An archaeological and art historical study of strings, winds, and drums during the Eastern Zhou and Han periods (770 B.C.E. - 220 C.E.). Cambria Press, 2008.

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1940-, Hanning Barbara Russano, ed. Study and listening guide for Concise history of western music, by Barbara Russano Hanning, and Norton anthology of western music, third edition, by Claude V. Palisca. W.W. Norton, 1998.

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Thompson, Wendy. Piano competition: The story of the Leeds. Faber and Faber, 1990.

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Musical prodigies: Perilous journeys, remarkable lives. Amadeus Press, 1998.

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Geometrie di musica: Il periodo diatonico di Aldo Clementi. Libreria musicale italiana, 2001.

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Pieter C. Van den Toorn. Stravinsky and the Russian period: Sound and legacy of a musical idiom. Cambridge University Press, 2012.

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John, McGinness, ed. Stravinsky and the Russian period: Sound and legacy of a musical idiom. Cambridge University Press, 2012.

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Music-dance and musical instruments during the period of Nayakas, 1673-1732. Chaukhambha Sanskrit Bhawan, 2000.

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The art of musical phrasing in the eighteenth century: Punctuating the classical period. University of Rochester Press, 2008.

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Elementi di composizione musicale: La frase, il periodo, l'episodio e le piccole composizioni. F. Muzzio, 1985.

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Book chapters on the topic "Musical periods"

1

Bucur, Voichita. "Strings for Musical Instruments of the Baroque and Romantic Periods." In Handbook of Materials for String Musical Instruments. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32080-9_10.

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Moravcsik, Michael J. "Periodic Motion: Vibration and Oscillation." In Musical Sound. Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_4.

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Morrissey, Joseph. "Musical Accomplishment in Frances Burney’s The Wanderer." In Women’s Domestic Activity in the Romantic-Period Novel, 1770-1820. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70356-5_3.

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Groemer, Gerald. "Visual disability and musical culture in Edo-period Japan." In The Tokugawa World. Routledge, 2021. http://dx.doi.org/10.4324/9781003198888-38.

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Bucur, Voichita. "Dendrochronology and Wood Resources for Authentic, Historical Period Musical Instruments." In Handbook of Materials for String Musical Instruments. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32080-9_14.

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien, and Nathan Torunsky. "Generalities about Signs, Neumes, Periods and Development Sentences." In Computational Music Science. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_6.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Classical-Period Symphonies." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-25.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Classical-Period Opera." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-26.

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van Boer, Bertil. "Defining the Classical Period." In Music in the Classical World. Routledge, 2019. http://dx.doi.org/10.4324/9781315145570-1.

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Bane, Michael A. "To Compliment a Musical Friend: Amateur Musicians and Their Audiences in France, ca. 1650–1700." In Audience and Reception in the Early Modern Period. Routledge, 2021. http://dx.doi.org/10.4324/9781003132141-2.

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Conference papers on the topic "Musical periods"

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Fonseca, Christhian, and Tiago Tavares. "Low-Latency f0 Estimation for the Finger Plucked Electric Bass Guitar Using the Absolute Difference Function." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10433.

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Audio-to-MIDI conversion can be used to allow digital musical control by means of an analog instrument. Audio-to-MIDI converters rely on fundamental frequency estimators that are frequently restricted to a minimum delay of two fundamental periods. This delay is perceptible for the case of bass notes. In this paper, we propose a lowlatency fundamental frequency estimation method that relies on specific characteristics of the electric bass guitar. By means of physical modelling and signal acquisition, we show that the assumptions of the method relies on generalize throughout electric basses. We

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van der Smissen, Andrea. "Musikalische Innovation im Umfeld der Moderne und historischen Avantgarde in Ungarn." 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/10.25366/2020.75.

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In recent decades the interpretation of music history of the interwar period was determined by factors which allowed only national or folkloristic approaches to modern music in Hungary. However, the composers of the group ‘Modern Hungarian Musicians’, connected to the forums of the New Music like the ISCM or Cowell‘s NMS, were committed to a transcultural view of musical innovation. Through intermedial connections between literary and fine art, they received non-musical impulses by modern and avantgarde movements. This paper makes an approach on their heterogeneous conception of music with the

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient cr

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Schaefer, Mathew. "Beautiful Music in the Classroom: Marimba As a Lab Experiment for Teaching Vibration Measurement." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-11038.

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Abstract A marimba bar makes a rich and vibrant sound when played by a skilled musician. When that same marimba bar is played by the typical mechanical engineering junior, it’s a different story. Then, that same marimba key provides a complex set of vibration modes that are a useful subject for a lab experiment in their Measurements & Instrumentation course. This paper will describe development of “The Marimba Experiment”, which is part of a junior-level engineering course in measurements at Milwaukee School of Engineering. Learning outcomes for this course include “provide students with h

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Tenneti, Srikanth V., and P. P. Vaidyanathan. "MUSIC and Ramanujan: MUSIC-like algorithms for integer periods using nested-periodic-subspaces." In 2017 51st Asilomar Conference on Signals, Systems, and Computers. IEEE, 2017. http://dx.doi.org/10.1109/acssc.2017.8335717.

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Calegario, Filipe, João Tragtenberg, Giordano Cabral, and Geber Ramalho. "Batebit Controller: Popularizing Digital Musical Instruments' Technical Development Process." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10453.

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In this paper, we present an ongoing research project related to popularizing the mindset of building new digital musical instruments. We developed a physical kit and software intended to provide beginner users with the first grasp on the development process of a digital musical instrument. We expect that, by using the kit and the software, the users could experiment in a short period the various steps in developing a DMI such as physical structure, electronics, programming, mapping, and sound design. Our approach to popularizing the DMI development process is twofold: reducing the cognitive l

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Coop, Allan D. "Sonification, Musification, and Synthesis of Absolute Program Music." In The 22nd International Conference on Auditory Display. The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.030.

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When understood as a communication system, a musical work can be interpreted as data existing within three domains. In this interpretation an absolute domain is interposed as a communication channel between two programatic domains that act respectively as source and receiver. As a source, a programatic domain creates, evolves, organizes, and represents a musical work. When acting as a receiver it re-constitutes acoustic signals into unique auditory experience. The absolute domain transmits physical vibrations ranging from the stochastic structures of noise to the periodic waveforms of organize

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Ibanescu, Daniela-Corina. "ASPECTS OF MUSICAL LIFE IN BRASOV�BARSA LAND, TRANSYLVANIA, DURING THE RENAISSANCE PERIOD." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/2.3/s24.026.

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"Study on the Musical Language and Structure of the String Quartets of Shostakovich in Later Period." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.76.

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Shiotani, Shigeaki. "On High-Resolutive Analysis of Direction of Waves Generated by a Small High-Speed Boat." In ASME 2010 29th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/omae2010-20598.

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A simplified estimation of the height and period of waves generated by a small boat was proposed in previous papers. The estimated height and period of waves were in good agreement with field results using a small boat. In addition, a new method called MUSIC (Multiple Signal Classification) was proposed to analyze the direction of ship waves. The distribution of the directional spectrum of ship waves as estimated by MUSIC presented a sharp monotone peak, and the estimated results were supported by field results using a small boat. The proposed estimation of ship waves by MUSIC was confirmed to

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Reports on the topic "Musical periods"

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field int

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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change t

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more ope

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