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Relevant bibliographies by topics / New England Conservatory of Music

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Journal articles

Academic literature on the topic 'New England Conservatory of Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "New England Conservatory of Music"

1

Lister, Rodney. "Boston: Gunther Schuller's ‘Encounters’." Tempo 58, no. 228 (2004): 62–63. http://dx.doi.org/10.1017/s004029820425015x.

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Boston's Symphony Hall is celebrated as one of the finest concert halls in the world. It is generally less well known that Boston also has the smaller and equally fine Jordan Hall, located in the New England Conservatory. A fixture of Boston's musical life, Jordan Hall is also literally the heart of the Conservatory, being the venue not only of visiting celebrity solo and chamber music recitals, but of a multitude of the whole range of the Conservatory's student concert activity.

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2

Marcuse, Herbert, and Gabriel Dias. "Discurso de formatura ao Conservatório de Música da Nova Inglaterra." Cadernos de Filosofia Alemã: Crítica e Modernidade 29, no. 1 (2024): 105–17. http://dx.doi.org/10.11606/issn.2318-9800.v29i1p105-117.

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In 1968, Herbert Marcuse delivered a speech to the New England Conservatory of Music. This is a text by the critical theorist focused exclusively on music. In the Speech, Marcuse mobilizes authors such as Adorno, Hegel and Schopenhauer, as well as musicians such as Bach, Mahler and Schoenberg, explaining the aspect of freedom and denial of music in the face of established reality.

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3

Stucky, Rami Toubia. "George Russell, the Lydian Chromatic Concept, and Black Student Protest at the New England Conservatory." Jazz Education in Research and Practice 5, no. 1 (2024): 142–53. http://dx.doi.org/10.2979/jazzeducrese.5.1.10.

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Abstract: This paper looks at composer and theorist George Russell and the impact his Lydian Chromatic Concept had on Black student activism at the New England Conservatory (NEC) during the late 1960s and early 1970s. I expand on the work of scholars who have explored how Russell's concept reflected the spirit of the civil rights era by showing how students were thinking of it as more than simply sonic freedom and in the ways it affirmed Black life at a predominantly White music institution. Scholars have been increasingly advocating for the incorporation of "fugitive music theorists" such as

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4

Knyt. "Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making." American Music 31, no. 3 (2013): 277. http://dx.doi.org/10.5406/americanmusic.31.3.0277.

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5

JUDD, HANNAH. "Virals, Memes, and the Lick's Circulation through Online Jazz Communities." Twentieth-Century Music 19, no. 3 (2022): 393–410. http://dx.doi.org/10.1017/s1478572222000263.

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AbstractIn 2011, Alex Heitlinger, a senior at New England Conservatory, uploaded the video ‘The Lick’ to YouTube. The 1′34″ compilation excerpted a range of performances that each deployed the same seven-note ‘lick’. This article explores the digital dissemination of videos and memes that feature the Lick, suggesting its function as a mimetic device users can deploy to signal their belonging and individuality within a larger jazz community. The Lick, in its formulaic deployment within these ‘insider’ spaces, moves away from improvisation and becomes a calling card for performers and listeners

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6

Licata, Thomas. "The Experience of Sound: An Interview with Thomas DeLio." Computer Music Journal 44, no. 2-3 (2020): 108–17. http://dx.doi.org/10.1162/comj_a_00564.

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Abstract Thomas DeLio is a composer and theorist of international renown in both fields and especially noted for his work in computer music. In this conversation he discusses his musical thinking with over 40 years in the field. His compositions have been performed worldwide and are recorded on numerous labels. Neuma recordings has recently released five volumes of his recorded compositions in an ongoing series of his collected works. The interview itself, conducted over a series of phone conversations in the summer of 2020, begins with a look at his early student years at the New England Cons

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7

Parapar, Cristina. "Black Music and Desublimation: Contravening Expectations in Marcusean Aesthetics." Artefilosofia 19, no. 35 (2024): 1. http://dx.doi.org/10.69640/raf.v19i35.7264.

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In 1968, Herbert Marcuse spoke to a packed audience of students at the New England Conservatory. The author of "One-Dimensional Man" urged young composers and performers to fight against the sublimating, harmonizing, and consoling forms of tradition. In other words, he encouraged them to create music that responded to the needs of the historical moment they were living in. Marcuse realized that both serious and popular music could not divorce themselves from their political dimension, and thus, they could contribute to the task of emancipation. In this speech, the philosopher declared that the

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8

Peng, Rui. "China’s conservatories are the highest national level piano education: historiography of the issue." Aspects of Historical Musicology 29, no. 29 (2022): 217–36. http://dx.doi.org/10.34064/khnum2-29.12.

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Background. The spread of piano music in China at the beginning of the century, the formation of the foundations of piano teaching methods, the creative international exchange of experience with representatives of performing schools of different countries – these are the stages at which Chinese pianism was formed. The article examines the process of formation of Chinese professional piano pedagogy on the example of the activities of the most significant higher educational institutions and the network of music schools in China. The performing, pedagogical, methodical and organizational activiti

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9

Wong, Hoi-Yan. "Bartók's influence on Chinese new music in the post-cultural revolution era." Studia Musicologica 48, no. 1-2 (2007): 237–43. http://dx.doi.org/10.1556/smus.48.2007.1-2.16.

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Abstract In the wake of the Cultural Revolution (1966–76) and with China's new “Open Door” policy towards Western culture and Western new music, we have witnessed the exuberant growth of a new generation of Chinese composers. Tan Dun, Chen Yi and Bright Sheng have expressed in various ways their indebtedness to the heritage of Béla Bartók's music. Chen Yi, a fellow student of Tan Dun during her time at Central Conservatory of Music and Columbia University, recalled studying all of Bartók's six string quartets in the composition classes. Bright Sheng also openly admits that his use of the “prim

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10

Yue, Yuan. "Innovative approaches to modern piano education in Russia: the use of technologies and new teaching methods." OOO "Zhurnal "Voprosy Istorii" 2023, no. 9-2 (2023): 268–77. http://dx.doi.org/10.31166/voprosyistorii202309statyi46.

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The article discusses innovative methods and technologies used in modern piano education in the Russian Federation. The article analyzes the experience of five major music universities in the country, including the Tchaikovsky Moscow Conservatory and the Rimsky-Korsakov St. Petersburg State Conservatory. The main focus is on how these educational institutions adapt to modern challenges by integrating advanced technologies.

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