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

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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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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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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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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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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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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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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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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11

Ryan, Pamela, and Heidi Castleman. "Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations." American String Teacher 44, no. 2 (1994): 79–80. http://dx.doi.org/10.1177/000313139404400229.

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Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed wi

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Wei, Wei. "Inheritance of Shandong Zheng in Shenyang Conservatory of Music." Learning & Education 10, no. 7 (2022): 139. http://dx.doi.org/10.18282/l-e.v10i7.2980.

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In this article, the Shandong tradition Zheng art the main way of art form, melody structure, performance, playing techniques and so on has carried on the simple demonstration, and famous Yun-Juan Zheng master Zhao Yuzhai’s representative works  to illustrate the new development of Zheng art in the 20th century in Shandong, as a folk to professional colleges and universities  teaching master of art, Mr. Zhao Yuzhai not only brought folk music into professional art colleges, but also cultivated a large number of outstanding artistic talents in Shenyang Conservatory of Music. Among t

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Michkov, Pavel A. "Technologies and Music: The Department of Computerization of Musical Activities at the Novosibirsk Conservatory." Problemy muzykal'noi nauki / Music Scholarship, no. 3 (2023): 131–39. http://dx.doi.org/10.56620/2782-3598.2023.3.131-139.

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A new wave of historical development, which defined itself in the second half of the previous century with the advent of computer technology, has brought a number of experimental initiatives to the art of music, education and scholarship. Some of them remained in the history of music as bright artistic projects that have not received any continuation subsequently. Others have become firmly established in the daily practice of performing musicians, teachers, and researchers. One of the largest regional methodological centers for the study of computer technologies in the musical sphere has been

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Voitovich, A. A. "Electronic library of the Petrozavodsk State Conservatory named after A. K. Glazunov “Musical heritage” as a scientific and creative platform for the development of musical folkloristics of Karelia." Historical and cultural heritage 14, no. 2 (2024): 227–34. http://dx.doi.org/10.62669/30342139.2024.2.21.

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In 2020, on the basis of the electronic catalog of the Scientific Library of the Petrozavodsk State Conservatory named after A.K. Glazunov, an electronic library “Musical Heritage” was created, which includes six databases. One of them is “Musical Folklore” - a collection of authentic recordings of musical folklore. Over more than half a century of expeditionary work, the folklore archive of the conservatory has accumulated quite extensive material on the traditional culture of the peoples living in Karelia - Karelians, Vepsians, Russians, etc. Unique recordings of yoigas, lamentations, weddin

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15

Green, Barry. "The Inner Game: Breaking through your Barriers." American String Teacher 36, no. 1 (1986): 41–45. http://dx.doi.org/10.1177/000313138603600121.

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Barry Green has been Principal Bassist with the Cincinnati Symphony since 1967, and is Adjunct Professor of Double Bass at the University of Cincinnati, College-Conservatory of Music. Known for his books on bass pedagogy, his solo albums and premiers of new music for bass, he also presents unique ‘Inner Game’ lectures and entertaining bass recitals throughout the U. S., and in Europe, Asia and Mainland China. Mr. Green's new book, The Inner Game of Music (with Timothy Gallwey), about overcoming the mental obstacles to learning and playing music, has just been published by Doubleday/Anchor Pres

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Strizhakova, Elena A. "F. J. Fetis and his role in the development of French organ playing school in the second half of the 19th century." Contemporary Musicology, no. 4 (2020): 75–89. http://dx.doi.org/10.56620/2587-9731-2020-4-075-089.

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The article focuses on life and work of the Belgian musicologist F. J. Fetis— the first director of the Royal Conservatory of Brussels. His enthusiasm about Bach’s music influenced the formation of the French-Belgian organ playing school and the repertoire of the second half of the 19th century. His influence would not be possible without his active journalistic work and his high profile as a musicologist and a theorist. He managed to create favorable working environment for the first graduates of the conservatory, in particular, J.-N. Lemmens. His position as a follower of Bach’s tradition wa

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Heller, George N. "Book Review: Measure by Measure: A History of New England Conservatory from 1867." Bulletin of Historical Research in Music Education 18, no. 1 (1996): 71–74. http://dx.doi.org/10.1177/153660069601800105.

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18

Высоцкая, М. С. "“The Territory of New Music: 30 Years Later (to the Anniversary of the Scholarly and Art Center for Contemporary Music Studies of Moscow Conservatory)”." Музыкальная академия, no. 4(784) (December 21, 2023): 190–97. http://dx.doi.org/10.34690/353.

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В 2023 году Научно-творческий центр современной музыки Московской консерватории отмечает 30-летний юбилей. Музыковед Марианна Высоцкая обращается к истории возникновения Центра, начиная с основания в 1993 году Общества современной музыки и рождения ансамбля солистов «Студия новой музыки» и прослеживая далее формирование масштабного проекта по созданию многопрофильной творческой и научно-образовательной инфраструктуры в стенах консерватории. Сегодня Центр охватывает все основные аспекты функционирования современной музыки, включая научно-исследовательскую работу, создание образовательной страте

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Nechesnyi, Ihor. "Formation of Basson Classes at the Paris Conservatory." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 98–111. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296802.

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The object of the study was the origins and initial period of the formation of bassoon classes at the Paris Conservatory. The author analyzed the early stages of the training process involved in the French bassoon school. The role of maîtrise and military bands in the instruction of bassoon performers before the beginning of the revolutionary events in 1789 was revealed. The study exposed the influence of the church music-educational system on the professionalization of secular instrumental and vocal performance, as well as its importance in the creative development of prominent French bassoon

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VON ARX, VICTORIA. "The Third Street Music School Settlement: The Grand Tradition as Social Practice on New York's Lower East Side." Journal of the Society for American Music 5, no. 1 (2011): 61–93. http://dx.doi.org/10.1017/s1752196310000519.

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AbstractThe Third Street Music School Settlement was founded on the Lower East Side of Manhattan as a dedicated music school offering conservatory-style music instruction along with social services in an effort to improve the lives of the immigrant poor and ease their assimilation as citizens of the United States. Music instruction aligned with social action and service was a powerful combination that attracted financial support and strong enrollment. When societal change and economic fluctuations in New York City affected enrollment and the fiscal health of the school, Third Street responded

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Амрахова, А. А., та В. Г. Тарнопольский. "Четверть века в фарватере Новой музыки, или Музыка ХХI века — взгляд изнутри". Журнал Общества теории музыки, № 1(25) (1 квітня 2019): 1–15. http://dx.doi.org/10.26176/otmroo.2019.25.1.001.

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Композитор и педагог В. Г. Тарнопольский рассказывает о возникновении в 1993 году ансамбля солистов «Студия новой музыки» — ведущего ансамбля современной музыки в России — и его задачах. Деятельность таких структур Московской консерватории, как Центр современной музыки, кафедра современной музыки и «Студия новой музыки», созданных при непосредственном участии Тарнопольского, рассматривается героем интервью на широком культурологическом фоне, который включает в себя панораму всего происходящего в современной музыке. Vladimir G. Tarnopolsky, professor of composition at the Moscow TchaikovskyCons

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22

Wei, Wei, and Panya Roongruang. "Research on Inheritance and Development of Shandong Yun-Juan Zheng Music Art in Shenyang Conservatory of Music." Asian Journal of Arts and Culture 22, no. 1 (2022): 255091. http://dx.doi.org/10.48048/ajac.2022.255091.

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In this article, the Shandong Yuncheng and Juancheng area tradition Zheng art the main way of art form, melody structure, performance, playing techniques and so on has carried on the simple demonstration, and famous Yun-Juan Zheng master Zhao Yuzhai's three representative works to illustrate the new development of Zheng art in the 20th century in Shandong, as a folk to professional colleges and universities teaching master of art, Mr. Zhao Yuzhai not only brought folk music into professional art colleges, but also cultivated a large number of outstanding artistic talents in Shenyang Conservato

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Pohly, Linda. "Alleluia! Sacred Choral Music in New England." American Music 13, no. 1 (1995): 124. http://dx.doi.org/10.2307/3052318.

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Nimylovych, O. M., and L. P. Filonenko. "Pylyp Kozytskyi's creative collaboration with Galician artists." Science and Education a New Dimension IX(254), no. 46 (2021): 7–10. http://dx.doi.org/10.31174/send-hs2021-254ix46-01.

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The article deals with the many-sided creative personality of a composer, scientist, teacher and music and public figure Pylyp Kozytskyi (1893-1960) through the prism of his artistic collaboration with prominent epresentatives of artists from Galicia, especially a singer Modest Mentsynskyi, a composer Vasyl Barvinskyi, a director Les Kurbas and teachers and pedagogues of the Lviv Conservatory. Such meetings and contacts contributed to the development of Ukrainian musical culture and education, because the exchange of experience, creativity, organization of concerts and first performances of wo

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Powell, Ardal. "The Hotteterre Flute: Six Replicas in Search of a Myth." Journal of the American Musicological Society 49, no. 2 (1996): 225–63. http://dx.doi.org/10.2307/831990.

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Three instruments attributed to "Hotteterre" are considered the earliest baroque flutes. But two of these, once in the collection of César Charles Snoeck, prove to be copies, made at different times in the nineteenth century in La Couture-Boussey, Normandy. These, and other replicas made for the Brussels Conservatory and Dayton C. Miller collections, have fostered the growing myth of the "Hotteterre flute." Recently discovered flutes by Richard Haka and others argue against the presumption that the baroque flute was a sudden invention. New and wider studies of seventeenth-century woodwind inst

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26

MacRitchie, Jennifer, Massimo Zicari, and Diana Blom. "Identifying challenges and opportunities for student composer and performer peer learning through newly-composed classical piano scores." British Journal of Music Education 35, no. 2 (2018): 153–75. http://dx.doi.org/10.1017/s0265051717000304.

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Limited consideration has been given to the challenges young composers and performers face when learning to communicate through notation in contemporary classical music, and the specific opportunities presented for peer learning. This article describes a project at a Swiss music conservatory in which two student composers wrote pieces for solo piano which were performed by three student pianists. Students were deprived of collaborative opportunities, with communication limited to score markings and legends. Results from individual interviews are discussed in relation to categories of approache

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Pehrson, Joseph. "Lecture about Electronic Microtonal Music at the Theremin Center Electronic Studio of the Moscow Conservatory in March 2004." ICONI, no. 2 (2019): 149–58. http://dx.doi.org/10.33779/2658-4824.2019.2.149-158.

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Joseph Pehrson is a well-known New York-based composer. He studied at the Eastman School of Music and the University of Michigan. He has been active in promoting contemporary music in New York, having been a co-director of the “Composers’ Concordance” concert organization from 1984 to 2011. Pehrson has written music in various styles, including neoclassical and avant-garde, microtonal music. The latter includes electronic compositions with and without solo instruments, which he wrote in the decade of the 2000s. He has delved very deeply into microtonal theory and has written compositions for v

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Canon, Sherri. "So Sabi: Cape Verdean Music from New England." Yearbook for Traditional Music 33 (2001): 195. http://dx.doi.org/10.2307/1519662.

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Martin, Adam, and Morten Büchert. "Strategies for facilitating creative music collaboration online." Journal of Music, Technology and Education 13, no. 2 (2021): 163–79. http://dx.doi.org/10.1386/jmte_00021_1.

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Online collaboration between musicians in 2020 is a rapidly developing practice due to a range of environmental, epidemiological and creative motivations. The technical facility to collaborate in a variety of different formats exists via file-sharing services, video conferencing suites and specialist music services such as Splice and Auddly. Yet, given this proliferation of technologies, little attention has been paid into how creative musicians can most meaningfully utilize these new collaborative opportunities within their working practice. In this article, we wish to share some reflections

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Edmunds, Neil. "Aleksandr Davidenko and Prokoll." Tempo, no. 182 (September 1992): 2–5. http://dx.doi.org/10.1017/s004029820001665x.

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As a result of the October Revolution, the ideas and activities that had been confined to an artistic, intellectual, or aristocratic minority, became overnight the property of the masses. In September 1918, the musicologist and educationalist Nadezhda Bryusova spelt out the role of music in the new society – ‘Music should give a capacity to live and a capacity to build life’. Led by the musical departments of Narkompros (the Ministry of Education and Culture) and Proletkul't (the proletarian cultural-education organizations), concerted efforts were made to break down the barriers between profe

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Russo, Francis. "Sonic Piety in Early New England." New England Quarterly 95, no. 4 (2022): 610–44. http://dx.doi.org/10.1162/tneq_a_00962.

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Abstract This article reinterprets New England's 1720s Singing Controversy as a sensory event that altered the nature of puritan sonic piety in early New England. Far from a parochial peculiarity in the history of American music, the 1720s singing reforms were part of broader challenges to a previous way of knowing-an epistemology, or, in this context, an “acoustemology.”

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Mittler, Barbara. "Rhapsody in Red: How Western Classical Music Became Chinese. By SHEILA MELVIN and JINDONG CAI. [New York: Algora Publishing, 2004. x+362 pp. ISBN 0-87586-179-2.]." China Quarterly 181 (March 2005): 199–201. http://dx.doi.org/10.1017/s0305741005380106.

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This is a delightful book. It opens up a cultural arena much neglected in scholarship on China. Nine engagingly narrated chapters take us through the history of Sino-foreign musical contact since the late 19th century, with one digression, which goes back to encounters since the 16th century (chapter two). The book follows the life story of three important institutions (the Shanghai Municipal Orchestra, the Shanghai Conservatory and the Central Conservatory) and three important men: violinist Tan Shuzhen, who was the first Chinese to join the orchestra in colonial Shanghai; conductor Li Delun,

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Nanqiao, Lyu. "Contribution of the “Mighty Bunch” Composers to the Development of Russian Music Pedagogy of the XIX Century." Prepodavatel XXI vek, no. 3, 2020 (2020): 201–11. http://dx.doi.org/10.31862/2073-9613-2020-3-201-211.

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The article considers the pedagogical component of the activity of the composers of the “Mighty bunch” — M. A. Balakirev and N. A. Rimsky-Korsakov, who had a significant influence on the formation and development of Russian music education. Developing the musical and aesthetic ideas put forward by the creative work of the kuchkists, both representatives of the “New Russian music school” justified progressive pedagogical attitudes and principles that are in great demand in the modern practice of music education. Realizing their pedagogical views in the process of leadership and teaching in such

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Buechner, Alan C. "New England Traditional Fiddling: An Anthology of Recordings, 1926-1975." American Music 4, no. 3 (1986): 363. http://dx.doi.org/10.2307/3051626.

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Osterhout, Paul R. "Note Reading and Regular Singing in Eighteenth-Century New England." American Music 4, no. 2 (1986): 125. http://dx.doi.org/10.2307/3051976.

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Битерякова, Е. В. "Eugene W. Hippius as a Professor of the Moscow Conservatory (1944–1949)." OPERA MUSICOLOGICA 16/2, no. 2024 (2024): 102–23. http://dx.doi.org/10.26156/operamus.2024.16.2.006.

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Статья посвящена деятельности Е. В. Гиппиуса в Московской консерватории. Переведенный в 1944 г. из Ленинграда по рекомендации Б. В. Асафьева, Гиппиус возглавил в консерватории кафедру музыкального фольклора. Его интенсивная разнонаправленная работа (в тесном сотрудничестве с К. В. Квиткой) дала блестящие результаты в собирании, исследовании, преподавании и популяризации традиционной народной культуры. Благодаря совместным усилиям выдающихся ученых и их коллег этномузыкология в Московской консерватории заняла высокие позиции в ряду научных дисциплин и учебных специализаций. Яркий и насыщенный п

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Livingston, Carolyn. "Book Review: New England Music: The Public Sphere, 1600–1900." Journal of Historical Research in Music Education 26, no. 2 (2005): 164–67. http://dx.doi.org/10.1177/153660060502600207.

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Robin, William. "Traveling with “Ancient Music”." Journal of Musicology 32, no. 2 (2015): 246–78. http://dx.doi.org/10.1525/jm.2015.32.2.246.

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In reforming psalmody in early nineteenth-century New England, participants in the so-called “Ancient Music” movement imported the solemnly refined hymn tunes and scientific rhetoric of Europe. This transatlantic exchange was in part the result of European travels by a generation of young members of the American socioeconomic and intellectual elite, such as Joseph Stevens Buckminster and John Pickering, whom scholars have not previously associated with hymnody reform. This study asserts that non-composers, particularly clergy and academics, played a crucial role in the “Ancient Music” movement

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Harten, Michael, and Jennifer Rabold. "An Interview with Benjamin Zander: Conductor of the Boston Philharmonic Orchestra and the New England Conservatory Youth Philharmonic Orchestra." Journal of Education 190, no. 1-2 (2010): 55–58. http://dx.doi.org/10.1177/0022057410190001-209.

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Mikusi, Balázs. "“How many thousands of a lazy millionaire are tantamount to these hundred forints?” Clara Schumann’s donation to the National Conservatory in Pest." Studia Musicologica 53, no. 4 (2012): 459–85. http://dx.doi.org/10.1556/smus.53.2012.4.2.

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Clara Schumann gave her first Pest concerts in February 1856. A survey of the enthusiastic reviews reveals that she was received as the foremost representative of “classic art,” whose performances gave the Hungarian public—until then mostly admiring exhibitionist virtuosos—an entirely new idea about what music was capable of. The moral superiority of Clara seemed also confirmed by her generous donation to the future National Conservatory, which was initially commented on in the most flattering terms in the press. In early March, however, the Pester Lloyd aired that the generous donation may no

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Stubington, Jill, Fritz Kreusler, and Al Heeney. "Australia: Music from the New England Tablelands of NSW, 1850-1900." Yearbook for Traditional Music 31 (1999): 184. http://dx.doi.org/10.2307/768018.

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Barlow, Jill. "St. Albans Cathedral: Judith Bingham's ‘Uppon First Sight of New-England’." Tempo 57, no. 224 (2003): 50. http://dx.doi.org/10.1017/s0040298203270157.

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Opus Anglicanum, a group of five unaccompanied male voices and a reader, are described by South West Arts as: ‘most thought provoking, very professional and exuding enthusiasm’. Having already premièred Judith Bingham's ‘necklace of light’ at York Minster two years ago (2000) and established it in their repertoire to such critical acclaim, the group commissioned a further work from the composer to be a focal point in their new themed programme for 2003, ‘Sacred Journey’.

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Holman, P. "A new source of bass viol music from 18th-century England." Early Music 31, no. 1 (2003): 81–99. http://dx.doi.org/10.1093/em/31.1.81.

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Kordovska, P. A. "Italian singer Daisy Lumini as an interpreter of the post-avant-garde music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 253–66. http://dx.doi.org/10.34064/khnum1-56.16.

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Introduction. In the music of the late twentieth century the realization of the creative potential of performers is rarely limited with the framework of direction which was chosen in the beginning of career. The field of the academic music may be too narrow for the artist, but this does not mean a definitive departure from this area. The life and performances of Italian singer, actress and composer Daisy Lumini (1936–1993) could be considered as one of the examples of the twentieth century “variability” of the artist’s way. She developed from a graduate of the Conservatory to a pop star and a

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Braasch, Jonas. "Why did wind instruments stop evolving?" Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011033.

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Adolphe Sax invented the last widely spread orchestral wind instrument in 1846, and the saxophone has hardly changed since its inception. Also, outside of classical music, wind instruments have not evolved with very few exceptions in popular music, like the melodica. The latter was popular in the mid 20th century, because it was one of the cheapest instruments with a piano-style keyboard before mass-produced electronic keyboards. Since its inception, jazz drew from traditional orchestral wind instruments that were invented long before jazz came up. They were easily available as they were widel

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Gamble, Betsy. "New England Dances: Squares, Quadrilles, Step Dances." Notes 53, no. 1 (1996): 132. http://dx.doi.org/10.2307/900324.

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Гаврилова, Наталия Александровна, and Андрей Михайлович Лесовиченко. "Individual creativity and tradition are inseparable." Музыкальное искусство Евразии. Традиции и современность, no. 3(4) (October 2, 2021): 12–24. http://dx.doi.org/10.26176/maetam.2021.4.3.002.

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Среди исследователей вопросов национального и интернационального в художественном творчестве заметное место занимает профессор кафедры истории зарубежной музыки Московской консерватории, доктор искусствоведения Наталия Александровна Гаврилова, автор докторской диссертации на тему "Проблема национального в музыке ХХ века: Чехия и Словакия" (1996). В ней основное внимание сосредоточено на разработке теории национального стиля, что получило отражение и в опубликованных работах автора. Как показывает современная композиторская практика, эта проблематика не утратила своей актуальности Doctor of Art

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Holman, Peter. "The harp in Stuart England: New light on William Lawes's Harp Consorts." Early Music XV, no. 2 (1987): 188–204. http://dx.doi.org/10.1093/earlyj/xv.2.188.

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Holman, Peter. "A new source of bass viol music from 18th-century England." Early Music XXXI, no. 1 (2003): 81–99. http://dx.doi.org/10.1093/earlyj/xxxi.1.81.

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Битерякова, Е. В. "Arkhangelsk Materials in the Funds of the Klyment Kvitka Folk Music Research Center (General Characteristics)." OPERA MUSICOLOGICA, no. 2023 (March 27, 2023): 126–50. http://dx.doi.org/10.26156/om.2023.15.1.007.

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Статья представляет обзор звуковых и рукописных документов архангельской коллекции из фондов НЦНМ имени К. В. Квитки. История собирания музыкального фольклора на территориях Русского Севера, не являвшихся приоритетными для фольклористов Московской консерватории, вписана в контекст общей истории отечественной этномузыкологии ХХ века. Направления собирательской работы отражают ключевые тенденции соответствующих периодов в советской музыкально-фольклористической науке. В 1930-е годы остро стоял вопрос обновления народных традиций в иных социально-идеологических условиях. В 1950-е годы поиск новых

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