Relevant bibliographies by topics / Period music

Contents

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

Academic literature on the topic 'Period music'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Period music"

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J.D.R. "Music in the Colonial Period." Americas 45, no. 1 (July 1988): 114. http://dx.doi.org/10.1017/s0003161500075015.

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Kulbizhekov, Victor N. "Verbalization of Music Processes (The Engine of thought Experiment in the Music of the Early-Modern Period)." International Journal of Psychosocial Rehabilitation 24, no. 5 (April 20, 2020): 4906–24. http://dx.doi.org/10.37200/ijpr/v24i5/pr2020201.

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Williams, Peter, and David Schulenberg. "Period Piece." Musical Times 142, no. 1877 (2001): 64. http://dx.doi.org/10.2307/1004580.

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Quinney, R. "Period polemics." Early Music 36, no. 2 (May 1, 2008): 301–4. http://dx.doi.org/10.1093/em/can021.

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King, Alec Hyatt. "Period Mozart." Musical Times 127, no. 1718 (April 1986): 214. http://dx.doi.org/10.2307/964723.

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Đajić, Aleksandra, Marija Marković, Dragana Jovanović, Milena Đorđević-Filipović, Ivana Krstić-Lečić, Miloš Pejović, Vojislava Nešković, and Dušica Stamenković. "The unity of music and surgery: Music application in the perioperative period." Serbian Journal of Anesthesia and Intensive Therapy 40, no. 1-2 (2018): 15–23. http://dx.doi.org/10.5937/sjait1802015d.

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Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey." Africa 64, no. 4 (October 1994): 544–60. http://dx.doi.org/10.2307/1161373.

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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.
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Wood, B. "Handel's Water Music on period instruments." Early Music 13, no. 4 (November 1, 1985): 554–64. http://dx.doi.org/10.1093/em/13.4.554.

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Weeks, John R. "Howells's Salisbury Period." Musical Times 127, no. 1718 (April 1986): 225. http://dx.doi.org/10.2307/964729.

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Sukmawati, Dian, Hermanto Tri Juwono, and Widjiati Widjiati. "Mozart Memberikan Hasil Indeks Apoptosis Lebih Rendah daripada Musik Pop, Religi dan Tanpa Pemberian Musik." Jurnal Penelitian Kesehatan "SUARA FORIKES" (Journal of Health Research "Forikes Voice") 11, no. 1 (November 11, 2019): 28. http://dx.doi.org/10.33846/sf11106.

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Background: Brain growth requires genetic potential for a conducive environment, low stress levels, stimulation and nutrition. Brain development during the fetal period in the two years of life firstly requires proper stimulation to increase intelligence. Classical music stimulation has been proven to be able to optimally improve brain function and human intellect. Other music that Indonesian people like is pop and religion. Maybe it is possible to pop and religious music can affect the development and growth of the fetal brain. Objective: Analyze the differences of the index of apoptosis Cerebrum and Cerebellum Rattus norvegicus newborn between those stimulated by Mozart, pop, religious music and not stimulated by music during pregnancy. Method: This study was post test only control group design. groups were randomly divided according to the treatment as stimulation of Mozart, pop, religious music and no music was given from the 10th day-gestation with an intensity of 65 dB in a soundproof box for one hour. When 19th day-gestation, Rattus norvegicus mothers were sacrificed then 3 Rattus norvegicus newborn from each mothers were selected and brain was taken to be made immunohistochemical preparations and counted the number of neuron cells apoptosis index. data were analyzed by comparison test with p <0.05. Results: There was a significant difference in the cerebrum neuron apoptosis index newborn between groups p = 0.001 but there was no difference between without exposure and pop music groups p = 0.063 (the lowest mean was the mozart group 2.40 IRS) and there was also difference in the apoptosis index in the cerebellum p = 0,000 but there was no difference between pop music and without exposure group p = 0.151 (the lowest mean was the mozart group 2.34 IRS) Conclusion: Mozart gives a lower apoptotic index than pop music, religion and without exposure music group. Keywords: neuron apoptosis index; mozart mucic; pop music; religion music ABSTRAK Latar Belakang: Tumbuh kembang otak membutuhkan potensi genetik lingkungan yang kondusif, tingkat stres yang rendah, stimulasi dan nutrisi. Perkembangan otak selama periode janin dan dua tahun pertama kehidupan memerlukan stimulasi yang tepat untuk meningkatkan kecerdasan. Stimulasi musik klasik terbukti dapat meningkatkan fungsi otak dan intelektual manusia secara optimal. Musik lain yang suka didengarkan oleh masyarakat Indonesia adalah pop dan religi. Kemungkinan musik pop dan religi juga dapat mempengaruhi perkembangan dan pertumbuhan otak janin. Tujuan: Menganalisis perbedaan indeks apoptosis Cerebrum dan Cerebellum Rattus norvegicus baru lahir antara yang di stimulasi musik Mozart, pop, religi dan tidak di stimulasi musik selama kebuntingan. Metode: Penelitian ini adalah post test only control grup design. kelompok dibagi secara acak disesuaikan dengan perlakuan yaitu pemberian musik Mozart, pop, religi dan tidak diberikan musik sejak hari ke-10 kebuntingan dengan intensitas 65 dB dalam kotak kedap suara selama satu jam. Kehamilan hari ke 19 tikus bunting dikorbankan, anak tikus dipilih 3 ekor tiapinduk diambil otaknya, dibuat sediaan imunohistokimia dan dihitung jumlah sel neuron yang mengalami apoptosis. Hasil dianalisis uji perbandingan dengan komparasi p<0,05. Hasil: Terdapat perbedaan bermakna indeks apoptosis cerebrum Rattus norvegicus baru lahir antar kelompok p=0,001 namun tidak ada perbedaan kelompok tanpa paparan dengan musik pop p=0,063 (mean terendah adalah kelompok mozart 2,40 IRS) dan terdapat perbedaan indeks apoptosis di cerebellum dengan nilai p=0,000 namun tidak ada perbedaan kelompok tanpa paparan dengan musik pop p=0,151 (mean terendah adalah kelompok mozart 2,34 IRS) Kesimpulan : Mozart memberikan hasil indeks apoptosis lebih rendah dari musik pop, religi dan tanpa pemberian musik. Kata kunci: Indeks apoptosis; musikmozart; musik pop; musik religi
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Dissertations / Theses on the topic "Period music"

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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 transferred on to the modem piano. It will analyse their role and significance, and will demonstrate how they are affected by the changes that have been applied to the piano in the last two centuries. This dissertation will also attempt to suggest possible solutions for the modem player whose aim is, as much as possible, to maintain the style and project the right spirit of the music on the present-day instrument.
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Franklin, John Curtis. "Terpander : the invention of music in the orientalizing period." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/1317674/.

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The legend that Terpander rejected "four-voiced song" (τετράγηρυν ἀοιδάν) in favor of new songs on the seven-stringed lyre (ἐπτατονος φὸρμιγξ) epitomizes the Greek exposure, at the height of Assyrian power (c. 750-650 B.C.), to the Mesopotamian tradition of classical music. Terpander's `invention' answers clearly to the heptatony which was widely practiced in the ancient Near East, as known from the diatonic tuning system documented in the cuneiform musical tablets. "Four-voiced song" describes the traditional melodic practice of the Greek epic singer, and must be understood in terms of its inheritance from the Indo-European poetic art. The syncretism of these two music-streams may be deduced from the evidence of the later Greek theorists and musicographers. Though diatonic scales were also known in Greece, even the late theorists remembered that pride of place had been given in the Classical period to other forms of heptatony-the chromatic and enharmonic genera, tone-structures which cannot be established solely through the resonant intervals of the diatonic method. Nevertheless, these tunings were consistently seen as modifications of the diatonic-which Aristoxenus believed to be the `oldest and most natural' of the genera-and were required to conform to minimum conditions of diatony. Thus the Greek structures represent the overlay of native musical inflections on a borrowed diatonic substrate, and the creation of a distinctly Hellenized form of heptatonic music. More specific points of contact are found in the string nomenclatures, which in both traditions were arranged to emphasize a central string. There is extensive Greek evidence relating this `epicentric' structure to musical function, with the middle string acting as a type of tonal center of constant pitch, while the other strings could change from tuning to tuning. So too in the Mesopotamian system the central string remained constant throughout the diatonic tuning cycle. Hence the melic revolution of the Archaic period represents the fruit of an Assyrianizing, diatonicizing musical movement.
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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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Yie, Hyoun-Kyoung. "Harmonic Syntax in Delius's Late Period Chamber Music (1905 - 1930)." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1206316836.

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Kennedy, Barbara Cecily. "Healing music and its literary representation in the early modern period." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/46975/.

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This interdisciplinary thesis explores how music is used in the art of healing in two distinct ways in the early modern period: namely, through the use of performed music accompanying the healing process itself, and as ‘speculative music', the latter providing a philosophical model for understanding the interplay of music with body, mind and soul. Redefining an existing enquiry in a specific way, my research seeks to enhance an understanding of the construction of a therapeutic modality that revitalizes the ancient belief in the healing powers of music, manifest since antiquity through the classical legends of Orpheus and Pythagoras. The Pythagorean hypothesis – that earthly music reflected the celestial harmony of the spheres – was believed to govern the internal music of the human body, giving credence to the notion of the harmonious balancing of the four bodily humours. Tracing the tradition of healing music from antiquity, I argue that Marsilio Ficino's paradigmatic magico-musical philosophy refashions the Pythagorean and Neoplatonic explanations of music's curative potentiality, offering a new interpretat ion of music's effective power to heal the rift between body and soul. I examine how this Ficinian interpretation is discernible in the work of Robert Fludd, Michael Maier, William Shakespeare, Robert Burton and Thomas Campion. I analyse their observations of the body's physical and emotional response to music's healing power. Drawing on early modern models that appropriate the rhetoric of the music of the spheres, I argue that a cultural moment is established in which the motifs and tropes of Neoplatonic love and the healing power of music culminate in allegories of philosophical contemplation and spiritual fulfilment in the Jacobean court masques. In conclusion, my thesis's examination of music as a healing modality provides a historical framework to support the contemporary use of music as a recognized therapeutic intervention.
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Brownell, Andrew. "The English piano in the Classical period : its music, performers, and influences." Thesis, City University London, 2010. http://openaccess.city.ac.uk/12134/.

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Despite an abundance of research and literature on the Viennese piano in the Classical period, the influential role of the English instrument and its literature – in terms of keyboard idiom and compositional style – still remains something of a blind spot. This thesis attempts to address this imbalance by providing an overview of the most significant literature of the period, guided by the premise that the characteristics of the English instrument led to a style of keyboard writing that is distinct from the Viennese Classical style. The advent of the piano in England is traced, establishing the traits of the ‘English grand’ piano in the English harpsichord and other early instruments. This is followed by an overview of early piano concerti by James Hook, J.C. Bach, and Schroeter. Stylistic evolution in the early works of Clementi and Dussek is analysed, as well as that of Haydn’s London works. The thesis concludes with a chapter examining the interaction c. 1800 between the London and Viennese schools, demonstrating how contact with the more progressive London school precipitated changes in the Viennese keyboard style and the instrument itself.
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Kim, Sohee. "The Study of the Relationship between Arnold Schoenberg and Wassily Kandinsky During Schoenberg's Expressionist Period." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269203770.

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Balkilic, Ozgur. "Kemalist Views And Works On Turkish Folk Music During The Early Republican Period." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606528/index.pdf.

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The main aim of this thesis is to examine the characteristics of Kemalist views and works on Turkish folk music during Early Republican Period. Kemalism, as a modernization project, aimed to transform the Turkish social formation totally. In this respect, one of the indispensable dimension of this project was cultural reforms. The music policies, as a part of the cultural reforms, were given considerable attentions by the Kemalist cadres since the music, according to them, was one of the area to reflect the developmental level of a society. Their views and efforts on Turkish folk music were a significant part of these music policies. In this sense, Kemalist folklore acts are of crucial importance to understand the features of Kemalist ideologic paradigms. Besides, this thesis will deal with the Kemalist folklore acts in order to understand two main principles of Kemalism
nationalism and populism which were the important ideological paradigms of Kemalism. In other words, one of the main ab inito of this thesis is to comprehend the nationalism and populism principles which constituted the general framework of Kemalist folklore acts. The thesis also pays attention to the inconsistencies and unmethodological works in folk music acts during the Early Republican Period.
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Ormesher, Richard. "Beethoven's instrumental fugal style : an investigation of tonal and thematic characteristics in the late-period fugues." Thesis, University of Sheffield, 1989. http://etheses.whiterose.ac.uk/1894/.

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The present thesis examines the instrumental fugues written by Beethoven during the last twelve years of his life (1815-27). It does not deal specifically with the fugati nor with the incidental fugues though these may on occasion be mentioned. The fugues to be discussed are therefore as follows: Op. 102 no.2 (III), Op. 106 (IV), Op. 110 (III), Op. 120(var. 32), Op. 133 and Op. 131 (I). The criteria by which the scope of the thesis has been restricted to these particular works are outlined during the Introduction which also includes a discussion of the style of analysis adopted and of the relevance of certain analytical methods. The aims of the thesis in dealing with these works are as follows: first and foremost it is intended that a series of detailed analyses of the late-period fugues be offered, since the fugue as a genre in Beethoven's music has suffered undue neglect. Secondly the thesis seeks to determine the means by which the fugue is integrated into the musical structure as a totality and to assess its role within that structure. Finally the thesis aims to establish whether or not the several fugues exhibit similar tendencies in respect of their tonal characteristics and thematic treatment. In order to fulfill the primary objective of the thesis, the fugues are considered individually, a chapter being devoted to each of them. These analyses form the bulk of the thesis and incorporated within them are observations relevant to the second objective of the thesis. For a number of reasons, enlarged upon during the Introduction, it has seemed fit to divide the analyses into two groups, those in Part II of the thesis being more substantial than are those in Part I. The conclusion deals with the third objective of the thesis by drawing out for further consideration and comparison the salient points from each analysis. In this manner, it is submitted, the present thesis will bridge a substantial gap in the Beethoven literature and in so doing afford fresh insights into certain of Beethoven's most exalted creations.
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Yin, Wei-Ting. "Franz Liszt's Early Weimar Period Piano Waltzes." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1512039499982505.

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Books on the topic "Period music"

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Music in the classic period. 3rd ed. New York, NY: Simon & Schuster, 1988.

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Pauly, Reinhard G. Music in the classic period. 3rd ed. Englewood Cliffs, N.J: Prentice Hall, 1988.

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Ogasapian, John. Music of the colonial and revolutionary period. Westport, Conn: Greenwood Press, 2004.

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Historical dictionary of music of the classical period. Lanham, Md: Scarecrow Press, 2012.

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The Viennese concerted Mass of the early classic period. Ann Arbor, Mich: UMI Research Press, 1986.

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Bogdanova, A. V. Muzyka i vlastʹ: Poststalinskiĭ period. Moskva: Izd-vo Nasledie, 1995.

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Bashenev, V. A. Muzykalʹnoe iskusstvo Bashkirskoĭ ASSR v period razvitogo sot͡s︡ializma: Bibliograficheskiĭ ukazatelʹ. Ufa: Gos. respublikanskai͡a︡ universalʹnai͡a︡ nauch. biblioteka im. N.K. Krupskoĭ, Bibliograficheskiĭ otdel, 1985.

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Indian music during Delhi Sultanate period: 13th to early 16th century. New Delhi: Kanishka Publishers, Distributors, 2015.

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M, Horvit Michael, Nelson Robert 1941-, and Benjamin Thomas, eds. Techniques and materials of music: From the common practice period through the twentieth century. 6th ed. Australia: Thomson/Schirmer, 2003.

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A conductor's guide to choral-orchestral works, classical period. Lanham, Md: Scarecrow Press, 2002.

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Book chapters on the topic "Period music"

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Classical-Period Chamber Music." In Anthology to Accompany Gateways to Understanding Music, 84–90. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-24.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Classical-Period Piano Music." In Anthology to Accompany Gateways to Understanding Music, 114–20. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-27.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Romantic-Period Piano Music." In Anthology to Accompany Gateways to Understanding Music, 165–68. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-31.

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van Boer, Bertil. "Defining the Classical Period." In Music in the Classical World, 3–23. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315145570-1.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Classical-Period Symphonies." In Anthology to Accompany Gateways to Understanding Music, 91–108. New York : Routledge, 2021.: 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, 109–13. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-26.

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Rice, Timothy, and Dave Wilson. "Music from the Interwar Period (1918–1939)." In Gateways to Understanding Music, 299–338. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315176130-14.

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van Boer, Bertil. "The Emergence of the New Styles of Classical Period Music." In Music in the Classical World, 24–47. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315145570-2.

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van Boer, Bertil. "The Structure and Meaning of Italian Opera in the Classical Period." In Music in the Classical World, 125–43. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315145570-6.

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Mazierska, Ewa. "From Popular Songs to Manufactured Entertainment: Musicals of the State Socialist Period." In Polish Popular Music on Screen, 57–111. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_3.

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Conference papers on the topic "Period music"

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Shi, Jing. "New Development of the new Period Erhu Music and Playing Skills." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.62.

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Lei, Yong-Qiang. "On Confucian Thought of Ya Music Teaching in Pre-Qin Period." In 2nd Annual International Conference on Social Science and Contemporary Humanity Development. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/sschd-16.2016.21.

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Wang, Chenyu. "The Development of Chamber Music in Baroque Period and Its Style Deduction." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.17.

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Chivukula, V. N. Aditya Datta, Abhiram Reddy Cholleti, and Rakesh Chandra Balabantaray. "Lyrics to Music Generator: Statistical Approach." In 2nd International Conference on Machine Learning, IOT and Blockchain (MLIOB 2021). Academy and Industry Research Collaboration Center (AIRCC), 2021. http://dx.doi.org/10.5121/csit.2021.111209.

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Natural Language Processing is in growing demand with recent developments. This Generator model is one such example of a music generation system conditioned on lyrics. The model proposed has been tested on songs having lyrics written only in English, but the idea can be generalized to various languages. This paper’s objective is to mainly explain how one can create a music generator using statistical machine learning methods. This paper also explains how effectively outputs can be formulated, which are the music signals as they are million sized over a short period frame. The parameters mentioned in the paper only serve an explanatory purpose. This paper discusses the effective statistical formulation of output thereby decreasing the vast amount of estimation of output parameters, and how to reconstruct the audio signals from predicted parameters by using ‘phase-shift algorithm’.
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Wang, Xiao. "“Pipa in the Period of Five Dynasties and Ten Kingdoms” in Music Pictures." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.80.

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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 be very effective. In present study, the direction of waves generated by a small boat was determined using MUSIC. In the previous study, the triangular array was fixed to a stand on the quay, and the measurement of the ship waves was limited to the sea area near the pier. In the current study, a triangular array was made by three buoys in order to analyze the waves created by a ship offshore. The analytical results derived by MUSIC were analyzed and were confirmed to be highly effective.
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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 common sense, to set a renewal of the musical language as its goal.
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Morikawa, Yu, Masahiro Yukawa, and Hisakazu Kikuchi. "Supervised nonnegative matrix factorization using active-period-aware structured ℓ1-norm for music transcription." In 2015 Asia-Pacific Signal and Information Processing Association Annual Summit and Conference (APSIPA). IEEE, 2015. http://dx.doi.org/10.1109/apsipa.2015.7415510.

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9

Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." 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/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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10

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 creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Reports on the topic "Period music"

1

Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 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 throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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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), November 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 interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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