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Journal articles on the topic 'Royal College of Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Berhamovic, Aida. "Royal College of Music: Carbon Management Plan." Journal of Sustainability Perspectives 3, no. 2 (October 18, 2023): 156–69. http://dx.doi.org/10.14710/jsp.2023.20477.

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In Autumn 2021, an updated carbon management plan was approved by Royal College of Music Council which set an ambitious goal for the Royal College of Music to achieve carbon net-zero by 2035. This plan was supported by a heat decarbonisation plan and energy assessment, which highlighted short and long-term projects that need to be undertaken for the Royal College of Music to make the transition to net zero. From this the Royal College of Music were able to develop a high- level cost and programme plan for the works required to implement these projects. The plan also aims to reduce emission arising from ‘scope 3’ of the Greenhouse Gas Protocol [1], which make up a large part of the College’s total emissions.

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2

Cox, John L. "Royal College Music Society." Psychiatric Bulletin 24, no. 6 (June 2000): 236. http://dx.doi.org/10.1192/pb.24.6.236-b.

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3

Venn, Edward. "London, Royal College of Music." Tempo 60, no. 235 (January 2006): 80–81. http://dx.doi.org/10.1017/s0040298206330069.

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4

Matthews, David. "London, Royal College of Music: Britten's ‘Plymouth Town’." Tempo 58, no. 230 (October 2004): 57–58. http://dx.doi.org/10.1017/s0040298204240311.

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Although much of the best of Britten's unperformed early music has come to light since his death, there are still a number of substantial works to be discovered. The latest to emerge – appropriately premièred at the Royal College of Music where Britten was a student – is the ballet score Plymouth Town, which he composed during his summer holidays in 1931, following his first year at the College. The idea for a ballet was suggested by Violet Alford, an authority on folklore and particularly Basque dancing, who in July 1931 was a fellow lodger in the house in Bayswater where Britten had a room.

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5

Wright, David. "The South Kensington Music Schools and the Development of the British Conservatoire in the Late Nineteenth Century." Journal of the Royal Musical Association 130, no. 2 (2005): 236–82. http://dx.doi.org/10.1093/jrma/fki012.

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In 1876, the National Training School for Music was established by the Society of Arts as a model of advanced music education after the pattern of leading European conservatoires. But, despite having Arthur Sullivan as Principal, the School failed amidst the rumblings of an academic scandal that dogged George Grove's attempt to establish the new Royal College of Music. The article sets this failure against the successful start of the Royal College and explains how conservatoires, after being in all practical senses virtually an irrelevance to professional concert life, managed to reinvent themselves as vital incubators of British musical talent.

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6

Kreutz, Gunter, Jane Ginsborg, and Aaron Williamon. "Music Students' Health Problems and Health-promoting Behaviours." Medical Problems of Performing Artists 23, no. 1 (March 1, 2008): 3–11. http://dx.doi.org/10.21091/mppa.2008.1002.

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The reported health problems of music performance students at two conservatoires in the UK were investigated, with specific attention to musculoskeletal and nonmusculoskeletal problems in relation to the students' instrumental specialty and their health-promoting behaviours. Students from the Royal Northern College of Music (n = 199) and the Royal College of Music (n = 74) were surveyed using server-based inventories over the internet. They provided 246 usable data sets for this study. Results reveal that musculoskeletal pain as well as nonmusculoskeletal problems were common among students, affecting about half of the sample, with similar patterns between groups of instruments. Regression analysis showed that musculoskeletal and nonmusculoskeletal symptoms reliably predicted perceived practice and performance quality, such that fewer symptoms predicted better quality; the strongest predictors were pain along the spine and fatigue. These results suggest that significant proportions of health problems among music performance students emerge from general dispositions, such as posture and fatigue, and thus are not specific to the instrument played. Healthy lifestyles appear not to affect perceived practice and performance quality.

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7

Stevens, Robin S. "Pathfinder and Role Model: Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher." Journal of Historical Research in Music Education 39, no. 2 (January 18, 2017): 131–47. http://dx.doi.org/10.1177/1536600616669360.

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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, returning to Australia in 1927. Due most probably to her marriage and family responsibilities, she appears not to have achieved her full potential as a performer and teacher. Nevertheless, Bloxham is worthy of recognition as having gained success as a musician and educator both in her native Australia and abroad during her early and middle years, and as a pathfinder and role model for other women during the early years of their musical careers.

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8

Latcham, M. "Reasoning a catalogue: Royal College of Music, Museum of Instruments catalogue, part 2: Keyboard instruments, ed. Elizabeth Wells (London: Royal College of Music, 2000), 25." Early Music 34, no. 4 (November 1, 2006): 684–86. http://dx.doi.org/10.1093/em/cal093.

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9

Baldwin, Michael. "Decontamination Double-Bill: #12 – fragmentation and distortion / #13 – Lecture about sad music and happy dance." Tempo 72, no. 286 (September 6, 2018): 74–77. http://dx.doi.org/10.1017/s0040298218000384.

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Over the last decade, Larry Goves, composer and lecturer of music at the Royal Northern College of Music (RNCM), has been steadily enriching the experimental music community in Manchester, UK. As an artistic director and curator, Goves regularly presents his and other's work through the ensemble The House of Bedlam, the annual New Music North West festival, and the Decontamination series. This review covers the twelfth and thirteenth instalments of the Decontamination series, presented as a double-bill at RNCM's Carol Nash Recital Room on 28 February 2018.

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10

Murray, Rod. "Holography Course, Royal College of Art." Leonardo 24, no. 4 (1991): 481. http://dx.doi.org/10.2307/1575528.

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11

Miller, John, and David Baker. "Career orientation and pedagogical training: conservatoire undergraduates' insights." British Journal of Music Education 24, no. 1 (February 9, 2007): 5–19. http://dx.doi.org/10.1017/s0265051706007194.

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This article explores music conservatoire undergraduates' career aspirations and notions of their pedagogical training, through biographical interviews with 16 students from the School of Wind and Percussion, Royal Northern College of Music. Findings suggest that pedagogical training, which begins in the second college year, serves as a catalyst for changes in career orientation. Students begin, however, with limited intention of teaching. Performance is commonly their focus at the outset. Furthermore, boundaries are perceived between conservatoires which offer elite performance training, and those with a broader curricular base. The practicalities of attracting future students, whilst offering apt and substantial pedagogical erudition within a performance-centred arena, are explored.

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12

Lockhart, William. "Towards the Third Way: Interdisciplinary Attitudes to the History and Practice of Listening." Journal of the Royal Musical Association 135, S1 (2010): 109–18. http://dx.doi.org/10.1080/02690400903414889.

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ABSTRACTContributions to the discussions following the papers presented at the Royal Musical Association conference ‘Listening: Interdisciplinary Perspectives’ held at King's College, Cambridge, on 24–25 November 2006 were particularly animated. This paper attempts to capture in outline the main exchanges of the question-and-answer sessions, while at the same time doing justice to the broad interdisciplinary spirit that characterized the event.

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13

Barlow, Jill. "London, Royal Academy of Music: Stephen Dodgson at 80." Tempo 58, no. 229 (July 2004): 80. http://dx.doi.org/10.1017/s004029820428024x.

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Stephen Dodgson (born in London, 1924) is not so much a neglected composer as a quintessentially English one, with a quizzical sense of humour, who has never really courted a mass audience. He is often described as ‘a performer's composer’, responding to commissions from colleagues and prominent artists connected with the Royal College of Music, where he taught harmony to, among others, guitarist John Williams back in the 1950s. His connexion also with Julian Bream led to his lifelong love-affair with the guitar, despite the fact that Dodgson never played the instrument himself. His resulting two Guitar Concertos (1959 and 1972) gained instant international recognition. At Dodgson's 80th Birthday celebration concert at the Royal Academy of Music on 29 February, Head of Guitar Studies Michael Lewin said in his introduction that: ‘no single composer who is a non-guitarist has contributed in such a major way to the guitar repertoire, and in such varied genres’.

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14

Mould, Charles, and Elizabeth Wells. "Royal College of Music Museum of Instruments. Catalogue Part II. Keyboard Instruments." Galpin Society Journal 55 (April 2002): 377. http://dx.doi.org/10.2307/4149060.

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15

Pinto, David. "The Royal Martyr Discover'd: Thomas Pierce and Nicholas Lanier." Royal Musical Association Research Chronicle 49 (2018): 1–20. http://dx.doi.org/10.1080/14723808.2018.1455316.

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An overlooked pamphlet of Thomas Pierce's civil-war Latin polemic appends four unascribed English verse-texts dated 1647-9. Pierce's contemporary Anthony Wood ascribed them to him, and named musical setters: William Child, Nicholas Lanier, and Arthur Phillips. Ejected for royalism from Magdalen College, Oxford, Pierce returned as its Restoration President. In 1649, though, why would Lanier, Master of the King's Music, have set a then-ousted don's ‘Funeral Hymn’ for Charles I?

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16

THOMPSON, SAM, and AARON WILLIAMON. "Evaluating Evaluation: Musical Performance Assessment as a Research Tool." Music Perception 21, no. 1 (2003): 21–41. http://dx.doi.org/10.1525/mp.2003.21.1.21.

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Much applied research into musical performance requires a method of quantifying differences and changes between performances; for this purpose, researchers have commonly used performance assessment schemes taken from educational contexts. This article considers some conceptual and practical problems with using judgments of performance quality as a research tool. To illustrate some of these, data are reported from a study in which three experienced evaluators watched performances given by students at the Royal College of Music, London, and assessed them according to a marking scheme based on that of the Associated Board of the Royal Schools of Music. Correlations between evaluators were only moderate, and some evidence of bias according to the evaluators' own instrumental experience was found. Strong positive correlations were found between items on the assessment scheme, indicating an extremely limited range of discrimination between categories. Implications for the use of similar assessment systems as dependent measures in empirical work are discussed, and suggestions are made for developing scales with greater utility in such work.

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17

Kurowski, Andrew. "JUSTIN CONNOLLY IN INTERVIEW." Tempo 77, no. 303 (January 2023): 43–57. http://dx.doi.org/10.1017/s0040298222000808.

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AbstractIn this transcription of an interview between the former Editor of New Music at BBC Radio 3 and the composer Justin Connolly, Connolly discusses his life as a composer. He traces his development from childhood to studies at the Royal College of Music and Yale University and the influence of the composer Roberto Gerhard. Connolly's Poems of Wallace Stevens IV, his most recent work at the time of the interview, is considered in particular detail. The interview took place at the former British Music Information Centre in Stratford Place, London on 14 April 1993. TEMPO gratefully acknowledges the work of the Estate of Justin Connolly in transcribing the interview and permitting its publication.

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18

Harris, L. "Day v Royal College of Music: When is a gift not a gift?" Trusts & Trustees 19, no. 2 (March 1, 2013): 169–75. http://dx.doi.org/10.1093/tandt/ttt014.

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19

McEwan, Molly. "Correspondence." British Journal of Music Education 2, no. 1 (March 1985): 95–96. http://dx.doi.org/10.1017/s0265051700004629.

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For seventy years of my life I have been a supporter of the Associated Board of the Royal Schools of Music examinations: first as a pupil, going through Grades 1–8, and then the L.R.A.M., and then as a teacher, guiding my pupils through the grades and stopping at the diploma. So I have had many, many opportunities of evaluating the work of the examinations, and to a lesser extent those of Trinity College of Music, theirs appearing less frequently. What strikes me – after probing in my memories – is how little they have changed! Surely some new thoughts should peep through the pages!

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20

Hoffmann, Kathryn A. "“Vertebrae on Which a Seraph Might Make Music”." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 152–60. http://dx.doi.org/10.1632/pmla.2010.125.1.152.

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This Essay Took Shape in an Encounter with Bones: With Curving, Darkened Skeletons Propped on Shelves or Hanging Suspended in white cases. They are displays of tuberculosis, scoliosis, and osteomalacia (rickets) in the Royal College of Surgeons in Edinburgh (figs. 1 and 2). With bowed bones and spinal columns twisted into seemingly impossible shapes, the skeletons give the fantastic illusion of having been caught in mid-swirl in their cases, frail objects blown by invisible winds. A few of the bones of the feet at some point dropped off one of the skeletons with rickets. They were reattached with small and now faded ribbons.

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21

Mills, Janet. "Addressing the concerns of conservatoire students about school music teaching." British Journal of Music Education 22, no. 1 (March 2005): 63–75. http://dx.doi.org/10.1017/s0265051704005996.

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While most of the students who graduate each year from the Royal College of Music (RCM) in London build performance-based portfolio careers that include some teaching, very few of them enter secondary school class music teaching. This article describes how young musicians' concerns about the career of secondary class music teacher develop as they move from sixth former to first year RCM undergraduate to third year undergraduate, and proposes some ways in which these concerns may be addressed. RCM students often agree strongly with statements consistent with a positive attitude to teaching, such as feeling a sense of achievement when pupils learn, and considering that teaching is about helping pupils realise their musical potential. However, they also tend to think that secondary class music teaching is not ‘doing music’. Successful secondary music teachers may take a different view, and the effect on RCM students of working with such teachers is reported descriptively.

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22

Headington, Christopher. "Malcolm Lipkin and his recent music." Tempo, no. 169 (June 1989): 28–33. http://dx.doi.org/10.1017/s0040298200025134.

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Well, yes, of course: Schoenberg's famous remark was made in America about Charles Ives, not in Britain about Malcolm Lipkin. I actually believe that Lipkin (a genuinely modest man) would be shocked to be called a great composer, and that he is too gentle in outlook to be capable of contempt towards anyone. But Schoenberg's second sentence fits him will, for here is an individual musical personality that has developed over the years into a strong voice. Those years may now be counted in some number, and indeed when Schoenberg wrote those lines on Ives some 45 years ago Lipkin was already studying music with that fine piano teacher Gordon Green (1905–81), and in 1949 he entered the Royal College of Music where he studied counterpoint and harmony with Bernard Stevens and piano with Kendall Taylor.

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23

Myers, Arnold, E. A. K. Ridley, and E. Wells. "European Wind Instruments: The Royal College of Music Museum of Instruments Catalogue Part 1." Galpin Society Journal 38 (April 1985): 149. http://dx.doi.org/10.2307/841297.

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24

ALDEN, JANE, and LYNSEY CALLAGHAN. "On dubious claims regarding the enigmatic Chilston." Plainsong and Medieval Music 31, no. 1 (April 2022): 65–90. http://dx.doi.org/10.1017/s0961137122000018.

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ABSTRACTThe earliest known treatise on Boethian proportions in Middle English is attributed to ‘Chilston’ in London, British Library, Lansdowne 763. Nothing is known of Chilston's biography, although his treatise also survives anonymously in two related sources (New York, Morgan Library, B.12 and Dublin, Trinity College, 516). In 1927, Irish musicologist William Henry Grattan Flood suggested an identification between the author of the proportion treatise and the scribe of British Library, Royal 5 A VI, a priest's handbook dated to 1446. English lexicographer Jeffrey Pulver was quick to dismiss Flood's identification, which apparently discouraged any further assessment of it. This article reconsiders Flood's suggestion, taking into account 1920s political and cultural biases that might explain Pulver's swift rejection. A contextual exploration of the evidence supports the connection of the proportion treatise to Royal 5 A VI and sheds light on the milieu in which Chilston may have worked. Long recognised for his significance in the vernacular history of music theory and music pedagogy, the proposed contextual framework has significant implications for understanding the multiple functions of music theory in fifteenth-century England. Most notably, it documents the use of speculative music theory among readers and audiences with limited knowledge of Latin. A variety of uses for music theory reveal themselves within the emerging vernacular pedagogical practices of late medieval England. These reflect the broader production of technical texts in Middle English and the increased vernacularisation of English society at a pivotal moment of ecclesiastic and musical history.

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25

Horwitz, Eva Bojner, and David Thyrén. "Prelude Before Nobel – Enriching Learning Environment With A Knowledge Concert; Colliding Art And Science. Concept, Origin, And Purpose." Advances in Image and Video Processing 12, no. 3 (March 25, 2024): 361–77. http://dx.doi.org/10.14738/aivp.123.17096.

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The concept of the knowledge concert was developed by researchers at the Royal College of Music and Karolinska Institute in Sweden where live musicians and scientific researchers creates a performance related to an important societal issue. The emotional evocativeness music allows it to act as a facilitator of knowledge acquisition which it is argued enriches the learning environment. In this study, we have built on the idea of the knowledge concert with a novel focus on Nobel prize winners’ work. Knowledge is generated from live musicians and narratives from a cicerone. The two originators will in this study develop the concept of Prelude before Nobel as a knowledge concert. Further knowledge related to the Nobel Prize scientific findings was obtained by listening to live music. In this experience thoughts and feelings were stimulated, which increased the receptivity and understanding of the Nobel Prize in terms of both content and meaning.

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26

Westage, Claire, and Colette Laws-Chapman. "BACCN National Conference 2014, 8-9 September 2014, Royal College of Music & Drama, Cardiff." Nursing in Critical Care 19, no. 2 (February 17, 2014): 104. http://dx.doi.org/10.1111/nicc.12089_1.

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27

Westgate, Claire. "BACCN National Conference 2014 8-9 September 2014 Royal College of Music & Drama, Cardiff." Nursing in Critical Care 19, no. 3 (April 15, 2014): 157. http://dx.doi.org/10.1111/nicc.12096.

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28

Westage, Claire. "BACCN National Conference 2014 8-9 September 2014 Royal College of Music & Drama, Cardiff." Nursing in Critical Care 19, no. 4 (June 19, 2014): 211. http://dx.doi.org/10.1111/nicc.12112_1.

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29

Westage, Claire. "BACCN National Conference 2014 8-9 September 2014 Royal College of Music & Drama, Cardiff." Nursing in Critical Care 19, no. 5 (August 17, 2014): 262. http://dx.doi.org/10.1111/nicc.12129_1.

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30

Jabbarova, Fargana. "Music-themed museums serve as institutions that preserve musical instruments." InterConf, no. 43(193) (March 20, 2024): 192–98. http://dx.doi.org/10.51582/interconf.19-20.03.2024.021.

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The article discusses music museums that collect, preserve, study, and display materials related to the development of music culture. It notes that the main foundation of each music museum's collection is a collection of musical instruments. The article also highlights the active involvement of scientific-research and public centers in the dissemination of music culture experience of music-profile museums and the implementation of music communication. There is information about museums as the Russian National Music Museum, located in Russia's capital city, Moscow, which has one of the oldest and richest collections of museums; music museum situated in the music city (Cité de la Musique) of Paris, France; National Music Museum in Lisbon, Portugal, which boasts a rich collection of academic and folk musical instruments from Portugal and other countries around the world; The Music Instrument Museum in Phoenix, Arizona, USA, established through the personal initiative of businessman Robert Ulrich; the Musical Instruments Museum near the Royal College of Music in London houses a collection of over 800 musical instruments and accessories from Europe, Asia, and Africa, dating back to the 15th century; in Yakutsk, Russia, Museum and Center of The Khomus of The People of The World, founded in 1990, preserves around 10,000 museum items. Finally, the Hamamatsu Musical Instruments Museum, established in 1995, stands out as Japan's first and perhaps only museum dedicated solely to musical instruments.

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31

Stoessel, Jason. "The Anne Boleyn Music Book (Royal College of Music MS 1070) by Thomas Schmidt, David Skinner, with Katja Airaksinen-Monier." Notes 75, no. 4 (2019): 697–701. http://dx.doi.org/10.1353/not.2019.0052.

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32

Noden, Shelagh. "Songs of the spirit from Dufftown." Innes Review 70, no. 1 (May 2019): 36–54. http://dx.doi.org/10.3366/inr.2019.0201.

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Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.

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33

Telford, James. "RECONCILING OPPOSING FORCES: THE YOUNG JAMES MACMILLAN – A PERFORMANCE HISTORY." Tempo 65, no. 257 (July 2011): 40–51. http://dx.doi.org/10.1017/s0040298211000258.

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James MacMillan was 50 years old on 16 July 2009 and his birthday was celebrated by musical institutions not just in Britain, but internationally. As a composer and conductor in residence for the BBC Philharmonic he led performances of his Symphony No.3: Silence and The World's Ransoming. The Royal Northern College of Music staged a three-day celebration of his work while The Sixteen toured his music under conductor Harry Christophers. His recent St John Passion was performed in Berlin and Amsterdam by the London Symphony Orchestra and in Rotterdam concerts of his music were given by the Rotterdam Philharmonic, Rotterdam Chamber Orchestra and the Hilliard Ensemble. The widespread regard for MacMillan's music evidenced by these performances is the culmination of a steady rise in popularity, undisputedly catalyzed by the BBC Scottish Symphony Orchestra première of The Confession of Isobel Gowdie. In a 1993 Tempo article on MacMillan, music critic Stephen Johnson describes the premiere thus: ‘there have been warm receptions for other new works at Promenade Concerts, but the thunderous, ecstatic welcome given to James MacMillan's The Confession of Isobel Gowdie at the 1990 Proms was unprecedented’.

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34

Black, John. "Sisters and consultants." Bulletin of the Royal College of Surgeons of England 91, no. 1 (January 1, 2009): 6–7. http://dx.doi.org/10.1308/147363509x396130.

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I mentioned in my last newsletter some interesting dialogue with the Royal College of Nursing (RCN), concerning the role of the ward sister. The RCN has recently produced some policy guidance entitled, The Ward Sister and Charge Nurse Role: Key to Quality Patient Care. The conclusion is that 'the role of the ward sister remains central and absolutely critical to the organisation and delivery of hospital nursing and high standards of patient care'. As you might imagine, this was music to my ears and to those of Mike Parker, Council lead for nursing issues, who attended the meetings.

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35

Burke, James. "The Anne Boleyn Music Book (Royal College of Music MS 1070). Intro. by Thomas Schmidt, David Skinner, and Katja Airaksinen-Monier." Music and Letters 99, no. 3 (August 1, 2018): 472–74. http://dx.doi.org/10.1093/ml/gcy064.

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36

Brobeck, John T. "A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE." Early Music History 35 (September 28, 2016): 1–93. http://dx.doi.org/10.1017/s0261127916000024.

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Frank Dobbins in memoriamIn 1976 Louise Litterick proposed that Cambridge, Magdalene College, Pepys Library MS 1760 was originally prepared for Louis XII and Anne of Brittany of France but was gifted to Henry VIII of England in 1509. That the manuscript actually was prepared as a wedding gift from Louis to his third wife Mary Tudor in 1514, however, is indicated by its decorative and textual imagery, which mirrors the decoration of a book of hours given by Louis to Mary and the textual imagery used in her four royal entries. Analysis of the manuscript’s tabula and texts suggests that MS 1760 was planned by Louis’s chapelmaster Hilaire Bernonneau (d. 1524) at the king’s behest. The new theory elucidates the content and significance of Gascongne’s twelve-voice canon Ista est speciosa, which appeared beneath an original portrait of Mary Tudor and was intended to mirror the perfection of the Blessed Virgin and her ‘godchild’ Mary.

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37

Wright, Patricia, Hannah Britt, Cris Lapthorn, and Christopher Whitmore. "The 38th BMSS Annual Meeting, Royal Northern College of Music Manchester: 5th to 7th September 2017." European Journal of Mass Spectrometry 24, no. 2 (March 7, 2018): 243–47. http://dx.doi.org/10.1177/1469066718760344.

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38

Robinson, Suzanne. "‘Life's Major Crossroads’: Study and Career Paths of Four Australian Women Composers at the Royal College of Music in the 1930s." Musicology Australia 37, no. 2 (July 3, 2015): 167–84. http://dx.doi.org/10.1080/08145857.2015.1057919.

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39

Rutherford-Johnson, Tim. "THE WORLD IN PIECES: AARON EINBOND." Tempo 73, no. 290 (September 12, 2019): 7–12. http://dx.doi.org/10.1017/s0040298219000536.

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AbstractAaron Einbond was born in New York in 1978. He received his compositional education in the US (Harvard, University of California, Berkeley), the UK (Cambridge, Royal College of Music) and France (IRCAM), and his teachers have included Mario Davidovsky, Julian Anderson, Edmund Campion and Philippe Leroux. He currently teaches music composition, sound and technology at City University, London. He is interested in applications of technology within instrumental music, and almost all of his works combine electronics and acoustic instruments. Since 2007 – beginning with his piece Beside Oneself for viola and electronics (first performed by Ellen Ruth Rose), composed while studying at the University of California, Berkeley – he has also used audio analysis and retrieval software to transcribe recorded sounds into instrumental notation.Einbond's interest in phonographic transcription connects his work to that of other composers of his generation, including Patricia Alessandrini, Joanna Bailie, Richard Beaudoin and Cassandra Miller. (It also finds precedents in a wider musical interest in forms of transcription that one can find in the music of composers as diverse as Peter Ablinger, Luciano Berio and Michael Finnissy.) What makes Einbond's work distinctive is his focus on timbre as a musical parameter, rather than more abstract or easily quantifiable values such as pitch.

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40

Swithinbank, Christopher. "INTO THE LION'S DEN: HELMUT LACHENMANN AT 75." Tempo 65, no. 257 (July 2011): 52–61. http://dx.doi.org/10.1017/s004029821100026x.

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In April 2010, the Guildhall School of Music recognized German composer Helmut Lachenmann's expertise in extended instrumental techniques, inviting him to give the keynote speech at a research day dedicated to contemporary performance practice; in May, he had a Fellowship of the Royal College of Music conferred upon him for his achievements as a composer; in June, the London Symphony Orchestra performed Lachenmann's Double (Grido II) for string orchestra, in doing so becoming the first non-BBC British orchestra to have performed his music; and in October, the Southbank Centre presented two days of Lachenmann's music including performances by the Arditti String Quartet and a much expanded London Sinfonietta, the latter broadcast on Radio 3. Outside London, Birmingham Contemporary Music Group gave a performance of his most recent work, Got Lost for soprano and piano, and the University of Manchester presented a mini-festival dedicated to his music. This roll call of events might be seen then as the celebration to be expected as a noted composer passes a milestone, but Lachenmann is a composer who – despite his age – could until recently have escaped such attention in Britain. In 1995, Elke Hockings wrote in these pages that, while enjoying ‘an exalted reputation among a small circle of English contemporary music enthusiasts, […] to the wider English music public he [Lachenmann] is little known’ and critical reception has been mixed, often extremely negative. Introducing Lachenmann to an audience at the Southbank Centre in October, Ivan Hewett described him as ‘a composer we don't know well in this country, an omission we are gradually repairing’.

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Southcott, Jane. "Examining Australia: The Activities of Four Examiners of the Associated Board for the Royal Schools of Music in 1923." Journal of Historical Research in Music Education 39, no. 1 (May 12, 2017): 51–77. http://dx.doi.org/10.1177/1536600617709543.

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In the mid-nineteenth century, a system of music examinations was initiated in Britain that came to encompass the far-flung reaches of the British Empire. These examinations offered an internationally recognized system of professional and musical standards. For the next several decades the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL) maintained this extensive system of graded instrumental and vocal examinations across large parts of the globe, principally those countries that were part of the British Empire (later the Commonwealth). Both the ABRSM and TCL continued examining for many years and this article discusses the work of four examiners appointed by the ABRSM to travel throughout the Empire, with a particular focus on Australia. The year selected is 1923. This is for several reasons. By 1923 the system of traveling expert examiners undertaking examinations across the country was well established; the vicissitudes and hardships of World War I and the influenza pandemic had passed; the practice of examiners traveling long distances by boat and train had resumed. At this time the British examinations were at their height despite the establishment of a rival Australian system, the Australian Music Examinations Board. The examiners not only undertook all the examinations across the country but also were influential public figures who spoke about music education and modern music in Britain. They gave concerts and public lectures and their activities were influential because of repeated reporting in the popular press. As a historian I am interested in the history of the commonplace—those well-established and pervasive activities that are taken for granted. Learning a musical instrument and taking annual graded practical and theoretical examinations was and continues to be a commonplace occurrence in Australia.

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Pearce, JMS. "John Russell Reynolds." Advances in Clinical Neuroscience & Rehabilitation 20, no. 2 (March 2020): 28–29. http://dx.doi.org/10.47795/fiae9943.

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When neurology began to develop as a specialty, Russell Reynolds was one of the first neurologists appointed to the Hospital for the Paralysed and Epileptic, Queen Square. Of many contributions his work on epilepsy was influential, espousing many new concepts. He followed and developed Hughlings Jackson’s original ideas about positive and negative neurological symptoms. His approach to patients was holistic at a time when more objectively defined notions of illness dominated medicine. He wrote on vertigo, and about criminal lunacy, and his book The Diagnosis of Diseases of the Brain, Spinal Cord, Nerves and their appendages was a major text of the period. Well versed in poetry, philosophy, art, and music, he was widely admired. He became President of the Royal College of Physicians.

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Papaeti, Anna. "Humour and the Representation of Fascism in Schweyk im zweiten Weltkrieg: Adorno contra Brecht and Hanns Eisler." New Theatre Quarterly 30, no. 4 (October 21, 2014): 318–32. http://dx.doi.org/10.1017/s0266464x14000669.

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Bertolt Brecht and Hanns Eisler's Schweyk im zweiten Weltkrieg occupies a key but under-recognized place in debates about humour in anti-fascist art in the late 1950s and early 1960s – debates largely dominated by Theodor W. Adorno's critique of Brecht's satirical plays on the Third Reich. In this article Anna Papaeti examines the artistic strategies and reception history of Schweyk im zweiten Weltkrieg in the context of such debates. Focusing in particular on Eisler's musical additions for the parodic ‘higher regions’ interludes, as well as on the controversies sparked by the 1959 West German premiere, she analyzes the play's role in stimulating key debates, showing how Brecht's play and Eisler's music attain a more complex and defensible position of resistance to fascism than was allowed in Adorno's critique. Anna Papaeti has a doctorate from King's College London, has worked at the Royal Opera House, London, and as Associate Dramaturg at the Greek National Opera, Athens. Her postdoctoral research includes a DAAD fellowship on Hanns Eisler (Universität der Künste, Berlin, 2010) and a Marie Curie Intra-European Fellowship (University of Göttingen, 2011–14) on the use of music by the Greek military junta. She has previously published in such journals as Opera Quarterly, Music and Politics, and The World of Music, and in edited scholarly volumes.

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Robinson, Anne. "Penelope Spencer (1901–93) Dancer and Choreographer: A Chronicle." Dance Research 28, no. 1 (May 2010): 36–89. http://dx.doi.org/10.3366/drs.2010.0004.

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The career of the English dancer, choreographer, teacher and dance writer, Penelope Spencer (1901–93), primarily spanned the twenty-year period between the First and Second World Wars (1919–39). Spencer's versatile dance training and career encompassed diverse British theatre genres of the period, including ballet, drama, mime, modern dance, musical comedy, opera, pantomime and revue. It was common practice during the inter-war period for English dancers to disguise their British origins by ‘Russianising’ their names. Spencer, however, maintained her English name throughout her career. She practised consecutively both as a freelance artiste and also under the auspices of important cultural institutions, including the British National Opera Company [BNOC], the Camargo Society, the Cremorne Company, the Dancer's Circle Dinners, the Glastonbury Festival, the Imperial Society for Teachers of Dancing [ISTD], the League of Arts, the London Opera Syndicate Limited, the Margaret Morris Movement, the One Hundred Club, the Royal Academy of Dancing [RAD], the Royal Academy of Dramatic Art [RADA], the Royal College of Music [RCM], and the Sunshine Matinées. Spencer's significant contribution to British theatre dance and wider cultural heritage, is largely forgotten. Since no major study of her work has been published, 1 and because not one of her creations survives in performance, the importance of her wide-ranging, and often pioneering achievements, is not fully recognised.

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Allingham, Emma, and Christopher Corcoran. "Report on the 10th International Conference of Students of Systematic Musicology (SysMus17)." Music & Science 1 (January 1, 2018): 205920431774171. http://dx.doi.org/10.1177/2059204317741717.

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The 10th annual International Conference of Students of Systematic Musicology (SysMus) took place on September 13–15, 2017, at Queen Mary University of London (UoL). The SysMus series has established itself as an international, student-run conference series aimed at introducing graduate students to networking and discussing their work in an academic conference environment. The term “Systematic Musicology,” first coined by Guido Adler (1885), nowadays covers a wide range of systematic or empirical approaches to theoretical, psychological, neuroscientific, ethnographic, and computational methodologies in music research. Presentations for SysMus17 focused on three central topics in relation to music: cognition and neuroscience, computation, and health and well-being. Each of these topics was the subject of workshops as well as keynotes by Prof. Lauren Stewart (Goldsmiths University of London and Music in the Brain Centre, Aarhus University), Prof. Elaine Chew and Dr. Marcus Pearce (both Queen Mary UoL), Dr. Daniel Müllensiefen (Goldsmiths UoL), and Prof. Aaron Williamon (Royal College of Music). Further presentations addressed issues relating to harmony and rhythm, musicians and performance, music and emotion, and sociology of music. This year’s conference brought together early-career researchers from the fields of musicology, psychology, and medicine, allowing them to socialize, share their work, and gain insight into interdisciplinary approaches to their subjects. SysMus17 was organized by students at Queen Mary’s Music Cognition Lab and was particularly marked by the series’ 10th anniversary, the live streaming of all presentations via social media, and a carbon-offsetting Green Initiative. The proceedings of SysMus17 will be available on demand from the conference website ( www.sysmus17.qmul.ac.uk ) and the videos will be made available for public access.

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Gómez. "16° Congreso de la Sociedad Internacional de Musicología: Londres, Royal College of Music, 14-20 de Agosto de 1997." Revista de Musicología 21, no. 1 (1998): 305. http://dx.doi.org/10.2307/20797510.

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Mark, Christopher. "Britten and the Circle of Fifths." Journal of the Royal Musical Association 119, no. 2 (1994): 268–97. http://dx.doi.org/10.1093/jrma/119.2.268.

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Britten‘s music is usually thought of as tonal, even if the term is sometimes qualified.’ Much of the drama of his operas (at least, up to and including A Midsummer Night's Dream, op. 64 (1960)) has been discussed in terms of ‘tonal action’, as have the structures of individual songs, song cycles and purely instrumental works. Yet his earliest published works are not tonal in the same way as later, more widely known ones. Not until the works of his American years (1939–42) do we begin to see the kind of tonal structure that enabled Peter Grimes, op. 33 (1945), to be conceived – structures like the highly focused tritonal opposition of Les illuminations, op. 18 (1939), or the E/C ambiguity (eventually resolved in favour of E) of the Hymn to St Cecilia, op. 27 (1942). Nevertheless Britten's first three works with opus numbers, written while he was a student at the Royal College of Music from 1930 to 1933 (the Sinfonietta, op. 1, completed in July 1932; the Phantasy Quartet, op. 2, completed in October 1932; and A Boy was Born, op. 3, completed in May 1933), are quite clearly diatonic in basis. This essay explores the ways in which this diatonicism is structured, and sketches the subsequent history of the main procedure involved.

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Ferm Thorgersen, Cecilia. "Att organisera för musiklärares professionella utveckling – om identitetsformation och olika praxisgemenskaper." Högre utbildning 2, no. 1 (December 1, 2011): 5–18. http://dx.doi.org/10.23865/hu.v2.846.

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In 2007 the Swedish government decided to put resources in a project that offered active teachers to develop disciplinary and pedagogical competence through doctoral studies. Among ten others the Royal College of Music in Stockholm succeeded with their application and got the chance to educate 10 music teachers from the compulsory school towards a “half” PhD exam, that is called a Licentiate exam in Sweden. The teachers come from all of Sweden and are registered at one of five participating higher music education institutions. At the same time they work for 20 % in their ordinary schools. The common education is organized as courses and in virtual meeting rooms of different kinds. The motive for that is that the teachers are participating in several communities of practice at the same time, aiming to develop as researching practicing teachers in a broad way. In a developing research project the growing of the teachers – eg identity development and professional learning - is followed, guided by the following questions: What becomes the task for higher education when the teachers are taking part in a PhD education at the same time as they work, and are expected to go back to their ordinary work in schools? How can a research school be organized in as a developing learning system where individual experiences have possibility to be shared by others? What are the possibilities for good learning and identity development, and which are the challenges? How can learning trajectories between the research school, the research communities and the everyday practice seen as communities of practice, be encouraged? What authentic questions are engaging the teachers and how do they develop in the social interplay? The methods used are teachers’ continually encouraged written reflections and documented group discussions.

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Ryzhinsky, Alexander S. "British Choral Music at the Turn of the 19th and 20th Centuries: the Phenomenon of the English Musical Renaissance." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 53–67. http://dx.doi.org/10.56620/2782-3598.2023.2.053-067.

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The article is devoted to the phenomenon of the English musical renaissance, little studied in Russian musicology — a movement under which presently the formation of the British national compositional school of the turn of the 19th and 20th centuries is comprehended. The author turns to the musical heritage of the leading composers of that period — Alexander MacKenzie, Hubert Parry, Charles Stanford and Sir Edward Elgar — with the aim of demonstrating the sources of the English musical renaissance and determining, what significance was exerted by the choral heritage by its main representatives on the subsequent evolution of choral music in Great Britain. Among the chief factors which influenced the English musical renaissance, the following are highlighted: the development of the choral festival movement, the establishment of the Royal College of Music, the directedness of the British professional education on the formation of the national school of composition, as well as Parry’s and Stanford’s active work in musical criticism and research. The peculiarities of the choral writing of each of the aforementioned composers are analyzed on the example of the most well-known works in the genres of the cantata and the oratorio. The author brings to light the general tendencies in the organization of the choral texture and timbre and the unique techniques the discovery of which is capable of making adjustments to the existent perceptions about the evolution of the choral music of the early 20th century. In particular, study of Elgar’s choral works makes it possible to confirm the composer’s interest in the textural and timbral techniques typical for the composers of the first and the second avant-garde in Europe, such as diagonal texture and non-standard unisons. The author’s conclusions make it possible to form a perception of the works by the composers of the “first renaissance trio” (Parry, Stanford, MacKenzie) and their younger contemporary Elgar as the greatest impulse of the formation of 20th century British choral music, which in the second half of the century became among the most on demand in world performance.

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Kenner, Kevin, and Kamila Stępień-Kutera. "Myśli o Paderewskim." Studia Chopinowskie 7, no. 1 (June 13, 2021): 70–75. http://dx.doi.org/10.56693/sc.33.

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Przełomowym punktem w karierze KEVINA KENNERA był rok 1990, kiedy pianista zyskał światowe uznanie dzięki zwycięstwu w Międzynarodowym Konkursie Pianistycznym im. Fryderyka Chopina w Warszawie, nagrodzie w Międzynarodowym Konkursie im. Terence’a Judda w Londynie oraz III miejscu w Międzynarodowym Konkursie im. Piotra Czajkowskiego w Moskwie. Pochodzący z południowej Kalifornii pianista studiował początkowo pod kierunkiem Krzysztofa Brzuzy, a następnie w Polsce u Ludwika Stefańskiego. Naukę kontynuował u Leona Fleishera. Formalną edukację muzyczną zakończył w Hanowerze u Karla-Heinza Kammerlinga. Wykładał w londyńskim Royal College of Music, w 2015 r. zaś przyjął posadę profesora we Frost School of Music na Uniwersytecie w Miami. Jako solista Kevin Kenner koncertował z takimi znakomitymi orkiestrami, jak BBC Symphony, Deutsches SymphonieOrchester z Berlina, orkiestry Filharmonii Narodowej w Warszawie i Filharmonii Czeskiej, Nationaal Orkest van Belgie, Orkiestra XVIII Wieku, Symfoniczna NHK oraz San Francisco Symphony. Występował pod batutą takich mistrzów, jak sir Charles Groves, Andrew Davis, Jiři Bĕlohlávek, Jacek Kaspszyk, Stanisław Skrowaczewski. Jako kameralista występował z kwartetami smyczkowymi: Belcea, Tokio, Endellion, Vogler, Casal oraz Panocha, ponadto w duecie z wiolonczelistą Mattem Haimovitzem, a od roku 2011 także ze skrzypaczką Kyung Wha Chung. Jest częstym gościem Festiwalu Muzycznego w Pjongjangu w Korei oraz Festiwalu „Chopin i jego Europa” w Warszawie. Jego nagrania płytowe obejmują liczne albumy chopinowskie, w tym wydany przez Narodowy Instytut Fryderyka Chopina w serii „The Real Chopin” recital na fortepianie historycznym. Album Chopin Resonances znalazł się na liście 50 najlepszych nagrań chopinowskich wszech czasów magazynu „Gramophone”. W lipcu 2018 r. ukazała się zbierająca znakomite recenzje wydana przez Instytut w nowej serii „Rezonans” płyta artysty z utworami Ignacego Jana Paderewskiego.

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