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Journal articles on the topic 'The House of Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Miller, Malcolm. "London, Leighton House." Tempo 60, no. 238 (2006): 71–73. http://dx.doi.org/10.1017/s0040298206310339.

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2

Peseke, Horst, Alexander Stahr, Manfred Grohmann, and Klaus Bollinger. "Musikkens Hus Aalborg - House of Music." Beton- und Stahlbetonbau 110, no. 11 (2015): 767–74. http://dx.doi.org/10.1002/best.201500052.

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3

Wright, David, Sviatoslav Richter, Bruno Monsaingeon, and Stewart Spencer. "In the Doll's House." Musical Times 142, no. 1875 (2001): 77. http://dx.doi.org/10.2307/1004476.

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4

RUDOLF, MAX. "Soprano of the House." Opera Quarterly 7, no. 1 (1990): 81–88. http://dx.doi.org/10.1093/oq/7.1.81.

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5

Grebenar, Alex. "Lost in music: mapping the 21st century house music event experience." Journal of Policy Research in Tourism, Leisure and Events 12, no. 3 (2020): 363–81. http://dx.doi.org/10.1080/19407963.2020.1727604.

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6

Jones, Richard E., and David Cummings. "Random House Encyclopedic Dictionary of Classical Music." Notes 55, no. 1 (1998): 93. http://dx.doi.org/10.2307/900356.

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7

Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.

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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yan

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8

Wicaksono, Bambang. "Adaptation from Flooring Level of Stilt House in Sustainable Settlement Musi Riverside Palembang." Science Proceedings Series 1, no. 2 (2019): 153–56. http://dx.doi.org/10.31580/sps.v1i2.839.

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The development of Musi Riveside house was influenced by the role of the river. The form of Musi riverside house is a riverside house and a stilt house. The choice to build stilt house is inseparable from the condition of the land in South Sumatra, which is generally in the form of wetlands. The level / height of the stage of flooring house is influenced by the condition of the house in the settlement layer, given the higher volume of water due to the denser density of the riverside houses. The high pole of the house is a form of adaptation to the high volume / tide of river water in the rainy

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9

Maxwell, Richard. "House." PAJ: A Journal of Performance and Art 21, no. 3 (1999): 79. http://dx.doi.org/10.2307/3245969.

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10

Arnold, Denis. "Music at the Ospedali." Journal of the Royal Musical Association 113, no. 2 (1988): 156–67. http://dx.doi.org/10.1093/jrma/113.2.156.

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The peacefulness and longevity of the Venetian Republic prove that it had solved one of its greatest problems – that of poverty Not that it was rid of its poor even in times of prosperity: but at least they were cared for by a wealth of charitable organizations, and that desperation which leads to civil insurrection never gained a hold. The chronically sick, the girls having no dowry, the orphans and the beggars were each helped by various institutions which were supported by the more fortunate. The four largest of these could between them claim to cater for any poor person who was really in n

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11

Cowart, Claire Denelle. "The Big House in Somerville and Ross." Review of Irish Studies in Europe 3, no. 1 (2019): 17–35. http://dx.doi.org/10.32803/rise.v3i1.2209.

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The novels of Somerville and Ross revolve around the Big Houses of the Anglo-Irish gentry. This paper focuses on three of those novels as markers of the changing condition of the Anglo-Irish themselves, from the seeming stability of the late Victorian era through the changes wrought by Land Acts, war and Irish independence. The three novels form an arc in which houses and family fortunes deteriorate. The Big House of Bruff, in The Real Charlotte (1894), exists in a state of sleepy complacency which masks dangerous stagnation; the son of the house is unmarried and directionless, while members o

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12

Wicaksono, Bambang, Ari Siswanto, Susilo Kusdiwanggo, and Widya Fransiska Febriati Anwar. "Adaptation from Flooring Level of Stilt House in Sustainable Settlement Musi Riverside Palembang." Journal of Computational and Theoretical Nanoscience 17, no. 2 (2020): 1361–68. http://dx.doi.org/10.1166/jctn.2020.8812.

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The development of the Musi River edge house was influenced by the role of the river. The form of a house on the banks of the Musi river is a riverbank house and a stilt house. The choice to build a stilt house is inseparable from the land conditions in South Sumatra, which are generally wetlands. The level/height of the stage of the riverbank house is influenced by the condition of the house in the settlement layer, given the higher volume of water due to the denser density of the riverside houses. The high pole of the house is a form of adaptation to the high volume/tide of river water in th

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13

Price, Curtis. "Italian Opera and Arson in Late Eighteenth-Century London." Journal of the American Musicological Society 42, no. 1 (1989): 55–107. http://dx.doi.org/10.2307/831418.

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After the burning of the Haymarket theater in 1789, the Italian opera in London was in chaos. Yet several critics called this a golden age for opera seria, and London continued to attract the greatest singers and dancers. A recently discovered archive-which includes the complete financial and managerial records of two London opera houses-adds considerably to our understanding of this period and provides new information about Haydn, Burney, Sheridan, Turner, the Storaces, and Mozart. The documents also show that the Prince of Wales, the Marquis of Salisbury, and the Duke of Bedford patronized a

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14

Service, Tom. "London, Royal Opera House: ‘Sophie's Choice’." Tempo 57, no. 224 (2003): 41–42. http://dx.doi.org/10.1017/s0040298203210159.

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Few contemporary operas achieve the newsworthiness of Nicholas Maw's Sophie's Choice. Even before its 7 December première at the Royal Opera House, Covent Garden, the piece dented public consciousness thanks to a barrage of press coverage surrounding the production, the cast, and the subject matter. The irony is that it was the other names associated with the opera – conductor Simon Rattle, director Trevor Nunn, and William Styron, author of the 1979 novel – that made Sophie's Choice a news story, rather than the fame of its composer. Yet Maw's was the ultimate responsibility for the creation

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15

Venn, Edward. "London, Royal Opera House: ‘The Tempest’." Tempo 58, no. 229 (2004): 72–73. http://dx.doi.org/10.1017/s0040298204210245.

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By all (press) accounts, the overture to The Tempest, Thomas Adès's first full-scale opera, was completed at speed – just five days before the 20 February première, at the Royal Opera House, Covent Garden. Comparisons with Rossini naturally followed, but the question remained whether such facility would be married to the necessary substance for a setting of Shakespeare's play Robin Holloway's claim (in the Financial Times) that the opera was ‘make or break’ for Adès may in hindsight come to appear somewhat overstated, but there is no doubt that this was an important milestone in the composer's

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16

Mall, Andrew. "“As For Me and My House”." Journal of Popular Music Studies 32, no. 1 (2020): 10–25. http://dx.doi.org/10.1525/jpms.2020.32.1.10.

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17

Simmert, Tom. "Media and mobility in South African House music." Journal of African Media Studies 7, no. 1 (2015): 87–99. http://dx.doi.org/10.1386/jams.7.1.87_1.

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18

Gammon, Vic. "Trouble at the House." Popular Music 6, no. 3 (1987): 339–40. http://dx.doi.org/10.1017/s0261143000002361.

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19

Oliver, Paul. "Son House 1902–88." Popular Music 8, no. 2 (1989): 195–96. http://dx.doi.org/10.1017/s026114300000338x.

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20

Welizarowicz, Grzegorz. "Weirdness at Midnight." Polish Journal for American Studies, no. 14 (Spring 2020) (December 1, 2020): 109–22. http://dx.doi.org/10.7311/pjas.14/1/2020.08.

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21

Barlow, Jill. "London, Royal Opera House: ‘The Blackened Man’." Tempo 57, no. 223 (2003): 87–89. http://dx.doi.org/10.1017/s004029820327008x.

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Will Todd, born in Durham in 1970, has an extensive output of compositions to his credit, including highly-charged operas and oratorios, largely centred around themes from northeastern England, notably the workers' struggle against early 19th and 20th-century injustice and oppression. I had heard his emotive cantata The Burning Road performed at St Albans Cathedral in February 2002 – it depicts the relentless, footsore Jarrow Marchers of 1936 who stopped in the city en route to London – and was interested to hear the follow-up in his new opera on an allied theme: The Blackened Man.

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22

Dorschel, Andreas. "“Best to have the opera house bombarded”." Studia Musicologica Academiae Scientiarum Hungaricae 47, no. 2 (2006): 233–40. http://dx.doi.org/10.1556/smus.47.2006.2.5.

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23

Miller, Malcolm, and Martin Anderson. "FIVE LONDON REPORTS." Tempo 59, no. 233 (2005): 57–61. http://dx.doi.org/10.1017/s0040298205280233.

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Purcell Room: Charles HartManoukian Cultural Centre, St Yegiche's Armenian Church, Cranley Gardens: Mikhail PletnevPurcell Room: Roxanna PanufnikLeighton House and The Warehouse: Jonathan Powell, ‘Finland Piano Suomi’Leighton House: Richard Dubugnon's ‘Mikroncerto III’

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24

Richter, Pál. "Dance house under the socialist regime in Hungary." Studia Musicologica 56, no. 4 (2015): 407–15. http://dx.doi.org/10.1556/6.2015.56.4.8.

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At the beginning of the 1970s there was a drastic turn in the history of Hungarian folklorism brought by the ‘dance house’ [táncház] movement. This movement, based on civil initiative, aimed to evoke and revive the patterns of peasant dance and music culture of local communities, preserving its aesthetic values. Within its confines, many young people followed the example of the initiators, Ferenc Sebő and Béla Halmos through the intensive appropriation of instrumental folk music. Their professional leaders were such folklore researchers as Lajos Vargyas, Imre Olsvai, and György Martin, later t

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25

Kalό, Ildiko. "Considerations on the Elements of Musical Language in ‘La casa di peste drum’ [At the House across the Road] by Tudor Jarda." Musicology Papers 35, no. 1 (2020): 35–40. http://dx.doi.org/10.47809/mp.2020.35.01.02.

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When we speak about musical rhetoric, rhetorical figures, or elements related to musica poetica, we almost always automatically think about the Baroque and, why not, about Johann Sebastian Bach`s music. However, few of us realize that the roots of these notions trace back to the Renaissance, and even fewer will relate them to Martin Luther`s name and the Protestant Reformation. The principles of musical rhetoric developed mainly in the North German space, although they were also present in other countries such as Italy, France and England. It was Germany, however, that in those times most enth

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26

Šarović, Aleksandar. "The uses and gratifications theory: In the case of House music." New Sound, no. 47 (2016): 87–98. http://dx.doi.org/10.5937/newso1647087q.

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The paper pays particular attention to teaching of Denis McQuail who considered that people are accessing the mass media with their needs, and focusing themselves in observing, listening, or reading, by complex of expectations or pursued gratifications. According to McQuail, the most important gratifications that are provided by media are: diversion, personal relationships, personal Identity and surveillance. In the paper we will expose these effects, ie. uses and gratifications that music provides, in the case of house music. House music fits perfectly in the uses and gratifications theory wh

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27

Suharyanto, Agung. "Sejarah Lembaga Pendidikan Musik Klasik Non Formal di Kota Medan." Gondang: Jurnal Seni dan Budaya 1, no. 1 (2017): 6. http://dx.doi.org/10.24114/gondang.v1i1.5967.

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Tjong Sce Yin (founder of the first music school in Medan) and Tjong A Fie Mansion (the first school house in Medan) with the name of Medan Music School renamed the Pure Music Institute (LMM) and now renamed the Conservatory Music Medan. In addition to the above three things, also can not be separated from some non-formal music education institutions that organize classical music education in Medan that is Melody Music Studio (Musical Field), Musika Era, Music Rhythm and Institute of Music Education (LPM) Farabi Medan .

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28

Amico, Stephen. "‘I Want Muscles’: house music, homosexuality and masculine signification." Popular Music 20, no. 3 (2001): 359–78. http://dx.doi.org/10.1017/s0261143001001556.

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The examination of ‘subcultures’ and their concomitant musical practices has produced a large and varied body of work, a recent (and notable) portion of which has been concerned with what might be referred to generally as ‘dance music’ scenes (Thornton 1996; Reynolds 1998; Fikentscher 2000). Concurrent with this focus (and sometimes enmeshed with it) has been a burgeoning interest in gender/sexuality and music (Ortega 1994; Whiteley 1997, 2000; Barkin and Hamessly 1999). While recent reassessments of ‘subcultural’ formations situated within the postmodern era have suggested inherent complexiti

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29

Banjo, Omotayo O., and Kesha Morant Williams. "A House Divided? Christian Music in Black and White." Journal of Media and Religion 10, no. 3 (2011): 115–37. http://dx.doi.org/10.1080/15348423.2011.599640.

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30

Siepmann. "Occultism in the Acid House Music of Psychic TV." Preternature: Critical and Historical Studies on the Preternatural 10, no. 2 (2021): 249. http://dx.doi.org/10.5325/preternature.10.2.0249.

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31

Hubbard, Preston J. "Synchronized Sound and Movie-House Musicians, 1926-29." American Music 3, no. 4 (1985): 429. http://dx.doi.org/10.2307/3051829.

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32

Burgard, Andrew M., and Michael Beckerman. "Janáček, Back from the House of the Dead." Journal of the American Musicological Society 63, no. 3 (2010): 703–15. http://dx.doi.org/10.1525/jams.2010.63.3.703.

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33

Lynch, Christopher. "Review: The Opera House, directed by Susan Froemke." Journal of the American Musicological Society 72, no. 1 (2019): 295–302. http://dx.doi.org/10.1525/jams.2019.72.1.295.

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34

McGeary, Thomas. "Handel and Homosexuality: Burlington House and Cannons Revisited." Journal of the Royal Musical Association 136, no. 1 (2011): 33–71. http://dx.doi.org/10.1080/02690403.2011.562718.

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It has been claimed that Burlington House and Cannons, the homes of the Earl of Burlington and the Duke of Chandos, were homosexual or homoerotic settings and that Handel's presence in these environments suggests that he was ‘gay’ or influenced the secular works he composed there. Examining in detail biographical information about John Gay, Alexander Pope and William Kent, eighteenth-century biographical accounts of Handel and insights from the history of sexuality, this article argues that there is no basis for these claims about the homosexual milieux at Burlington House and Cannons or for H

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35

VECCHIOLA, C. "Submerge in Detroit: Techno's Creative Response to Urban Crisis." Journal of American Studies 45, no. 1 (2010): 95–111. http://dx.doi.org/10.1017/s0021875810001167.

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The Detroit electronic music (DEM) community is a group of urban residents who, since the 1980s, have used new technologies in music production as well as changing communications technologies to create a transnational arts community. This article is a result of ethnographic research of the DEM community conducted from 1999 to 2007 and is focussed on the city's biggest independent distribution company, Submerge. The phrase “electronic music” refers to both house and techno music. Techno music and house music are African American music genres created in Detroit and Chicago respectively during th

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36

Duane, Ben. "Auditory Streaming Cues in Eighteenth- and Early Nineteenth-Century String Quartets." Music Perception 31, no. 1 (2013): 46–58. http://dx.doi.org/10.1525/mp.2013.31.1.46.

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This study uses a corpus of excerpts from eighteenth- and early nineteenth-century string quartets to examine how four acoustic cues—onset and offset synchrony, pitch comodulation, and spectral overlap—help to afford the perception of auditory streams. Two types of streams are dealt with: textural streams, which house individual string parts or groups of them that function as single musical units; and music streams, which typically house the music as a whole and distinguish it from other simultaneous sounds of music. The corpus contained real excerpts from classical string quartets as well as

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37

ZanÉsi, Christian, and Évelyne Gayou. "A house of composers." Organised Sound 12, no. 3 (2007): 277–78. http://dx.doi.org/10.1017/s135577180700194x.

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AbstractAn interview is a strange format for a research review; however, it is sometimes a quick and effective way to present a problematic. In this case, Christian Zanési interviewed by Évelyne Gayou gives a perspective of the future activities of the GRM from an institutional perspective as well as in relation with the new electronic tendencies, thus answering the major question of the social function of a research and production institution today.

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38

Mottershead, Tim. "Salvatore Sciarrino The Killing Flower Music Theatre Wales, Buxton Opera House." Tempo 68, no. 267 (2014): 67–68. http://dx.doi.org/10.1017/s0040298213001411.

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Sciarrino's two-act chamber opera Luci mie traditrici is based on the true story of Renaissance composer Carlo Gesualdo's brutal murder of his wife and her lover. Numerous composers in the last 50 years or so have been sufficiently fascinated by Gesualdo to write works based on his life or music, including seven operas appearing in the last two decades. Sciarrino based his libretto on a drama written only 50 years after Gesualdo's death by Giacinto Andrea Cicognini. This UK premiere conducted by Michael Rafferty was given at the Buxton Festival by Music Theatre Wales, translated into English b

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39

Juwita, Lily, Erfan Erfan, and Irdhan Epria Darma Putra. "ARANSEMEN MUSIK SEKOLAH DENGAN JUDUL “RUMAH KITA”." Jurnal Sendratasik 8, no. 1 (2019): 35. http://dx.doi.org/10.24036/jsu.v8i1.106416.

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This artwork aims to express an idea that is poured through music performances in the form of music arrangement. In this song, arranger worked in the form of school music arrangement. The band Combo at SMK N 7 Padang corresponds to the ability of ensembles studied by students. Here arranger arranged song our house is played with some vocal music accompaniment, keyboard, bass, guitar, drums. The arransemen in this piece of music contains lyrics that explain that as bad and cruel as any of this country we must remain grateful and devoted to the homeland. By building new things through some devel

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40

Laird, Paul R., Leonard Bernstein, and Alan Jay Lerner. "A White House Cantata: Scenes from "1600 Pennsylvania Avenue"." American Music 20, no. 3 (2002): 358. http://dx.doi.org/10.2307/1350134.

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41

Gibbs, Alan. "London, Morley College and Leighton House: Mátyás Seiber celebrations." Tempo 59, no. 234 (2005): 43–45. http://dx.doi.org/10.1017/s0040298205270304.

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With Tippett and Rawsthorne centenaries this year, Mátyás Seiber's (1905–60) might have been overlooked, but Morley College, prompted by the composer's daughter Julia, made sure it was not with a well-devised festival comprising four concerts, two lectures (by Michael Graubart and Hugh Wood – both names familiar to Tempo readers, and the latter currently especially featured) and an exhibition. Seiber was one of a number of continental arrivals, the others including Gerhard and Reizenstein, who remained here to our considerable benefit, in Seiber's case becoming a much sought-after teacher of c

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42

Anderson, Martin. "London, Royal Opera House, Covent Garden: Lorin Maazel's ‘1984’." Tempo 59, no. 234 (2005): 45. http://dx.doi.org/10.1017/s0040298205280300.

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I have had occasion to be sniffy about Lorin Maazel's music in these pages before (Tempo No. 218), not least because of its sheer lack of profile, of any hint of individuality. So it was with exceedingly modest expectations that I took my seat for his first opera, 1984, the world-première run of which began on 3 May. Even so, I was disappointed: no ditchwater is as dull. The basic problem is the absence of any discernible personality in what Maazel writes: the musical language of1984 is a thin gruel boiled up from left-over Prokofiev, Copland, Bartók, Ravel, Janáček, whatever was lying around

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43

Montagu, Jeremy. "The restored Chapter House wall paintings in Westminster Abbey." Early Music XVI, no. 2 (1988): 239–50. http://dx.doi.org/10.1093/earlyj/xvi.2.239.

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44

Newark, Cormac, and Ingrid Wassenaar. "Proust and music: The anxiety of competence." Cambridge Opera Journal 9, no. 2 (1997): 163–83. http://dx.doi.org/10.1017/s0954586700005243.

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Propped up in his bed, for all the world the quintessential fin-de-siècle invalid, Marcel Proust listened to the perplexing sound of music far away. He heard it from beyond the walls of his room, through a connecting tube: the famous théâtrophone, a permanent subscription telephone line that could connect Proust's apartment in the boulevard Haussmann to a number of Parisian theatres, opera houses and concert halls. The operatic scenes that succeeded in penetrating those walls were not scenes at all: they were disembodied voices, issuing instructions for the visual imagination. Those moments th

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45

Johansen, Guro Gravem, Anna Houmann, and Danielle Treacy. "Introduction: Nordic Research in Music Education Volume 1." Nordic Research in Music Education 1, no. 1 (2020): 1–3. http://dx.doi.org/10.23865/nrme.v1.2674.

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Volume 20 of the Nordic Research in Music Education Yearbook marks the yearbook’s transition from printed physical book to open access publishing under the name Nordic Research in Music Education (NRME), as part of a newly established collaboration between the Norwegian Academy of Music and the Norwegian publishing house Cappelen Damm Akademisk. As editors, we endorse this development towards improved visibility, a better profile, and the widening of access to research in music education to the public.

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46

Parker, Jean. "Lourdes Pilgrimage from Burton House, 1984." British Journal of Occupational Therapy 48, no. 8 (1985): 241. http://dx.doi.org/10.1177/030802268504800805.

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Burton House is a geriatric unit with a purpose-built recreation unit, providing adult education facilities and daily time-tabled recreational facilities for long-stay patients. The recreation unit is an offshoot of the occupational therapy department with an activities organizer, a music therapist and an occupational therapy helper who work, along with others, to extend the role of diversional therapy with the elderly. This article is an example of the work that is being achieved to improve the quality of life for long-stay patients.

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47

Kárpáti, János. "Music of female shamans in Japan." Studia Musicologica 54, no. 3 (2013): 225–56. http://dx.doi.org/10.1556/smus.54.2013.3.1.

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There are two basic types of Japanese female shamans, representing two different categories regarding their social position and their musical activities. (1) The medium type shamaness, the itako comes from a stratum of the rural society which lives in relative modesty and whose musical activities belong to folk art. The ceremony takes place in the itako’s house, in front of the house altar, kneeling on tatami. She improvises dialogs with previously living persons who speak through her mouth, or recites stories, ballads to “entertain” the deities. Among her musical instruments, the weapon-like

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48

Nadeau, Roland. "The House of Music: Art in an Era of Institutions." Music Educators Journal 71, no. 6 (1985): 60–61. http://dx.doi.org/10.2307/3396479.

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49

Seabron, Garry, and John Wilson. "Music and Worship at a House of Prayer Holy Convocation." Black Sacred Music 4, no. 2 (1990): 35–39. http://dx.doi.org/10.1215/10439455-4.2.35.

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50

Fuhrmann, Christina. "Continental Opera Englished, English Opera Continentalized: Der Freischütz in London, 1824." Nineteenth-Century Music Review 1, no. 1 (2004): 115–42. http://dx.doi.org/10.1017/s1479409800001890.

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22 July 1824. Many Londoners had waited years for this night. They thronged to the English Opera House, filling the boxes and cramming the benches in the pit and gallery. It was worth the heat, the expense, the danger from pickpockets. After hearing of its success for three years, after glimpsing snatches of it in concert and sheet music excerpts, and after enduring weeks of advertising for the English Opera House production, they would finally be the first in London to witness the most celebrated German opera of the time: Weber's Der Freischütz.

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