Relevant bibliographies by topics / William Billings

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

Academic literature on the topic 'William Billings'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "William Billings"

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Daniels, Rose Dwiggins. "William Billings: Teacher, Innovator, Patriot." Music Educators Journal 74, no. 9 (May 1988): 22–25. http://dx.doi.org/10.2307/3400497.

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Mark, Michael L. "Some Thoughts on William Billings." Bulletin of Historical Research in Music Education 18, no. 3 (May 1997): 188–91. http://dx.doi.org/10.1177/153660069701800303.

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Fonder, Mark. "William Billings: A Patriot's Life?" Bulletin of Historical Research in Music Education 19, no. 1 (September 1997): 1–9. http://dx.doi.org/10.1177/153660069701900101.

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Heller, George N. "William Billings (1746–1800) Sources and Resources." Bulletin of Historical Research in Music Education 18, no. 1 (September 1996): 49–70. http://dx.doi.org/10.1177/153660069601800104.

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Cooke, Nym. "William Billings in the District of Maine, 1780." American Music 9, no. 3 (1991): 243. http://dx.doi.org/10.2307/3051430.

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Murray, Sterling E., Karl Kroeger, and William Billings. "Catalog of the Musical Works of William Billings." Notes 49, no. 4 (June 1993): 1486. http://dx.doi.org/10.2307/899406.

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Kroeger, Karl. "Word Painting in the Music of William Billings." American Music 6, no. 1 (1988): 41. http://dx.doi.org/10.2307/3448345.

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Jensen, Edward C. "North American Terrestrial Vegetation. Michael G. Barbour , William Dwight Billings." Quarterly Review of Biology 76, no. 3 (September 2001): 382. http://dx.doi.org/10.1086/394074.

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Jong, Mary Gosselink De. ""Both Pleasure and Profit": William Billings and the Uses of Music." William and Mary Quarterly 42, no. 1 (January 1985): 104. http://dx.doi.org/10.2307/1919612.

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Temperley, Nicholas. "The Complete Works of William Billings. Volume III: The Psalm-Singer's Amusement (1781); The Suffolk Harmony (1786); and the Independent Publications . William Billings , Karl Kroeger , Richard Crawford ." Journal of the American Musicological Society 41, no. 1 (April 1988): 179–86. http://dx.doi.org/10.1525/jams.1988.41.1.03a00070.

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Dissertations / Theses on the topic "William Billings"

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Stevens, Alan. "Indications Concerning Contemporaneous Performance Practice in the Prose Writings of William Billings." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/222835.

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Choral music in the United States before 1800 was almost exclusively composed by tunesmiths who also worked as singing masters. William Billings (1746-1800) was the most prolific of these composers, and, in 1770, he was the first individual in North America to publish a collection composed entirely of his own works. This collection was known as a tunebook, and was designed to assist in the teaching of musical fundamentals and vocal performance in the singing schools. Five additional tunebooks followed; three of these six contained lengthy prose introductions in which Billings addressed pedagogy, music theory, and sight singing. This prose provides important information about the performance practice of the period, including the issues of accompaniment, articulation and text, dynamics, balance and voicing, ornamentation, and vocal timbre. Previous researchers have often mistakenly grouped the music of the tunesmiths with the later southern hymnists. This has distorted many general notions of historically informed performance practice for the pre-1800 tunesmiths. An examination of what Billings specifically says regarding issues of performance practice in his tunebook introductions, as well as inferences from additional prose material, will help to guide modern conductors to more historically appropriate performance practice. A comparison of this information to prior research will isolate approaches that have previously been considered accurate performance practice, but may, in fact, be inappropriate for choral music of this genre. Finally, an understanding of the intended purpose of the compositions, as well as the historical context, will help to inform performance practice.
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Dill, Patrick W. "From Ritual to Art in the Puritan Music of Colonial New England: the Anthems of William Billings." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149583/.

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The manner in which Billings’s music contrasts with the Puritan musical ideal clearly demonstrates his role in the transition from ritual to art in the music of eighteenth-century New England. The tenets of Puritan worship included the restriction that music should serve primarily as a form of communal prayer for the congregation and in a secondary capacity to assist in biblical instruction. Billings’s stylistic independence from Puritan orthodoxy began with a differing ideology concerning the purpose of music: whereas Calvin believed music merely provided a means for the communal deliverance of biblical text, Billings recognized music for its inherent aesthetic worth. Billings’s shift away from the Puritan musical heritage occurred simultaneously with considerable change in New England in the last three decades of the eighteenth century. A number of Billings’s works depict the events of the Revolutionary War, frequently adapting scriptural texts for nationalistic purposes. The composition of occasional works to commemorate religious and civic events reflects both the increase in society’s approval of choral music beyond its nominal use in worship, both in singing schools and in choirs. With his newfound independence from Puritan ritual, Billings seems to have declared himself one of the United States of America’s first musical artists.
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Syme, Neil. "Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21768.

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This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches.
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Books on the topic "William Billings"

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Catalog of the musical works of William Billings. New York: Greenwood Press, 1991.

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Rosenbach, Margo L. Surgeons' billing practices for selected surgical procedures: Final report. Needham, MA: Health Economics Research, Inc., 1988.

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Kroeger, Karl. William Billings's 'Anthem for Easter': The persistence of an early American 'hit'. Worcester, Mass: American Antiquarian Society, 1987.

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(Editor), Karl Kroeger, ed. Complete Works of William Billings: The Continental Harmony (Billings, William//Complete Works of William Billings). University of Virginia Press, 1990.

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The Complete Works of William Billings: The Psalm-Singer's Amusement (Billings, William//Complete Works of William Billings). University of Virginia Press, 1987.

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McKay, David Phares, and Richard Crawford. William Billings of Boston: Eighteenth-Century Composer. Princeton University Press, 2019.

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McKay, David Phares, and Richard Crawford. William Billings of Boston: Eighteenth-Century Composer. Princeton University Press, 2019.

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McKay, David Phares, and Richard Crawford. William Billings of Boston: Eighteenth-Century Composer. Princeton University Press, 2019.

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William Billings's Anthem for Easter: The Persistence of an Early American 'Hit'. Amer Antiquarian Society, 1987.

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10

Weisbard, Eric. Songbooks. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021391.

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In Songbooks, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings's 1770 New-England Psalm-Singer to Jay-Z's 2010 memoir Decoded. Drawing on his background editing the Village Voice music section, coediting the Journal of Popular Music Studies, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts an alternative history of American music as told through its writing. As Weisbard demonstrates, the most enduring work pursues questions that linger across time period and genre—cultural studies in the form of notes on the fly, on sounds that never cease to change meaning.
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Book chapters on the topic "William Billings"

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Michael, Broyles. "William Billings." In Mavericks and Other Traditions in American Music, 13–38. Yale University Press, 2004. http://dx.doi.org/10.12987/yale/9780300100457.003.0002.

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"INDEX OF MUSICAL EXAMPLES." In William Billings of Boston, vii. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198453-001.

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"INDEX OF ILLUSTRATIONS." In William Billings of Boston, viii. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198453-002.

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"PREFATORY NOTE." In William Billings of Boston, ix—x. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198453-003.

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"ACKNOWLEDGMENTS." In William Billings of Boston, xi—xii. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198453-004.

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"PROLOGUE. Eighteenth-Century Sacred Music in New England." In William Billings of Boston, 1–29. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198453-005.

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"CHAPTER I. William Billings's Early Years (1746-1769)." In William Billings of Boston, 30–40. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198453-006.

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"CHAPTER II. The New-England Psalm-Singer (1770—1777)." In William Billings of Boston, 41–75. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198453-007.

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"CHAPTER III. The Singing Master's Assistant (1778)." In William Billings of Boston, 76–102. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198453-008.

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"CHAPTER IV. Composer, Poet, Author, Editor (1779-1784)." In William Billings of Boston, 103–31. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198453-009.

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Conference papers on the topic "William Billings"

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Gontina S, Willia, and Atik Nurwahyuni. "Determinants of Inpatient Cost for Patients with ST-Elevation Myocardial Infarct at Mayapada Hospital, Tangerang." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.04.27.

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ABSTRACT Background: Inpatient health services for heart attack patients is a complex problem and the highest billing rate in hospitals. Due to the high cost of hospitalization, delay treatment cases may cause fatal health consequences. This study aimed to determine factors affecting the inpatient cost for patients with ST-elevation myocardial infarction at Mayapada hos­pital, Tangerang, West Java. Subjects and Method: A cross-sectional study was conducted at Mayapada hospital, Tangerang, West Java, from July to December 2019. A sample of 31 patients diagnosed with ST-elevation myocardial infarction (STEMI) was selected by total sampling. The dependent variable was total inpatient service costs counted according to the clinical pathway. The independent variables were doctor in charge presented the direct cost, age, gender, patient’s distance to hospital, payment method, and length of stay. The data were collected using medical records. The data were analyzed by multiple linear regression. Results: Inpatient service cost in STEMI patients was positively associated with the doctor direct cost (b= 0.51; p= 0.003), distance to hospital (b= 0.13; p= 0.501), and length of stay (b= 0.39; p= 0.330). Inpatient service cost in STEMI patients was negatively associated with age (b= -0.30; p= 0.107), gender (b= -0.13; p= 0.550), and payment method (b= -0.26; p= 0.214). Conclusion: Inpatient service cost in STEMI patients have a positive association with the doctor direct cost, distance to hospital, length of stay, and negative association with age, gender, and payment method. Keywords: inpatient service cost, length of stay, STEMI patients Correspondence: Willia Gontina S. Masters Program in Health Policy and Administration, Faculty of Public Health, Universitas Indonesia, Depok, West Java. Email: amyamandacp@gmail.com. Mo­bile: +6281280778000. DOI: https://doi.org/10.26911/the7thicph.04.27
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