Bibliografías temáticas / Iris (Musical group)

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Literatura académica sobre el tema "Iris (Musical group)"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Iris (Musical group)"

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Latessa, Lauren, and Jiyoung Oh. "Different media, same relationships: What the Iris Piano Trio learned from the COVID-19 pandemic." Journal of Applied Arts & Health 12, no. 3 (2021): 383–92. http://dx.doi.org/10.1386/jaah_00083_1.

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The Iris Music Project is a non-profit dedicated to reimagining residential and healthcare communities as spaces of creative exchange. By February 2020, our chamber music group, the Iris Piano Trio, had developed a model for music programming at Charles E. Smith Life Communities (CESLC) in Rockville, Maryland (United States), that emphasized collaborative relationships between professional musicians and community members. The COVID-19 pandemic severely disrupted the Trio’s work and tested its model. In this article, we describe how the Trio remained connected and relevant to CESLC residents by
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Libros sobre el tema "Iris (Musical group)"

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Ghiu-Caia, Miron. Iris: Spectacolul abia începe. Humanitas, 2003.

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Merrick, Joe. London Irish punk life & music...: Shane MacGowan. Omnibus Press,c2001., 2001.

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Lydon, John. Rotten: No Irish, no Blacks, no dogs. Picador USA, 1995.

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group), Westlife (Musical, ed. Westlife: Our story. HarperCollins, 2008.

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Lydon, John. Rotten: No Irish, no blacks, no dogs : the authorised autobiography, Johnny Rotten of the Sex Pistols. Hodder & Stoughton, 1994.

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Lydon, John. Rotten: No Irish, no blacks, no dogs : the authorised autobiography, Johnny Rotten of the Sex Pistols. Hodder & Stoughton, 1994.

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Keith, Zimmerman, and Zimmerman Kent 1953-, eds. Rotten: No Irish, no Blacks, no dogs : the authorized autobiography, Johnny Rotten of the Sex Pistols. St. Martin's Press, 1994.

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Keith, Zimmerman, and Zimmerman Kent, eds. Rotten: No Irish, no blacks, no dogs : the authorised autobiography [of] Johnny Rotten of the Sex Pistols. Hodder & Stoughton, 1995.

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9

Ireland, Arts Council of, ed. Hairy tales. Basement Press, 1994.

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10

Kirwan, Larry. Green Suede Shoes: An Irish-American Odyssey. Hachette Books, 2009.

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Capítulos de libros sobre el tema "Iris (Musical group)"

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Cichy, Andrew. "Catholic Music." In The Oxford History of British and Irish Catholicism, Volume II. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198843436.003.0014.

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Abstract The essential contingency of British Catholic music on the vagaries of contemporary government and politics remained a key feature of its development into the eighteenth century. This chapter explores the protected musical culture of music in the chapels of Henrietta Maria and Catherine of Braganza in England (the products of marriage treaties), as well as those of the short-lived and later exiled Jacobite Chapel Royal. Developments among English Catholic institutions on the Continent are also considered for this later period, for which convent chronicles identify and name a significa
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White, Harry. "W. B. Yeats and the Music of Poetry." In Music and the Irish Literary Imagination. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199547326.003.0003.

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Abstract Two years before his death, W. B. Yeats broadcast a series of programmes on the BBC in which his poems were recited and sung. In his prefatory remarks to the first of these broadcasts, Yeats was careful to distinguish clearly for his audience what he meant by ‘singing’: Both the folk singers and the speaker of verse must keep within the range of the speaking voice and the range of the speaking voice is small. Perhaps the folk singer may go a little beyond it here and there but if he goes far he becomes a bird or a musical instrument, and his proper place is the concert platform. Why n
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Craft, Elizabeth T. "The Irish American." In Yankee Doodle Dandy. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197550403.003.0005.

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Abstract Early in his career, George M. Cohan cast himself as a paragon of mainstream America, but in the mid-1910s, he became more outwardly invested in Irish American politics and culture in his personal life and wrote a series of musicals brimming with Irish American pride: The Voice of McConnell (1918), Little Nellie Kelly (1922), The Rise of Rosie O’Reilly (1923), and The Merry Malones (1927). This chapter examines how these shows worked through contemporary issues facing Irish Americans in the United States and advocated for them, frequently at the expense of other groups whom he depicte
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Hunt, Una. "The Politicization of the Harp through Moore’s Irish Melodies." In The Oxford Handbook of Irish Song, 1100-1850. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.20.

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Abstract This chapter examines the richly varied representation of the harp within Thomas Moore’s drawing-room songs, the Irish Melodies, focusing, in particular, on the instrument’s increasing politicization throughout the cycle. Moore was one of the most famous Irishmen of his day and through his celebrated cycle of songs, he propagated the harp music of Ireland to a new and much larger audience and increased interest in the ancient art of harping as well as adding to the instrument’s already-established symbolic significance. By the time of Moore, the harp had become deeply politicized thro
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Manning, Jane. "GRÁINNE MULVEY (b. 1966)Eternity Is Now (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0050.

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This chapter studies Irish composer Gráinne Mulvey’s Eternity Is Now (2008). The performer of this brief piece will need to show considerable accomplishment, in both technique and musicianship, and there are plenty of opportunities to display virtuosity. Control and pacing are of crucial importance, and a feeling of onward momentum must be maintained. Pauses are given timings in seconds to ensure a disciplined reading. Swift, wide-spanning grace notes precede some long-held pitches. Notation includes features that are now familiar practice in contemporary music, notably the ‘beams’ over note g
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Marin, Reva. "Don Asher’s Fictional-Real Jazz World." In Outside and Inside. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829979.003.0005.

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This chapter examines the life and writings of Don Asher, who studied with pianist Jaki Byard before embarking on a career as a New England society band and honkytonk pianist and later as a nightclub pianist in San Francisco, including a long stint at the famed hungry i. Asher was also a novelist, short-story writer, essayist, and collaborator, and analysis of selected works of his fiction and nonfiction uncovers his enduring and sometimes transgressive fascination with African American music and culture. While Asher’s work appears to illustrate “the problem with white hipness” (Ingrid Monson)
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Informes sobre el tema "Iris (Musical group)"

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McDonald, Sophia. ECMI Minorities Blog. Stirring the Pot: Kneecap, Radical Politics and Nurturing the Irish Language. European Centre for Minority Issues, 2024. http://dx.doi.org/10.53779/erkp1374.

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Northern Irish hip hop group Kneecap have been causing controversy as they have rose to fame. At the core of their music is the fight to keep the Irish language alive. They have made waves in music scenes across the world and in doing so, they have given young Northern Irish people a voice when representation has become so important. However, they satirise Unionist politics and for some, stir up painful memories of violence which plagued Northern Ireland up until the 1990s. This blogpost explores Kneecap’s provocative politics and their fight for Irish language rights in Northern Ireland via c
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