Bibliografías temáticas / Music publisher

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Literatura académica sobre el tema "Music publisher"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 11 de febrero de 2022

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Artículos de revistas sobre el tema "Music publisher"

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ZOHN, STEVEN. "Telemann in the Marketplace: The Composer as Self-Publisher." Journal of the American Musicological Society 58, no. 2 (2005): 275–356. http://dx.doi.org/10.1525/jams.2005.58.2.275.

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Abstract This article tells the story of a self-publishing business maintained by Georg Philipp Telemann in Frankfurt and Hamburg from 1715 through the late 1730s, a remarkable venture that illuminates much about music commerce during the early eighteenth century. At a time in Germany when conditions were generally unfavorable for the publishing of music, Telemann issued forty-six entirely new editions of his own works. Not only did he solicit subscribers to his publications and set up a network of agents across Europe (anticipating the activities of Carl Philipp Emanuel Bach a half century la
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Macdonald, Hugh. "Georges Hartmann, the “Ideal Publisher”." Journal of Musicological Research 28, no. 4 (2009): 295–311. http://dx.doi.org/10.1080/01411890903210503.

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Gevorkyan, Armen V. "V. Ya. Bryusov and N.Ya Bryusova on the Pages of the Weekly «Music»." Proceedings of Southern Federal University. Philology 2021, no. 1 (2021): 171–79. http://dx.doi.org/10.18522/1995-0640-2021-1-171-179.

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At the end of November 1910 a new musical weekly «Music» was founded, the editor-publisher of which was V.V. Derzhanovsky. He allotted a significant place on the pages of the publication to the creativity of Russian Symbolists: there were published announcements and reviews of the Symbolists published in the publishing houses «Scorpio», “Musaget”, “Grif”, their poetic texts. Of particular interest to the publisher of “Music” was the literary work of V.Ya. Bryusov, as well as the activities of his closest circle, in particular, the poet’s sister, N. Ya. Bryusova.
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Devriès, Anik, Rita Benton, and Anik Devries. "Pleyel as Music Publisher, a Documentary Sourcebook of Early 19th-Century Music." Revue de musicologie 77, no. 1 (1991): 131. http://dx.doi.org/10.2307/947192.

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Field, Corey, Rita Benton, and Jeanne Halley. "Pleyel as Music Publisher: A Documentary Sourcebook of Early 19th-Century Music." Notes 47, no. 3 (1991): 793. http://dx.doi.org/10.2307/941915.

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Herissone, Rebecca. "Thomas Morley: Elizabethan Music Publisher. By Tessa Murray." Library 16, no. 4 (2015): 475–79. http://dx.doi.org/10.1093/library/16.4.475.

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Rebulla, Patrizia, Pierluigi Ledda, and Helen Müller. "The letters of Casa Ricordi." Bibliothek Forschung und Praxis 42, no. 2 (2018): 255–62. http://dx.doi.org/10.1515/bfp-2018-0034.

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Abstract The Archivio Storico Ricordi holds the historical records of one of the most important music publisher of all times. For almost two hundred years, beyond their main business as music publishers, the Ricordis were also impresarios, agents, and cultural organisers, and played a central and unique mediating role within Italian musical life. This role is very well documented by some 30,000 autograph letters addressed to Casa Ricordi by composers, writers, librettists, singers, and conductors, and an impressive and neatly ordered collection of around 600,000 sent letters. The whole collect
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Shabshaevich, Elena M. "Anton Grigoryevich Rubinstein and his Russian Publishers." Observatory of Culture 18, no. 3 (2021): 284–98. http://dx.doi.org/10.25281/2072-3156-2021-18-3-284-298.

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The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily t
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Laes, T., and P. Schmidt. "Activism within music education: working towards inclusion and policy change in the Finnish music school context." British Journal of Music Education 33, no. 1 (2016): 25. http://dx.doi.org/10.1017/s0265051716000012.

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The publisher regrets to announce that the institutional affiliation listed for Patrick Schmidt in the above article (Laes & Schmidt 2016) was incorrect. The proper address is given below.The publisher apologises for this error.The University of Western Ontario, Talbot College, 1151 Richmond St., Office 119, London, ON N6A 3K7 Canada. Patrick.schmidt@uwo.ca
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Bullock, Philip Ross. "Chaikovsky and the Economics of Art Music in Late Nineteenth-Century Russia." Journal of Musicology 36, no. 2 (2019): 195–227. http://dx.doi.org/10.1525/jm.2019.36.2.195.

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As Russia’s first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia’s musical institutions—its opera houses and theaters, its concert organizations and publishers—to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky’s financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This
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Tesis sobre el tema "Music publisher"

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Wennlo, Alexander, Adam Falk, and Victor Zhang. "The Business of Production Music : A Value Chain Approach to the Swedish Market for Production Music." Thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, Företagsekonomi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-20232.

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Within this thesis we map the Value-Chains of the Swedish market for Production Music. The reason behind this is that the authors believe this sub-segment of the music industry to be relatively unexplored by business research. Thus increased knowledge should increase transparency for all market actors. We have gathered previous research regarding value chains in the music industry and compare this research to empirical findings on the Production Music Industry.  These findings are primarily gathered from three interviews with individuals in well informed positions within the industry. The thre
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Conrad, Charles P. "Fred Jewell, 1875-1936 : his life as composer of circus and band music, bandmaster, and publisher." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917839.

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Fred Jewell was one of the leading composers of band and circus music of the early twentieth century. Born in Worthington, Indiana in 1875, he started his musical career at age sixteen as a baritone player in a circus band. He rose to the position of bandmaster for the Barnum and Bailey, Gentry Brothers, Hagenbeck-Wallace, and Sells-Floto Circuses. He wrote dozens of marches and other pieces of music for the circus. Upon returning to Indiana, he began to concentrate on the concert band, writing music in several genre for that ensemble.He relocated to Iowa from 1918-1923, where he established h
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Schindler, Agata. "Oskar Elschek (Hg.): A History of Slovak Music. From the Earliest Times to the Present, Bratislava (Veda, Publisher of the Slovak Academy of Sciences) 2003 [Rezension]." Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2005. https://ul.qucosa.de/id/qucosa%3A15998.

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Crew, Danny Oliver. "Political discourse and American published sheet music : a commentary of four published works." Thesis, University of Sunderland, 2014. http://sure.sunderland.ac.uk/6581/.

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The purpose of this commentary is to discuss the context and theoretical underpinnings that form the basis of my four publications, and how these works have made a meaningful contribution to the study of American socio-political discourse in general, and to the study of American historical music in particular. The study of American political history has principally focused on traditional primary and secondary sources for such inquiry: contemporary letters, journals and diaries, books, official documents, newspapers and other periodicals. One major primary source that has been largely overlooke
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Jansen, van Rensburg Wim Petrus. "Interpreting music consumption data published by the music industry to inform the career choices of music graduates." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62641.

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Oyen, David W. "An examination of published orchestral excerpt study materials for bassoon and contrabassoon." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302107909.

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Punkt, Anita. "Der Friedrich Hofmeister Musikverlag : sein Profil in Geschichte und Gegenwart /." Berlin dissertation.de, 2006. http://d-nb.info/986613649/04.

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Hagiwara, Asami. "Guide to the published solo piano music of Jean Sibelius (1865–1957)." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/6123.

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The purpose of this essay is to provide a guide to the published solo piano works of Jean Sibelius (1865–1957). Sibelius wrote more than 150 compositions for piano; yet, these are little known and are rarely performed. Through this project, Sibelius’s solo piano literature, currently unknown to many pianists and piano teachers, will become more accessible. The first chapter will provide biographical information about Sibelius, the second chapter will deal with the compositional style and historical background of hi
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An, Yu Lee. "Music Publishing in London From 1780 to 1837 as Reflected in Music Publishers' Catalogues of Music for Sale: A Bibliography and Commentary." Thesis, University of Canterbury. Music, 2008. http://hdl.handle.net/10092/4197.

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This study documents and analyses the music-selling and publishing industry in London from 1780 to the end of the Georgian period as reflected in publishers' catalogues of music for sale. It assembles the histories and activities of these music publishers in relation to the society they served. Catalogues inform us quite precisely not only of the activities of music publishers, but also the role they played in accommodating, influencing, expanding and educating the contemporary musical taste. In addition, catalogues provide documentary evidence of compositions in issues no longer extant, and e
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DAVIDSON, MICHAEL MCKENNEY. "AN ANNOTATED DATABASE OF 102 SELECTED PUBLISHED WORKS FOR TROMBONE REQUIRING MULTIPHONICS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123258603.

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Libros sobre el tema "Music publisher"

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Benton, Rita. Pleyel as music publisher: A documentary sourcebook of early 19th-century music. Pendragon Press, 1990.

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Richard, Griscom, and Guéra (Firm), eds. The French music publisher Guéra of Lyon: A dated list. Information Coordinators, 1987.

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Smith, Jeremy L. The career of Thomas East: Elizabethan music printer and publisher. University of California, 1997.

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Zoeren, Elbert van. De muziekuitgeverij A.A. Noske, 1896-1926: Een bijdrage tot dertig jaar Nederlandse muziekgeschiedenis = The music publisher A.A. Noske, 1896-1926 : a contribution to thirty years of Dutch music history. E.v. Zoeren, 1987.

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Zoeren, Elbert van. De muziekuitgeverij A.A. Noske, 1896-1926: Een bijdrage tot dertig jaar Nederlandse muziekgeschiedenis. E.v. Zoeren, 1987.

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The house of Novello: Practice and policy of a Victorian music publisher, 1829-1866. Ashgate, 2003.

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Association, Music Library. Music publishers' catalogs. Library of Congress Preservation Microfilming Program, 1987.

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Parkinson, John A. Victorian music publishers: An annotated list. Harmonie Park Press, 1990.

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Pierre I Ballard et Robert III Ballard: Imprimeurs du roy pour la musique, 1599-1673. Mardaga, 2003.

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Regensburger Verlagsbuchhandlungen als Musikverlage (1850-1950). Schneider, 2007.

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Capítulos de libros sobre el tema "Music publisher"

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Pitt, Ivan L. "Economic Analysis of Music Copyright: Music Publishers." In Economic Analysis of Music Copyright. Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6318-5_3.

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Rowland, David. "Composers and publishers in Clementi’s London." In The Music Profession in Britain, 1780–1920. Routledge, 2018. http://dx.doi.org/10.4324/9781315265001-3.

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Pitt, Ivan L. "Roles of Publishers, Record Labels, and Producers." In Direct Licensing and the Music Industry. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-17653-6_8.

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Rastipisheh, Pegah, Shirin Taheri, Ahmad Maghsoudi, Mohsen Razeghi, Alireza Choobineh, and Reza Kazemi. "The Effects of Playing Music During Surgery on the Performance of the Surgical Team: A Systematic Review on Published Studies." In Advances in Intelligent Systems and Computing. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96059-3_27.

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"The publisher." In Inside the Music Business. Routledge, 2003. http://dx.doi.org/10.4324/9780203298862-7.

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Rowland, David. "Clementi as Publisher." In The Music Trade in Georgian England. Routledge, 2017. http://dx.doi.org/10.4324/9781315085791-4.

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Gammons, Helen. "The role of the music publisher." In The Art of Music Publishing. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-240-52235-7.10004-1.

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"The role of the music publisher." In The Art of Music Publishing. Routledge, 2011. http://dx.doi.org/10.4324/9780240522364-11.

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"The Role of the Music Publisher." In Introduction to the Music Industry: An Entrepreneurial Approach. Routledge, 2012. http://dx.doi.org/10.4324/9780203096697-14.

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"Contemporary Issues of the Victorian Music Publisher." In The House of Novello. Routledge, 2017. http://dx.doi.org/10.4324/9781315086262-5.

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Actas de conferencias sobre el tema "Music publisher"

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Morik, Marco, Ashudeep Singh, Jessica Hong, and Thorsten Joachims. "Controlling Fairness and Bias in Dynamic Learning-to-Rank (Extended Abstract)." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/655.

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Rankings are the primary interface through which many online platforms match users to items (e.g. news, products, music, video). In these two-sided markets, not only do the users draw utility from the rankings, but the rankings also determine the utility (e.g. exposure, revenue) for the item providers (e.g. publishers, sellers, artists, studios). It has already been noted that myopically optimizing utility to the users -- as done by virtually all learning-to-rank algorithms -- can be unfair to the item providers. We, therefore, present a learning-to-rank approach for explicitly enforcing merit
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Siegert, Christine. "Komponisten-Gesamtausgaben im digitalen Zeitalter: Perspektiven und Reflexionen am Beispiel Ludwig van Beethovens." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.95.

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In the field of edition philology a diverse range of digital approaches is being put to the test. Taking Ludwig van Beethoven as a basis, this article demonstrates the limits of printed editions and presents preliminary considerations for a genuinely digital edition of his works. Various versions of the Ninth Symphony, the publisher Sigmund Anton Steiner’s publication concept for the Seventh and Eighth Symphonies and Wellingtons Sieg, which incorporated arrangements for highly diverse scorings, as well as the use of single numbers from the opera Fidelio in other music theatre works of the time
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Beer, Axel, Martin Bierwisch, and Kristina Krämer. "Das MMM2 – Ein regionalgeschichtliches Onlinelexikon der Arbeitsgemeinschaft für mittelrheinische Musikgeschichte." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.108.

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Based on two printed volumes Musik und Musiker am Mittelrhein (1974, 1981), the online encyclopaedia MMM2 (published in 2018) continues the original idea of a biographical and bibliographical documentation of musicians and musical sources in the middle rhine region. Exploring local music history often means to venture off the beaten track of well-known names and institutions. While perhaps not considered a worthwhile undertaking by some, the 570 articles on musicians, composers, publishers etc. that can currently be found in MMM2 are proof of networks that have hitherto been unknown or disrega
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"[Publisher's information]." In 2012 Third FTRA International Conference on Mobile, Ubiquitous, and Intelligent Computing (MUSIC). IEEE, 2012. http://dx.doi.org/10.1109/music.2012.54.

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Oancea, Theodora, Joachim Pollmann, and Jonas Spieker. "Kollaborateure – Involvierte – Profiteure. Erarbeitung eines Online-Lexikons zur Musik in der NS-Zeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.67.

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Since 2018 a group of musicology students at the Department of musicology of the University of Paderborn and the University of Music Detmold has been developing an online database called Kollaborateure – Involvierte – Profiteure. Musik in der NS-Zeit. Integral part of this database are articles on musicians, composers, employees in ministries and organisations affiliated to the party, musicologists, music editors and publishers from the Nazi era. In addition to the source-based biographical key data, the prosography focuses on the current research situation related to the respective person, a
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Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.

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The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make t
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Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.

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The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make t
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Marins, Paulo R. A. "Challenges and Constraints of Using Audio in Online Music Education." In The 23rd International Conference on Auditory Display. The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.043.

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Several online music courses have been developed lately by educational companies. In addition, many universities have been offering music online degree programs. Since these courses and programs are taught through distance education, many information and communication technoloties (ICTs) are used such as: recorded video, online software, social networks, and audio. Although audio is widely used in the online courses and degree programs that aim to teach applied music, only a few research reports have been published recently about this subject. This paper intends to clarify – through a literatu
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Cornelissen, Willy, and Maurício Loureiro. "Automatic onset detection using convolutional neural networks." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10446.

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A very significant task for music research is to estimate instants when meaningful events begin (onset) and when they end (offset). Onset detection is widely applied in many fields: electrocardiograms, seismographic data, stock market results and many Music Information Research(MIR) tasks, such as Automatic Music Transcription, Rhythm Detection, Speech Recognition, etc. Automatic Onset Detection(AOD) received, recently, a huge contribution coming from Artificial Intelligence (AI) methods, mainly Machine Learning and Deep Learning. In this work, the use of Convolutional Neural Networks (CNN) is
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Hadžiarapović, Nerko, Marlies van Steenbergen, and Pascal Ravesteijn. "Copyright Enforcement in the Dutch Digital Music Industry." In Digital Support from Crisis to Progressive Change. University of Maribor Press, 2021. http://dx.doi.org/10.18690/978-961-286-485-9.41.

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There is a lack of interest and empirical analysis in the existing literature on composers’ relations with their publishers and the role of Collective Management Organizations (CMOs) within the system of music copyright. The purpose of this paper is to explore and understand the influence of digitization within the music industry on the copyright enforcement in the Netherlands and on rights holders and the CMOs. Also to explore and understand how their mutual relationships are affected by digitization of the music industry. A qualitative analysis was done by reviewing scientific literature, pe
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