Bibliografías temáticas / War music

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  1. Artículos de revistas
  2. Tesis
  3. Libros
  4. Capítulos de libros
  5. Actas de conferencias
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Literatura académica sobre el tema "War music"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 9 de febrero de 2022

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Artículos de revistas sobre el tema "War music"

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O'Leary, Michael, and Christopher Logue. "War Music." Chicago Review 43, no. 4 (1997): 152. http://dx.doi.org/10.2307/25304226.

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Hoffer, Brandi. "Sacred German Music in the Thirty Years’ War." Musical Offerings 3, no. 1 (2012): 1–11. http://dx.doi.org/10.15385/jmo.2012.3.1.1.

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Beal, Amy C. "Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956." Journal of the American Musicological Society 53, no. 1 (2000): 105–39. http://dx.doi.org/10.2307/831871.

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In the context of postwar and Cold War cultural politics, the Darmstädter Ferienkurse für Neue Musik set the stage for Germany's ambivalent reception of American music in the decades following World War II. This article weighs the catalytic role of American music in Darmstadt between 1946 and 1956; traces the relationships among U. S. cultural officers, German patrons, and representatives of American music in Darmstadt; and describes events in Darmstadt that led to a growing interest in American experimental music in West Germany. An English translation of Wolfgang Edward Rebner's 1954 Ferienk
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Jenson, Jolie, Charles K. Wolfe, and James E. Akenson. "Country Music Goes to War." Journal of Southern History 72, no. 2 (2006): 506. http://dx.doi.org/10.2307/27649129.

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Walkusz, Marta. "Funkcja warszawskich druków muzycznych wydanych w latach 1875- 1918, na przykładzie czterech największych kolekcji przechowywanych w Bibliotece Głównej Akademii Muzycznej im. Stanisława Moniuszki w Gdańsku." Z Badań nad Książką i Księgozbiorami Historycznymi 14, no. 1 (2020): 41–62. http://dx.doi.org/10.33077/uw.25448730.zbkh.2020.181.

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The article presents a fragment of provenance researches conducted on the largest mu­sical legacies stored in the Main Library of the Stanisław Moniuszko Music Academy in Gdańsk, containing music prints published in Warsaw in the years 1875-1918. These legacies belonged primarily to the musicians who, after World War II, moved to the Coast, mainly from Warsaw. The purpose of the discussion is to prove that the music prints they brought were a canon of mu­sic literature for promoting Polish culture and music education both in Warsaw in 1875-1918 and in post-war Gdańsk. Due to the weak publishin
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O’Connell. "Music in War, Music for Peace: A Review Article." Ethnomusicology 55, no. 1 (2011): 112. http://dx.doi.org/10.5406/ethnomusicology.55.1.0112.

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Stefanija, Leon. "Music During the Great War in Slovenia." Musicological Annual 53, no. 2 (2017): 103–18. http://dx.doi.org/10.4312/mz.53.2.103-118.

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The contribution is a survey of music as a social practice on the territory of today’s Slovenia during the Great War. It addresses the Slovenian music culture during the Great War from three complementary perspectives. Firstly, it gives a glimpse of the musical practice in Ljubljana, where, beside the entertaining music practice, subscription concerts were offered as well. The second section, the most elaborated one, focuses on the Slovenian music production connected to the Great War in two respects: on the music for (and about) it, as well as on the musical practice based on the events of th
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Arnold, Ben. "Music, Meaning, and War: The Titles of War Compositions." International Review of the Aesthetics and Sociology of Music 22, no. 1 (1991): 19. http://dx.doi.org/10.2307/837033.

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Thomson, Andrew, Sergey Prokofiev, Anthony Phillips, and Boris Berman. "War Games." Musical Times 149, no. 1904 (2008): 105. http://dx.doi.org/10.2307/25434560.

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Brody, Martin. "“Music For the Masses”: Milton Babbitt's Cold War Music Theory." Musical Quarterly 77, no. 2 (1993): 161–92. http://dx.doi.org/10.1093/mq/77.2.161.

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Tesis sobre el tema "War music"

1

Kochenderfer, Mary Anne. "Music after war : therapeutic music programmes in Bosnia and Herzegovina." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/1956.

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This thesis is a study of therapeutic music programmes in post-war Bosnia and Herzegovina. This study focuses on how different participant groups perceive programme aims and benefits and what these different perceptions reveal about the programmes as well as ways in which the local context impacts the programmes. Analysis is based on data gathered through interviews, observation, participant observation, and questionnaires obtained during five fieldwork visits undertaken between November 2003 and November 2004. While all participant groups agree that the programmes are beneficial, there are im
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Park, Hye-jung. "From World War to Cold War: Music in US-Korea Relations, 1941-1960." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554818839582558.

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Nott, James. "Popular music and the popular music industry in interwar Britain." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324242.

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Dee, Constance R. "Music and propaganda : Soviet music and the BBC during the Second World War." Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505332.

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During the Second World War, specifically after the Nazi invasion of the USSR on 22 June 1941, Britain was forced to rethink its stance on the Soviet Union. Aside from improving diplomatic relations, there was the question of how to present the Soviet Union to the British population. The Government feared that the British Left would promote Communism by capitalising on the public's new-found support for the Soviet Union, which was an understandable concern given that Communist Party membership in Britain rose from 12,000 in 1941 to 65,000 in September 1942. Steps were therefore taken by the Br
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Laux, Katie M. "Songs in the key of protest how music reflects the social turbulence in America from the late 1950s to the early 1970s /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1184767254.

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McWhirter, Christian. ""Liberty's great auxiliary" music and the American Civil War /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/2141.

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Hennessy, Tom. "Beyond authenticism : new approaches to post war music culture." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/204/.

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The emergence of folk, jazz, blues, skiffle, rock n roll and R&B scenes in the post-war period of 1945 – 1964 was a major development in Anglophonic music culture. Key individuals operating within these scenes frequently pursued authenticity, or framed their musical activities as “authentic” – that is as cultural produce that was supposedly “true” to a certain way of life, or that offered something “real” in the face of the commercial culture of the mainstream. While this “authenticism” was productive in many respects it also represents a problem for the cultural historian. This thesis tackles
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Weinberg, Ari Marie. "Songsters and Film Scores: Civil War Music and American Memory." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639562.

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This thesis consists of two separate essays both concerned with affect, memory, and music of the Civil War. The first examines the production, use, and purpose of a booklet called The Soldier’s Friend, with an emphasis on the mission of its producer, the United States Sanitary Commission and the needs of the readers of the booklet. In addition, I highlight the explicit connections that the organization made in this document between health and music by bringing cultural and psychological theories to the study of music. While many scholars have emphasized the ubiquity and importance of music dur
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Searcy, Anne Ashby. "Soviet and American Cold War Ballet Exchange, 1959–1962." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493533.

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The spring of 1959 marked the beginning of a hugely successful ballet exchange between the United States and the Soviet Union that lasted over three decades. In this dissertation, I examine the opening years of this exchange, when ballet suddenly became an important arena for political and aesthetic conflict between the world’s two superpowers. Ballet had a significant place in the cultural Cold War. Russians considered it a national art form, while Americans were proud of their young but innovative companies. Soviet and American ballet underwent surprisingly similar aesthetic shifts during th
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Payne, Alyson. "Creating music of the Americas in the Cold War Alberto Ginastera and the Inter-American Music Festivals /." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1165436117.

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Libros sobre el tema "War music"

1

Cliffe, Peter. The Civil War in music. J.S. Sanders, 1999.

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Music in the Civil War. Betterway Books, 1992.

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Music since the First World War. Oxford University Press, 1995.

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Music of the First World War. Greenwood, 2016.

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group), EXO (Musical. Ko Ko Bop: The war. S.M. Entertainment, 2017.

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Music, politics, and violence. Wesleyan University Press, 2012.

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Evans, Max. War and music: A medley of love. University of New Mexico Press, 2010.

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War and music: A medley of love. University of New Mexico Press, 2010.

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Stone-Honigsberg, Peggy. A life of love, war and music. Docostory, 2004.

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Battle notes: Music of the Vietnam War. Savage Press, 2000.

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Capítulos de libros sobre el tema "War music"

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Cornelius, Steven, and Mary Natvig. "Music and War." In Music a Social Experience. Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-11.

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Downing, Taylor. "Music and Words." In The World at War. British Film Institute, 2012. http://dx.doi.org/10.1007/978-1-84457-717-0_9.

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Stauss, Sebastian. "Checkpoint Music Drama." In Theatre, Globalization and the Cold War. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8_15.

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Hildebrand, David K. "The Revolutionary War and War of 1812." In Music and War in the United States. Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-2.

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Camus, Raoul F. "The Revolutionary War." In Music and War in the United States. Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-1.

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Bombola, Gina. "World War II." In Music and War in the United States. Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-10.

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McWhirter, Christian. "The Civil War." In Music and War in the United States. Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-4.

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Kelley, Bruce. "The Civil War." In Music and War in the United States. Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-5.

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Wood, Jeffrey. "World War I." In Music and War in the United States. Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-7.

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Dinwiddie, Michael D. "World War I." In Music and War in the United States. Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-8.

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Actas de conferencias sobre el tema "War music"

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Jahamou, M., and W. Wiswayana. "Music as A Weapon on Asymmetric War between FWPC (Free West Papua Campaign) Against Indonesia." In Proceedings of the First Brawijaya International Conference on Social and Political Sciences, BSPACE, 26-28 November, 2019, Malang, East Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.26-11-2019.2295195.

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Tischer, Matthias. "Musikgeschichte der DDR: Ein Pilotprojekt zur digitalen Musikvermittlung." 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/10.25366/2020.106.

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Thirty years after the so-called ‚Wende‘, a fundamental and comprehensive study of the musical history of the GDR - encompassing both the music itself and the political and cultural contexts (i.e. the musical relations) - still represents a desideratum. The same is true for a long-term comparative music history of the divided Germany, for which the our project develops some essential prerequisites. The research project presented here is an informed cultural-historical analysis of the musical discourse of the GDR under the auspices of the Cold War. It is not about a revised version of national
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Berner, Elias. "Alle Menschen werden Brüder?! Ein historisches Dokument aus dem Nationalsozialismus in den sozialen Medien." 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/10.25366/2020.110.

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This article deals with the recent emergence on social media of a particular kind of audiovisual sources from the time of National Socialism, namely extracts from a performance of the 9th Symphony that took place in 1942 at the ‘Berlin Philharmonie’ on Hitler‘s birthday. The concert was conducted by Wilhelm Furtwängler. In the footage, Joseph Goebbels can be seen in the applauding audience, before he congratulates the conductor with a handshake at the end of the concert. The material was filmed for propaganda purposes and used in a German News Reel in April 1942. Excerpts from the concert have
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Jabrayilzade, Arzu. "Turkish and Hungarian Political and Economic Relations in the Post Cold War Period." In MultiScience - XXXI. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2017. http://dx.doi.org/10.26649/musci.2017.126.

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Santi, Matej. "Was erzählt Fritz Kreislers Geige?" 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/10.25366/2020.109.

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This short contribution shows the relevance of audiovisual sources for the history of 20th century music. It traces the role played by the violinist Fritz Kreisler (1875–1962) in shaping the widespread cliché of the “Viennese sound” via an examination of audiovisual sources. The sources stored in different online archives or social media portals play a key role, but the traceability of a given agent is not guaranteed. For this reason, controlled vocabularies and a digital tool which enable the addition of new metadata to already existing sources should be developed in the near future. This wou
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Lemstrom, Kjell, and Mika Laitinen. "Transposition and time-warp invariant geometric music retrieval algorithms." In 2011 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2011. http://dx.doi.org/10.1109/icme.2011.6012173.

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Pekcan, Cemre. "The Importance of Cultural Diplomacy in Breaking the Perception of “China Threat”." In International Conference on Eurasian Economies. Eurasian Economists Association, 2016. http://dx.doi.org/10.36880/c07.01658.

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Cultural diplomacy, which is accepted as a sub-branch of public diplomacy, is described as ‘the exchange of ideas, information, art, and other aspects of culture among nations and their peoples in order to foster mutual understanding’ by Milton C. Cummings. Although this term has been used in international relations for centuries, its acceptance as a theory is a relatively new concept. Cultural diplomacy, as a component of both public diplomacy and also Joseph Nye’s ‘soft power’, includes movies, music, dance, exhibitions, various education and exchange programs, literature and cultural progra
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Bramwell-Dicks, Anna, Helen Petrie, and Alistair Edwards. "Can Listening to Music Make You Type Better? The Effect of Music Style, Vocals and Volume on Typing Performance." In The 22nd International Conference on Auditory Display. The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.029.

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Music psychologists have frequently shown that music affects people’s behaviour. Applying this concept to work-related computing tasks has the potential to lead to improvements in a person’s productivity, efficiency and effectiveness. This paper presents two quantitative experiments exploring whether transcription typing performance is affected when hearing a music accompaniment that includes vocals. The first experiment showed that classifying the typists as either slow or fast ability is important as there were significant interaction effects once this between group factor was included, with th
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November, Nancy. "Teaching Music Historical Literacy Using Video Clips." In Fifth International Conference on Higher Education Advances. Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9395.

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Four professionally-created, student-presented, three- to five-minute videos were integrated into two undergraduate music history courses at the University of Auckland, to support the development of key historical literacy skills. These include crucial skills and understandings that music students need to master in their first two years: identifying different kinds of music scores; understanding the difference between primary and secondary sources for music historical topics; finding one’s way around critical, “complete works” editions of music; and finding and assessing music-related literatu
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Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

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Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these co
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Informes sobre el tema "War music"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There a
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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change t
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of ce
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is
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Health hazard evaluation report: HETA-2003-0029-2923, Ward Brodt Music Mall, Madison, Wisconsin. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, 2004. http://dx.doi.org/10.26616/nioshheta200300292923.

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