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Littérature scientifique sur le sujet « Heraldic music »

Auteur : Grafiati

Publié le 2 juin 2025

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Heraldic music"

Caldwell, Mary Channen. "‘FLOWER OF THE LILY’: LATE-MEDIEVAL RELIGIOUS AND HERALDIC SYMBOLISM IN PARIS, BIBLIOTHÈQUE NATIONALE DE FRANCE, MS FRANÇAIS 146." Early Music History 33 (2014): 1–60. http://dx.doi.org/10.1017/s0261127913000119.

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Paris, Bibliothèque nationale de France, MS français 146 (fr. 146), a manuscript well known for its inclusion of theRoman de Fauvel, also provides an important, albeit understudied, contribution to the history surrounding the allegorical ‘flower of the lily’, or fleur-de-lis – a floral symbol central to fourteenth-century theology and French royal heraldry. In medieval France, the fleur-de-lis emerges through text and music as a symbol capable of invoking, and being invoked by, the Holy Trinity, the Virgin Mary and the Virtues, all in the interest of supporting the religious and monarchical we

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Kozhevnikova, V. A. "Postirony and Its Embodiments in Post-Soviet Russian Music." Art of Music, no. 2 (December 2024): 298–333. https://doi.org/10.51678/2307-5015-2024-31-298-333.

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In the context of contemporary culture, postirony is a modification of irony, characterizing an intermediate state between irony and sincerity, oscillation (fluctuation) between these modes of feeling. The literary roots of the phenomenon are broad: similar trends were outlined already at the beginning of the 20th century in the poetry of writers grouped around the jounal Satyricon and were developed in the work of “oberiutes” and in the so-called soc-art. The most representative examples of the qualities of postirony are works conceived in the spirit of soc-art. Works by Leonid Desyatnikov (R

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Bank, Katie. "(Re)creating the Eglantine Table." Early Music 48, no. 3 (2020): 359–76. http://dx.doi.org/10.1093/em/caaa051.

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Abstract The Eglantine Table at Hardwick Hall (c.1568) was probably crafted to commemorate marriages made between the Hardwick-Cavendish and Talbot families. In addition to various heraldic symbols, the table’s friezes depict gaming paraphernalia, thirteen musical instruments, and several music books, including a stacked score of a devotional song by Thomas Tallis: ‘O Lord, in thee is all my trust’. While there is thorough existing scholarship on what the Eglantine Table depicts, this article explores what can be inferred about the contemporary value of musical recreation from how meaning was

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Abramov-van Rijk, Elena. "THE MADRIGAL AQUIL'ALTERA BY JACOPO DA BOLOGNA AND INTERTEXTUAL RELATIONSHIPS IN THE MUSICAL REPERTORY OF THE ITALIAN TRECENTO." Early Music History 28 (August 24, 2009): 1–37. http://dx.doi.org/10.1017/s0261127909000412.

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One difficulty in understanding the poetic texts of Trecento madrigals is that the language they use is often that of allegories and symbols, which requires a key for deciphering their true meaning. It is widely accepted, based on the interpretation of birds as heraldic symbols, that the madrigal Aquil'altera (Proud eagle) by Jacopo da Bologna was written either for a wedding or for a coronation ceremony. In this essay, however, I show that Aquila's content and literary style echo ideas and images that were circulating in the literature of the time, and especially in bestiaries and bestiary-in

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Mateer, David. "Oxford, Christ Church Music MSS 984–8: An Index and Commentary." Royal Musical Association Research Chronicle 20 (1987): 1–18. http://dx.doi.org/10.1080/14723808.1987.10540916.

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Robert Dow, the original owner of Oxford, Christ Church (Och) MSS 984–8, was the eldest son of Robert Dow (1517–1612), citizen and Merchant Taylor of London. According to the 1568 Heraldic Visitation of London, Robert junior was fifteen at that time, and so was born in 1553; he had four brothers, John, Henry, Thomas and Richard, aged twelve, ten, five and two and a half years respectively. Since both John and Henry attended Merchant Taylors’ School, it is probable that Robert did likewise, though we cannot be certain of this since no accurate register of pupils was kept until Robert Dow senior

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Filatova, Tetiana. "Guitar music by Heitor Villa-Lobos: genre traditions of Brazilian choro." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 141 (November 28, 2024): 96–116. https://doi.org/10.31318/2522-4190.2024.141.319210.

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The relevance of the article is to consider Brazilian guitar music as an important component of the modern South American repertoire. On the example of choros of famous composer Heitor Villa-Lobos connections with the folklore traditions of the country, Afro-Brazilian, AfroCuban primary and derivative patterns of the genre have been revealed. The main objective of the study is to discover in H. Villa-Lobos's guitar music metrorhythmic and intonation-melodic archetypes of the Brazilian choro genre as an essential component of the southeastern regions of the country. The novelty of the article c

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Derendyaeva, A. D. "Historical Heritage of the Alash Autonomy and Its Impact on Contemporary Identity Policy in Kazakhstan." Izvestiya of Altai State University, no. 5(127) (November 23, 2022): 84–88. http://dx.doi.org/10.14258/izvasu(2022)5-13.

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This article analyzes some of the key practices of modern identity politics in the Republic of Kazakhstan, namely the appeal to historical events, iconic figures and places of memory. One of these historical components is the memory of the Alash Autonomy (1917-1920), the Alash movement as a whole. It is noted that the Alash Republic has become a certain "historical and cultural place", memories of it in practice were reflected with the help of some symbolic forms. The author refers to such forms 1) renaming of toponyms in honor of the Alash people, 2) memorial policy dedicated to the movement,

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Patiejūnienė, Eglė. "Voices of Franciszek Małkot: A Significant Exposure in the Literature of the Grand Duchy of Lithuania." Senoji Lietuvos literatūra 37 (June 1, 2014): 109–73. https://doi.org/10.51554/sll.2014.29277.

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The paper deals with a joint Lithuanian-Polish academic project aimed at the preparation of a critical publication of a little-known literary source. The source is the collection of versified texts written in Polish Tureckich y inflantskich woien [...] głos (The Voice of the Wars against the Turks and in Livonia) published in Vilnius and dedicated to the memory of the Grand Hetman of the Grand Duchy of Lithuania Jan Karol Chodkiewicz, who led the joint Polish-Lithuanian-Kazak forces in the Battle of Khotyn in 1621 and died during that battle. Among the multitude of funeral literary works that

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Vasic, Aleksandar. "'The Music Herald' 1922: A esthetical and ideological aspects." Muzikologija, no. 9 (2009): 97–111. http://dx.doi.org/10.2298/muz0909097v.

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The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January - December 1922). Its editor-in-chief was Petar Krstic, a composer. Other members of the editorial staff were Bozidar Joksimovic, Stevan Hristic, Kosta Manojlovic (composers) Vladimir R. Djordjevic (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies a

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Vasic, Aleksandar. "Marxism and sociopolitical engagement in Serbian musical periodicals between the two world wars." Filozofija i drustvo 24, no. 3 (2013): 212–35. http://dx.doi.org/10.2298/fid1303212v.

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Between the two World Wars, in Belgrade and Serbia, seven musical journals were published: ?Musical Gazette? (1922), ?Music? (1928-1929), ?Herald of the Musical Society Stankovic? (1928-1934, 1938-1941; renamed to ?Musical Herald? in january 1931), ?Sound? (1932-1936), ?Journal of The South Slav Choral Union? (1935-1936, 1938), ?Slavic Music? (1939-1941) and ?Music Review? (1940). The influence of marxism can be observed in ?Musical Herald? (in the series from 1938), ?Sound? and ?Slavic Music?. A Marxist influence is obvious through indications of determinism. Namely, some writers (Dragutin Co

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Thèses sur le sujet "Heraldic music"

Visconti, Eduardo de Lima 1977. "A guitarra brasileira de Heraldo do Monte." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285005.

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Orientador: Antonio Rafael Carvalho dos Santos Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-10T21:57:03Z (GMT). No. of bitstreams: 1 Visconti_EduardodeLima_M.pdf: 2800194 bytes, checksum: 24c32e23e6e83c8c05b48c8e6a2c434d (MD5) Previous issue date: 2005 Resumo: A partir da transcrição e análise das composições e improvisos musicais de Heraldo do Monte, embasando-se nos conceitos até hoje estabelecidos para composição e improvisação, investiga-se como o músico articula elementos musicais da música popular brasileira

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Holzworth, Kenneth Bradley. "The United States Army Band Herald Trumpets, 1959-2017." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523981040589755.

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Ferrari, José Francisco. "Mário Zan: um arauto da música de fronteira de Mato Grosso do Sul." Universidade Presbiteriana Mackenzie, 2015. http://tede.mackenzie.br/jspui/handle/tede/2089.

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Made available in DSpace on 2016-03-15T19:44:46Z (GMT). No. of bitstreams: 1 Jose Francisco Ferrari.pdf: 33035292 bytes, checksum: f48646727ad7166f83a45afeef82a339 (MD5) Previous issue date: 2015-02-05 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior This thesis has as its research subject to recognize the musician/accordionist Mario Zan as one of the first composers to disclose the rhythms and boundary music of Mato Grosso do Sul to other states in the nation and also outside of the country, which contributed to make him known and respected in Brazil, concluding that he is

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Carleton, Sarah. "Heraldry in the Trecento Madrigal." Thesis, 2009. http://hdl.handle.net/1807/19260.

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This study investigates a repertoire of eighteen madrigals whose texts refer to heraldry, all of which were composed in trecento Italy. The hereditary and personal arms cited in the song texts are those of the Visconti, Della Scala and Carrara families of northern Italy. Though these madrigals have been used in the past as a means for dating manuscripts and reconstructing composer biographies, they have never been studied as a discrete repertoire. This study applies musicological, heraldic and art historical approaches to the repertoire in order to investigate the heraldic madrigal as a manife

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Livres sur le sujet "Heraldic music"

O'Shea, John Donald. The first herald angel: An original Christmas play with music in one act. Theatrefolk, 2007.

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Soderlind, Kirsten. Hark! the herald angels sing: A traditional Christmas carol. Ottenheimer Publishers, 1993.

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Stephen, Rawles, and Saunders, Alison (Alison M.), eds. A bibliography of Claude-François Menestrier: Printed editions, 1655-1765. Droz, 2012.

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Handel, George Frideric. Messiah: The wordbook for the oratorio. W. Perlman Books, 1992.

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Handel, George Frideric. Messiah: The wordbook for the oratorio. W. Perlman Books, 1992.

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Library of Congress. Subject Cataloging Division. Classification. 3rd ed. The Library, 1989.

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Library of Congress. Subject Cataloging Division. Classification. The Library, 1988.

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Gakkai, Jingi, ed. Jingi ni kansuru seido, sahō jiten. Ōzorasha, 2016.

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Toynbee, Jason. Bob Marley: Herald of a Postcolonial World? Polity Press, 2013.

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Toynbee, Jason. Bob Marley: Herald of a Postcolonial World? Polity Press, 2013.

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Chapitres de livres sur le sujet "Heraldic music"

Popović, Tihomir. "Hunting, heraldry, and humanists." In Aspects of Early English Keyboard Music before c.1630. Routledge, 2019. http://dx.doi.org/10.4324/9781315109701-8.

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Plumley, Yolanda. "Music, Heraldry, and Material Culture in the Late Middle Ages." In The Media of Secular Music in the Medieval and Early Modern Period (1100–1650). Routledge, 2024. http://dx.doi.org/10.4324/9781003194637-16.

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Stevenson, Robert Louis, and Tom Hubbard. "J. Cuthbert Hadden, ‘R.L.S. and Music’, Glasgow Herald (21 April 1900), 9." In Lives of Victorian Literary Figures, Part VI, Volume 2. Routledge, 2024. https://doi.org/10.4324/9781003513100-21.

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Kildea, Paul. "‘As You Like It’ Walton’s Music (1936)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0006.

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Abstract That the directors of 20th Century Fox Film Corporation should have invited one of the 20th century stars of British music to write for one of its biggest productions is very creditable indeed.1 But the invitation seems to have exhausted their enterprise. His name, perhaps symbolically, is absent from the programme, and the opportunities he has had for writing serious film music seem negligible. There is, of course, the Grand Introduction over the credit titles-pompous and heraldic in the traditional manner. There is a Grand Oratorio Finale with full orchestra, based on Elizabethan so

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Barrie, J. M. "SCENARIO for a Proposed Film of PETER PAN or The Boy Who Wouldn’t Grow Up. (1921)." In The Collected Peter Pan. Oxford University Press, 2023. http://dx.doi.org/10.1093/owc/9780198878384.003.0004.

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(Note:— The music of the acted play, as specially written for it, should accompany the pictures. Thus there is the music which always heralds Peter’s appearances — the Tinker Bell music — the pirate music — the redskin music — the crocodile music, etc., all of which have a dramatic significance...

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Church, Joseph. "Background and Rock Aesthetics." In Rock in the Musical Theatre. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943462.003.0002.

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Chapter 1 gives historical and aesthetic context to the topic at hand. It begins with a brief description of the long-standing relationship between popular song and theatre song, and places both popular music and musical theatre in the realm of folk art. There is a brief review of the history of modern popular song and of musical theatre, and specification of the changes that the advent of rock music heralded in both industries. Next is a brief survey of rock music in the theatre, and the sometimes uncomfortable relationship between rock music and theatrical content and performance. Last is a

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Furia, Philip, and Laurie J. Patterson. "Tin Pan Alley." In The Poets of Tin Pan Alley, 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190906467.003.0002.

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Abstract The cacophony that Monroe H. Rosenfeld of the New York Herald heard on West 28th Street between Sixth Avenue and Broadway reminded him of rattling tin pans. He thus christened the area, which was occupied by sheet-music publishers, as “Tin Pan Alley.” Songs were made popular through minstrel or variety shows, and once they were popular, the sheet music publishers would publish the songs. Composers and performers went to the music publishers to find ways to get the music to the public. This chapter explores the role of Tin Pan Alley, music pluggers, and composers/lyricists in helping t

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Brown†, Howard Mayer. "Music and Ritual at Charles the Bold’s Court: The Function of Liturgical Music by Busnoys and his Contemporaries." In Antoine Busnoys. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198164067.003.0003.

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Abstract Shortly after Charles the Bold became duke of Burgundy, he had drawn up a detailed set of regulations concerning the organization of his household. These ordinances offer the most detailed information we have about the people who worked for the court, and what duties they were required to perform. We learn from these ordinances of 1469 about the members of Charles’s kitchen staff, his heralds at arms, his secretaries, financial administrators, gentleman pages, and so on.

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Shadle, Douglas W. "The Fiery Debate." In Antonín Dvořák's New World Symphony. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190645625.003.0006.

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About eight months after Antonín Dvořák became director of Jeannette Thurber’s National Conservatory of Music in New York, he weighed in publicly on the question of American musical identity and argued that African American vernacular music (or “negro melodies”) should become the foundation of a national classical style. The New York Herald, which first printed his remarks, stoked a months-long debate that exposed deep-seated anti-Black racism throughout the country’s classical music industry as many musicians rejected the Bohemian’s suggestions outright. Dvořák remained supportive of African

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Goodman, Glenda. "Introduction." In Cultivated by Hand. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190884901.003.0001.

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Amateurs musicians and their manuscript music books provide valuable insights into the nature of music in everyday life in the post-Revolutionary United States. Examining the cultural practices of amateur music-making allows us to see the instrumental role music played in the construction of gender, social class, race, and the nation. Much of the repertoire popular among white amateur women and men was imported from Britain and reflected an aesthetic conservatism that belied the impulse toward cultural nationalism in the early republic. Moreover, this repertoire was avowedly conventional and e

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Actes de conférences sur le sujet "Heraldic music"

Zhang, Yuqing, Shengfeng Qin, and Chenyu Ge. "Leveraging Digital Twins and Generative AI to Alleviate Loneliness Among Elderly Adults Living Alone Through Smart Flowerpot Design." In 16th International Conference on Applied Human Factors and Ergonomics (AHFE 2025). AHFE International, 2025. https://doi.org/10.54941/ahfe1006632.

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Loneliness and Social Isolation from elder people present a critical factor in different diseases of aging, necessitating tailored intervention for individuals to effectively engaging with interventions and interacting to their stakeholders. A great deal of research efforts has been made to tackle the challenging issues related to loneliness and social isolations of elder people, mainly focusing on develop various personal and group interventions such as social robots, group/community activity interventions, serious games, and Chatbots. The key barrier to have long-term impacts from these inte

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