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Articles de revues sur le sujet « Heraldic music »

Auteur : Grafiati

Publié le 2 juin 2025

Mis à jour le 31 juillet 2025

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1

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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Vasic, Aleksandar. "Literature on music in the Southslavic Choral Union Herald (1935-1938)." Muzikologija, no. 21 (2016): 185–200. http://dx.doi.org/10.2298/muz1621185v.

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During 1935, 1936. and 1938, in Belgrade was published a monthly magazine The Southslavic Choral Union Herald [Vesnik Juznoslovenskog pevackog saveza]. Three years represent 16 issues or 119 articles, or 216 pages. The first editor was Milenko Zivkovic (1901-1964), a Serbian composer of the younger generation, the chief secretary of the Southslavic Choral Union. The magazine was conceived as a newsletter. Choral societies, members of the South Slavic Choral Association, were given the opportunity to stay informed about the work of the Union and the activities of choral societies throughout the

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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.

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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Mu

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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.

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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgr

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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-2-6-9.

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Dear readers, We are pleased to present to you Issue 2, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research are

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Niknafs, Nasim. "Music education as the herald of a cosmopolitan collective imperative: On being human." International Journal of Music Education 38, no. 1 (2019): 3–17. http://dx.doi.org/10.1177/0255761419859635.

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Even though scholars have pointedly embraced ethical matters in music education within the global context, there has been relatively little attention paid to the concept of cosmopolitanism. While keeping in mind that the concept of cosmopolitanism is a complex and multifaceted phenomenon that can be read and implemented in many ways, the aim of the current narrative inquiry is to highlight the significance of the human connection—a notable feature of moral cosmopolitanism, and by extension, cosmopolitanism from below—inherent in, and possibly the most prominent aspect of music education practi

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Locke, Millie. "Manakitia a Papatuanuku: Eco-literate pedagogy and music education." Teachers and Curriculum 22, no. 2 (2022): 113–25. http://dx.doi.org/10.15663/tandc.v22i2.411.

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As we enter the third decade of the 21st century, the much-heralded threat of climate change has become a reality whose effects we not only read and hear about daily but also experience in a raft of seen and unseen ways in our local communities. Morton (2012) called unequivocally for a broader vision of music education that includes and embraces a cross-curricular emphasis on ecological and social justice. In particular, she challenges music education (and the arts in general) to participate in the provision of eco-aesthetic experiences and activities, which foster participation in and reflect

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Armstrong, Robin. "Time to Face the Music: Musical Colonization and Appropriation in Disney’s Moana." Social Sciences 7, no. 7 (2018): 113. http://dx.doi.org/10.3390/socsci7070113.

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Despite Disney’s presentation of Moana as a culturally accurate portrayal of Polynesian culture, the film suffers from Western ethnocentrism, specifically in its music. This assertion is at odds with marketing of Moana that emphasized respect for and consultation with Polynesians whose expertise was heralded to validate the film’s music as culturally authentic. While the composers do, in fact, use Polynesian musical traits, they frame the sounds that are unfamiliar within those that are familiar by wrapping them with Western musical characteristics. When the audience does hear Polynesian music

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Messenger, Cory. "Record Collectors: Hollywood Record Labels in the 1950s and 1960s." Media International Australia 148, no. 1 (2013): 118–26. http://dx.doi.org/10.1177/1329878x1314800113.

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The affiliation between film and music is the cornerstone of modern entertainment industry synergy. This article examines one of the key chapters in that relationship: the period in the 1950s during which the major studios entered the record business. Ostensibly designed to capitalise on the emerging film soundtrack market, the flurry of mergers, acquisitions and the establishment of new record labels coincided with the rise of rock‘n’ roll and the explosion of the market for recorded popular music. The studios quickly found that in order to keep their record labels afloat, they needed to esta

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Voitseshko, Anastasia S., and Zivar M. Guseinova. "German Letters of Alexander Serov 1858–1859 in the Manuscript Department of the St. Petersburg Conservatory (From the Composer’s Unpublished Legacy)." Contemporary Musicology 9, no. 2 (2025): 71–105. https://doi.org/10.56620/2587-9731-2025-2-071-105.

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The epistolary legacy of Alexander Nikolaevich Serov contains rich material for the study of his work, personality — and, more broadly, the history of Russian music in the second half of the 19th century as a whole. The article is dedicated to the letters that the composer wrote to his mother during his first trips abroad (1858–1859). At the same time, he published correspondence in the form of “traveler’s notes” in the magazine Music and Theatre Herald. Both the mother’s letters and the correspondence published in the magazine record impressions of the trip, including Serov’s acquaintance wit

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Neal, Jocelyn R. "“Tennessee Whiskey” and the Politics of Harmony." Journal of Popular Music Studies 32, no. 2 (2020): 214–37. http://dx.doi.org/10.1525/jpms.2020.32.2.214.

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In 2015, country singer Chris Stapleton, lauded for his allegiance to hard country music, stepped on stage at the Country Music Association annual awards show in Nashville, Tennessee, and knocked out a stunning performance of “Tennessee Whiskey.” The moment was heralded by critics and fans alike as a celebrated return to roots-oriented, traditional, hard country music. But Stapleton's cover version rewrote the song over a historically significant soul groove. In so doing, he presented a musical-political statement about the past and present of country music that challenged its acknowledged rac

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Kay, Simon. "It ain't Over Till the Liposuctioned Lady Sings." Bulletin of the Royal College of Surgeons of England 91, no. 4 (2009): 146–47. http://dx.doi.org/10.1308/147363509x423779.

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Rum old thing, opera. If you want to tell a story what does the music add and where does opera become operetta or slide into musical? Most of us ignorami would recognise perhaps a dozen pieces of music from operas and probably mostly the same ones. I have a sneaky suspicion that this is because they are the great ones, the uplifting and moving ones that set moods and attitudes. That is what the music in an opera can do: allow emotive summaries, herald mood changes or enhance and direct feeling. It also prepares us for the surreal and absolves the librettist of some of the pedantic baggage of r

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Li, Huixin. "School Music Education Legislation in the Late Qing and Early Republican Periods." Journal of Education and Educational Research 11, no. 1 (2024): 92–98. http://dx.doi.org/10.54097/201kdf61.

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School education legislation is the fundamental guarantee for realizing educational activities and educational goals; it heralds the increasing importance of educational activities. The construction of school music education legislation was emphasized by the government of that time and some education insightful people. The topic of legislation construction of school music education involves the background, the combing of the content of legislation construction of school music education, as well as the significance and value of legislation construction of school music education are discussed. T

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Luo, Ziling. "The Application of Artificial Intelligence Technology in Music Education." Lecture Notes in Education Psychology and Public Media 35, no. 1 (2024): 305–10. http://dx.doi.org/10.54254/2753-7048/35/20232155.

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Artificial intelligence (AI) is transforming the field of education by emulating human cognitive processes, boosting adaptability, and improving efficiency across various domains. This integration of AI with music education, which involves a rich tapestry of history, culture, theory, and instrument instruction, facilitates the efficient utilization of musical resources. The growing demand for AI-driven online education is reshaping the landscape of learning and music instruction, particularly in the realm of music education, where the amalgamation of AI technology heralds innovative teaching a

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Murphy, Melissa AI, and Katrina McFerran. "Exploring the literature on music participation and social connectedness for young people with intellectual disability: A critical interpretive synthesis." Journal of Intellectual Disabilities 21, no. 4 (2016): 297–314. http://dx.doi.org/10.1177/1744629516650128.

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Background: This article explores the literature on social connectedness and music for young people with disability. It then critically examines the level of congruence between the reported literature to date and current rights-based disability studies discourse. Method: A critical interpretive synthesis was used to examine 27 articles referencing the use of music for social connectedness. Areas of focus in the review are the nature of connections being fostered in music programs, the use of voice and collaboration. Results: The majority of music programs reported on closed groups. Outdated ‘e

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Nonken, Marilyn. "‘LA NOTATION NE PEUT RENDRE COMPTE DU FAIT’: PERFORMING MURAIL'S ‘TERRITOIRES DE L'OUBLI’." Tempo 62, no. 244 (2008): 2–10. http://dx.doi.org/10.1017/s0040298208000089.

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For contemporary music in America and Europe, the 1970s were a time in which the old order was changing, giving place to a new avant-garde. In Germany, the Darmstädter Ferienkurse für Neue Musik was stagnating under the inept leadership of Ernst Thomas, savaged by the press and ridden with inner squabbling and politics. For 25 years a bastion of musical innovation and experimentation, Darmstadt now seemed little more than ‘the crumbling edifice of the avant-garde's chief fortress’. The focus was shifting to Paris, where, in 1977, IRCAM opened beneath the Centre Georges Pompidou. Led by Pierre

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Martinez, Theresa A. "Popular Culture as Oppositional Culture: Rap as Resistance." Sociological Perspectives 40, no. 2 (1997): 265–86. http://dx.doi.org/10.2307/1389525.

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Bonnie Mitchell and Joe Feagin (1995) build on the theory of oppositional culture, arguing that African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression under internal colonialism. In this paper, rap music is identified as an important African American popular cultural form that also emerges as a form of oppositional culture. A brief analysis of the lyrics of political and gangsta rappers of the late 1980s and early 1990s, provides key themes of distrust, anger, resistance, and critique of a perceived racist and discriminatory society

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Cowgill, Rachel. "The London Apollonicon Recitals, 1817–32: A Case-Study in Bach, Mozart and Haydn Reception." Journal of the Royal Musical Association 123, no. 2 (1998): 190–228. http://dx.doi.org/10.1093/jrma/123.2.190.

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In July 1817 Benjamin Flight and Joseph Robson, two of London's most celebrated organ-builders, unveiled their latest concept in organ design — the Apollonicon. This mammoth finger-and-barrel chamber organ, predecessor to the giant orchestrions of the Victorian era, had been five years in the making. And when it opened for performances at the firm's fashionable West End premises, 101 St Martin's Lane, it heralded a new era of evolution for the organ in British concert life.

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Lee, Johee, and Weijia Yang. "The application of quantum computing in music composition." Online Journal of Music Sciences 9, no. 2 (2024): 415–29. https://doi.org/10.31811/ojomus.1578537.

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Quantum computing and artificial intelligence, two prominent topics in science and technology, are rapidly advancing and extending their influence into numerous fields, including music. Quantum computer music, which merges the strengths of quantum computing and deep learning, heralds a new era in the integration of music creation with cutting-edge technology. The interactive quantum music composition “Spinnings—Q1 Synth Trio”, created by Brazilian composer Miranda during the QuTune project at the Interdisciplinary Centre for Computer Music Research (ICCMR), in collaboration with the University

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Kilbane, Matthew. "A Speech-Musical Modernism: Harry Partch's Lyric Media." PMLA/Publications of the Modern Language Association of America 135, no. 3 (2020): 511–29. http://dx.doi.org/10.1632/pmla.2020.135.3.511.

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Recent work at the intersection of literary history and sound studies has taught us to regard lyric poetry as a sonic medium in its own right, but what sort of medium is it? This article unfolds lyric's intrinsic intermediality by way of the American composer Harry Partch and his brief collaboration with William Butler Yeats. Rekindling Yeats's turn-of-the-century dream of a new art uniting word and music, Partch's experiments setting poetry to microtonal music involved notating the subtle melodies of speech with new scales and instruments–homemade lyres, in fact. Built to compete with the pho

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Knighton, Tess. "A newly discovered keyboard source (Gonzalo de Baena's Arte nouamente inuentada pera aprender a tanger, Lisbon, 1540): a preliminary report." Plainsong and Medieval Music 5, no. 1 (1996): 81–112. http://dx.doi.org/10.1017/s096113710000108x.

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The discovery of a musical source is always something of an event. This volume of keyboard music dated 1540 and printed in Lisbon was discovered – appropriately for an Iberian source – in 1992 by Alejandro Iglesias who announced his find at a conference held at the Institution ‘Fernando el Católico’ in Zaragoza in the autumn of that year. It was heralded in the Castilian rhetorical style as the ‘discovery of the century’, and it provided a moment of high drama, especially when it became clear from Iglesias's brief description of the source that it included works by Franco-Netherlandish compose

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Plantinga, Leon. "Robert Schumann: Herald of a "New Poetic Age" . John Daverio ." Journal of the American Musicological Society 51, no. 2 (1998): 384–92. http://dx.doi.org/10.1525/jams.1998.51.2.03a00060.

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Renier, Leo. "Fr. Diego Cera and His School: Their Contribution to the Organ Culture of the Philippines." Philippiniana Sacra 56, no. 167 (2021): 232–76. http://dx.doi.org/10.55997/1007pslvi167a7.

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Diego Cera has been heralded as the builder of the Bamboo Organ of Las Piñas. This article explores how he passed on his technical knowledge to his apprentices, who after his death, continued building pipe organs during the middle of the 19th century. When all the organs he built and the social environment in which he worked are integrated in his life story, a new picture emerges with lessons for the future of church music in the country.

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Navarro, Raul Casantusan. "Apat na Taong Pagsikat ng Nakapapasong Araw: Musika sa Filipinas sa Panahon ng Hapon, 1942–1945." Plaridel 14, no. 2 (2017): 1–24. http://dx.doi.org/10.52518/2017.14.2-01nvrro.

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World War II in the Philippines was as much a treacherous mind game as it was physical. While it brought almost total devastation to the cultural heritage bequeathed by the country’s colonial past, it sought to create, albeit in the spiritual-emotional realm, a template of Asian-ism that the Filipinos were to live by as a supposed member of the Imperial Japan-colonized Greater East Asia Co-Prosperity Sphere. Songs, organizations, programs, speeches, religion and many other activities and things that could be used to sway the Americanized Filipino psyche were employed in this devastating “game

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Yeboah, Richmond Amoh, and Kow Arkhurst. "The Choreographed Choir: A Study on the Harmonious Chorale’s Impact on Ghana’s Choral Scene." Journal of Humanities,Music and Dance, no. 31 (January 10, 2023): 27–38. http://dx.doi.org/10.55529/jhmd.31.27.38.

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This study explores the Harmonious Chorale's innovative fusion of choreography with choral singing in Ghana, examining its impact on performance techniques, audience engagement, and the choral music landscape at large. Through qualitative research, including interviews with choir members, audience feedback, and firsthand performance observations, it reveals that integrating dance enhances the emotional depth and appeal of choral music. Choreographed performances create a deeper connection between singers and their songs, elevate audience involvement and emotional responses, and herald a shift

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ÒgúnyẹmíAdébáyọ́, Olúdáre Ph.D. "Trans-Atlantic Slave Trade, Social Change as Catalysts to Yoruba Popular Music." INTERNATIONAL JOURNAL OF SOCIAL SCIENCE HUMANITY & MANAGEMENT RESEARCH 04, no. 02 (2025): 397–405. https://doi.org/10.5281/zenodo.14948848.

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This paper interrogates how elements of African-American cultural practices that were imported to Lagos by returnee slaves influenced the social changes that heralded the emergence of a new form of popular music in Yoruba land. The paper also examines how this popular music of the Yoruba people made a stylistic return to the western shores and are now gaining recognition. The paper hinges on the intercultural theory by Akin Euba. Exploring ethnomusicological approach, the paper relies on archival and ethnographic sources to extrapolate data. Discussions in this paper are tailored towards estab

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Liu, Jiayi, Yan Chen, and Shu Huang. "Exploring the Sociocultural Influence of Music Traditions Across Different Cultures." SHS Web of Conferences 187 (2024): 02008. http://dx.doi.org/10.1051/shsconf/202418702008.

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Music, often heralded as the universal language, wields an unparalleled power to bridge gaps, transcend borders, and knit together the mosaic of global cultures. It manifests in a kaleidoscope of forms, each echoing the unique cultural heartbeat of its origin, painting a rich tapestry of human society with its melodious strokes. This paper sets out to explore the enthralling diversity of musical traditions that span the globe, delving into the complex relationship between music, culture, and the fabric of society. From the ethe-real strains of classical Indian ragas, steeped in centuries of sp

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Plantinga, Leon. "Review: Robert Schumann: Herald of a "New Poetic Age" by John Daverio." Journal of the American Musicological Society 51, no. 2 (1998): 384–92. http://dx.doi.org/10.2307/831982.

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Vasic, Aleksandar. "Two views on the Yugoslav ideology in Serbian music periodicals between the two world wars." Muzikologija, no. 17 (2014): 155–66. http://dx.doi.org/10.2298/muz1417155v.

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This study explores the relationship between the Yugoslav ideology as exhibited in Serbian music magazines published between the two world wars. These are the following journals: Music (1928-1929), Bulletin of the Music Society ?Stankovic? (1928-1934, 1938-1941; in January 1931 it was renamed The Musical Gazette), The Sound (1932-1936), Herald of the South Slavic Choral Union (1935-1936, 1938), Slavic music (1939-1941) and Review of Music (1940). I have excluded the magazine Musical Gazette (1922) from consideration because I have already discussed its ideological aspects in an earlier article

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Macneil, Anne. "The Divine Madness of Isabella Andreini." Journal of the Royal Musical Association 120, no. 2 (1995): 195–215. http://dx.doi.org/10.1093/jrma/120.2.195.

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Nel giorno, che sublime in bassi mantiIsabella imitava alto furore;Estolta con angelici sembiantiEbbe del senno altrui gloria maggiore;Alhor saggia tra 'I suon, saggia tra i cantiNon mosse piè, che non sorgesse Amore,Né voce aprì, che non creasse amanti,Né riso fè, che non beasse un core.Chi fu quel giorno a rimirar feliceDi tutt'altro quaggiù cesse il desio,Che sua vita per sempre ebbe serena.O di Scena dolcissima Sirena,O de' Teatri Italici Fenice,O tra Coturni insuperabil Clio.Gabriello ChiabreraIn the spring of 1589, the commedia dell'arte company known as the Gelosi travelled to Florence

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Knighton, Tess, and Ascensión Mazuela-Anguita. "The soundscape of the ceremonies for the beatification of St Teresa of Ávila in the Crown of Aragon, 1614." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 6, no. 6 (2015): 225. http://dx.doi.org/10.7203/scripta.6.7831.

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Abstract: The beatification of Saint Teresa of Ávila in October 1614 gave rise to widespread celebrations in many of the cities and towns of the Iberian Peninsula. Printed relaciones describing these celebrations, despite their limitations ?in terms of political agenda, propaganda, rivalry and literary style— can nevertheless provide information about musical experience and can help to recreate the ephemeral soundscapes of these events. This article will focus on the ceremonies held in the Crown of Aragon, especially Saragossa and Barcelona, taking into consideration the typology of different

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Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.

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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai

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Izzo, Francesco. "William Henry Fry's Leonora: The Italian Connection." Nineteenth-Century Music Review 6, no. 1 (2009): 7–25. http://dx.doi.org/10.1017/s1479409800002871.

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On 7 June 1845, the New York Herald published a letter by an ‘occasional correspondent’ from Philadelphia concerning William Henry Fry's first grand opera, Leonora, which premiered three days before at the Chestnut Street Theatre. The letter contained the following remark:All were delighted with the music, it was so much like an old acquaintance in a new coat; indeed some of ‘the cognoscenti’ said that it was a warm ‘hash’ of Bellini, with a cold shoulder of ‘Rossini,’ and a handful of ‘Auber’ salt – whilst others congratulated Mr. Fry upon his opera being so much like Norma ….

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Okakpoturi, Ejedaferu Samson. "Literature of the Black Diaspora and the Performance of Caribbean and African American Aural Texts." Tropical Journal of Arts and Humanities 5, no. 1 (2023): 17–27. http://dx.doi.org/10.47524/tjah.v5i1.18.

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The second half of the twentieth century, witnessed a new kind of literature often referred to as "Literature of the Black Diaspora; its appearance and acceptance into mainstream world literature was not without hostilities: overcame what seems like a futile effort, and now a major world literature. One salient feature of literature of the black Diaspora is the representation of aural texts in its composition and reception. This paper is therefore designed to examine the concept and performance of Afro-Caribbean and African American aurality as African legacy and constituent of the Black Liter

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Cornish, Gabrielle. "Synthesized Socialism: Soviet Modernity and the Politics of Timbre in the Cold War." Journal of the American Musicological Society 75, no. 3 (2022): 547–98. http://dx.doi.org/10.1525/jams.2022.75.3.547.

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Abstract In this article, I show that contrary to enduring Cold War binaries between Western experimentalism and Soviet socialist realism, the Soviet government strategically deployed electronic music to bolster its image as a modern, forward-looking nation during the early Cold War. Drawing on previously unseen archival sources, oral history interviews, and organological methods, I argue that the Soviet government cultivated a specific politics of timbre through the creation of state-sponsored electronic musical instruments and ensembles. I begin by examining a 1955 order from the Ministry of

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Orgel, Paul, and John Daverio. "Robert Schumann: Herald of a "New Poetic Age"." Notes 54, no. 3 (1998): 698. http://dx.doi.org/10.2307/899904.

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Bierley, Paul E., and Ronald W. Holz. "Heralds of Victory: A History Celebrating the 100th Anniversary of the New York Staff Band & Male Chorus 1887-1987." American Music 9, no. 2 (1991): 230. http://dx.doi.org/10.2307/3051820.

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Allis, Michael. "Bax's Elgar: Musical Quotation, Allusion and Compositional Identity in the First String Quartet in G." Journal of the Royal Musical Association 136, no. 2 (2011): 305–52. http://dx.doi.org/10.1080/02690403.2011.618724.

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Whether we can ascribe specific meanings to the works of Arnold Bax is a vexed question, given that the composer was rarely explicit about such matters. In that context, this article explores the significance of musical quotation and allusion in Bax's First String Quartet in G major (1918), dedicated to Edward Elgar. Several references to Elgar's Violin Concerto are highlighted in the first and second movements of the quartet, and broader stylistic referencesto Dvořák and Debussy are also identified. Explanations are suggested for these references, based on parallels drawn between Bax's musica

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GRIMES, ROBERT R. "Come Buy Hot Corn! Music, Sentiment, and Morality in 1850s New York." Journal of the Society for American Music 5, no. 1 (2011): 33–59. http://dx.doi.org/10.1017/s1752196310000507.

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AbstractIn the 1850s, the residents of, and visitors to, New York City experienced a world of rapid and sometimes chaotic change. Various reform movements—including Temperance, Abolition, and Women's Rights—became stronger and more widely known through various media. In 1853 a simple story published in the pages of the New York Tribune took the city by storm. “Hot Corn,” the story of Little Katy, a child peddler, is ostensibly a temperance tale, but something made the story resonate among the public. Soon minstrel songs, sheet music, lectures, novels, and melodramas followed, purporting to her

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Audissino, Emilio. "Canonizing John Williams." 19th-Century Music 48, no. 1-2 (2024): 76–85. https://doi.org/10.1525/ncm.2024.48.1-2.76.

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The article mobilizes the concepts of “canon” and “canonization” to discuss John Williams’s legacy. It sets the scene by providing an overview of the most noted formulations of “canon”—from Joseph Kerman’s 1983 articulation to the most recent revisions by Mark Everist and William Weber—and of the most noted controversies and debates around it. The invocation of such unstable and problematic concept is warranted by the deep roots that the film music of the classical Hollywood had in the nineteenth-century operatic and symphonic tradition, a tradition that also included, in its aesthetic and phi

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Farahat, Martha. "On the staging of madrigal comedies." Early Music History 10 (October 1991): 123–43. http://dx.doi.org/10.1017/s026112790000111x.

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The brief life of the madrigal comedy spans the forty-year period from 1590 to 1630. Coming at the end of the sixteenth century, the genre marked the decline of the polyphonic madrigal style and heralded the evolution of secular vocal music's emphasis on the dramatic. As a genre, the madrigal comedy is not well known, and its designation can lead to confusion, because the term refers to collections of compositions that need not consist of madrigals or by themselves form comedies. Nevertheless it is a term that retains some usefulness in isolating a body of works from the late sixteenth and ear

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