Gotowe bibliografie tematyczne / Music – England – 20th century

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  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Music – England – 20th century”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 1 lutego 2022

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Artykuły w czasopismach na temat "Music – England – 20th century"

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Barlow, Jill. "London, Royal Opera House: ‘The Blackened Man’." Tempo 57, no. 223 (January 2003): 87–89. http://dx.doi.org/10.1017/s004029820327008x.

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Will Todd, born in Durham in 1970, has an extensive output of compositions to his credit, including highly-charged operas and oratorios, largely centred around themes from northeastern England, notably the workers' struggle against early 19th and 20th-century injustice and oppression. I had heard his emotive cantata The Burning Road performed at St Albans Cathedral in February 2002 – it depicts the relentless, footsore Jarrow Marchers of 1936 who stopped in the city en route to London – and was interested to hear the follow-up in his new opera on an allied theme: The Blackened Man.
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Kertesz, Elizabeth. "Ethel Smyth’s The Wreckers: a cosmopolitan voice for English opera." Studia Musicologica 52, no. 1-4 (March 1, 2011): 485–97. http://dx.doi.org/10.1556/smus.52.2011.1-4.33.

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As debates raged about the parlous state of English opera in the first decades of the 20th century, the composer Ethel Smyth saw her opera The Wreckers staged in London. After writing two operas directed towards the German market and in an idiom steeped in the German Romantic tradition, Smyth consciously re-focused her style for The Wreckers, exploring the possibilities of creating opera that might simultaneously find favour in England and appeal to theatres on the continent.This paper will consider The Wreckers as an essay in a cosmopolitan style, that simultaneously employed internationally
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Logan, Jeremy. "Synesthesia and feminism: A case study on Amy Beach (1867-1944)." New Sound, no. 46 (2015): 130–40. http://dx.doi.org/10.5937/newso1546130l.

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As one of the most notable American woman composers of the early 20th Century, Amy Beach had to struggle with her social role as a woman born into the middle class of New England, USA. Before marrying into the upper class, she was already established as a concert pianist. Her husband pressured her not to perform in public, which affected her emotionally and compositionally. This paper will re-evaluate the work of Amy Beach within the context of her struggles as a woman composer and more specifically focus on her synesthesia and how it influenced her choice of keys and modes within her music. T
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Revill, George. "A New English Music: Composers and Folk Traditions in England’s Musical Renaissance from the Late 19th to the Mid-20th Century. By Tim Rayborn." Twentieth Century British History 29, no. 2 (August 9, 2017): 326–29. http://dx.doi.org/10.1093/tcbh/hwx040.

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Klendiy, O. M. "Interpretative aspect of C. Saint‑Saëns’s piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 136–53. http://dx.doi.org/10.34064/khnum1-56.09.

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Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Saëns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Saëns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim
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Marks, Anthony, and Paul Griffiths. "20th Century." Musical Times 128, no. 1732 (June 1987): 332. http://dx.doi.org/10.2307/1193737.

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Marks, Anthony. "20th Century." Musical Times 128, no. 1732 (June 1987): 337. http://dx.doi.org/10.2307/1193747.

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Marks, Anthony. "20th Century." Musical Times 127, no. 1718 (May 1986): 281. http://dx.doi.org/10.2307/965468.

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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistic
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Banfield, Stephen. "20th-Century British." Musical Times 126, no. 1704 (February 1985): 99. http://dx.doi.org/10.2307/963479.

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Rozprawy doktorskie na temat "Music – England – 20th century"

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Prozzillo, Nicholas Stefano. "Organ reform in England : aesthetics and polemics, 1901-1965." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:edc38b39-1749-49b6-b35f-1493f605e7e0.

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This thesis examines organ reform in England between 1901 and 1965, an arena of practical music-making and intellectual and ideological debates in which a number of related practices surrounding the English organ – notably its scholarship, aesthetics of design, liturgical functions, native and foreign repertoires, including J. S. Bach’s organ music – played a central role in transforming the sound, design, and appearance of the instrument. Whilst influential musicians asserted that the English organ of the first half of the twentieth century was a great work of art, and survived in what could
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Parry, Simon Halsall. "Why should the Devil have all the best tunes? : 20th century popular- and folk-style church music in England." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369112.

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Bray, Michael Robert. "The liturgical canticle settings for chorus and organ of Ralph Vaughan Williams." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186253.

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Within the sacred choral music of composer Ralph Vaughan Williams, little is known regarding his subset of works intended for liturgical use. This study focuses on the canticle settings for choir and organ, written by Ralph Vaughan Williams for use in Anglican Worship. The compositions in this study include: Magnificat and Nunc dimittis (Village Service), Te Deum in G, Service in D Minor and Te Deum and Benedictus. This study provides a discussion of the structure and history of the Anglican service and a description of how canticle settings traditionally function in liturgical worship. Each w
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Hopwood, Paul Andrew. "Frank Bridge and the English pastoral tradition." University of Western Australia. School of Music, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0017.

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This study's thesis is that instances of pastoralism in the works of Frank Bridge from 1914 to 1930 demonstrate a gradual darkening of his pastoral vision, and evince his increasingly complex relationship with the genre of pastoral music that flourished in English music in the early twentieth century (referred to in this study as 'the English pastoral tradition'). The study traces the change from the sensual and romantic idyll of Summer (1914-15), through progressively more ambiguous and darker manifestations of pastoral, and eventually to a bleak anti-pastoral vision in Oration (1930). This t
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Bagley, Paul Michael. "Mysticism in 20th and 21st century violin music." Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.

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<p> &ldquo;Mysticism,&rdquo; according to the Oxford dictionary, can be defined as &ldquo;belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.&rdquo; More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20<sup>th</sup> and 21<sup>st</sup> centuries&mdash;Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a
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Tsurtsumia, Rusudan. "The Value Orientation of 20th-Century Georgian Music." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72008.

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Hocking, Rachel School of Music &amp Music Education UNSW. "Crafting connections: original music for the dance in Australia, 1960-2000." Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.

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This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further e
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Bernier, Kiyono Monique. "Disparate measures: Two 20th century treatments of the Paganini theme." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284086.

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This study investigates the significance of the Paganini theme and variation sets composed by two living composers, Neils Viggo Bentzon and Robert Muczynski. The popularity of the theme and variation form gradually spread to the keyboard repertoire first as entertainment for both courtly and bourgeois audiences, and later as a means of technical display for performing piano virtuosi. Paganini's twenty-fourth Caprice from Op.1 for solo violin is the basis for sets of variations for solo piano by three major pianist-composers: Liszt, Brahms, and Busoni. Bentzon and Muczynski follow in this tradi
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Reeh, Tina Alice Bonne. "The Church of England and Britain's Cold War, 1937-1948." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2c197863-2037-4cf9-af48-590f5694abea.

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The thesis deals with Britain's early Cold War history and the political history of the Church of England. It mainly uses primary sources, and contributes to our growing understanding of the early Cold War, especially in its cultural/religious elements. It explores how the Church of England dealt with the development of the early Cold War in Britain. It argues that in order to understand better the Church of England's role, an account of its perspective on issues of state modernisation dating back to at least the 1930s is necessary. It was then, during a decade of authoritarianism, and especia
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Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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Książki na temat "Music – England – 20th century"

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Musical women in England, 1870-1914: "encroaching on all man's privileges". New York: St. Martin's Press, 2000.

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Gillett, Paula. Musical women in England, 1870-1914: "encroaching on all man's privileges". Basingstoke: Macmillan, 2000.

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The musical life of the Crystal Palace. Cambridge [England]: Cambridge University Press, 1995.

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(Firm), H. P. Kraus. Recent acquisitions in a wide variety of fields: Including art & architecture, natural history, geography & maps, illustrated books including French 20th-century, humanism, classics, Italy, music, judaica, military science, Ireland, emblems, England, Low Countries, law. New York: H. P. Kraus, 1994.

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Read, Gardner. 20th-century microtonal notation. New York: Greenwood Press, 1990.

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The companion to 20th-century music. New York: Simon & Schuster, 1992.

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Shen, Sin-yan. Chinese music in the 20th Century. Chicago: Chinese Music Society of North America, 2001.

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The companion to 20th-century music. New York: Da Capo Press, 1996.

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David, Pickering. Cassell companion to 20th-century music. London: Cassell, 1997.

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The companion to 20th-century music. London: Simon & Schuster, 1992.

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Części książek na temat "Music – England – 20th century"

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Wanke, Riccardo D. "Sound in 20th-century music." In Sound in the Ecstatic-Materialist Perspective on Experimental Music, 10–30. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003132387-1.

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Webster, Peter. "Chichester Music." In Church and Patronage in 20th Century Britain, 187–211. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_7.

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Corsbie-Massay, Charisse L’Pree. "Recorded Music." In 20th Century Media and the American Psyche, 35–49. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780203702352-4.

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Rossi, Arcangelo. "Kantianism and Physics from the 19th to the 20th Century." In Language, Quantum, Music, 293–301. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4_27.

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Webster, Peter. "Music, Art and Poetry: 1944–1955." In Church and Patronage in 20th Century Britain, 85–118. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_4.

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Hai, Alessandra Arce, Helen May, Kristen Nawrotzki, Larry Prochner, and Yordanka Valkanova. "The Malting House School, England." In Reimagining Teaching in Early 20th Century Experimental Schools, 155–92. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50964-4_5.

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Christensen, Erik. "Overt and Hidden Processes in 20th Century Music." In Process Theories, 97–117. Dordrecht: Springer Netherlands, 2003. http://dx.doi.org/10.1007/978-94-007-1044-3_5.

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Bazayev, Inessa, and Christopher Segall. "Introduction." In Analytical Approaches to 20th-Century Russian Music, 1–10. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-1.

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Zavlunov, Daniil. "Alexander Mosolov’s Piano Sonata No. 1 and Its Synthetic Modernism." In Analytical Approaches to 20th-Century Russian Music, 132–54. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-10.

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Móricz, Klára. "The Rebirth of Melody in Lourié’s Post-Neoclassical Concerto da camera." In Analytical Approaches to 20th-Century Russian Music, 155–72. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-11.

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Streszczenia konferencji na temat "Music – England – 20th century"

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Ouimet, William B. "QUANTIFYING 17TH TO EARLY 20TH CENTURY LANDSCAPE CHANGE IN SOUTHERN NEW ENGLAND." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-308698.

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Kaname, Mariko. "Considering the Drawing Education for Children during the 19th Century to the 20th Century in England." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-30.

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Laato, Samuli, Sampsa Rauti, and Erkki Sutinen. "The Role of Music in 21st Century Education-Comparing Programming and Music Composing." In 2020 IEEE 20th International Conference on Advanced Learning Technologies (ICALT). IEEE, 2020. http://dx.doi.org/10.1109/icalt49669.2020.00088.

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Wang, Qi. "The Promotion of Russian Music Culture on Harbin Music Education in the 20th Century." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.185.

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Coroiu, Petruta-Maria. "THE PSALMS OF DAVID � TEXTUAL CONSENSUS IN THE MUSIC OF THE 20TH CENTURY." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s16.62.

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Qi, Ling. "Explanation of Chinese Piano Music National Character in the First Half of the 20th Century." In 2016 2nd International Conference on Education Technology, Management and Humanities Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/etmhs-16.2016.97.

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Yue, Shengdong, and Yutong Xuan. "Commentary of Sichuan Opera Music Reform' Research Literature in the Latter Half of the 20th Century." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.113.

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Xiang, Yu. "An Overview of the Development of Music Education in China's Normal Universities in the Second Half of the 20th Century." In Proceedings of the 2018 8th International Conference on Management, Education and Information (MEICI 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/meici-18.2018.83.

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Xiang, Yu. "An Overview of the Development of Music Education in China's Normal Universities in the First Half of the 20th Century." In 8th International Conference on Education, Management, Information and Management Society (EMIM 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/emim-18.2018.5.

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Slavikova, Zuzana. "ARTISTIC RENDITION OF VALUES IN THE MUSIC OF ROMAN BERGER A SLOVAK COMPOSER AND PHILOSOPHER OF CULTURE OF THE 20th CENTURY." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.2/s03.027.

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Raporty organizacyjne na temat "Music – England – 20th century"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 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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Water-quality trends in New England rivers during the 20th century. US Geological Survey, 2003. http://dx.doi.org/10.3133/wri034012.

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