Gotowe bibliografie tematyczne / Third stream (Music)

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Gotowa bibliografia na temat „Third stream (Music)”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 24 lutego 2023

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Artykuły w czasopismach na temat "Third stream (Music)"

Joyner, David. "Analyzing third stream." Contemporary Music Review 19, no. 1 (January 2000): 63–87. http://dx.doi.org/10.1080/07494460000640141.

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Nam, Jung Woo. "A Nomadism of Third Stream: Smooth Space of Classical and Jazz Music: Following the DeleuzoGuattarian Philosophy of Art." Korean Association for the Study of Popular Music 29 (May 31, 2022): 39–78. http://dx.doi.org/10.36775/kjpm.2022.29.39.

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Third Stream, born in the late 1950’s, was of a musical experiment for a confluence between classical and jazz music without undermining the natures of advanced formal structure and the improvisational spontaneity, respectively. Venturing the trials to overcome misunderstandings, stratify the idea of Third Stream a smooth space reproducing style than being a style-in-itself, for the musicians from each territories regarded the opponents as obstacles mutually, as an infection to classic and restriction to jazz. The DeleuzoGuattarian geo-philosohpy defines work of art as result of monument beari

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Kartomi, Margaret. "On Metaphor and Analogy in the Concepts and Classification of Musical Instruments in Aceh." Yearbook for Traditional Music 37 (2005): 25–57. http://dx.doi.org/10.1017/s0740155800011218.

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Artists, scholars and audiences in Aceh, the northernmost province of Sumatra, conceive of their percussive, wind and string instruments as symbolising Aceh's “glorious past” and attach a variety of metaphorical and analogous meanings to them. Implicit in the culture, and formulated explicitly by Acehnese scholars, is a classification that divides the instruments at the most general level into three main categories, or metaphorical socio-historical streams: those associated primarily with (i) the pre-Islamic ancestral and nature venerating (animist-Hindu) stream, practices, or presumed origins

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David Dennen. "The Third Stream: Oḍiśī Music, Regional Nationalism, and the Concept of "Classical"". Asian Music 41, № 2 (2010): 149–79. http://dx.doi.org/10.1353/amu.0.0063.

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HARLEY, MARIA ANNA. "Spatiality of sound and stream segregation in twentieth century instrumental music." Organised Sound 3, no. 2 (August 1998): 147–66. http://dx.doi.org/10.1017/s1355771898002088.

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Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trumpet player (standing on the stage) of a sequence of four quarter-notes, with the pitches of B[flat ]3–A3–C4–B3. The listener chooses to ignore the immediate physical surroundings and hears one of the following: (i) four trumpet sounds equally spaced in time, (ii) a sequence of intervals – minor second, minor third, minor second, (iii) an instance of set 4-1, (iv) a motive referring to the name of BACH. The `web of interpretants' (term from Nattiez 1987/1990) surrounding a simple musical fact is alr

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COLE, ROSS. "“Fun, Yes, but Music?” Steve Reich and the San Francisco Bay Area's Cultural Nexus, 1962–65." Journal of the Society for American Music 6, no. 3 (August 2012): 315–48. http://dx.doi.org/10.1017/s175219631200020x.

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AbstractThis article traces Steve Reich through the Bay Area's cultural nexus during the period 1962–65, exploring intersections with Luciano Berio, Phil Lesh, Terry Riley, Robert Nelson, the San Francisco Mime Troupe, and the San Francisco Tape Music Center. The aim is to present a revised history of this era by drawing on personal interviews with Tom Constanten, R. G. Davis, Jon Gibson, Saul Landau, Pauline Oliveros, and Ramon Sender. In addition, previously unused source materials and contemporaneous newspaper reception are employed to provide a more nuanced contextual framework. Reich's he

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Royer, Shawn L. "David Baker: The Nexus of Jazz Curriculum and the Civil Rights Movement at Indiana University." Journal of Historical Research in Music Education 43, no. 2 (March 8, 2022): 142–61. http://dx.doi.org/10.1177/15366006221081885.

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In 1966, David Baker, a Black man and esteemed jazz musician and composer, created and developed the Jazz Studies program at Indiana University (IU). The purpose of this study was to investigate how David Baker came to join the faculty and created the Jazz Studies program at IU through an examination of the school’s course offerings and historical context between the years 1949–1969. This time period captures when jazz was evolving from its roots as an informally learned art form into one that was taught in academic settings, as well as important evolutionary moments in jazz, specifically the

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REPP, BRUNO H., JUSTIN LONDON, and PETER E. KELLER. "PRODUCTION AND SYNCHRONIZATION OF UNEVEN RHYTHMS AT FAST TEMPI." Music Perception 23, no. 1 (September 1, 2005): 61–78. http://dx.doi.org/10.1525/mp.2005.23.1.61.

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THIS STUDY EXAMINED PRODUCTION and synchronization of eight uneven rhythms (set A: 2+3, 3+2; set B: 2+2+3, 2+3+2, 3+2+2; set C: 2+3+3, 3+2+3, 3+3+2) at rates that made it difficult to subdivide the component intervals into elementary metrical pulses. The main questions were how interval ratios would change as a function of tempo within this range, and whether metrical downbeat location (which distinguishes the rhythms within each set) would be reflected in any of the dependent measures. Musically trained participants tapped each rhythm cyclically in synchrony with an auditory template and then

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Dharwadker, Vinay. "Emotion in Motion: The Nāṭyashāstra, Darwin, and Affect Theory". Publications of the Modern Language Association of America 130, № 5 (жовтень 2015): 1381–404. http://dx.doi.org/10.1632/pmla.2015.130.5.1381.

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A work of classical Indian theory and practice, Bharata's Nāṭyashāstra offers a comprehensive account of emotion and of the production, communication, and reception of representations of it in dance, music, poetry, and theater. This essay examines remarkable points of convergence and divergence between the third-century Sanskrit text and three influential modern Euro-American accounts: Charles Darwin's mapping of involuntary expressions of emotion in human beings and animals, William James's aggregation of emotions in the stream of consciousness, and Sylvan Tomkins's atlas of primary affects t

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Packer, Randall. "Third Space Network: Theatrical Roots." Lumina 11, no. 2 (August 30, 2017): 82–109. http://dx.doi.org/10.34019/1981-4070.2017.v11.21446.

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This essay provides an overview of artistic work and experimentation leading to the concept of the Third Space Network: a live Internet broadcast and performance project for connecting artists, audiences, and cultural perspectives from around the world. The concept of the third space suggests the collapse of the local (first space) and remote (second space) into a third, socially constructed networked space. The third space can be viewed as a new realization of the community of theater in a globally connected culture: performance space for broadcasted live art, a forum for the aggregation of a

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Rozprawy doktorskie na temat "Third stream (Music)"

Burgess, Nadia. "An Overview of Third Stream/Confluent Music and the Involvement of Australian Composers." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/7971.

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In this essay the author discusses the origins, evolution and impact of Third Stream music, the broader outgrowth of it being Confluent music. Reference is made to relevant compositions and recordings from the USA, England and Europe, up to 2004. Background information about the composers is provided. Compositions including elements from African music are being examined. The author investigates the involvement, up to 2004, of Australian composers and composers resident in Australia. A substantial bibliography and discography is included.

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Ringe, Gerald. "The Historical Importance and Resulting Arrangement of Artie Shaw's Third Stream Composition Interlude in B-flat." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862739/.

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Artie Shaw's Interlude in B-flat is unknown to many in the classical clarinet world and remains unperformed by clarinetists, despite its historical importance as one of the earliest Third Stream compositions, the earliest composition of its type in the clarinet repertoire. This prompts the question, why? This document explores four possible reasons for the marginalization of Interlude in B-flat. First, Shaw's historical narrative typically places him within the jazz world and not the classical world. Classical clarinetists may assume a Shaw composition will require a jazz background and experi

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Emge, Jeffrey David. "THIRD-STREAM MUSIC FOR BAND: AN EXAMINATION OF JAZZ INFLUENCES IN FIVE SELECTED COMPOSITIONS FOR WINDS AND PERCUSSION." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin976028548.

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Styles, Matthew John. "An evaluation of the concept of Third Stream music and its applicability to selected works by Gunther Schuller and Mark-Anthony Turnage." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0224.

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In a public lecture given by Gunther Schuller in 1957, the term 'third stream music' was suggested as a way of describing the combination of 'first stream music' (Western classical) and 'second stream music' (American jazz) within a musical work. 'Third stream' was proposed as a term to denote the fusion of

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Van, der Hoven Wikus. "Invictus : Orchestral Prelude in 3 movements by Noel Stockton : analytical discussion of the synthesis of the basic elements of music in a third stream composition." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23621.

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This study aims to describe how the basic elements of music are synthesised and manipulated to create a composition in the musical style called Third stream music. This is done through a comprehensive description of the background of this musical style and a detailed analysis of a case study Third stream work, Invictus: Orchestral Prelude in 3 Movements, by the South African composer Noel Stockton and commissioned by the South African Music Rights rganisation. Copyright<br>Dissertation (MMus)--University of Pretoria, 2010.<br>Music<br>unrestricted

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Plattner, Markus. "Aspects of third stream works : an analytical study of compositions by Gunther Schuller, Don Banks and Bozidar Kos." Master's thesis, Sydney Conservatorium of Music, 2001. http://hdl.handle.net/2123/9108.

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Bogle, James Michael. "Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2479/.

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Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Moveme

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Norton, Colby Jackson. ""Worlds Beyond": A Stylistic Analysis of Collage in the Music of Daniel Schnyder as a Universal Model for the Bass Trombone Repertoire." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707313/.

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The modern trombone player can experience a variety of styles on any given day. There is a need for the ability to switch between a plethora of styles ranging from avant-garde pieces to many forms of popular music to masterworks of the symphonic repertoire. It is the responsibility of the musician (performer or educator) to be familiar with all music due to global access via the internet. There is a responsibility to properly perform and respect music as more composers are beginning to blend different styles, genres, idioms, and cultures within the same composition. Daniel Schnyder is a promin

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Dunbar, Sarah. "Tommy Smith's Two Sonatas, "Hall of Mirrors" and "Dreaming with Open Eyes": A Performance Guide and Analysis." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538774/.

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Tommy Smith is considered by many to be one of the greatest jazz saxophonists not only in Scotland, but world-wide. Celebrated for his virtuosic performance skills, tremendous compositions, and prized albums in the jazz idiom, Smith has also had great success as a composer and performer of the classical genre. Fusing the styles of jazz and classical, he composed and recorded two sonatas, entitled, Sonata No. 1 - Hall of Mirrors and Sonata No 2. - Dreaming with Open Eyes, on his 1998 album, Gymnopédie: The Classical Side of Tommy Smith. Unique pieces, they are not considered standard repertoire

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Seong, Sekyeong. "Bagatelles No. 6 and No. 8, Op. 59 by Nikolai Kapustin:Background, Analysis, and Performance Guideline." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429867811.

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Książki na temat "Third stream (Music)"

Thurber, James. The Thurber carnival. New York: Modern Library, 1994.

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Thurber, James. A Thurber carnival. New York: S. French, 1990.

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Thurber, James. The Thurber carnival. New York: Perennial Classics, 1999.

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John Lewis and the challenge of "real" black music. 2016.

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Beal, Amy C. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036361.003.0001.

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This introductory chapter provides a background of Carla Bley and her music. Bley is a prolific and influential American composer. And though her career, which began in the 1950s, has taken place largely within the venues and institutions of the jazz world, her music is often characterized as Third Stream, postmodernist, or just plain experimental—these labels due in part to her ability to write conventional big-band charts as well as classically influenced chamber works. Her compositions fall into a number of overlapping categories: lead sheets and short jazz tunes designed for improvising, c

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Rios, Fernando. Panpipes & Ponchos. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692278.001.0001.

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Melodious panpipes and kena flutes. The shimmering strums of a charango. Poncho-clad musicians playing “El Cóndor Pasa” at subway stops or street corners while selling their recordings. These sounds and images no doubt come to mind for many “world music” fans when they recall their early encounters with Andean music groups. Termed “Andean conjuntos” in this book and “pan-Andean bands” in other scholarship, four-to-six member ensembles of this type have long formed part of the “world music” circuit of the Global North, and also been present in the music scenes of Latin America’s major cities. I

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Thurber, James. Thurber Carnival. Turtleback, 1999.

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Thurber, James. The Thurber Carnival. Penguin Classics, 2014.

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Thurber, James. Thurber Carnival. Amereon Ltd., 2004.

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Thurber, James. The Thurber Carnival. Perennial Library, 1990.

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Części książek na temat "Third stream (Music)"

"PART III. Third Stream Music and the Rest of Jazz History." In Better Git It in Your Soul, 159–200. University of California Press, 2019. http://dx.doi.org/10.1525/9780520963740-004.

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I. Al-Shoshan, Abdullah. "Classification and Separation of Audio and Music Signals." In Multimedia Information Retrieval [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94940.

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This chapter addresses the topic of classification and separation of audio and music signals. It is a very important and a challenging research area. The importance of classification process of a stream of sounds come up for the sake of building two different libraries: speech library and music library. However, the separation process is needed sometimes in a cocktail-party problem to separate speech from music and remove the undesired one. In this chapter, some existed algorithms for the classification process and the separation process are presented and discussed thoroughly. The classification algorithms will be divided into three categories. The first category includes most of the real time approaches. The second category includes most of the frequency domain approaches. However, the third category introduces some of the approaches in the time-frequency distribution. The approaches of time domain discussed in this chapter are the short-time energy (STE), the zero-crossing rate (ZCR), modified version of the ZCR and the STE with positive derivative, the neural networks, and the roll-off variance. The approaches of the frequency spectrum are specifically the roll-off of the spectrum, the spectral centroid and the variance of the spectral centroid, the spectral flux and the variance of the spectral flux, the cepstral residual, and the delta pitch. The time-frequency domain approaches have not been yet tested thoroughly in the process of classification and separation of audio and music signals. Therefore, the spectrogram and the evolutionary spectrum will be introduced and discussed. In addition, some algorithms for separation and segregation of music and audio signals, like the independent Component Analysis, the pitch cancelation and the artificial neural networks will be introduced.

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Mordden, Ethan. "Streisand’s Recordings." In On Streisand, 47–80. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190651763.003.0004.

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This chapter focuses on Barbra Streisand’s music recordings, beginning with The Barbra Streisand Album and The Second Barbra Streisand Album, both in 1963, followed by The Third Album a year later. Streisand’s first recital disc showcased her versatility, theatrics, bravado, humor, and unpredictability, which were evident in her renditions of “Cry Me a River,” “My Honey’s Loving Arms,” “I’ll Tell the Man In the Street,” and “A Taste of Honey.” The chapter also offer a commentary on Streisand’s next two albums as well as other recitals such as People (1964), What About Today? (1969), Stoney End (1971), ButterFly (1974), Lazy Afternoon (1975), Classical Barbra (1976), Guilty (1980), The Broadway Album (1985), Higher Ground (1997), A Love Like Ours (1999), Christmas Memories (2001), Partners (2014), and Encore (2016).

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Streszczenia konferencji na temat "Third stream (Music)"

Amarandei, Teodor. "THIRD STREAM GENRE IN ROMANIAN MUSIC. RICHARD OCHANITZKY-VARIATIONEN." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.2021/s08.18.

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Yi, Xiaowei, Mingyu Li, Gang Zheng, and Changwen Zheng. "Quality-Optimized Authentication of Scalable Media Streams with Flexible Transcoding over Wireless Networks." In 2012 Third FTRA International Conference on Mobile, Ubiquitous, and Intelligent Computing (MUSIC). IEEE, 2012. http://dx.doi.org/10.1109/music.2012.33.

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