Bibliografias temáticas / Composers – England

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Literatura científica selecionada sobre o tema "Composers – England"

Autor: Grafiati
Publicado: 29 de julho de 2024
Última modificação: 31 de julho de 2025

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Artigos de revistas sobre o assunto "Composers – England"

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Salfen, Kevin. "Britten the Anthologist." 19th-Century Music 38, no. 1 (2014): 79–112. http://dx.doi.org/10.1525/ncm.2014.38.1.079.

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Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading.
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Sysolyatina, Sofiya V. "“Jephthah’s Daughter” by Amy Beach: the Biblical World in the Words of a Woman." ICONI, no. 2 (2019): 59–67. http://dx.doi.org/10.33779/2658-4824.2019.2.059-067.

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The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the
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Griffiths, Austin. "Playing the white man’s tune: inclusion in elite classical music education." British Journal of Music Education 37, no. 1 (2019): 55–70. http://dx.doi.org/10.1017/s0265051719000391.

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AbstractThis study examined the nature of inclusion for female and black and minority ethnic (BME) young people in elite-level classical music in England. By contrasting the numbers of female and BME students taking part in elite youth orchestras and music schools with the representation of female and BME compositions in the professional classical music repertoire, the study asked whether female and BME inclusion was limited to participation as performers or whether it included adequate representation in terms of the music performed. The survey analysed 4897 pieces from 681 composers drawn fro
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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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Bryan, John. "Extended Play: Reflections of Heinrich Isaac's Music in Early Tudor England." Journal of Musicology 28, no. 1 (2011): 118–41. http://dx.doi.org/10.1525/jm.2011.28.1.118.

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The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac—his three-part Benedictus and the four-part La my—together with a number of other Franco-Flemish “songs without words” typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his
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Rzaieva, Mekhpara. "Symphonic Creative Activity of Rufat Ramazanov." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (2021): 101–15. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233342.

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The article analyzes several works related to the symphonic work of Rufat Ramazanov, a middle-aged representative of the modern Azerbaijani school of composition. The article also examines Ramazanov’s symphonic works against the background of the development of Azerbaijani music culture and examines his symphonic works in terms of genre diversity. Also, the article considers the characteristics of music and harmonic language in the symphonic works of the composer, the methods of using orchestration. The article emphasizes the unique stylistic features of Rufat Ramazanov’s symphonic works, thei
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Docherty, Barbara. "English Song and the German Lied 1904–34." Tempo, no. 161-162 (September 1987): 75–83. http://dx.doi.org/10.1017/s0040298200023366.

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If it is Indeed the case that there is a landscape of the soul which song inhabits, few would dissent from the view that in England in 1900 it was a dead land. The ‘aesthetic tension’ between poetry and music which had stimulated Schubert, Schumann, and Wolf seemed entirely absent, and there was no English Eichendorff or Mörike. Stephen Banfield has asserted that English composers at this time aspired only to produce a ‘frictionless entity’ by providing a ‘pianistic’ accompaniment to Rupert Brooke's or Mathew Arnold's words.
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Fleming, Simon D. I. "Avison and his Subscribers: Musical Networking in Eighteenth-Century Britain." Royal Musical Association Research Chronicle 49 (2018): 21–49. http://dx.doi.org/10.1080/14723808.2017.1363210.

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One of the most important and valuable resources available to researchers of eighteenth-century social history are the lists of subscribers that were attached to a wide variety of publications. Yet, the study of this type of source material remains one of the areas most neglected by academics. These lists shed considerable light on the connections that an author or composer had with other like-minded individuals and the support that they received from members of the middle and upper classes. In cases where a single composer published a series of works by subscription, there is an opportunity t
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Теплова, А. С. "Who are You, John Dunstable? Identifying the Famous Musician." Музыкальная академия, no. 1(785) (March 25, 2024): 92–103. http://dx.doi.org/10.34690/366.

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Английский мастер раннего Возрождения, чей авторитет в среде музыкантов был засвидетельствован Тинкторисом, является одним из «малодокументированных» композиторов. Долгое время были известны всего две даты из жизни Джона Данстейбла: время исполнения двух его мотетов (1416), зафиксированное в хронике «Gesta Henrici Quinti», и год смерти композитора (1453), выгравированный на надгробии. Лиза Колтон расследовала обстоятельства, связанные с судьбой эпитафии, и обнаружила «еще одного» Джона Данстейбла — богатого человека, носившего титул эсквайра, владевшего недвижимостью в разных частях Англии и з
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Schönlau, Stephan. "Farinel’s Ground and other ‘Follyes’ in English sources of the late 17th and early 18th centuries." Early Music 49, no. 1 (2021): 67–86. http://dx.doi.org/10.1093/em/caab003.

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Abstract This article is the result of a comprehensive study of folia grounds—usually known as Farinel’s Ground in England—published, copied in or otherwise connected with England, a list of which is provided. A discussion of general characteristics as well as of typical melodic, harmonic and rhythmic features of folia grounds from this period is followed by a comparative analysis of all English folias. These form relatively distinct groups of sources that often share strains, suggesting patterns of transmission particular to division grounds. Lastly, the order of strains in a number of versio
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Teses / dissertações sobre o assunto "Composers – England"

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Harris, Amanda Jane English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Composing women and feminism at the turn of the twentieth century in England, France and Germany." Awarded By:University of New South Wales. English, Media, & Performing Arts, 2008. http://handle.unsw.edu.au/1959.4/43745.

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The turn from the nineteenth century into the twentieth saw an increase in the number of composing European women attaining prominence in the music world. This period of history is also now recognised as one of the key phases of the first wave of feminism. Feminists and musical women moved in a similar stratum of society. Although women of this era have increasingly been the subject of scholarly research, music historians have rarely investigated the links between the turn of the century??s wave of composing women and feminists. This dissertation uses the feminist and musical press as a means
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Grobler, Marie. "The secular songs of John Blow (1649-1708) : an edition." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/52023.

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Thesis (PhD) -- University of Stellenbosch, 2000.<br>ENGLISH ABSTRACT: The secular songs of John Blow (1649-1708): An Edition The aim of this thesis is to assemble the 109 secular songs of John Blow in one anthology, to transcribe them into modem notation and in doing so to make them accessible for modem use and further research. A significant feature of this collection is a group of 13 songs which have not been printed previously and which are available only in manuscript form in special collections in Great Britain. Other songs published during Blow's lifetime are likewise found in s
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Dertinger, Noreen. "Instrumental ensemble settings of In Nomines composed in England (1550-1650)." Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7895.

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In Nomine is the Latin title given to English compositions of the sixteenth and seventeenth centuries having the Sarum antiphon Gloria tibi Trinitas as their cantus firmus. Many composers, from Taverner to Purcell, composed at least one work based on this cantus firmus. The transition from a primarily vocal style to one for instrumental performance is evident. This study deals with a selected part of the In Nomine complex using methods developed in the scholarship of the L'homme Arme pieces. The purpose of this project is to compile, in one place, an in-depth study of the history of this genre
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Burrows, H. J. "Choral music and the Church of England 1970-1995 : a study of selected works and composer-church relations." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.526874.

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Ellis, Christopher E. "The choral anthems of Alice Mary Smith : performance editions of three anthems by a woman composer in Victorian England." 2014. http://liblink.bsu.edu/uhtbin/catkey/1744491.

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Livros sobre o assunto "Composers – England"

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Robert, King. Henry Purcell: A greater musical genius England never had. Thames & Hudson, 1994.

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Hamilton-Paterson, James. Gerontius. Soho, 1991.

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Hamilton-Paterson, James. Gerontius. Soho, 1991.

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England) International Hanns Eisler Conference (2010 London. Eisler in England: Proceedings of the international Hanns Eisler conference, London 2010. Breitkopf & Härtel, 2014.

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5

Ledbetter, Steven. A Handlist of compositions with orchestra by New England composers, ca. 1875-1925. s.n., 1987.

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Berlioz, Hector. The memoirs of Hector Berlioz: Member of the French Institute, including his travels in Italy, Germany, Russia and England 1803-1865. 3rd ed. Cardinal, 1990.

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Thorpe, Adam. Between each breath. Vintage, 2008.

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Früh, Beate. Aktivitäten deutscher Musiker in England (etwa 1660-1710), unter besonderer Berücksichtigung des Liedschaffens. [s.n.], 1987.

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1757-1827, Blake William, Burns Robert 1759-1796, Wesley Samuel 1766-1837, et al., eds. The Romantic Age. InteLex Corporation, 2002.

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Peter, Horton. Samuel Sebastian Wesley: A life. Oxford University Press, 2004.

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Capítulos de livros sobre o assunto "Composers – England"

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"Working-class composers." In Popular Music in England, 1840-1914. McGill-Queen's University Press, 1987. http://dx.doi.org/10.1515/9780773561069-016.

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Kildea, Paul. "England and the Folk-Art Problem (1941)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0010.

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Abstract There have been so few outstanding composers in England since the turn of the century, it is hardly surprising that America knows little of that country’s musical fashions; for it is the minor composers who most clearly indicate the trend of the age. Roughly speaking there have been two major schools, and the conflict between the two has influenced everybody. The outstanding figures whose personalities may be said to have given each school its particular character were Elgar and Parry. Elgar represents the professional point of view, which emphasizes the importance of technical effici
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Anderson, Virginia. "Christian Wolff (b. 1934)." In Interviews with American Composers. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0023.

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Anderson notes that the interview took place at an important point in Wolff’s life: the premiere of his piece Burdocks (1971)—the climax of his association with the English composer Cornelius Cardew—and his first year teaching music at Dartmouth College. Childs and Wolff discuss Wolff’s approach to notation, Edges, and performance situations. Wolff describes his Practical Introduction to Music course and plans for another course with Jon Appleton. He talks of working with Cage and Cunningham, Burdocks and Cardew’s The Great Learning. He talks of living in England, prose notation; the Scratch O
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Perry, Mark E. "Gerhard as Composer in Exile." In Roberto Gerhard. British Academy, 2022. http://dx.doi.org/10.5871/bacad/9780197267134.003.0009.

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Roberto Gerhard’s early works reflect an advanced synthesis of Catalan elements and modern music, utilizing obvious markers of Catalan national identity; however, in 1939, because of the Spanish Civil War, Gerhard to fled from Spain to England. British nationalistic sentiments during and immediately after the Second World War drastically delayed due recognition of the composer in favour of British-born composers. While still living in Spain, Gerhard had composed for the BBC and the intended audience of his Albada, Interludi i Dansa was English—not Spanish or Catalan. At the time, interest in S
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Barger, Judith. "Female Organist Composers of Vocal Music." In Elizabeth Stirling and the Musical Life of Female Organists in Nineteenth-Century England. Routledge, 2017. http://dx.doi.org/10.4324/9781351159081-6.

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Barger, Judith. "Female Organist Composers of Organ Music." In Elizabeth Stirling and the Musical Life of Female Organists in Nineteenth-Century England. Routledge, 2017. http://dx.doi.org/10.4324/9781351159081-7.

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Careri, Enrico. "Critical Reception Contemporary and Modern." In Francesco Genminiani (1687–1762). Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163008.003.0004.

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Abstract WITH the publication of his Opp. II and III concertos Geminiani’s fame in England reached its summit. His abilities as a violinist, composer, and teacher were beyond dispute. Contemporary criticism, with just a few exceptions, is generally very positive—not only on account of the qualities of the music itself but also because Geminiani is credited with guiding English musical taste in the right direction by encouraging the study and performance of Corelli’s music and making a decisive contribution to the foundation of a native English school of violinists and composers.
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Siso, Alexandra. "William Byrd and the Elizabethan Tabernacle." In Byrd Studies in the Twenty-First Century. Liverpool University Press, 2024. http://dx.doi.org/10.3828/liverpool/9781638040859.003.0004.

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In the early Elizabethan reign, composers of the Chapel Royal and Westminster Abbey created Latin polyphonic settings of Psalm 14, Domine quis habitabit in tabernaculo tuo. The settings are one of the few examples of Elizabethan composers coming together to give voice to one unified message: “Who shall dwell in thy tabernacle?” For courtiers, the tabernacle was more than a biblical reference in Tudor England, it was a sacred space with a structure that guided their life: the different chambers and their increasingly restricted access were a stark reminder of the physical and the social limitat
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Kildea, Paul. "An English Composer Sees America (1940)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0008.

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Abstract In April of last year, I left England on a vacation trip across the Atlantic, a vacation rather from the general European atmosphere than from overwork. I spent two months in Canada, and since last August have been chiefly in and around New York with occasional visits to the Middle West. I have found this country enormously stimulating, and, as I have met many of the chief figures in American music today, I have had perhaps as good an opportunity as most foreigners of comparing conditions in this country with those in their own. There has been recently a lot of correspondence about Am
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Atlas, Allan W. "An Instrument for All Classes." In The Wheatstone English Concertina In Victorian England. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165804.003.0001.

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Abstract In 1860, the London music publisher, J. J. Ewer issued a catalogue of the music available in his firm’s large circulating library.1 Included under the heading ‘Music for the Concertina’-and Ewer meant the Wheatstone English concertina-were no fewer than 447 items by thirteen composers and arrangers. And though the overwhelming majority of the titles were for concertina and piano, there were also works for unaccompanied concertina, concertina and flute, concertina and harp, two concertinas (with and without piano), and even three concertinas.2 The repertoire, moreover, was extremely di
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Trabalhos de conferências sobre o assunto "Composers – England"

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Pettaway, Charles. "Introducing an Unknown African Composer to the World- at- Large During the Age of Enlightenment." In 5th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-036.

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Joseph Bologne, Le Chevalier de Saint- Georges was a Gemini (June 9,1745). His historical background as a biracial man of color who took France by storm, England and even the second president, of the United States, John Adams stated; “St Georges was such an incredible shot that he could hit a tiny button on the coat or waistcoat of the greatest masters.” “He could even hit a coin as it was tossed in midair.” I will discuss his early upbringing on the island of Guadeloupe from a union of a wealthy white Frenchman and a slave woman named Nanon. In France, he rose to unbelievable heights as a fen
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Yakovleva, Maria S. "EARLY MEDIEVAL TRANSLATION OF ANCIENT TEXTS (ON THE EXAMPLE OF THE "OLD ENGLISH HERBARIUM")." In II All-Russian scientific-practical conference with international participation "Translation and foreign languages in the global dialogue of cultures". St. Petersburg State University, 2024. http://dx.doi.org/10.21638/11701/9785288064289.25.

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The article is dedicated to the study of strategies and tactics that an anonymous medieval translator used for translating a number of ancient texts into Old English. The research material includes Latin medical texts composed in the 4–6th centuries and their translations into Old English (the "Old English Herbarium"), created at the turn of the 10–11th centuries. It is shown that the translation is a compilation of the original texts. The translator made supplements to a number of medical prescriptions and omitted fragments of the original texts unrelated to the healing process. Lexical-seman
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Conti, Alexander A., and Elizabeth H. Gierlowski-Kordesch. "Delineating Lake Types of the Jurassic East Berlin Formation, Hartford Basin, Newark Supergroup." In Northeastern GSA Section Meeting. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016ne-271926.

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The Mesozoic Hartford Basin, a fault-bounded half-graben in New England, is composed of four sedimentologic units displaying lacustrine, playa, and alluvial conditions separated by three tholeiitic basalt flows. Limited outcrop, however, has restricted analyses across the basin. The Jurassic East Berlin Formation, in particular, crops out only in the southern and northern extents of the basin, exposing the upper 100-118-m of deposits. As a result, a new core analysis across a 600-m-transect of East Berlin rocks has been completed in the central region of the basin, exposing the entire 195-m th
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Rodrigues, Pedro Vitor Ferreira, Amanda Pereira Sindeaux Pinheiro, Raoni de Oliveira da Silva Domingues, Leonardo José Rodrigues de Araújo Melo, and Francisco Luciano Honório Barreto Cavalcante. "Literature review: the efficacy of mirror therapy in patients with phantom limb pain." In XIV Congresso Paulista de Neurologia. Zeppelini Editorial e Comunicação, 2023. http://dx.doi.org/10.5327/1516-3180.141s1.347.

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Introduction: Phantom Limb Pain (PLP) is a common symptom after an amputation, affecting more than 80% of the people who experience this procedure. The mirror therapy, based on a reflective illusion is a hopeful possible treatment for this condition, as it tricks the brain to believe that the amputated member is still there, allowing for pain management. Objectives: The objective of this literature review is to search through clinical trials in order to collect data to relate the efficacy of Mirror Therapy in the treatment of the pain condition on PLP, establishing the possible reduction of th
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