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Artigos de revistas sobre o tema "Composers – England"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 31 de julho de 2025

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1

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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Robin, William. "Traveling with “Ancient Music”." Journal of Musicology 32, no. 2 (2015): 246–78. http://dx.doi.org/10.1525/jm.2015.32.2.246.

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In reforming psalmody in early nineteenth-century New England, participants in the so-called “Ancient Music” movement imported the solemnly refined hymn tunes and scientific rhetoric of Europe. This transatlantic exchange was in part the result of European travels by a generation of young members of the American socioeconomic and intellectual elite, such as Joseph Stevens Buckminster and John Pickering, whom scholars have not previously associated with hymnody reform. This study asserts that non-composers, particularly clergy and academics, played a crucial role in the “Ancient Music” movement

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Mace, Nancy A. "Charles Rennett and the London Music-Sellers in the 1780s: Testing the Ownership of Reversionary Copyrights." Journal of the Royal Musical Association 129, no. 1 (2004): 1–23. http://dx.doi.org/10.1093/jrma/fkh001.

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As printed music became a valuable market commodity in late eighteenth-century England, it became a significant part of debates over the interpretation of the first copyright law (1710). In particular, compositions by Charles Dibdin and John Garth became the focus of several lawsuits filed by the attorney Charles Rennett challenging the traditional interpretation of the clause that granted composers a second 14 years of protection after the first had expired. These suits detail the status of music as intellectual property and offer new information about the businesses of major music-sellers li

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Bowers, Roger. "The Vocal Scoring, Choral Balance and Performing Pitch of Latin Church Polyphony in England, c.1500-58." Journal of the Royal Musical Association 112, no. 1 (1987): 38–76. http://dx.doi.org/10.1093/jrma/112.1.38.

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Embedded into the approaches to their crafts adopted inescapably by the composers and performance directors of church polyphony in England during the century or so before the Reformation were a number of constraints imposed by extraneous factors over which they had no control, but which effected a decisive influence over both the resulting form and the sound of the music which they produced in their respective capacities. Looming large among these was the nature of the performing medium. Over most aspects of this neither composer nor director exercised any influence at all; in terms of, for in

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Heminger, Anne. "MUSIC THEORY AT WORK: THE ETON CHOIRBOOK, RHYTHMIC PROPORTIONS AND MUSICAL NETWORKS IN SIXTEENTH-CENTURY ENGLAND." Early Music History 37 (October 2018): 141–82. http://dx.doi.org/10.1017/s0261127918000074.

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Whilst scholars often rely on a close reading of the score to understand English musical style at the turn of the fifteenth century, a study of the compositional techniques composers were taught provides complementary evidence of how and why specific stylistic traits came to dominate this repertory. This essay examines the relationship between practical and theoretical sources in late medieval England, demonstrating a link between the writings of two Oxford-educated musicians, John Tucke and John Dygon, and the polyphonic repertory of the Eton Choirbook (Eton College Library, MS 178), compiled

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Long, Megan Kaes. "What Do Signatures Signify?" Journal of Music Theory 64, no. 2 (2020): 147–201. http://dx.doi.org/10.1215/00222909-8550771.

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At the beginning of the seventeenth century English composers used only a handful of keys: they combined five keynotes (G, A, C, D, and F) with the three signatures documented in English solmization theory (♮,♭, and♭♭). By the end of the century English theorists described eighteen keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning of the century sign

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Herissone, Rebecca. "“Exactly engrav’d by Tho." Journal of Musicology 37, no. 3 (2020): 305–48. http://dx.doi.org/10.1525/jm.2020.37.3.305.

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Thomas Cross Jr. was the first music printer to capitalize on the growth of public musical performances in late seventeenth-century England by producing cheap, single-sheet editions of the newest and most popular songs, especially those from the latest theater productions, for audience members and others in fashionable society to buy. As England’s first specialist music engraver, he was able to produce his simple prints of individual songs unusually quickly and to sell them at a fraction of the price of the larger movable-type anthologies that remained the mainstay of established London music

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Herissone, Rebecca. "Playford, Purcell, and the Functions of Music Publishing in Restoration England." Journal of the American Musicological Society 63, no. 2 (2010): 243–90. http://dx.doi.org/10.1525/jams.2010.63.2.243.

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Abstract During Purcell's lifetime the music-publishing business in England flourished, thanks mainly to John Playford. Since intellectual property rights did not yet exist, Playford and his successors were able to select music they were confident of selling, predominantly producing multicomposer anthologies of popular tunes. Composers may have benefited little from these publications so it is significant that some took the financial risk of printing their music without an established publisher's support. Analysis suggests that musical self-publication was undertaken for several quite specific

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Struck, Michael. "Evidence from a fragmented musical history: Notes on Berthold Goldschmidt's Chamber Music." Tempo, no. 174 (September 1990): 2–10. http://dx.doi.org/10.1017/s0040298200019380.

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In Germany during the last few years interest has at last been growing in composers who were forced to go into exile (and were still able to do so) in the age of National Socialism. Thus attention has been focussed again in the land of his origin – though pretty belatedly – on the composer and conductor Berthold Goldschmidt, born in Hamburg in 1903. Goldschmidt had to reach a positively biblical age before he received serious consideration: in 1987, on the occasion of the Berlin Festival ‘Music in Exile’; in Duisburg, Hamburg, Essen, and – with heightened intensity – in the most northerly regi

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Clare, David. "Cosmopolitan versus Parochial Irishness in Bernard Shaw's Music Journalism (1877–1894)." Shaw 41, no. 2 (2021): 385–99. http://dx.doi.org/10.5325/shaw.41.2.0385.

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ABSTRACT From the very start of his career in England, Bernard Shaw positioned himself as an Irish commentator with an incisive, outsider's view of the English. Shaw's internationalist Socialism made him wary of excessive patriotism; and in his dramas he casts a cold eye on fervent patriotism. But Shaw was also known to routinely boast about his “wild and inextinguishable pride” in being “an Irishman” and to repeatedly praise Irish “brains.” This seeming contradiction regarding partiality to one's native land raises a very pertinent question: What mode of living was Shaw recommending to his fe

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Owens, Peter. "The Contemporary Composer in the Classroom." British Journal of Music Education 3, no. 3 (1986): 341–52. http://dx.doi.org/10.1017/s0265051700000826.

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This article is a revised version of a talk given by the author before an international symposium on music education in Hortos, Greece, in 1985. It considers the current state of modern music, suggesting that there have been some important changes in direction since the avant-garde styles of the 1950s and 1960s; and it reflects on some of the implications of these changes for secondary-school music teaching.Some proposals are made for factors likely to facilitate the success of contemporary music which children hear or perform. In the original talk these points were illustrated with recorded e

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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. https://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 Ramaza

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KRAMER, LAWRENCE. "Music and the Politics of Memory: Charles Ives's A Symphony: New England Holidays." Journal of the Society for American Music 2, no. 4 (2008): 459–75. http://dx.doi.org/10.1017/s1752196308080139.

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AbstractScholarship on Charles Ives has too often been reluctant to sort out what is problematical in his musical image of America. This article attempts to do so as part of an examination of Ives's A Symphony: New England Holidays, a cycle of tone poems depicting the major patriotic holidays celebrated during Ives's boyhood. The work is both a memorial to national unity, which Ives felt had collapsed in the twentieth century, and a protest against the political culture responsible. The musical means to these ends raise the question of the relationship between politics and musical form, and, w

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Svirskaya, Ekaterina V. "Thomas Tallis’ Magnificats: Features of the Genre." Contemporary Musicology, no. 4 (2022): 17–41. http://dx.doi.org/10.56620/2587-9731-2022-4-017-041.

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The article explores the specifics of the Magnificat produced by Thomas Tallis, one of the leading English 16th century composers. The development of the genre is a direct reflection of the religious history of 16thcentury England. It was a peculiar and unique period as catholic kings would replace protestant kings which inevitably led to the reformation of church rites. Tallis as a composer witnessed the reign of four monarchs, and the three Magnificats from his legacy appear to have been written for different forms of worship in pre-Reformed English Catholic and post-Reformed Anglican Church

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Vasic, Aleksandar. "The reception of west European music in Belgrade between world wars: On the examples of “Muzicki glasnik” and “Muzika” magazines." Muzikologija, no. 11 (2011): 203–18. http://dx.doi.org/10.2298/muz1111203v.

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The very first music magazines started in Belgrade between World Wars were ?Muzicki glasnik? (issued monthly from January to December 1922) and ?Muzika? (also issued monthly in the period January 1928 - March 1929). These magazines used to publish music essays, researches, debates, notes, news and other kind of articles. This paper brings an analysis of texts on West European music in these two journals. ?Muzicki glasnik? published only few articles on European music. Those were on bibliographical news concerning editions on musicology in England and on French music magazines. There was a repo

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Pike, Lionel. "The Ferial Version of Purcell's I Was Glad." Royal Musical Association Research Chronicle 35 (2002): 41–59. http://dx.doi.org/10.1080/14723808.2002.10540996.

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There are many sources for Purcell's I was glad: the anthem was clearly very popular, existing both in a ‘symphony anthem’ form with strings and also in various ‘verse anthem’ versions with organ accompaniment. It was common to make arrangements of Purcell's most attractive anthems so that they could be performed in places and at times when strings were not available. The geographical spread of the sources suggests that I was glad was in the repertoire of most of the main choral foundations in England. The only autographs of the piece are of the ‘symphony anthem’ version, although very early s

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Lindgren, Lowell. "Musicians and Librettists in the Correspondence of Gio. Giacomo Zamboni (Oxford, Bodleian Library, Mss Rawlinson Letters 116–138)." Royal Musical Association Research Chronicle 24 (1991): 1–194. http://dx.doi.org/10.1080/14723808.1991.10540945.

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Gio. Giacomo Zamboni, merchant, diplomat and amateur harpsichordist, was born in Florence on 26 July 1683, arrived in London late in 1711 and lived there until his death on 8 April 1753. His career closely parallels that of George Frideric Handel, composer, manager and harpsichordist, who was born in Hanover in 1685, arrived in London late in 1710 and lived there from late 1712 until his death in 1759. When these two men arrived in London, opera in Italian was a novelty at the Queen's Theatre in the Haymarket, which had just begun to employ Italian singers, instrumentalists, composers, librett

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GROVES, STEPHEN. "The Sound of the English Picturesque in the Age of the Landscape Garden." Eighteenth Century Music 9, no. 2 (2012): 185–212. http://dx.doi.org/10.1017/s1478570612000048.

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ABSTRACTIn eighteenth-century England, painting, poetry and gardening were often labelled the ‘sister arts’. An increasing interest in English landscape scenes and an emerging taste for ‘nature tourism’ gave rise to the ‘picturesque’ movement. Contemporary writers seldom considered English music as part of this ‘sisterhood’, however, or treated music as a medium for conveying national scenic beauty. When the picturesque was discussed in connection with music, eighteenth-century critics tended to use the concept to explain the tactics of novelty and surprise encountered in German instrumental m

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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Mu

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Adams, Aileen K., and B. Hofestädt. "Georg Händel (1622–97): The Barber-Surgeon Father of George Frideric Handel (1685–1759)." Journal of Medical Biography 13, no. 3 (2005): 142–49. http://dx.doi.org/10.1177/096777200501300308.

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George Frideric Handel was born in Halle (Saale) in Germany. After initial musical education in Germany and Italy, he came to London as a young man and spent the rest of his life in England. Until recently, little has been written of his early life in either the English or the German literature, and it is not widely known that he was the son of Georg Händel, a barber-surgeon of repute. When his father's name is mentioned, it is usually to claim that he actively discouraged his son's musical education. Georg Händel lived in a turbulent time; he became an eminent surgeon who served as valet and

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McLamore, Alyson. "‘By the Will and Order of Providence’: The Wesley Family Concerts, 1779–1787." Royal Musical Association Research Chronicle 37 (2004): 71–114. http://dx.doi.org/10.1080/14723808.2004.10541005.

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Musically, London has often stood in the shadow of its European cousins. In early studies of the Classical period, musicological attention was usually concentrated on the leading Viennese composers, with only passing reference to England in so far as it related to the careers of these masters. The situation began to change in the 1950s with Charles Cudworth's and Stanley Sadie's pioneering studies of eighteenth-century England, and in recent years several English towns and cities have been the focus of further research. Investigations into London's burgeoning eighteenth-century musical life ha

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Макаловская, Ирина Геннадьевна. "Public Concert in England as a Socio-Cultural Ritual and its Historic Forms." Научный вестник Московской консерватории, no. 3(46) (October 25, 2021): 142–57. http://dx.doi.org/10.26176/mosconsv.2021.46.3.006.

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Публичный музыкальный концерт по сути своей - социокультурный ритуал, в рамках которого взаимодействуют публика и музыканты. Часто формат концерта является и одним из маркеров деления музыки на «популярную» и «академическую», но это не всегда верно. Уже со времен появления первых публичных концертов в Англии организаторы привлекали слушателей, разнообразя формы исполнения, включая в программу совершенно разные произведения, как развлекательные, так и «серьезные», как известные, так и новые для публики, стремясь угодить различным вкусам, а также меняли формат концертов, ориентируясь на предпочт

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Meng, Juguang. "TRUMPET IN THE ORCHESTRAL SCORE OF "ODE ON ST. CECILIA`S DAY" (1692) BY HENRY PURCELL." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (2023): 46–55. http://dx.doi.org/10.36340/2071-6818-2023-19-6-46-55.

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The subject of this research is the trumpet parts in Henry Purcell’s "Ode on St. Cecilia`s Day" (1692). The author analyses the role of the trumpet in the context of the general content of the work and its poetic symbolism. In this regard, the issue of using special compositional techniques, in particular sound visualisation and musical rhetoric, is analysed. In addition, questions of trumpet tonality semantics are considered. A large amount of background information on the history of the music holiday origin is provided in the article; opinions of scientists who put forward hypotheses about t

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Panov, Alexey A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part I." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 381–92. http://dx.doi.org/10.21638/spbu15.2021.302.

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The article deals with the problems of interpreting English ornaments (embellishments, graces) of the second half of the 17th century in the process of their evolution. The authors consistently analyze the recommendations of the early English musicians Edward Bevin, Christopher Simpson, Matthew Locke, John Playford, and Henry Purcell. Emphasis in this study is allotted to the first ever published in England full table of ornaments with their execution written by Christopher Simpson in his The Division-Violist (London, 1659). Detailed consideration here is given to the ornament named “Shaked Be

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Macdonald, Hugh. "The prose libretto." Cambridge Opera Journal 1, no. 2 (1989): 155–66. http://dx.doi.org/10.1017/s0954586700002949.

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Before returning to Paris in 1874 after his eventful four-year stay in England, Gounod embarked on a comic opera based on Molière's George Dandin. Recuperating in St Leonard's-on-Sea from a ‘cerebral attack’ he wrote a lengthy Preface, dated 10–11 April 1874, from which the following is drawn:The infinite variety of stress, in prose, offers the musician quite new horizons which will save him from monotony and uniformity. Independence and freedom of pace will then come to terms with observance of the higher laws that govern periodic pulse and the thousand nuances of prosody. Every syllable will

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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 (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-Sa&#235;ns’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-Sa&#235;ns 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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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 (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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Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)." British Journal of Music Education 37, no. 1 (2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.

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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on ca

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Golianek, Ryszard. "Politics, music and cosmopolitism: the operatic output of Joseph Poniatowski (1816–1873) in its social and political contexts." Studia Musicologica 52, no. 1-4 (2011): 157–64. http://dx.doi.org/10.1556/smus.52.2011.1-4.11.

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Joseph (Giuseppe or Józef) Poniatowski (1816–1873), Polish prince, singer, opera composer and politician, spent all his life abroad: firstly in Italy, then in France and, finally, in England. His artistic output comprises twelve operas composed between 1839 and 1872; nine of them to Italian and three to French texts. Being an amateur composer, he notwithstanding succeeded in staging his operas in many operatic theatres of renown, including La Scala, Covent Garden, Teatro San Carlo, Teatro La Fenice and the Paris Opéra. The paper presents the composer’s output in the social and political contex

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Cherniavska, M. S. "Clara Wieck Schumann in the European scientific discourse." Aspects of Historical Musicology 17, no. 17 (2019): 213–31. http://dx.doi.org/10.34064/khnum2-17.14.

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Background. The article is devoted to studying of versatile aspects of life and work of the outstanding German pianist and composer Clara Josephine Wieck Schumann (1819–1896) on little-known in domestic musicology materials of the European scientific literature. The review of scientific sources also includes the rare works given personally to the author by the relative of Clara Schumann, Frau Hannelore &#214;sterschritt, which is the great-granddaughter of her step-brother on the mother’s side, W. Bargiel. The above large array of systematized chronological and literary sources gives an id

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Akatrini, V. "“VIENNESE” CREATIVE PERIOD IN THE EUSEBIUS MANDYCZEWSKI’S BIOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 116–29. http://dx.doi.org/10.33989/2226-4051.2022.26.273126.

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The article presents the genesis of the Mandyczewski family based on extensive source material; the factors of Eusebius Mandyczewski’s formation as a musician, conductor, and composer are characterized. Attention is focused on the significant influence on his professional development of the well-known church history teacher of Chernivtsi University Eusebius Popovych, music teacher Sydor Vorobkevych, and violin teacher Adalbert Hrimaly. The features of the talent of the future musician in his youth are revealed (he created 82 compositions between the ages of 14 and 17). Emphasis is placed on a

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Parapar, Cristina. "Black Music and Desublimation: Contravening Expectations in Marcusean Aesthetics." Artefilosofia 19, no. 35 (2024): 1. http://dx.doi.org/10.69640/raf.v19i35.7264.

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In 1968, Herbert Marcuse spoke to a packed audience of students at the New England Conservatory. The author of "One-Dimensional Man" urged young composers and performers to fight against the sublimating, harmonizing, and consoling forms of tradition. In other words, he encouraged them to create music that responded to the needs of the historical moment they were living in. Marcuse realized that both serious and popular music could not divorce themselves from their political dimension, and thus, they could contribute to the task of emancipation. In this speech, the philosopher declared that the

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Williamson, Magnus. "Liturgical Polyphony in the Pre-Reformation English Parish Church: A Provisional List and Commentary." Royal Musical Association Research Chronicle 38 (2005): 1–43. http://dx.doi.org/10.1080/14723808.2005.10541008.

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The great majority of late-medieval lay people encountered the Universal Church most directly, and in some cases exclusively, through their local parish church. The parish has therefore been at the heart of research into lay piety, as witnessed in a range of detailed studies of pre-Reformation beliefs, rituals, rites of passage, clergy, episcopal oversight, parochial administration and social organization. Until recently, however, the ‘soundscape’ of the pre-Reformation parish has received less exhaustive attention, perhaps because the parish has been seen as peripheral or subordinate to the m

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DAVISON, ALAN. "THE FACE OF A MUSICAL GENIUS: THOMAS HARDY'S PORTRAIT OF JOSEPH HAYDN." Eighteenth Century Music 6, no. 2 (2009): 209–27. http://dx.doi.org/10.1017/s1478570609990054.

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ABSTRACTHaydn's first visit to England in 1791 was accompanied by a publicity war waged between his supporters and detractors. The composer's friends were keen to present him as a musical genius while at the same time defending him against what they saw as reactionary criticisms over rules and taste. One such defence was in the form of a portrait by Thomas Hardy, probably the most famous image of the composer. While readily considered today as a matter-of-fact representation of an urbane Georgian gentleman, the portrait is in fact a sophisticated response to contemporary arguments surrounding

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Lapsley, James N. "Charles Ives and the Reformed Tradition." Theology Today 64, no. 3 (2007): 305–21. http://dx.doi.org/10.1177/004057360706400303.

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The American composer Charles Ives (1874–1954) was rooted in New England Congregationalism, the Puritan wing of the Reformed tradition. Although he is often seen as an innovative composer identified with New England transcendentalism, he never abandoned his Reformed evangelical faith but rather expressed it in some of his greatest music, particularly the Third and Fourth Symphonies.

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Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8138.

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The meaning of music at a large farm during the inter-war periodThis article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s

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Beckwith, John. "Ernest MacMillan and England." Canadian University Music Review 19, no. 1 (2013): 34–49. http://dx.doi.org/10.7202/1014604ar.

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The Canadian composer-conductor Ernest MacMillan wrote England, an Ode, for chorus and orchestra, in a German prison camp in World War I, and was awarded a D.Mus. by Oxford University for it, in absentia. The score is examined alongside background documents, including MacMillan's unpublished memoirs, for its ambitious musical features, its conformity to the degree specifications, and the influences it suggests (MacMillan studied works by Debussy and Skryabin while incarcerated, and received advice from a fellow-prisoner, the composer Benjamin Dale). The choice of text, a decidedly imperialisti

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Сысолятин, Б. В. "MUSICAL FOLKLORE OF GREAT BRITAIN IN PERCY GRAINGER’S OEUVRE." Music Journal of Northern Europe, no. 2(22) (May 8, 2024): 33–51. http://dx.doi.org/10.61908/2413-0486.2020.22.2.33-51.

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В XX веке мир искусства искал новые способы выразительности. Академические каноны больше не работали, и поэтому многие художники, музыканты и писатели обратили свой взгляд на то, что ранее считалось экзотикой или низкой традицией, которую ещё надо облагородить. Австралийский композитор и выдающийся пианист Перси Грейнджер (1882–1961) был одним из таких новых творцов. Согласно собственной творческой философии он принялся искать новый музыкальный язык в природе и в «примитивном искусстве» – в фольклоре. Свои поиски он начал с фольклора Британских остров. Вместе с английскими композиторами, в нач

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Tomson, Earl. "GERARD SCHURMANN IN INTERVIEW." Tempo 59, no. 231 (2005): 17–28. http://dx.doi.org/10.1017/s0040298205000033.

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Gerard Schurmann was born of Dutch parents in the former Dutch East Indies in 1924, but spent more than 40 years, including the most formative period of his musical life, in England before moving to the US in 1981. Even during his years in the Netherlands as orchestral conductor with the Dutch Radio in his early twenties, he maintained an apartment in London, sometimes commuting to his place of work in Hilversum. His experience was similar to Bernard van Dieren, another Dutch-born composer who lived in England, although not for as many years as Schurmann: Holland has made no particular move to

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Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8136.

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The meaning of music at a large farm during the inter-war period This article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s

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Leoni, Aldo Luiz, Fernando Tavares, and Diósnio Machado Neto. "From other lands and languages to wake you up: Taiguara, music as a battlefield." Contrapulso - Revista latinoamericana de estudios en música popular 6, no. 1 (2024): 40–55. http://dx.doi.org/10.53689/cp.v6i1.240.

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This work addresses the surveillance of ideologies and customs by the State apparatus during the Military Dictatorship in Brazil, especially concerning music. The case of Taiguara stands out, as a composer who, by repeatedly trying to personally defend his songs, ended up gaining a reputation of nonconformity in the face of censorship. This eventually worsened as the military regime began to restrict not only songs about customs, but also about content considered subversive. Thus, there is a nexus of causality between the musician’s career, and in parallel, the escalation of repression beginni

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