Thematische Bibliographien / 20th century music

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „20th century music“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "20th century music"

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Marks, Anthony. „20th Century“. Musical Times 127, Nr. 1718 (Mai 1986): 281. http://dx.doi.org/10.2307/965468.

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Marks, Anthony, und Paul Griffiths. „20th Century“. Musical Times 128, Nr. 1732 (Juni 1987): 332. http://dx.doi.org/10.2307/1193737.

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Marks, Anthony. „20th Century“. Musical Times 128, Nr. 1732 (Juni 1987): 337. http://dx.doi.org/10.2307/1193747.

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Criswick, Mary. „20th-Century Guitar“. Musical Times 127, Nr. 1726 (Dezember 1986): 695. http://dx.doi.org/10.2307/964679.

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Criswick, Mary. „20th-Century Guitar“. Musical Times 128, Nr. 1734 (August 1987): 442. http://dx.doi.org/10.2307/965019.

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O'Loughlin, Niall. „20th Century Wind“. Musical Times 131, Nr. 1766 (April 1990): 206. http://dx.doi.org/10.2307/966272.

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Banfield, Stephen. „20th-Century British“. Musical Times 126, Nr. 1704 (Februar 1985): 99. http://dx.doi.org/10.2307/963479.

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Craig, Dale A. „Trans–Cultural Composition in the 20th Century“. Tempo, Nr. 156 (März 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.

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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement without cross-cultural referrents).
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Roseberry, Eric, und Robert P. Morgan. „Anthology of 20th-Century Music“. Musical Times 133, Nr. 1797 (November 1992): 581. http://dx.doi.org/10.2307/1002593.

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Von Blumröder, Christoph. „Ende der Neuen Musik“. Die Musikforschung 72, Nr. 3 (22.09.2021): 201–13. http://dx.doi.org/10.52412/mf.2019.h3.44.

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The term "Neue Musik" was coined for a special concept of fundamental musical innovation within Austro-German music theory of the early 20th century, and it found no terminological equivalent beyond the German language. Established by Paul Bekker with his lecture “Neue Musik” in 1919, composers such as Stockhausen or Ligeti embraced the term with its emphatic claim to innovation and new departures. However, one hundred years on the term "Neue Musik" is often used mainly as a synonym for any type of contemporary music. This article questions whether the term "Neue Musik" is still an appropriate framework for a current theory of musical composition. Not only have the specific musical circumstances changed within the course of the 20th century, but also the political and social conditions have altered drastically after two world wars which had given special impulses to those composers who strove for a new foundation of music after 1918 and 1945 respectively. This article argues that the age of "Neue Musik" has come to an end in the late 20th century, and thus it is now necessary to introduce alternative terminological concepts and methodical directions for music historiography.
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Dissertationen zum Thema "20th century music"

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Bagley, Paul Michael. „Mysticism in 20th and 21st century violin music“. Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.

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“Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20th and 21st centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a cameo by the Jewish composer David Finko—and how their engagement with the concept of mysticism and the mystical experience can be seen in a selection of their works featuring the violin: Bloch's Baal Shem suite and Poème mystique; Finko's Lamentations of Jeremiah, Zorn's Kol Nidre, Goetia, All Hallow's Eve, and Amour fou; Gubaidulina's In tempus praesens; and Messiaen's Quartet for the End of Time. These works exemplify the mysticism shared by these composers, despite their different religious and cultural backgrounds, particularly their belief in the transcendental nature of music. This belief is expressed in their works through programmatic, melodic, harmonic, rhythmic, and formal elements, all of which display, to a greater or lesser degree, the influence of mystical philosophy and symbolism.

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Tsurtsumia, Rusudan. „The Value Orientation of 20th-Century Georgian Music“. Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72008.

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Ohki, Hitomi. „American Poet Emily Dickinson Set to Music by 20th Century Composers“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song.  The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”.  Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson.  The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

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Bernier, Kiyono Monique. „Disparate measures: Two 20th century treatments of the Paganini theme“. Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284086.

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This study investigates the significance of the Paganini theme and variation sets composed by two living composers, Neils Viggo Bentzon and Robert Muczynski. The popularity of the theme and variation form gradually spread to the keyboard repertoire first as entertainment for both courtly and bourgeois audiences, and later as a means of technical display for performing piano virtuosi. Paganini's twenty-fourth Caprice from Op.1 for solo violin is the basis for sets of variations for solo piano by three major pianist-composers: Liszt, Brahms, and Busoni. Bentzon and Muczynski follow in this tradition, constructing their variations on the Paganini theme as a showcase of their individual compositional language and skill. The body of the document will be a discussion of their contrasting treatments of the immortal theme as demonstrated through their choices of melody, sonority, texture, rhythm, register, and form. Bentzon's and Muczynski's theme and variation sets constitute compositional achievements in piano literature that deserve a place alongside previous outstanding models that are an important part of the standard repertory.
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Kane, Mike. „A consideration of modes of dissonance in 20th-century music“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59180.pdf.

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Ouyang, Yiwen. „Westernisation, ideology and national identity in 20th-century Chinese music“. Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/8f19c444-ee12-c022-d86c-879118683355/7/.

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The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China's early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on.
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Milin, Melita. „The National Idea in Serbian Music of the 20th Century“. Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21226.

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If there was but one important issue to be highlighted concerning Serbian music of the 20th century, it would certainly be the question of musical nationalism. As in all other countries belonging to the so-called European periphery, composers in Serbia faced the problem of asserting both their belonging to the European musical community and specific differences. The former had to be displayed by their musical craftmanship and creative individuality, while the latter were conveyed through the introduction of native folk elements as tokens of a specific identity.
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Hocking, Rachel School of Music &amp Music Education UNSW. „Crafting connections: original music for the dance in Australia, 1960-2000“. Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.

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This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.
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Leung, Tai-wai David. „Memory, aesthetics and musical quotation four case studies in 20th century music /“. Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/HKUTO/record/B39733919.

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Leung, Tai-wai David, und 梁大偉. „Memory, aesthetics and musical quotation: four case studies in 20th century music“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39733919.

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Bücher zum Thema "20th century music"

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Hao, Huang, Hrsg. Music in the 20th century. Armonk, NY: M.E. Sharp, 1999.

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

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

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

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

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

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

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

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

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Illegal harmonies: Music in the 20th century. Sydney: Hale & Iremonger, 1997.

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Buchteile zum Thema "20th century music"

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

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

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

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

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

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

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O’Flynn, John. „Irish composers and 20th-century film and TV“. In Music, the Moving Image and Ireland, 1897–2017, 135–60. London: Routledge, 2021. http://dx.doi.org/10.4324/9780203710395-9.

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Seeger, Anthony. „Music of Struggle and Protest in the 20th Century“. In Springer Handbook of Systematic Musicology, 1029–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_53.

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Wilson, Andrew. „Improvisation and Authenticity in Early 20th Century Western Music“. In The Routledge Handbook of Philosophy and Improvisation in the Arts, 355–73. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-29.

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

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Konferenzberichte zum Thema "20th century music"

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White, Christopher Wm, Jeffrey Fulmer, Brian Cordova, Alexandria Black, Chloe Danitz, William Evans, Aidan Fischer et al. „A new corpus of texture, timbre, and change in 20th-century American popular music“. In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0015.

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

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

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

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Shkolina, Marina Sergeevna. „Ornamenting of Music Texture in Russian Piano Pieces in 19th – Early 20th Century“. In All-Russian Scientific Conference with International Participation, chair Zivar Makhmudovna Guseinova. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99579.

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

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

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

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

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Miyazaki, Shintaro. „Musik für Maschinen?! – Wo sich die Wissenschaft der Medien, des Computers und der Musik treffen und wie sie zusammenarbeiten könnten“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.105.

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Musicology and computer science do not only come together in areas such as the use, analysis and performance of digitized data, but also meet in unexpected places such as in context of critical media studies and inquiries about the material and aesthetic conditions of digitality. Such „exploratory interactions“ with computers and their aesthetics might resonate well with musicology. This mini-contribution firstly presents a historical situation in which for a short period in the 20th century the machinic music of digitality became audible. It then formulates, just as briefly and sketchily, the socio-critical potential of music-oriented approaches, especially rhythm analysis, still to be tested, when it comes to grasp and understand digitality in as many facets as possible (socio-technological, aesthetic, historical and epistemic). Thereby, a fourth partner might be of importance: pedagogy.
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Berichte der Organisationen zum Thema "20th century music"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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