Thematische Bibliographien / Humanities -> music -> classical

Auswahl der wissenschaftlichen Literatur zum Thema „Humanities -> music -> classical“

Autor: Grafiati
Veröffentlicht am 27. Juli 2024
Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Humanities -> music -> classical"

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Bull, Anna, und Christina Scharff. „Classical music as genre: Hierarchies of value within freelance classical musicians’ discourses“. European Journal of Cultural Studies 24, Nr. 3 (28.04.2021): 673–89. http://dx.doi.org/10.1177/13675494211006094.

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In music studies, genre theory has primarily been used to study popular music rather than classical music. This article demonstrates how genre theory can be applied to studying classical music production in order to understand how its value is negotiated and reproduced. Drawing on data from interviews with early-career female classical musicians in London, it explores discourses of classical music as a genre in order to understand how genre shapes working lives. We identify three themes within the data: first, genre hierarchies contribute to the (re-)production of divisions of labour, in ways that reaffirm gendered hierarchies. Second, many research participants actively portrayed themselves as being interested in different musical genres, both as listeners and as performers, but identified other classical musicians as having pejorative attitudes towards non-classical genres or practices such as playing in a band. Third, genre hierarchies were (re-)produced in institutional settings, in musicians’ working practices and in social interactions. Overall, analysing classical music as a genre through examining the perspectives of freelance musicians shows that subgenres within classical music, as well as classical music itself, are understood relationally to other genres in a hierarchy of value that reaffirms existing inequalities in the cultural labour market.
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Dobrota, Snježana, und Ina Reić Ercegovac. „Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia“. British Journal of Music Education 34, Nr. 1 (25.10.2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.

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The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relationship between music preferences and secondary school music education was not found, but those participants who attended music school preferred some music styles more than did those participants who did not attend music school. There was a significant correlation found between the frequency of attending classical music concerts and preferences for classical music, jazz and world music. Finally, the results indicated that people who frequently attend musical theatre productions have significantly higher preferences for jazz and world music. The authors pointed to the problem of unattractiveness of music lessons in secondary schools and suggest possible solutions to the problem.
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G., E., und Bonnie C. Wade. „Music in India: The Classical Traditions“. Journal of the American Oriental Society 110, Nr. 1 (Januar 1990): 178. http://dx.doi.org/10.2307/604000.

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López de Aguileta, Ane, Marifa Salceda, Sandra Girbés-Peco, Juan Carlos Peña-Axt und Marta Soler-Gallart. „Democratizing Taste on Classical Music for All“. Qualitative Research in Education 12, Nr. 3 (28.10.2023): 236–51. http://dx.doi.org/10.17583/qre.13395.

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The right of every citizen to access cultural heritage, such as classical music, has been widely pointed out by international organizations. However, there are certain barriers that impede members of vulnerable groups from enjoying the benefits of this type of music, namely cultural elitism. Some authors have stated that the taste for classical music depends on the social class. Nevertheless, our research has found evidence that demonstrates that it is not so in nine different contexts. We present here results of Dialogic Music Gatherings (DMG), that demonstrate that everyone can enjoy classical music. Thus, the purpose of this article is to analyze the impact the DMG have had on widening participants’ access to classical music and increasing the taste towards this music from very diverse age and socioeconomic groups. To that end, a survey study was conducted among nine education centers from elementary to adult education. Data has been analyzed through the Communicative Methodology by defining the transformative and exclusionary elements in relation to the access and taste towards the classical music. Results suggest these participants have accessed classical music and increased the taste towards this music after participating in the DMGs, regardless of their social and cultural background.
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Li, Ang. „Historical Evolution of the Popularization of Classical Music and the Development of the Fusion of Multiple Musical Styles“. Herança 7, Nr. 1 (21.12.2023): 113–25. http://dx.doi.org/10.52152/heranca.v7i1.810.

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The historical evolution of classical music and its fusion with different musical genres is an important phenomenon in the field of music. The aim of this thesis is to explore the historical evolution of the popularization of classical music and its fusion with a variety of musical genres. First, we define the characteristics of classical and popular music. Then, we examine the development of classical music in the history of popular music, including its relationship to blues, jazz, and American country music. Next, we summarize the history of the fusion of classical and popular music and analyze contemporary examples. Finally, we discuss the impact and future trends of the popularization of classical music. By examining this topic, we can better understand trends in musical preferences and the role of classical music in music culture.
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Vernia Carrasco, Ana Mercedes. „INTERVIEW ROIT FELDENKREIS“. ARTSEDUCA 29, Nr. 29 (12.05.2021): 107–10. http://dx.doi.org/10.6035/artseduca.2021.29.8.

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Roit Feldenkreis started in the arena of classical music in the “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists.
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Casali, Giovanna. „Ancient tragedy, yet modern music: musical compositions in the classical performances (1921–39)“. Classical Receptions Journal 16, Nr. 1 (01.01.2024): 73–90. http://dx.doi.org/10.1093/crj/clad027.

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Abstract This contribution aims to analyse the role of music in the revival of Greek theatre that characterized twentieth-century Italy. In particular, it explores and compares the music composed for INDA productions between 1921 and 1939. From the beginning of the festival, music occupied a crucial role, thanks to Ettore Romagnoli’s emphasis on the musical component in reviving ancient Greek drama. The years from 1921 to 1927 were characterized by the collaboration between Romagnoli and Giuseppe Mulè, who attempted to revive ancient Greek music according to modern criteria. By 1930, the festival, run by an entirely Fascist committee, had taken on a nationalistic character, and music was integral to this. Indeed, during these years (1930–39), music acquired a pivotal role in emphasizing the heroic instances of ancient drama that had become functional to the Regime’s policy. Moreover, it was considered indispensable for this increasingly mass-oriented type of performance.
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Shylnikova, Iryna. „Classical Crossover and Its Russian and Ukrainian Interpretations“. Pamiętnik Teatralny 72, Nr. 2 (09.06.2023): 115–29. http://dx.doi.org/10.36744/pt.1287.

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This article aims to explore the phenomenon of “classical crossover,” a contemporary music trend that blends “high” and “low” elements. In addition to analyzing the genre’s main features and cultural preconditions for its emergence, the article will examine its historical origins and development. The second part of the article focuses on examples of classical crossover in Russian and Ukrainian music, with an analysis of several artists who have ventured into this new type of production, including the Terem Quartet, Anna Netrebko, Olga Chubareva, and Arina Domski. By applying historical and cultural methodology, the article suggests that classical crossover has a broad audience in Russia and Ukraine, allowing musicians to introduce elite classical music to the masses. Although some may view the genre as a dilution of classical music’s distinctive qualities in order to cater to popular tastes, it also provides musicians with the opportunity to create original pieces that merge tradition with innovation. Considering all of the above, the author of this article aims to explore the cultural significance and impact of classical crossover in the music industry.
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Salamone, Frank A. „Jazz and Its Impact on European Classical Music“. Journal of Popular Culture 38, Nr. 4 (Mai 2005): 732–43. http://dx.doi.org/10.1111/j.0022-3840.2005.00138.x.

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Barratt-Peacock, Ruth. „Aspirational cosmopolitanism in classical music anime: Adapting Romantic legacies in Forest of Piano“. East Asian Journal of Popular Culture 8, Nr. 1 (01.04.2022): 9–26. http://dx.doi.org/10.1386/eapc_00060_1.

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This article argues that anime about musicians specializing in western classical music offers a vehicle for questioning normative narratives that tend to exclude East Asian musicians from classical music culture beyond tertiary education. This article explores how the series Forest of Piano, the 2018 anime adaptation of Makoto Isshiki’s manga, utilizes competing Romantic models of genius to negotiate the protagonists’ positions as East Asian musicians on the global stage. In the series, the idea that the spirit of a piece is bound to the composer’s relationship to a specific place competes with the idea of a Romantic genius that channels the transcendent universal music of the world-soul from Nature.
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Dissertationen zum Thema "Humanities -> music -> classical"

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Heimisson, Gudmundur Torfi. „The importance of program-delivered differential reinforcement in the development of classical music auditory discrimination“. [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000440.

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Jones, Natalie. „Lost in Translation : To what extent can sign language be used to translate the meaning of the text for hearing audiences in classical vocal music?“ Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3625.

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The purpose of this project is to examine the extent to which sign language can be used as a means of communicating the text for hearing audiences attending classical vocal recitals. The project discusses historical practices for providing text translation of classical repertoire sung in foreign languages and gives an account of the increasing popularity of sign language interpretation for hearing audiences within the contemporary, commercial music industry. A trial performance is undertaken in order to examine the effectiveness of the idea in the context of classical vocal music. Feedback is gathered from the audience and singer’s perspective during performance and through observations made by studying the video documenting the performance.

The sounding part of the work consists of the following recording: NJones100619. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording may be supplemented. 

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Darcey, Stephanie J. „An immersive study of the artistry of Gilbert Biberian —guitarist, composer, and pedagogue— and creative responses from a musical apprenticeship“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2764.

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This project examines the music of Istanbul-born British classical guitarist and composer Gilbert Biberian (1944-2023) and the potential of this music to stimulate original composition using an intuitive approach. Biberian is recognized as one of the most original and creative guitar composers from the second half of the twentieth century. His musical language embraces and integrates traditional tonality, jazz, post-tonal idioms, and the music of the Middle East. There are three strands to this project: an overview of Biberian’s life, philosophy, and music; a musical apprenticeship with Biberian on technique and musicianship; and also on my compositions. There will be three outcomes: an introduction to the guitar music of Biberian; a performance of selected works by Biberian; and scores and recordings of my original compositions inspired by an immersive study of Biberian’s music and enriched by his guidance
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Holgersson, Per-Henrik. „Musikalisk kunskapsutveckling i högre musikutbildning : en kulturpsykologisk studie av musikerstudenters förhållningssätt i enskild instrumentalundervisning“. Doctoral thesis, Stockholms universitet, Kungl. Musikhögskolan i Stockholm, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-54709.

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The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward.
Genom projektet, Instrumenatlisters musikaliska kunskapsutveckling. Finansierat av Vetenskapsrådet
Genom projektet, Vem äger lärandet? Finansierat av Myndigheten för nätverk och samarbete inom högre utbildning
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Adam, Karen. „“The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963)“. VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2692.

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This thesis explores the changing reputation and legacy of John Powell (1882-1963). Powell was a Virginian-born pianist, composer, and ardent Anglo-Saxon supremacist who created musical propaganda to support racial purity and to define the United States as an exclusively Anglo-Saxon nation. Although he once enjoyed international fame, he has largely disappeared from the public consciousness today. In contrast, the legacies of many of Powell’s musical contemporaries, such as Charles Ives and George Gershwin, have remained vigorous. By examining the ways in which the public has perceived and portrayed Powell both during and after his lifetime, this thesis links Powell’s obscurity to a deliberate, public rejection of his Anglo-Saxon supremacist definition of the United States.
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Cheng, Su-Chuan, und 鄭夙娟. „The influence and practice of music curriculum towards Arts and Humanities by Crossover Classical Music“. Thesis, 2006. http://ndltd.ncl.edu.tw/handle/98620813989258416449.

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碩士
東吳大學
音樂學系
94
The purpose of this thesis is to understand the influence and practice of music curriculum towards Art and Humanities by Crossover Classical Music. Nowadays, the characters of culture have been influenced by post-modernism and globalization. Under the enforcement of Internet and media, the line between classical and popular culture has been ambiguous. Collage, montage and citation are the culture characters of this generation. Crossover Classical Music has both the classical and the popular dimensions. It's different from the rigorous presentation of solely classical music. This easy approached style of Crossover Classical Music has made it a highly regarded music tendency of recent years.   Music education in Taiwan has also been influenced by this culture tendency. Now music education emphasizes in inspiring learning from life. It helps students to combine life experience with teaching content of school education. Learning comes from life and infuses into life. The popular dimension of Crossover Classical Music combines with children’s life experience and inspires their learning interests. The classical dimension can be applied in the instruction of classical music curriculum. It can lead students to the sphere of classic music and become an instrument for teachers. Music teachers can try to implement Crossover Classical music to their teaching content while they are presenting lyric, appreciating music, creating and playing music. They can use this Crossover way to make their curriculum more active and energetic. Students will also have more learning interests. Teachers can introduce classical music to their students easier in order to reach the goal of improving students’ music ability. This music style of teaching will create a win-win situation for both teachers and students. That is what our goal as a music teacher.
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Bücher zum Thema "Humanities -> music -> classical"

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Reception and the classics (2007 : Yale University), Hrsg. Reception and the classics. Cambridge: Cambridge University Press, 2011.

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Complete String Quartets. Dover Publications, 2013.

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Charles Horton; David A. Byrne; Lawrence Ritchey. Harmony Through Melody. Rowman & Littlefield Publishing Group, 2020.

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Kramer, Lawrence. Why Classical Music Still Matters (Simpson Book in the Humanities). University of California Press, 2007.

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Chaudhuri, Pramit, William Brockliss, Ayelet Haimson Lushkov und Katherine Wasdin. Reception and the Classics: An Interdisciplinary Approach to the Classical Tradition. Cambridge University Press, 2012.

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Chaudhuri, Pramit, William Brockliss, Ayelet Haimson Lushkov und Katherine Wasdin. Reception and the Classics: An Interdisciplinary Approach to the Classical Tradition. Cambridge University Press, 2016.

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Chaudhuri, Pramit, William Brockliss, Ayelet Haimson Lushkov und Katherine Wasdin. Reception and the Classics: An Interdisciplinary Approach to the Classical Tradition. Cambridge University Press, 2011.

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Chaudhuri, Pramit, William Brockliss, Ayelet Haimson Lushkov und Katherine Wasdin. Reception and the Classics: An Interdisciplinary Approach to the Classical Tradition. Cambridge University Press, 2011.

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Aldo Parisot, the Cellist: The Importance of the Circle. Pendragon Press, 2018.

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Aldo Parisot, the Cellist: The Importance of the Circle. Pendragon Pr, 2018.

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Buchteile zum Thema "Humanities -> music -> classical"

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Huang, PeiWen. „Impact of Classical Piano Music on Student Test Anxiety“. In Advances in Social Science, Education and Humanities Research, 1887–95. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-126-5_216.

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Zhang, Sumeng. „Effect of Classical Background Music on Attention Level in Adolescents“. In Advances in Social Science, Education and Humanities Research, 898–905. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-062-6_117.

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Wahyuningtyas, Dinar, Laily Mualifah und Abdul Aziz. „Effectiveness of Classical Music Therapy to Reducing Auditory Hallucinations in Schizophrenic Patients“. In Proceedings of the 3rd Borobudur International Symposium on Humanities and Social Science 2021 (BIS-HSS 2021), 508–12. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-49-7_84.

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Lisena, Pasquale, und Raphäel Troncy. „Representing Complex Knowledge for Exploration and Recommendation: The Case of Classical Music Information“. In Applications and Practices in Ontology Design, Extraction, and Reasoning. IOS Press, 2020. http://dx.doi.org/10.3233/ssw200038.

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In Digital Humanities, one of the main challenge consists in capturing the structure of complex information in data models and ontologies, in particular when connections between terms are not trivial. This is typically the case for librarian music data. In this chapter, we provide some good practices for representing complex knowledge using the DOREMUS ontology as an exemplary case. We also show various applications of a Knowledge Graph leveraging on the ontology, ranging from an exploratory search engine, a recommender system and a conversational agent enabling to answer classical music questions.
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Kildea, Paul. „On Receiving the First Aspen Award (1964)“. In Britten on Music, 255–63. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0076.

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Abstract Ladies and Gentlemen, when last May your Chairman and your President told me they wished to travel the 5000 miles from Aspen to Aldeburgh to have a talk with me, they hinted that it had something to do with and Aspen Award for Services to the Humanities-an award of very considerable importance and size.1 I imagined that they felt I might advise them on a suitable recipient, and I began to consider what I should say. Who would be suitable for such an honour? What kind of person? Doctor? Priest? A social worker? A politician? Well, ... ! An artist? Yes, possibly (that, I imagined, could be the reason that Mr. Anderson and Professor Eurich thought I might be the person to help them). So I ran through the names of the great figures working in the Arts among us today. It was a fascinating problem; rather like one’s school-time game of ideal cricket elevens, or slightly more recently, ideal casts for operas-but I certainly won’t tell which of our great poets, painters, or composers came to the top of my list.Mr. Anderson and Professor Eurich paid their visit to my home in Aldeburgh. It was a charming and courteous visit, but it was also a knock-out. It had not occurred to me, frankly, that it was I who was to be the recipient of this magnificent award, and I was stunned. I am afraid my friends must have felt I was a tongue-tied host. But I simply could not imagine why I had been chosen for this very great honour. I read again the simple and moving citation.2 The key-word seemed to be ‘humanities’. I went to the dictionary to look up its meaning, I found Humanity: ‘the quality of being human’ (well, that applied to me all right). But I found that the plural had a special meaning: ‘Learning or literature concerned with human culture, as grammar, rhetoric, poetry and especially the ancient Latin and Greek Classics’. (Here I really had no claims since I cannot properly spell even in my own language, and when I set Latin I have terrible trouble over the quantities-besides you can all hear how far removed I am from rhetoric.)
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Konferenzberichte zum Thema "Humanities -> music -> classical"

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Lin, Ying. „Emotional Evoked Analysis of Classical Music“. In 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ssehr-17.2018.66.

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Chen, Quei-lih. „Pandemic Forces Digital Forum For Classical Music Education“. In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.075.

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