Relevant bibliographies by topics / Art and Music in Britain

Academic literature on the topic 'Art and Music in Britain'

Author: Grafiati
Published: 26 July 2024
Last updated: 27 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Art and Music in Britain.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Art and Music in Britain"

1

Guthrie, Kate. "Democratizing Art: Music Education in Postwar Britain." Musical Quarterly 97, no. 4 (December 2014): 575–615. http://dx.doi.org/10.1093/musqtl/gdv001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Barry, Malcolm. "Improvisation: the State of the Art." British Journal of Music Education 2, no. 2 (July 1985): 171–75. http://dx.doi.org/10.1017/s0265051700004782.

Full text
Abstract:
The writer examines the development of improvisation in Britain and especially jazz. The administrative and political implications of improvised music are explored and problems are identified to do with the freedom and excitement of such music and the dangers of education in improvisation.
APA, Harvard, Vancouver, ISO, and other styles
3

McGeary, T. "Handel as art collector: art, connoisseurship and taste in Hanoverian Britain." Early Music 37, no. 4 (November 1, 2009): 533–76. http://dx.doi.org/10.1093/em/cap107.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Guthrie, Kate. "Propaganda Music in Second World War Britain: John Ireland's Epic March." Journal of the Royal Musical Association 139, no. 1 (2014): 137–75. http://dx.doi.org/10.1080/02690403.2014.886430.

Full text
Abstract:
ABSTRACTWhile biographical studies of British composers' experiences in the Second World War abound, little attention has been paid to how the demands of ‘total’ war impacted on music's ideological status. This article sheds new light on how composers and critics negotiated the problematic relationship between art music and politics in this period. John Ireland's Epic March – a BBC commission that caused the composer considerable anxiety – provides a case study. Drawing first on the correspondence charting the lengthy genesis of the work, and then on the work's critical reception, I consider how Ireland and his audiences sought to reconcile the conflicting political and aesthetic demands of this commission. With its conventional musical style, Epic March offers an example of a ‘middlebrow’ attempt to bridge the gap between art and politics.
APA, Harvard, Vancouver, ISO, and other styles
5

BORN, GEORGINA, and KYLE DEVINE. "Music Technology, Gender, and Class: Digitization, Educational and Social Change in Britain." Twentieth-Century Music 12, no. 2 (August 26, 2015): 135–72. http://dx.doi.org/10.1017/s1478572215000018.

Full text
Abstract:
AbstractMusic technology undergraduate degree programmes are a relatively new phenomenon in British higher education, situated at the intersection of music, digital technologies, and sound art. Such degrees have exploded in popularity over the past fifteen years. Yet the social and cultural ramifications of this development have not yet been analysed. In looking comparatively at the demographics of both traditional music and music technology degrees, we highlight a striking bifurcation: traditional music degrees draw students with higher social class profiles than the British national averages, while their gender profile matches the wider student population; music technology degrees, by contrast, are overwhelmingly male and lower in terms of social class profile. We set these findings into analytical dialogue with wider historical processes, offering divergent interpretations of our findings in relation to a series of musical, technological, educational, social, political, and cultural-institutional developments in the late twentieth and twenty-first centuries. We ask what such developments bode for future relations between music, gender, and class in the UK.
APA, Harvard, Vancouver, ISO, and other styles
6

Kisby, Fiona. "A mirror of monarchy: Music and musicians in the household chapel of the Lady Margaret Beaufort, mother of Henry VII." Early Music History 16 (October 1997): 203–34. http://dx.doi.org/10.1017/s0261127900001728.

Full text
Abstract:
Ever since the publication of Frank Harrison's book Music in Medieval Britain in 1958, the study of the cultivation of liturgical music in late-medieval England has been based on the institutional structure of the Church: on the cathedrals, colleges and parish churches, and on the household chapels of the monarchy and higher nobility both spiritual and lay. In that and most subsequent studies, however, male figures have been seen to dominate the establishments under investigation. If art history (perhaps musicology's closest sister discipline) can be shown to have characterised the patronage of Renaissance art as a system dominated by ‘Big Men’, so too has musicology placed the development of English liturgical music in a culture shaped largely by noble male patrons – kings, princes, dukes, earls, archbishops, bishops and the like.
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
Abstract:
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 начале XX века заинтересовавшимися народным искусством Великобритании (такими как Ральф Воан-Уильямс, Сирил Скотт, Сэсил Шарп и др.), он устраивал «охоту за песнями», во время которой колесил по английским графствам в поисках народной музыки. Он вошёл в историю музыки как дотошный исследователь, новатор и как композитор умело усвоивший язык и особенности британских народных мелодий. В статье рассказывается об особенностях исследовательского и композиторского метода Перси Грейнджера, а также рассматриваются некоторые его яркие произведения, в которых он применил опыт, полученный во время своих этномузыкологических экспедиций. In the 20th century the world of art was in the search of new ways of artistic expressiveness. Academic canons were not working anymore, and a lot of artists, musicians, and writers turned their eyes to what had been considered an exotic art or a low tradition which needed refining. An Australian composer and a distinguished pianist Percy Grainger (1882–1961) was one of those new creators. In accordance with his own creative philosophy, he started searching for a new musical language in nature and in the “primitive art” – in folklore. He began his search from the musical folklore of the British islands. Together with the English composers who in the beginning of 20th century became interested in folk art of Great Britain (such as Ralph Vaughan Williams, Cyril Scott, Cecil Sharp, and others), he organized “folk-song-hunts”, during which he travelled about England’s counties in search of folk music. He went down in music history as a meticulous researcher, an innovator, and a composer who skillfully absorbed the language and features of British folk tunes. The article covers the peculiarities of Percy Grainger’s methods of research and composing music. In addition, the article examines some of the composer’s outstanding works in which he used the experience gained during his ethnomusicological expeditions.
APA, Harvard, Vancouver, ISO, and other styles
8

Cohen, Selma Jeanne. "Music hall ballet in Britain." Dance Chronicle 16, no. 1 (January 1993): 129–31. http://dx.doi.org/10.1080/01472529308569118.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

GUTHRIE, KATE. "Vera Lynn on Screen: Popular Music and the ‘People's War’." Twentieth-Century Music 14, no. 2 (June 2017): 245–70. http://dx.doi.org/10.1017/s1478572217000226.

Full text
Abstract:
AbstractBy the outbreak of the Second World War in Britain, critics had spent several decades negotiating the supposed distinctions between highbrow and lowbrow culture, as recent scholarship has shown. What has received comparatively little attention is how the demands of wartime living changed the stakes of the debate. This article addresses this lacuna, exploring how war invited a reassessment of the relative merits of art and popular music. Perhaps the most iconic British singer of the period, Vera Lynn provides a case study. Focusing on her first film vehicle,We'll Meet Again(1942), I explore how Lynn's character mediated the highbrow/lowbrow conflict – for example, by presenting popular music as a site of community, while disparaging art music for its minority appeal. In so doing, I argue, the film not only promoted Lynn's star persona, but also intervened in a broader debate about the value of entertainment for a nation at war.
APA, Harvard, Vancouver, ISO, and other styles
10

Porter, Laraine. "OK for Sound? The Reception of the Talkies in Britain, 1928–32." Journal of British Cinema and Television 17, no. 2 (April 2020): 212–32. http://dx.doi.org/10.3366/jbctv.2020.0520.

Full text
Abstract:
The arrival of the talkies in Britain evoked mixed responses. While popular audiences enthusiastically embraced Hollywood musicals like the Al Jolson hit The Singing Fool (1928), the literati were often scathing of ‘mechanical’ music and dialogue. Hollywood dictated the speed of change and economics and public demand soon forced the British film industry to convert to sound, but critics, intellectuals, educators, artists, literary figures and musicians were openly hostile to the new art form, opening a chasm between popular taste and intellectual response. The cacophony of dissenting voices was joined by various official reports from bodies like the Trades Union Congress and the Federation of British Industries who predicted the deleterious effect of the talkies on everything from British jobs in manufacturing to diminishing Britain's influence across its colonies and dominions. This article will map these discourses and examine attitudes to the introduction of the talkies in Britain between 1929 and 1932 as the new technology gathered momentum across the UK and film criticism developed as a distinct discipline.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Art and Music in Britain"

1

Hendrickson, Laura M. "Against photography : the idea of music in Pre-Raphaelite visual reform." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318327.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Stewart, Lynn Leslie. "Our people are like gardens" : music, performance and aesthetics among the Lolo, West New Britain Province, Papua, New Guinea." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/30917.

Full text
Abstract:
Relationships among the Aesthetic, culture, and music are problematic- Frequently considered as epiphenomenal to culture, music and the arts are typically seen as adjuncts to ceremonial activity- This dissertation examines the nature of the Aesthetic, music and performance in the context of the Lolo, Araigilpua Village, West New Britain Province, Papua New Guinea, in an attempt to develop a definition of the Aesthetic applicable for cross-cultural research and to discover the ways in which the Aesthetic and culture articulate. For the purposes of this dissertation, the Aesthetic is defined as that facet of religion focused on responses to extraordinary powers thought to maintain what are considered to be proper relationships between human members of a community and extraordinary powers. Three forms of aesthetics, social, performance, and musical, are taken as the means and methods of directing interactions between man and extraordinary powers. At present, the Lolo are engaged in a process of secularisation resulting primarily from the introduction of Christianity, Western medicine and money. This dissertation examines the relationship between the Aesthetic and social life, and addresses the impact of changes to the Aesthetic.
Arts, Faculty of
Anthropology, Department of
Graduate
APA, Harvard, Vancouver, ISO, and other styles
3

Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.

Full text
Abstract:
From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process. Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
APA, Harvard, Vancouver, ISO, and other styles
4

Newton, Michael John. "GCSE music : year nine and ten students' perceptions and enrolment intentions in relation to music education rationale and government educational policy." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0126.

Full text
Abstract:
The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.
APA, Harvard, Vancouver, ISO, and other styles
5

Perkins, Tedrow Lewis. "British Pastoral Style and E.J. Moeran's Fantasy Quartet: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, B. Britten, L. Foss, G. Handel, A. Marcello, E. Rubbra, C. Saint-Saens, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331812/.

Full text
Abstract:
British musical style changed dramatically after 1880 primarily due to factors which may be subsumed under the general heading of nationalism. This change from an essentially Germanic style has been termed the British musical renaissance by many writers on the subject. Within this new musical language, several distinctive substyles arose. One of these, British pastoral style, has been alluded to by Frank Howes and others, but these allusions do not contribute to an understanding of the works purportedly belonging to that style. It is the purpose of this study to define British pastoral style and examine its relation to the British musical renaissance. The method employed for defining style will be that of Jan LaRue's as described in his Guidelines for Style Analysis. What is British pastoral style? Judging from the literature, British pastoral style is a type of British music written between 1900 and 1950 which evokes pastoral images, especially those associated with the British landscape. A stylistic analysis of selected works will define British pastoral style through enumeration and discussion of the style's musical constituents. A more refined definition of British pastoral style is achieved by an in-depth analysis of E. J. Moeran's Fantasy Quartet, which represents a large portion of British pastoral music, that is, works featuring the oboe. Finally, an examination of British pastoral style's relation to the British musical renaissance will reveal reasons for this particular manifestation of British musical style.
APA, Harvard, Vancouver, ISO, and other styles
6

Taylor, Mark A. (Mark Amdahl). "British-Style Brass Bands in U.S. Colleges and Universities." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955014/.

Full text
Abstract:
Since the 1980s, British-style brass bands - community ensembles modeled after the all-brass and percussion bands of Great Britain - have enjoyed a modest regeneration in the United States. During this same period, as many as 23 colleges and universities in the U.S. have founded their own curricular or extra-curricular brass band. The purpose of this research study was: to discover which schools sponsor a brass band currently; to discover which schools formerly sponsored a brass band but have since discontinued it; to describe the operational practices of collegiate brass bands in the U.S.; and to determine what collegiate brass band conductors perceive to be the challenges and benefits of brass band in the curriculum. Data for the study were collected between February, 2015 and February, 2016 using four custom survey instruments distributed to conductors of college and university brass bands. The results showed that 11 American collegiate institutions were sponsoring a brass band during the period of data collection. Additional findings included descriptions of the operations of collegiate brass bands, such as availability of credit, rehearsal time, and instrumentation. Results also included the conductors' reported perceptions that both challenges and benefits are inherent in student brass band participation, and that brass band is a positive experience for students. An additional 3 community-based brass bands, not sponsored by but located near a college or university, were found to include collegiate students among their player personnel. A total of 9 schools formerly sponsoring brass bands were found to have discontinued their program. A repertoire analysis of 733 titles of compositions performed by both active and formerly active brass bands revealed that bands performed original works for brass band nearly as often as transcribed or arranged works.
APA, Harvard, Vancouver, ISO, and other styles
7

Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.

Full text
Abstract:
Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
APA, Harvard, Vancouver, ISO, and other styles
8

Greenhalgh, Michael John. "A critical edition, with introduction and commentary, of the libretto texts of Montagu Slater and Benjamin Britten's Peter Grimes." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:e7341552-afc2-4c6f-b7de-9339c85e304b.

Full text
Abstract:
A definitive text of the libretto of Benjamin Britten's opera Peter Grimes is here presented. The process by which it was created is revealed in detail. All the extant versions are collated and significant differences between them displayed. For the first time the scenarios written by Britten and his partner Peter Pears and the first surviving draft versions of scenes by the librettist Montagu Slater are published in full. Additions to the draft and final libretto texts and revisions throughout this process by Slater, Britten, producer Eric Crozier and, in the final scene, poet Ronald Duncan, are clarified and a critique provided. Marked differences in stage directions between the libretto texts and music scores are shown and versions selected or created which offer the best indicative detail for performance practice. The edited text is similarly enriched by the inclusion of performance indicators from various sources added by Britten, Pears and the work's first conductor, Reginald Goodall. The edition is introduced by three 'Perspectives' sections which consider (1) Britten's relationship with Slater and working practice with librettists; (2) the relationship of the work to its original source, George Crabbe's poem The Borough, the difference in the portrait and treatment of the character Peter Grimes and the reasons for the difference; and (3) the particular contribution and features of Slater's writing. Thereafter follow an account of the rationale, principles and practice of the edition and introductions to every scene in which the use of source material, the evolution of the text, the plot development and performance issues of the scene, the presentation of characters and the set are delineated, the latter with reference to photographs of the original set hitherto unpublished.
APA, Harvard, Vancouver, ISO, and other styles
9

Sharp, Neil. "Modernity, art and art education in Britain, 1870-1940." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285129.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Morris, Carl. "Sounds Islamic? : Muslim music in Britain." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/49338/.

Full text
Abstract:
Young Muslims in Britain are increasingly required to navigate an unsettled social, religious and cultural landscape. These complex dynamics encompass a range of factors: from sectarianism and the global marketplace of Islamic knowledge, through to the influence of diverse ethnic communities, the ubiquity of popular culture, and late-modern discourses relating to spirituality and religion. Religious practice, identity formation and social/cultural relationships are therefore a continual process of (re)negotiation, with young Muslims often adopting highly reflexive and pragmatic approaches to this uncertainty. Emerging from this turbulent context is a vibrant Muslim music culture. This thesis provides an ethnographic account of this music culture – through engagement with both musicians and fans – whilst furthermore analysing the deeper significance of Muslim cultural production in contemporary Britain. The observations and arguments throughout are based on extensive fieldwork that took place over a period of approximately two years. A number of methodological strategies were employed: these included interviewing, participant observation and various online research methodologies (including an online survey). While the ethnographic account provided in this thesis is an original and timely contribution to the study of Muslims in Britain, there are broader theoretical implications to emerge. In particular, the original concepts of ‘Islamic Music’ and ‘Islamicallyconscious music’ are developed to better understand how Muslim musicians varyingly emphasise both their individual subjectivity and a more collectivist sense of religious belonging. By examining the development of a distinct British Muslim public sphere, it will therefore be claimed that Muslim musicians are using cultural production as a vehicle to simultaneously contest, negotiate and develop ideas of Muslim practice and collectivity in contemporary Britain.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Art and Music in Britain"

1

Angela, McRobbie. In the culture society: Art, fashion and popular music. London: Routledge, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

1965-, Goddard Michael, and Halligan Benjamin, eds. Mark E. Smith and the Fall: Art, music and politics. Burlington, VT: Ashgate, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Bracewell, Michael. Re-make, re-model: Art, pop, fashion and the making of Roxy Music, 1953-1972. London: Faber and faber, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Le Saux, Françoise H. M. 1957-, ed. The formation of culture in Medieval Britain: Celtic, Latin, and Norman influences on English music, literature, history, and art. Lewiston, NY: E. Mellen Press, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Aldridge, Alan. The man with kaleidoscope eyes: The art of Alan Aldridge. New York, NY: Abrams, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Aldridge, Alan. The man with kaleidoscope eyes: The art of Alan Aldridge. New York, NY: Abrams, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Aldridge, Alan. The man with kaleidoscope eyes: The art of Alan Aldridge. New York, NY: Abrams, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Science, Department of Education &. Art and music at Key Stage 4: Proposal of the Secretary of State for Education andScience and the Secretary of State for Wales for Regulations under Section 3(4)(a) of the Education Reform Act 1988. [London]: DES, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Zon, Bennett. Music and performance culture in nineteenth-century Britain: Essays in honour of Nicholas Temperley. Burlington, VT: Ashgate Publishing Company, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Department of Education & Science. Art and music at key stage 4: Proposal of the Secretaries of State for Education and Science and the Secretary of State for Wales for an order under section 3(4)(a) of the Education Reform Act 1988. [London]: DES, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Art and Music in Britain"

1

Golding, Rosemary. "Henry Wylde, ‘Music in Its Art-Mission’." In Music in Nineteenth-Century Britain, 412–21. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-47.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Golding, Rosemary. "Stephen S. Stratton, ‘Woman in Relation to Musical Art’." In Music in Nineteenth-Century Britain, 281–303. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-31.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Golding, Rosemary. "C. Hubert H. Parry, ‘Preliminaries’ in The Art of Music." In Music in Nineteenth-Century Britain, 476–85. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-52.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Golding, Rosemary. "Eleanor Geary, Musical Education; with Practical Observations on the Art of Piano-Forte Playing." In Music in Nineteenth-Century Britain, 279–84. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-32.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Golding, Rosemary. "John F. Runciman, ‘Musical Criticism and the Critics’, and ‘The Gentle Art of Musical Criticism’." In Music in Nineteenth-Century Britain, 107–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Hullfish, Steve. "Music." In Art of the Cut, 107–18. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003410805-11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Curry, Patrick. "Music I." In Art and Enchantment, 111–37. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003353225-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Curry, Patrick. "Music II." In Art and Enchantment, 138–69. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003353225-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Kildea, Paul. "On Pravda, Art and Criticism (1963)." In Britten on Music, 236–40. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0071.

Full text
Abstract:
Abstract One of the most disturbing features of this time is that so many people seem to prefer to read about art rather than to experience it. Hence the great popularity of the arts pages, the magazine sections of the Sunday papers, the almost ‘best seller’ success of conversations with famous composers, & if I remember correctly not so long ago a book on Hardy’s poems was published when the poems themselves were out of print. Perhaps it is easier to read about things than to do them, or is it that having read the critics one knows what to feel without bothering to think? These oversimplified feelings are prompted by a recent reading of some lectures given on literature by a well-known poet & professor, which put forth points of view so narrowly personal that from the general reader’s point of view I would have thought them quite useless; and by a recent interview given by myself for a foreign newspaper, in which I was quite misreported, and which made nonsense for people who know me or my work.Artists of course are the last people who should talk or write about art, especially their own. I probably expressed my-self badly on this occasion, or the changes were made for reasons of space or other editorial demands. But the fact that this interview has been widely reported in this country (by people who should have known better) prompted me to accept the invitation of the Observer to try & correct some of the impressions.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Art and Music in Britain"

1

Marten-Finnis, Susanne. "Bakst in Britain: Production – Reception – Impact." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.166.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Zwinderman, Matthijs, Tanya Zavialova, Daniel Tetteroo, and Paul Lehouck. "Oh music, where art thou?" In the 13th International Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2037373.2037456.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hook, Jonathan. "Session details: Music & Art." In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/3251796.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Muller-Eberstein, Maximilian, and Nanne van Noord. "Translating Visual Art Into Music." In 2019 IEEE/CVF International Conference on Computer Vision Workshop (ICCVW). IEEE, 2019. http://dx.doi.org/10.1109/iccvw.2019.00378.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Lu, Yong. "Features of Vocal Music Art." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.87.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Smith, Wilson. "Music lessons." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.313026.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Schacher, Jan C. "Music means movement." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hou, Yanshuang, and Xinglong Guo. "Music Creation Environment of Music Poetry." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Voida, Amy. "Session details: Art, music & movement." In CHI '11: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2011. http://dx.doi.org/10.1145/3248985.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Andaryani, Eka Titi, Fakhruddin, and Utsman. "Assessment Model of Music Art Performance." In International Conference on Science and Education and Technology (ISET 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200620.082.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Art and Music in Britain"

1

Irminger, Bente. Økt interesse for kreativitet åpner for nye designerroller- men skaper også behov for rolleavklaringer. Universitetet i Bergen KMD, January 2018. http://dx.doi.org/10.22501/kmd-ar.1090265.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Irminger, Bente. A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles. Universitetet i Bergen KMD, January 2018. http://dx.doi.org/10.22501/kmd-ar.1090256.

Full text
Abstract:
Bente Irminger, ‘A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles‘, Faculty of Fine Art, Music and Design, University of Bergen
APA, Harvard, Vancouver, ISO, and other styles
3

Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

Full text
Abstract:
What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
APA, Harvard, Vancouver, ISO, and other styles
4

Nyman, Matt, Nancy Staus, and Martin Storksdieck. Science and Art Teaching Practices for Oregon Elementary Teachers: Results of a Landscape Survey. Oregon State University, September 2023. http://dx.doi.org/10.5399/osu/1163.

Full text
Abstract:
An Evaluation Report for the Oregon Department of Education. In collaboration with classroom teachers and WRAP personnel we developed and implemented a survey to collect baseline data on the science and arts teaching practices for ALL elementary teachers. This included “regular” classroom teachers (those teachers with an assigned physical classroom and set of students), art teachers, music teachers, PE teachers and other educators or administrators. In December 2022 we recruited three (3) elementary teachers to assist us in survey development, in particular framing questions around frequency of teaching time for both arts and science instruction. One important outcome was that we formulated questions around “dedicated” teaching time where instruction was only focused on science or art content and “integrated” teaching when teachers combine science or art with other instructional areas (such as math or literacy). We also learned that there was a lot of nuances in trying to capture the science and art teaching data; for example, some schools have large blocks of time when they have a particular focus on a science content area and then equally large blocks when science teaching is replaced by instruction in other fields, such as social science. It can be difficult to reduce this instructional framework to a weekly allotment of science teaching.
APA, Harvard, Vancouver, ISO, and other styles
5

Nucera, Diana J., and Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

Full text
Abstract:
" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
APA, Harvard, Vancouver, ISO, and other styles
6

Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, July 2024. http://dx.doi.org/10.23889/sureport.66346.

Full text
Abstract:
Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.
APA, Harvard, Vancouver, ISO, and other styles
7

McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

Full text
Abstract:
Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
APA, Harvard, Vancouver, ISO, and other styles
8

Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

Full text
Abstract:
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
APA, Harvard, Vancouver, ISO, and other styles
9

Inter-American Development Bank Cultural Center Annual Report 2000. Inter-American Development Bank, January 2001. http://dx.doi.org/10.18235/0005700.

Full text
Abstract:
The IDB Cultural Center ended 2000 with a successful balance of diverse activities. Throughout the year, the IDB Cultural Center produced 32 events, including 5 art exhibitions, 13 concerts and music workshops, 11 lectures and 3 presentations of "La Cátedra Siglo XXI Lecture Series." These activities attracted an estimated 15,000 visitors to the Bank, and received publicity in over 120 local, national and international newspaper, magazine, radio and TV reviews; these included two major feature articles in the bilingual magazine "Cordialidad" (Copa Airlines in Flight Magazine) and the trilingual magazine "Cariforum."
APA, Harvard, Vancouver, ISO, and other styles
10

Inter-American Development Bank Cultural Center Annual Report 1999. Inter-American Development Bank, December 1999. http://dx.doi.org/10.18235/0005850.

Full text
Abstract:
The IDB Cultural Center ended 1999 with a successful balance of diverse programs. Throughout the year, the IDB Cultural Center produced 32 events, including art exhibitions, concerts, music workshops and lectures. These activities attracted an estimated 14,000 visitors to the Bank, and received publicity in over ninety local, national and international newspaper, magazine, radio and TV reviews. The Cultural Center's impact on the local Washington community was recognized this year with a nomination for the Center as a finalist in the Mayor's Arts Awards, in the field of Excellence in Service to the Arts.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Art and Music in Britain' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography