Academic literature on the topic 'Bands (Music) History 20th century'
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Journal articles on the topic "Bands (Music) History 20th century"
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Zubarev, Sergei A. "Academic Music in the Practice of Russian Military Bands in the 19th – Early 21st Centuries." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 56–65. http://dx.doi.org/10.36340/2071-6818-2022-18-4-56-65.
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The article is devoted to the theoretical and practical aspects of military musicians’ arrangement practice, considered in the context of developing a system of Russian military orchestras. When studying the socio-cultural foundations of the formation and development of the art of arrangement, factors that reveal the role of Russian composers in the history of military musical culture are highlighted (such works as P.Tchaikovsky’s Skobelev March, A.Rubenstein’s Cavalry Trot are noted). The works of A.Ermolenko (The Evolution of Instrumentation in Russian Wind Music Until the 70s of the 19th Century), G.Salnikov (On the Basic Principles of Transcribing Symphonic Works for a Brass Band), D.Braslavsky (Arrangement for Variety Ensembles and Orchestras), B.Kozhevnikov (Instrumentation for a Brass Band), E.Aksenov (Problems of Theoretical Instrumentation), V.Emelyanov (Instrumentation as an Artistic Factor in Music) were used as fundamental ones to explain this issue. In the process of studying the stages of improving the system of military bands, special attention is paid to studying the features of the development of the military band service in the 19th and 20th centuries. It is noted that several works of academic music performed by military bands belong to this time: the choir and aria from the opera La Sonnambula, the duet from the opera Bianca and Fernando by V.Bellini, the overture, march, choir and a drinking song from the opera Undina by P.Tchaikovsky. In this context, the problems of the formation of the arrangement art are touched upon on the example of A.Alyabyev’s work (the use of orchestral means necessary for a full orchestral sound). When considering the features of the development of military musicians’ arrangement practice in the first half of the 20th century as well as during the collapse of the USSR, attention is paid to the processes of oblivion and revival of the traditions of orchestral wind performance, the emergence of new genres such as the drill show. In this perspective, the activities of famous military bands of the specified period are considered, for example, the Alexandrov Russian Army Song and Dance Ensemble. In conclusion, the author notes that unique conditions for the development of military musicians’ arrangement practice have been created in the national culture, making it possible to preserve the traditions of the military band service and form the value principles of academic art.
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Žarskienė, Rūta. "The Music Making at the Church Feasts, or Baroque of the 20th–21st Centuries." Tautosakos darbai 49 (May 22, 2015): 145–70. http://dx.doi.org/10.51554/td.2015.29010.
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The subject of this article is the music making during the Catholic Church feasts and its development since the Christianization of the Grand Duchy of Lithuania until nowadays, with special emphasis on the music making tradition of the 20th–21st centuries. Following the spread of Christianity, the tradition of the religious feasts was quick to catch on, along with its peculiar Western European customs and culture of the musical styling. According to the historical sources, as early as in the end of the 14th century (that is, barely ten years after the official Christianization) the wind and percussion instruments were played in the Vilnius Cathedral. The academic wind and percussion instruments, having been since ancient times used in the army of various European countries, including the Grand Duchy of Lithuania, became adapted by the musical culture of the manors and dioceses, finding their use during pilgrimages, celebratory processions, services, etc. During the Renaissance and Baroque periods, an especially important social and cultural role was played by the Vilnius Academy, established by the Jesuits, at which also instruction in music was offered. The Jesuits organized particularly pompous processions of the Corpus Christi, which included theatrical performances, participation of numerous musicians and singers, firing guns, etc. According to the archived data, during the Baroque times the majority of the churches or the affiliated brethrens used to possess both the brass and the percussion instruments: usually – two or more trumpets, French horns, and kettledrums. These instruments were regarded necessary in order to celebrate the titular feasts of the parish in the appropriate way, that is, with musical accompaniment, or to travel likewise to the festivities held in the neighborhood. Thus the folk piety tradition of the brass bands got shaped, which, having already disappeared in other Lithuanian regions, continues to live on in Samogitia in the 20th–21st century. It is particularly important in relation to the rituals of visiting the Samogitian Calvary (Žemaičių Kalvarija) – a variety of the popular baroque European tradition of the Way of the Cross (Via Crucis), the first one of which in the Grand Duchy of Lithuania was established in Samogitia. Quite likely, these Stations of the Cross since their very establishment used to be visited ceremoniously, including singing and the appropriate accompaniment by wind instruments and kettledrums. This tradition survived in spite of being prohibited both during the tsarist Russian oppression and during the Soviet atheism periods. During the Soviet occupation the musicians, although being harassed or even arrested, still used to go to play at the religious feasts, thus expressing not only their devotion, but also their protest against the regime of the religious oppression. After Lithuania regained its independence in the end of the 20th century, the new kind of worshipers who had been brought up unaware of the traditional Calvary Hymns singing started the new way of singing accompanied by kanklės (Lithuanian cithertype instrument) and guitars. Still, in spite of this wave of musical pluralism, the brass bands preserved their positions. Until the present day, worshipers visiting the Stations of the Cross at the Samogitian Calvary are accompanied by the musicians playing the brass instruments, who are traditionally rewarded with money. Depending on the particular worshipers’ needs, three kinds of functions performed by the musicians can be discerned: firstly, the group of 4 to 6 musicians may only play; secondly, 2 to 5 musicians lead the prayers both singing and playing; and thirdly (a medium variant), the group of 4 to 6 musicians both plays and sings. The analysis presented in the article allows maintaining that prior to becoming part of the wedding, christening and funeral rituals of the village people, brass instruments had already become an integral part of the musical expression of the exceptional solemnity of folk piety.
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Burganova, Maria A. "Letter from the editor." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-4-6-9.
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Dear readers, We are pleased to present to you Issue 4, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal opens with articles by Chinese researchers devoted to the art of Ancient China. In the article "The Heaven-and-Man Oneness Concept and the Style of Funerary Plastic Art During the Han Dynasty", Xiang Wu analyses the idea of heaven-and-man oneness, which was important for the art of this period. It was based on the Confucian view, the rituals of a strict social hierarchy and Taoist metaphysics. Qiu Mubing’s scientific research topic is “Objects of the Funerary Cult in the Han Dynasty. Gold and Silver Items. Aesthetics of Gold and Silver in the Han Dynasty”. Examining archaeological sources, the author concludes the high achievements of Chinese artisans during the Han Dynasty on examples of works of arts and crafts made of precious metals. In the article “Aesthetics of the Song Dynasty. The Origins of the New Style of Furniture Design in China", N.Kazakova and Qiu Qi analyse the vector of development of the furniture industry through the prism of the industrial design evolution. The reasons for the emergence of the New style in furniture design in China are studied. They are analysed in detail against the background of changing economic, political and cultural realities. The issues of the influence of Ancient China aesthetics on the formation and development of a new language in furniture design are touched upon. In the article "Problems of Colour Harmonisation of Composition and Development of Associative and Imaginative Thinking in the Environmental Design", N.Bogatova reveals the potential of colouristic graphic two-dimensional modelling in artistic and imaginative thematic compositions. On the example of the compositional laws of colouristics, the author traces the path of ascent from the concrete to the abstract, pictorial to the expressive, and emotional to the figurative. P.Dobrolyubov presents the text “Sculptor Alexander Matveev’s School and His Students”, which includes many archival documents and photographs. The author describes the process of learning from teacher and sculptor A.Matveev, names the main dates in his creative work, reveals the details of the sculptural craft, talks about the variety of moves in the master’s plasticity, analyses the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the entire course of historical milestones in the sculptor’s creative biography. In the article "The Golden Age of PRC History Painting (1949–1966): Origins, Searches, Achievements”, K.Gavrilin and L.Xiaonan consider the issues of the formation of the modern Chinese art school. Its foundation was laid in the framework of the creative and educational dialogue between China and the Soviet Union at the beginning of the second half of the 20th century. The authors believe that the characteristic features of the golden age of Chinese historical painting were, on the one hand, the popularisation of painting as an art form and, on the other hand, the predominance of the dominant position of realism over the traditional styles of Chinese painting. It is noted that during this period, two main plots became widespread: scenes of socialist construction and historical events of the revolution. S.Zubarev considers theoretical and practical aspects of the activities of military musicians in the article "Academic Music in the Practice of Russian Military Bands of the 19th - early 21st Centuries". In the process of studying military bands, special attention is paid to the study of the features of military band service development in the 19th and 20th centuries. Factors revealing the role of Russian composers in the history of military musical culture are highlighted, and several works of academic music performed by military bands are analysed. In conclusion, the author notes that in the national culture, unique conditions for the development of military musicians’ arranging activity were created. They made it possible to preserve the traditions of the military band service and form the value principles of academic art. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Ragland, Cathy. "Hacer sonar la tradición a través de las fronteras." Mexican Studies/Estudios Mexicanos 35, no. 1 (2019): 88–114. http://dx.doi.org/10.1525/msem.2019.35.1.88.
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La carrera del acordeonista y líder de banda musical, Ramón Ayala, abarca más de 50 años de labor como arquitecto pionero de la música norteña, el popular género mexicano / méxico-americano del siglo xx. A diferencia de Los Tigres del Norte (su rival más visible en California), Ayala apenas cuenta con el apoyo de medios de comunicación y de grandes disqueras, casi no recibe atención periodística ni académica, y reside en un poblado rural fronterizo de Texas. En este ensayo sostengo que la colaboración formativa de Ayala con el cantante y compositor Cornelio Reyna, en el dúo arquetípico norteño Los Relámpagos del Norte, dio como resultado innovaciones clave que modernizaron y transformaron una tradición popular regional en un fenómeno de la música popular transnacional. Examino cómo Ayala construyó una “imagen de autor” definida por una identidad regional rural, de clase trabajadora, conservadora, hipermasculina y formada por la ciudadanía bicultural y binacional de la frontera. La popularidad sostenida de Ayala y su autenticidad “mexicana” percibida desafían las tendencias ideológicas actuales en la industria “Regional Mexican”, en gran parte urbana e impulsada por un cambio generacional hacia los narcocorridos, las letras violentas y las imágenes hipersexualizadas de lo rural. Accordionist and bandleader Ramón Ayala’s career spans over 50 years as a pioneering architect of música norteña, the popular Mexican/Mexican American genre of the 20th century. Unlike Los Tigres del Norte (his more visible California-based rival) Ayala relies on scant media and major label support, receives almost no journalistic and scholarly attention, and resides in a rural Texas border town. This essay argues that Ayala’s formative collaboration with singer/songwriter Cornelio Reyna as the archetypal norteño duo Los Relámpagos del Norte, resulted in critical innovations that modernized and transformed a regional folk tradition into a transnational popular music phenomenon. I examine how Ayala constructed an “author image,” defined by regional identity as rural, working-class, conservative, hypermasculine and shaped by bi-cultural and bi-national border citizenship. Ayala’s continued popularity and perceived “Mexican” authenticity challenges current ideological trends in today’s largely urban “Regional Mexican” industry driven by a generational shift towards narcocorridos, violent lyrics, and hypersexualized imaginings of rurality.
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Kudiņš, Jānis. "FRAGMENTARY AND MODERATE MODERNISM IN LATVIAN MUSIC HISTORY ." Culture Crossroads 19 (October 11, 2022): 111–25. http://dx.doi.org/10.55877/cc.vol19.31.
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The question of 20th century modernism in the history of Latvian academic genres music is still topical. The prevailing opinion in musicological research (literature) is that representation of modernism in the history of Latvian music has been fragmentary. In various decades of the 20th century (the first and second half of the century), Latvian composers have rarely turned to the most radical expression of modernism, the avant-garde. Much more often possible identified stylistically moderate manifestations of modernism. However, these issues have still been little researched. This article offers a focused (panoramic) characterisation, looking at local peculiarities of adaptation and representation of modernism in Latvian music history in the 20th century.
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Martínez del Baño, Benito. "Copla, flamenco y cine." Revista de Investigación sobre Flamenco "La madrugá", no. 18 (December 30, 2021): 141–49. http://dx.doi.org/10.6018/flamenco.485251.
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Few are the artists who really triumph in the song, during the first years of life of the cinema, and of the radio, at the beginning of the 20th century. Within the historical context that we will proceed to establish, reference will be made to music, focusing on the copla and flamenco, in the period in which the cinematographic image lacks sound integrated into the film band, being synchronized for years film and album in trade passes. In the early twenties, the most famous singer was none other than Raquel Meller, especially in the field of cuplé, without forgetting Pastora Imperio, who excelled in flamenco. But a new voice would arrive, that of Conchita Piquer. The three artists, versatile where they exist, each one from their place, change the history of cinema by participating in the shootings to which they are summoned. History and even biographers continue to mix dates, titles and formats today. The time has come to put the first years of cinema in order again, now with Conchita Piquer, who is the first Spanish artist to shoot a sound short film outside of Spain. Pocos son los artistas que realmente triunfan en la canción, durante los primeros años de vida del cine, y de la radio, a principios del siglo XX. Dentro del contexto histórico que procederemos a establecer, se realizará referencia a la música, centrándonos en la copla y el flamenco, en el periodo en que la imagen cinematográfica carece de sonido integrado en la banda de película, siendo sincronizado durante años película y disco en los pases comerciales. En los primeros años veinte, la más famosa cantante no es otra que Raquel Meller, sobre todo en el campo del cuplé, sin olvidar a Pastora Imperio, quien destacaba en el flamenco. Pero, llegaría una nueva voz, la de Conchita Piquer. Las tres artistas, polivalentes donde las haya, cada una desde su sitio, cambian la historia del cine al participar en los rodajes a los que son convocadas. La historia e incluso los biógrafos, continúan actualmente entremezclando fechas, títulos y formatos. Ha llegado el momento de poner en orden, nuevamente, los primeros años del cine, ahora con Conchita Piquer, quien es la primera artista española en rodar fuera de España un cortometraje sonoro.
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Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.
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These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism. Other poets, particularly Mario Sa-Carneiro (1890–1916), and plastic artists, notably Amadeo de Sousa Cardoso (1887–1918) and Jose de Almada Negreiros (1893–1970), similarly reflect the strength of these patriotic and mystical ideas in Portugal during the country's deepening social crisis in the early part of the century. But Pessoa, who famously split himself into several persons, each with their own name, style and poetic output, may also stand as a symbol of the different currents Portuguese composers have ridden in search of their national identity.
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Kudiņš, Jānis. "Latvian Music History in the Context of 20th-century Modernism and Postmodernism. Some Specific Issues of Local Historiography." Musicological Annual 54, no. 2 (November 15, 2018): 97–139. http://dx.doi.org/10.4312/mz.54.2.97-139.
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Do the terms “modernism” and “postmodernism” objectively characterize the trends in the music history of the 20th century or are they merely theoretical abstractions? How can they be applied to the music history of specific countries, for example, when analysing a local historical experience? The article will consider these questions primarily to focus on the representation of the modernist and postmodernist aesthetics in the stylistic developments of the 20th-century Latvian music history.
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Jeziński, Marek. "Obrazy miasta w utworach polskich grup alternatywnych lat 80. XX wieku." Kultura Popularna 3, no. 53 (February 26, 2018): 81–90. http://dx.doi.org/10.5604/01.3001.0010.8269.
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In the paper I analyse the ways in which a city, urbanism, city space and people living in urban environment are portrayed in Polish popular music, especially in the songs of Polish alternative bands of the 80. inthe 20th century. In popular music, the city is pictured in several ways, among which the most important is the use of words as song lyrics that illustrate urban way of life. The city should be treated as an immanent part of the rock music mythology present in the songs and in the names of bands. In the case of Polish alternative rock music of the 80.such elements are found in songs of such artists as Lech Janerka, Variete, Siekiera, Dezerter, Deuter, AyaRL. The visions of urbanism taken from their songs are the exemplifications used in the paper.
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Yiqun, Jiang. "Influence of music of Soviet Russia on Chinese music culture in the 20th century." OOO "Zhurnal "Voprosy Istorii" 2022, no. 3-2 (March 1, 2022): 229–38. http://dx.doi.org/10.31166/voprosyistorii202203statyi21.
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Being an important component of world music, Russian musical art not only embodied the spirit and culture of the Russian nation, but at the same time influenced the development of musical culture in many neighboring countries. After examining the development of modern Chinese musical culture, one can find that Soviet and Russian music, as an important component of Western musical culture, had a profound influence on Chinese musical education and the musical life of the broad masses of the population. Starting from the northeastern regions of the PRC, the musical culture of Soviet Russia subsequently spread throughout the country, found a response in the hearts of not only ordinary people, but also members of the government. Soviet music played a positive and stimulating role in the development of Chinese music, not only at the level of creativity and performances, but also at the level of the development of ideological and aesthetic consciousness.
Dissertations / Theses on the topic "Bands (Music) History 20th century"
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Trochimczyk, Maja. "Space and spatialization in contemporary music : history and analysis, ideas and implementations." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116333.
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Note: Pages have been removed from this digital copy due to copyright restrictions. A print copy is available in the McGill Library.This dissertation presents the history of space in the musical thought of the 2Othcentury (from Kurth to Clifton, from Varèse to Xenakis) and outlines the development of spatialization in the theory and practice of contenlporary music (after 1950). The text emphasizes perceptual and temporal aspects of musical spatiality, thus reflecting the close connection of space and time in human experience. A new definition of spatialization draws from Ingarden’s notion of the musical work; a new typology of spatial designs embraces music for different acoustic environments, movements of performers and audiences, various positions of musicians in space, etc. The study of spatialization includes a survey of the writings of many composers (e.g. Ives, Boulez, Stockhausen, Cage) and an examination of their compositions. The final part of the dissertation presents three approaches to spatialization: Brant’ s simultaneity of sound layers, Xenakis’s movement of sound, and Schafer’s music of ritual and soundscape.
Cette thèse présente l’histoire de l’espace dans la pensée musicale du vingtième siècle (de Kurth à Clifton, de Varèse à Xenakis) et retrace le développement de la spatialisation dans la théorie et la pratique de la musique contemporaine (après 1950). Le texte souligne les aspects perceptuels et temporels de la spatialisation musicale, reflétant ainsi le lien étroit entre temps et espace t!ans l’expérience humaine. Une nouvelle définition de la spatialisation tire son origine de la notion de l’oeuvre musicale d’Ingarden; une nouvelle typologie des plans spatiaux prend en considération des musiques pour différents environnements acoustiques, diverses positions des musiciens dans l’espace de même que le mouvement de ceux-ci et des auditeurs, etc. L’étude de la spatialisation inclut un survol des écrits de plusieurs compositeurs (Ives, Stockhausen, Boulez et Cage, par exemple) de même qu’un examen de leurs oeuvres. La dernière partie de la thèse présente trois approches compositionnelles de la spatialisation: la simultanéité de strates sonores ,:hez Brant, le mouvement du son chez Xenakis et la musique du rituel et l’écologie sonore chez Schafer.
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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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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Leung, Tai-wai David, and 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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Daigle, Paulin. "Les fonctions harmoniques et formelles de la technique 5-6 à plusieurs niveaux de structure dans la musique tonale /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35996.
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This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music.The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier conterpoint, figured-bass and harmony treatises led Schenker and his disciples to place the technique in a much broader context, though even they do not always grasp the full implications of their procedures.
In the light of William Caplin's recent theory of formal functions, (Caplin 1985; 1998), the second part of the thesis in a substantial selection of musical excerpts from the eighteenth through the early twentieth centuries, demonstrates that 5 - 6 technique as a contrapuntal analatycal concept, provides an effective model for understanding the development of chromaticism and the extension of the tonal language at multiple structural levels.
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Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
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Bhimani, Nazlin. "Kaikhosru Sorabji’s critical writings on British music in The New Age (1924-1934)." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25348.
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This thesis examines the music criticism of Kaikhosru Shapurji Sorabji (1892- ), a well known composer and music critic active in England from the early 1920s to the late 1940s. Although many authors have referred to Sorabji's music and criticism, neither has been treated in a substantive manner. The present study focuses on Sorabji's contributions to The New Age, a weekly journal, and particularly on his articles therein dealing with contemporary British composers. It is of interest that Sorabji's criticism deals with a vibrant period of music history, known as the English Renaissance.
An examination of Sorabji's writings, published articles and private correspondence reveals him to be a highly complex personality. His marginal position in English society, based partly on his racial background and his negative views of the British, led him to view the musical scene from a perspective differing from that of other critics. Not fully admitted into the inner circles of the musical establishment, Sorabji surrounded himself with a small, elite group of friends and admirers, which included well known composers and literary figures such as Bernard van Dieren, Peter Warlock, William Walton, John Ireland, Sacheverall Sitwell, Hugh McDiarmid and Cecil Gray. It is within this context that Sorabji redefined the role of the music critic and criticism to suit his personal values and style which were much influenced by his involvement in the mystical tradition of Tantric Hinduism. A detailed discussion of Sorabji's writings on the British composers Delius, Elgar, Bax, Vaughan Williams, Hoist, Ireland, van Dieren, Walton, Lambert, Smyth, Berners, Bush, Warlock, Howells, Bliss, Boughton, Scott, Goossens and Britten reveals that the critic's musical affinities were conservative throughout his career as music critic for The New Age. An analysis of these writings shows a clear-cut pattern of likes and dislikes. Sorabji praised highly the musical styles that appealed to him and wrote in a harsh and negative manner about music that he found distasteful. While this emotionalism tainted many of his reviews, it also encouraged the support of those who shared his opinions. Nonetheless, Sorabji's use of harsh and blunt language often turned the tide of public opinion against him. Yet, it is this particular style, which can sometimes be humourous and racy and other times harsh to the point of cruelty, that distinguishes Sorabji writings from the mainstream of music criticism.
An appendix lists Sorabji's writings in The New Age during the period 1915 to 1934.Arts, Faculty of
Music, School of
Graduate
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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.
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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.
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Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form." University of Western Australia. School of Music, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0052.
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This thesis focuses on a group of keyboard pieces composed in the first half of the twentieth century entitled ‘prelude’, and explores the issue of genre, investigating the significance in the application of this generic title, and the development of the piano prelude in this period. The application of a generic title often invokes the expectation of its generic features its conventional and formal characteristics. Though the prelude is one of the oldest genres in the history of keyboard music, it has relatively few conventions, and hence, with the abandonment of its primary function the prefatory role in the nineteenth century, it has been considered an indeterminate genre. Rachmaninoff, however, asserted that a generic title should carry with it appropriate generic manifestations, which parallelled similar generic concepts in literature. This expectation of generic traits is like setting up a ‘generic contract’, offering an invitation to either conform or reform, and thus affecting its course of development. A survey of the prelude’s historical development points to six rather consistent generic conventional and formal characteristics: (i) tonality, (ii) pianistic/technical figuration, (iii) thematic treatment and formal structure, (iv) improvisatory style, (v) mood content, and (vi) brevity. Though these general characteristics may overlap with other genres, it is their collective characteristics that have contributed to the genre’s unique identity. These features form the basis for an exploration of the conformity to, or further evolution of, these characteristics in the preludes of the early twentieth century. From the substantial number of piano preludes composed in this period, selected sets, representative of the various stylistic manifestations of the period, are analysed in relation to the identified generic characteristics. The examination reveals that these preludes, though apparently diversified in style and outlook, exhibit affinity in one form or another to the generic characteristics. Each example exhibits different treatments of the generic characteristics reflective of twentieth-century developments, whilst retaining its generic identity. The prelude is thus an amalgamation of a tonal, technical and affective piece, which may be considered a combination of a tonal essay, a study/toccata, and a character piece; and collectively, a sequence of tonalities, a collection of pianistic technical studies, and a compendium of musical styles/genres in miniature.
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Powell, Steven. "Dread rites : an account of Rastafarian music and ritual process in popular culture." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.
Full textBooks on the topic "Bands (Music) History 20th century"
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Manfredo, Joseph. Influences on the development of the instrumentation of the American collegiate wind-band and attempts for standardization of the instrumentation from 1905-1941. Tutzing: H. Schneider, 1995.
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Norcross, Brian H. One band that took a chance: The Ithaca High School Band from 1955 to 1967 directed by Frank Battisti. Ft. Lauderdale, Fla. (170 N.E. 33rd St., Ft. Lauderdale 33334): Meredith Music Publications, 1994.
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Whitwell, David. A catalogue of early 20th century wind music and recommended research projects. Switzerland: Ruh Musik (Felix Hauswirth), 2002.
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The musical Salvationist: The world of Richard Slater (1854-1939), 'father of Salvation Army Music'. Woodbridge, Suffolk: Boydell Press, 2011.
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Hao, Huang, ed. Music in the 20th century. Armonk, NY: M.E. Sharp, 1999.
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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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Discoursing sweet music: Town bands and community life in turn-of-the-century Pennsylvania. Urbana: University of Illinois Press, 1990.
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20th-century microtonal notation. New York: Greenwood Press, 1990.
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The companion to 20th-century music. New York: Da Capo Press, 1996.
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Illegal harmonies: Music in the 20th century. Sydney: Hale & Iremonger, 1997.
Find full textBook chapters on the topic "Bands (Music) History 20th century"
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Behnke, Christoph. "On the History of the Blues in the Field of Music Production in the United States Beginning in the 20th Century: A Field Theoretical Approach." In Kunst und Gesellschaft, 195–211. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-37429-7_10.
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"INDIE BANDS." In Music in the 20th Century (3 Vol Set), 307–8. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-226.
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Lazzarini, Victor. "A History of the Spectrum." In Spectral Music Design, 21–49. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197524015.003.0002.
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This chapter traces the history of spectral audio, from Ancient Greece to the 20th century. Looking first at the first studies of ratios and pitch and the establishment of the early musical scale systems, then through the development of musical instruments, the chapter discusses the most important achievements in musical acoustics that led to the modern concept of the spectrum. It discusses the ideas put forward by Classical Physics, which culminated in the work of Fourier. The seminal discoveries and ideas proposed by Helmholtz are covered in some detail and the chapter closes with an overview of acoustics and audio engineering in the 20th century, and the development of electronic and computer music.
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Puskás, Levente. "Similarities and Differences between Classical and Jazz Saxophone Playing." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/15.
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The saxophone is one of the most popular, almost ubiquitous instruments of our time. It is unimaginable that the saxophone would not appear in an orchestra or band in jazz, popular music, dance music, pop music, or even folk music. It is not widely known, however, that the story and history of the saxophone dates as far back as around 170(!) years ago. In 2014 the 200th birthday of Adolphe Sax the inventor, after whom the instrument got its name, was celebrated. Sax was the first saxophone professor at the Conservatoire de Paris. For most of the 19th century, mostly Classical and Romantic pieces were usually played by the saxophone, as the genre of jazz came into existence only around the 1910s–1920s. At that point classical and jazz (popular) saxophone music separated. Differences between the two styles can still be observed in both musical approach and technique. This study presents the similarities and differences between these two highly distinct approaches. Keywords: saxophone, Adolphe Sax, classical music, jazz
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Bohlman, Philip V. "3. Between myth and history." In World Music: A Very Short Introduction, 36–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198829140.003.0003.
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‘Between myth and history’ begins with the 1932 Cairo Congress in Arab Music. The Arab contingent sought advice on progress, while the European delegates romanticized traditional Arab music. These contradictions, and Islam’s relationship with music, shaped the life-stories of three figures: 14th-century polymath Ibn Khaldūn; 20th-century Egyptian singer Umm Kulthūm; and ethnomusicologist Robert Lachmann, who found musical echoes of Muslim and Jewish pilgrims in Djerba, where he had been expecting to find local music fixed in time by isolation. The Mediterranean has inspired written and sung epics, which were translated into architecture and politics, taking them from myth into history.
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S.Szabó, Márta. "Historical Overview of the Teaching of Music Theory Subjects as Part of the School Curriculum in Hungary." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/5.
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The primary sources for a historical overview of secondary-level musical education in Hungary are publications on school histories, yearbooks, and the work of outstanding teachers. An overview of theoretical subjects is made far more difficult, however, by the fact that both the name and content of these subjects have undergone considerable change over time. It was only in the mid-20th century when secondary-level musical education became independent from an earlier institutional form, the music school (Zenede in Hungarian), which taught a far wider range of age groups, lasted for 10-11 years, and characterised earlier music education for decades. Music schools, which offered, among others, secondary-level musical training, had existed since the second half of the 19th century. This paper is part of a more comprehensive methodological work designed to bring to light the historical teaching of music theory in Hungarian musical training with regard to its roots, curricula, handbooks, and teaching practices up to the mid-20th century, when the system of secondary schools specialising in music education was established. Keywords: history of music teaching, professional musical training, teaching music theory
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Rutherford-Johnson, Tim. "Mediation and The Marketplace." In Music after the Fall. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520283145.003.0002.
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Providing first a comprehensive history of spiritual minimalism– the extraordinarily successful phenomenon that made unlikely stars of Henryk Górecki, Arvo Pärt, and John Tavener in the early 1990s–this chapter makes the case that by the end of the 20th century new music had entered into a new and transformative relationship with the media and the commercial market, through new listening practices such as soundtracking, and through marketing towards new audiences. This is supported by discussions of composers and collectives that have particularly engaged with these, including Bang on a Can, Nonclassical and, in particular, Edition Wandelweiser.
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Xepapadako, Avra. "European Itinerant Opera and Operetta Companies Touring in the Near and Middle East." In The Music Road, 318–34. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0016.
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Τhis chapter focuses on the activity of musical theatre companies touring in south-eastern Europe, the Near East, the Caucasus and Central Asia during the 19th and early 20th centuries. It investigates cultural transfer and amalgamation between the metropolitan culture of the West and the Orient in the domain of opera and operetta. Greece, in particular, functioned as a cultural crossroads between East and West. From 1840 onwards, Italian opera companies began to tour in Greece and its new theatres, and even further towards the Near East; they were followed, from 1870 onwards, by French operetta and vaudeville companies. In the last decades of the 19th century, these French artists expanded their itineraries towards the East, beyond familiar geographical boundaries, tracing their own small odysseys on the map. The chapter charts and presents these traces, attempting to shed light on an unexplored area of the world history of music and theatre.
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Willson, Flora. "Operatic Battlefields, Theater of War." In Hearing the Crimean War, 175–95. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916749.003.0008.
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Willson’s chapter explores how opera inflected listening for British officers and tourists in and near Crimea: in particular it discusses operatic perceptions in the Pera district of Constantinople, the site of the city’s first opera house, as well as ways of listening to traveling military bands connected with the Ottoman imperial court. It also examines European elites’ perceptions of foreign battlefields and cityscapes, with the aim of examining a larger shift in the history of listening: that of middle-class audiences falling silent in theatrical spaces during the nineteenth century, supposedly to devote more concentrated attention to elite music. The chapter argues that these listening habits, formed in part in the opera house, persisted well beyond its hallowed enclosures when war came to extend the complex geographies of attentive listening.
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El Hadidi, Hager. "Saints and Spirits: Transformation of Traditions." In Zar. American University in Cairo Press, 2016. http://dx.doi.org/10.5743/cairo/9789774166976.003.0006.
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This chapter examines saint and spirit songs as “acts of transfer” as well as the most popular zar spirits in Cairo and the different ways through which they are placated in ritual. It first provides an overview of zar songs as “acts of transfer” before discussing the meaning enacted by a song dedicated to Hassan Abul Gheit, the patron saint of the Gheitaniya zar musicians. It then considers the historical context of the Abul Gheit song, along with the cultural memories of a marginal Sufi movement that originated in the nineteenth century. It also explores changes in the articulation of spirit possession by focusing on the spirit pair of Yawra Bey and Rakousha Hanem. Finally, it looks at zar music bands and their styles of singing, along with the history of the song “Banat al-Handasa”.
Conference papers on the topic "Bands (Music) History 20th century"
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Santi, Matej. "Was erzählt Fritz Kreislers Geige?" 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/10.25366/2020.109.
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This short contribution shows the relevance of audiovisual sources for the history of 20th century music. It traces the role played by the violinist Fritz Kreisler (1875–1962) in shaping the widespread cliché of the “Viennese sound” via an examination of audiovisual sources. The sources stored in different online archives or social media portals play a key role, but the traceability of a given agent is not guaranteed. For this reason, controlled vocabularies and a digital tool which enable the addition of new metadata to already existing sources should be developed in the near future. This would enable researchers to trace agents, such as institutions and artists, and to connect them with places, repertoires and cultural topoi.