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Relevant bibliographies by topics / Chamber music

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Academic literature on the topic 'Chamber music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Chamber music"

1

Kearns, William, Arthur Foote, and Charles Wakefield Cadman. "Chamber Music." American Music 4, no. 2 (1986): 231. http://dx.doi.org/10.2307/3051995.

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Huxford, John C., and John Knowles Paine. "Chamber Music." American Music 7, no. 1 (1989): 114. http://dx.doi.org/10.2307/3052066.

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Pollack, Howard, Samuel Adler, Warren Benson, and John Downey. "Chamber Music." American Music 7, no. 2 (1989): 240. http://dx.doi.org/10.2307/3052222.

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Roseberry, Eric, Edvard Grieg, Finn Benestad, and Dag Schjelderup-Ebbe. "Chamber Music." Musical Times 134, no. 1806 (August 1993): 454. http://dx.doi.org/10.2307/1003021.

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Katz, Paul, and Carol Yaple. "Chamber Music America and the Chamber Music Boom." American String Teacher 37, no. 1 (February 1987): 76–78. http://dx.doi.org/10.1177/000313138703700123.

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Vikarius, Laszlo, and Janos Karpati. "Bartok's Chamber Music." Studia Musicologica Academiae Scientiarum Hungaricae 39, no. 1 (1998): 145. http://dx.doi.org/10.2307/902513.

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Nelson, Claire. "Scottish chamber music." Early Music XXIX, no. 3 (August 2001): 461–63. http://dx.doi.org/10.1093/earlyj/xxix.3.461.

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Smith, Catherine Parsons. "Chamber Music (review)." Notes 61, no. 1 (2004): 241–42. http://dx.doi.org/10.1353/not.2004.0117.

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Lewis, Roy. "Chamber Music Intonation." American String Teacher 48, no. 2 (May 1998): 39–44. http://dx.doi.org/10.1177/000313139804800208.

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Sutcliffe, W. D. "Haydn chamber music." Early Music 40, no. 4 (November 1, 2012): 718–21. http://dx.doi.org/10.1093/em/cas124.

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Dissertations / Theses on the topic "Chamber music"

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Woodruff, Julian Duke. "Cherubini's string chamber music /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059869q.

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Poston, Paul W. "Chamber Symphony." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731175.

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Wyber, Leslie Paulette. "Solo and chamber music recitals." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28878.

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Lee, Erin. "New audiences for new music a study of three contemporary music ensembles /." Akron, OH : University of Akron, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1240423668.

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Thesis (M.A.)--University of Akron, School of Dance, Theatre, and Arts Administration, 2009.
"May, 2009." Title from electronic thesis title page (viewed 8/1/2009) Advisor, Durand Pope; Faculty Readers, Neil Sapienza, George Pope; School Director, Neil Sapienza ; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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Tanikawa, Takuma. "Ondo for Chamber Orchestra." Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809519.

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Ondo was written for my grandmother’s 88th birthday. The composition comprises six sections based on a popular folksong, called “Tanko-Bushi,” which can be heard in every Japanese town during the Bon festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. “Tanko-Bushi” became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms since; it continues to do so under varied contexts and the versions I encountered there as a child, while attending the summer festivals with her, would have been but a small sample of these. As I worked on Ondo, I tried to imagine what it might have been like to live through all of the changes that took place in Japan over the past century. I think of the composition as a commentary on the westernization that has been taking place there and on the orientalization of Japanese identity—as an act of harmonizing disparate values. Between and within the sections, I explore varying degrees of fragmentation as they relate to, or disrupt, unifying threads that run through the four main sections (1, 3, 5 and 6). Above all, I wanted the piece to be enjoyable for my grandmother to listen to. The Saint Paul Chamber Orchestra gave a reading of the four main sections of Ondo on 28 January 2011 at the SPCO Center in Saint Paul, MN. Subsequent to the reading, two interludes (sections 2 and 4) were added as contrasting materials and as expansions upon the relationships explored between the diverse approaches to formal considerations in the piece.

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Huss, Fabian Gregor. "The chamber music of Frank Bridge." Thesis, University of Bristol, 2011. http://hdl.handle.net/1983/4bfd9bcb-632d-468d-817a-c68a27dd7ebf.

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Sanchez, Richard Xavier. "Spanish chamber music in Eighteenth century /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121943x.

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Clem, Paul. "The composition, a chamber opera." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/2384.

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The Composition is a chamber opera for nine musicians and from four to eight actors. The work is approximately thirty-five minutes long and consists of seven short pieces of music separated by dialogue. The subject of the libretto is a composer with writer's block. During the course of the piece, seven figures make appearances to the composer who personify various philosophies of musical aesthetics. An argument for a particular viewpoint is presented to the composer through dialogue, and the composer then attempts to write a piece of music using that philosophy as a guide. The audience then hears this music being played by the ensemble. This process is repeated until all seven aesthetics have been presented. In conjunction with the composed music, an attached research paper analyzes the techniques used in writing the music and gives examples of prominent composers associated with each of the seven schools of thought.

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Wozniak, Trevor Mathew. "Four Fluctuations for Chamber Ensemble or Chamber Orchestra." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291050505.

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Brandt, Shawn Patrick. "Chamber Essay #4." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1383913640.

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Books on the topic "Chamber music"

1

Benn, Tom. Chamber music. London: Jonathan Cape, 2013.

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1899-1953, Foss Hubert J., ed. Chamber music. Oxford [England]: Oxford University Press, 1989.

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Westrup, Jack. Schubert chamber music. London: Ariel Music/BBC, 1986.

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S, Powell John, ed. Vocal chamber music. Madison [Wis.]: A-R Editions, 1986.

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Keys, Ivor. Brahms chamber music. London: Ariel Music, 1986.

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King, Alec Hyatt. Mozart chamber music. London: Ariel Music, 1986.

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Keys, Ivor Christopher Banfield. Brahms chamber music. [London]: Ariel Music, BBC Publications, 1986.

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E, Hefling Stephen, ed. Nineteenth-century chamber music. New York: Routledge, 2003.

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Baron, John H. Chamber music: A research and information guide. New York: Garland Pub., 1987.

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McCalla, James. Twentieth-century chamber music. 2nd ed. New York, NY: Routledge, 2003.

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Book chapters on the topic "Chamber music"

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Newbould, Brian. "Chamber Music." In Schubert's Workshop: Volume 2, 161–67. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003311270-16.

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Taylor, Benedict. "Chamber Music." In Arthur Sullivan, 81–94. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-5.

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"Chamber Music." In The Szymanowski Companion, 35–38. Routledge, 2016. http://dx.doi.org/10.4324/9781315552378-10.

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Zeitlin, Leo. "Chamber Music." In Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, 51. A-R Editions, 2009. http://dx.doi.org/10.31022/n051.

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"CHAMBER MUSIC." In Music in the 20th Century (3 Vol Set), 116–19. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-82.

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MacDonald, Malcolm. "Chamber Music." In Schoenberg, 201–25. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195172010.003.0009.

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Rushton, Julian. "Chamber Music." In The Master Musicians: Mozart, 164–82. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195182644.003.0015.

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"Chamber Music." In Bedroom, 1–13. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300169539-002.

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Rogers, Clara Kathleen. "Chamber Music." In Recent Researches in American Music, 42. A-R Editions, 2001. http://dx.doi.org/10.31022/a042.

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Taylor, Rayner. "Chamber Music." In Recent Researches in American Music, 43. A-R Editions, 2001. http://dx.doi.org/10.31022/a043.

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Conference papers on the topic "Chamber music"

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Xu, Qian, Lei Xing, Jiajia Zhu, Yongjiu Zhao, Tianyuan Jia, and Yi Huang. "Mixing Music Using Electromagnetic Reverberation Chamber." In 2018 12th International Symposium on Antennas, Propagation and EM Theory (ISAPE). IEEE, 2018. http://dx.doi.org/10.1109/isape.2018.8634189.

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CHAVEZ, V. "ACOUSTIC DESIGN FOR LA ROMIEU CHURCH CHAMBER MUSIC." In Auditorium Acoustics 2015. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16183.

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Belonosova, Irina. "Chamber Music Art of Siberia Historical Pages and Modern Life." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.34.

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Kanev, Nikolay, Alexander Fadeev, Anatoly Livshits, Andrey Nechaev, Anton Peretokin, Vitaly Rodenkov, and Natalia Shirgina. "Acoustics of new and renovated chamber music halls in Russia." In 22nd International Congress on Acoustics: Acoustics for the 21st Century. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000384.

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Deng, Kaiyuan. "Vocal Score and Piano Score The Interaction Between Chamber Music and Vocal Music of Chinese Composers." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.29.

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Roman, Iulia. "Interpretive vision on the work habanera for violin and piano by the romanian composer Dumitru Capoianu." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.06.

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The composer Dumitru Capoianu is part of the romanian composers who have given valuable works to contemporary music. His creation includes theater music, film music, symphonic music, vocal-symphonic music, choral music, chamber music. Habanera for violin and piano is the work that belongs to the genre of instrumental miniature, a composition in which the elements of jazz café concert blend harmoniously with passages of virtuosity.

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Chiciuc, Natalia. "Bibliographical references in the research of Gheorghe Neaga's instrumental chamber music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.07.

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The composer Gheorghe Neaga has a significant contribution to the enrichment of the autochthonous repertoire of instrumental chamber music by signing a series of miniatures, sonatas, trios, quartets and suites for various instrumental ensembles. In order to research the musician’s most representative opuses and, implicitly, in the sense of an adequate appreciation of the contribution in the field from the perspective of recognizing the value presented by his creative figure, any investigation will start with the study of the recommended bibliography found in the libraries from Chișinău, in the online environment or in various institutions outside the country. Quite numerous, all the consulted sources must be methodically divided into several categories: journalistic articles, biographical encyclopedic editions, scientific studies and monographs, as well as in various other publications from the national and international specialized literature.

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Meshcheryakova, Natalia Ivanovna. "Music poetics of chamber and vocal essays on Marina Tzvetaeva's poems." In IV International Scientific and Practical Conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-117691.

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Anuchin, Artem Maximovich. "FEATURES OF MARILYN SCHRUDE'S COMPOSITIONAL STYLE MARILYN SCHRUDE." In Themed collection of papers from Foreign international scientific conference «Joint innovation - joint development». Part 1. by HNRI «National development» in cooperation with PS of UA. October 2023. - Harbin (China). Crossref, 2024. http://dx.doi.org/10.37539/231024.2023.81.89.047.

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Marilyn Shrude is an authoritative contemporary American composer, pianist and teacher. Marilyn is a prolific composer, her collected works cover a wide range of genres, but a special place in it belongs to chamber instrumental music with the participation of the saxophone. It was in this area that the stable features of her compositional handwriting were most clearly revealed. Her chamber music is of particular interest in the context of the entire work of the master. M.Shrude has his own individual, recognizable handwriting. Its main quality is a combination of ultra-modern compositional techniques with techniques peculiar to the liturgical music of the Middle Ages.

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Wang, Chenyu. "The Development of Chamber Music in Baroque Period and Its Style Deduction." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.17.

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Reports on the topic "Chamber music"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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

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

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