Log in

Relevant bibliographies by topics / Composers / Journal articles

Journal articles on the topic 'Composers'

To see the other types of publications on this topic, follow the link: Composers.

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Composers.'

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.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Maestri, Eric. "An Exploratory Inquiry into the Relationship between Temporality and Composition." Organised Sound 25, no. 2 (August 2020): 179–86. http://dx.doi.org/10.1017/s1355771820000084.

Full text

Abstract:

In this article, I explore the relationship between the temporality of the composer and that of the music composed. This investigation starts with a fundamental presumption: composers, generally speaking, think in the future – their compositions will be performed and perceived at a different and later time than that of the compositional act, and will be listened by other persons. The hypothesis I develop in this article is that the musical work determines a deferred relationship between the listener and the composer, and that the compositional act is basically a dialogical act. Paul Ricœur’s theory of mimesis is helpful in analysing this dialogical mechanism through the notion of ‘temporal configuration’. By drawing on this theoretical framework, I interviewed five composers in order to make explicit the imbrication of the composer’s and listener’s temporalities in the musical work. This exploratory inquiry allowed for a concrete analysis, articulated in the words of the composers, of how they conceive the relationship between their compositional temporality and that expressed by their work.

APA, Harvard, Vancouver, ISO, and other styles

2

Repp, Bruno H. "Further Perceptual Evaluations of Pulse Microstructure in Computer Performances of Classical Piano Music." Music Perception 8, no. 1 (1990): 1–33. http://dx.doi.org/10.2307/40285483.

Full text

Abstract:

This research continues the perceptual evaluation of "composers' pulses" begun by Repp (1989a) and Thompson (1989). Composers' pulses are patterns of expressive microstructure (i. e., timing and amplitude modulations) proposed by Clynes (1983). They are said to convey individual composers' personalities and to enhance their characteristic expression when implemented in computer performances of their music. For the present experiments, the initial bars of five piano pieces by each of four composers (Beethoven, Haydn, Mozart, and Schubert) were generated with each of four pulse microstructures similar to Clynes's composer-specific patterns, and also in a deadpan version. Listeners representing a wide range of musical experience judged to what extent each computer performance had the composer's individual expression, relative to the deadpan version. Listeners showed an overall preference for the Beethoven and Haydn pulses. The pattern of pulse preferences varied significantly among individual pieces, but little among different composers. These results indirectly support the general notion that expressive variation is contingent on musical structure, but they offer little evidence in support of fixed, composer-specific patterns of expressive microstructure.

APA, Harvard, Vancouver, ISO, and other styles

3

Daniele, Joseph R., and Aniruddh D. Patel. "Stability and Change in Rhythmic Patterning Across a Composer’s Lifetime." Music Perception 33, no. 2 (December 1, 2015): 255–65. http://dx.doi.org/10.1525/mp.2015.33.2.255.

Full text

Abstract:

Historical trends in the rhythm of Western European instrumental classical music between ∼1650 and 1950 have recently been studied using the nPVI equation. This equation measures the average degree of durational contrast between adjacent events in a sequence (such as notes in a musical theme). These historical studies (e.g., Daniele & Patel, 2013, Hansen et al., in press) have relied on assigning each composer’s music a mean nPVI value in order to search for broad historical trends across composers. Here we address how mean nPVI might vary across different compositional periods within a composer’s lifetime, focusing on four famous composers whose lives have been demarcated into different epochs by historical musicologists, and who were part of Daniele and Patel’s original study: J. S. Bach, Mozart, Beethoven, and Brahms. For these composers, we find that the mean nPVI does not vary dramatically across compositional periods. Nevertheless, there are interesting trends within the lifetime of each composer which reflect the larger ‘rising nPVI’ trend seen across all Austro-German composers studied by Daniele and Patel (2013). These findings demonstrate the utility of studying historical patterns in musical rhythm at two distinct timescales: within the lifetimes of individual composers, and across composers from divergent musical eras.

APA, Harvard, Vancouver, ISO, and other styles

4

Xintong, Wang. "VIOLA MINIATURE BY REBECCA CLARKE." Arts education and science 2, no. 35 (2023): 76–83. http://dx.doi.org/10.36871/hon.202302076.

Full text

Abstract:

The work of English composers of the first half of the XXth century, who actively composed for viola, is little known to music lovers. The now popular English composers L. Tertis and W. Wilton were most prominent in large-form works for viola (primarily in the genres of sonata and concerto with orchestra). One of the pioneers of chamber music for this instrument is the talented, but now almost unknown composer and violist Rebecca Clarke, who established the viola miniature as a distinctive and striking artistic phenomenon. The relevance of the study lies in the urgent need to introduce into musicology the information about the creative heritage of composers who created those works for viola that reveal the multifaceted artistic possibilities of this instrument. The purpose of the article is to illuminate the creative heritage of R. Clarke in the genres of miniature for viola and piano. Objectives of the article — to present the main biographical information about the composer; to show the importance of the viola in the development of the composer's style; to comprehensively analyze R. Clarke's miniatures for viola and piano. The author attempts to explore the composer's language, which is based on romantic traditions and heavily influenced by C. Debussy. The article focuses on R. Clarke's significant contribution to affirming the performance potential of viola in the chamber repertoire. The materials of the article can be used both by teachers of viola class and chamber ensemble as educational and didactic material, and by concert musicians to enrich their own performing repertoire.

APA, Harvard, Vancouver, ISO, and other styles

5

Berio, Luciano. "Composers." Tempo, no. 155 (December 1985): 57–58. http://dx.doi.org/10.1017/s0040298200022014.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Collins, Nicolas. "Our Crowd—Four Composers Pick Composers." Leonardo Music Journal 19 (December 2009): 7–8. http://dx.doi.org/10.1162/lmj.2009.19.7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Allphin, Penrose M. "Trans Sonorities in Grey Grant's “Drones for the In-Between Times”." TSQ: Transgender Studies Quarterly 8, no. 3 (August 1, 2021): 394–402. http://dx.doi.org/10.1215/23289252-9009010.

Full text

Abstract:

Abstract Composer intent has generally been downplayed by contemporary music analysts, often being regarded as an example of an intentional fallacy at best and misleading at worst. This analysis of Grey Grant's choral work posits that such a dismissal not only ignores the potential for an enhanced expressive context afforded by composers' own assessments, but it also contributes to the silencing of already marginalized voices, such as in the case of transgender composers. The author proposes a methodology that incorporates the voices of living composers while circumventing concerns about confirmation bias by building on the framework of music theory, queer musicology, and queer theory. The article demonstrates this theoretical framework using an interview of a transgender composer to supplement an analysis of their contemporary choral piece. By analyzing the work with the added context of the composer's statements about their own music, the author paints a more complete picture of the work, one that reinvests music analysis with the trans voice behind the composition.

APA, Harvard, Vancouver, ISO, and other styles

8

Panteleeva, Yulia N. "«The Composer’s word and the Composer as seen by others: the 18th anniversary of the musicology project in the Gnessins Russian Academy of Music»." Contemporary Musicology, no. 2 (2019): 70–89. http://dx.doi.org/10.56620/2587-9731-2019-2-070-089.

Full text

Abstract:

The article «The Composer’s word and the Composer as seen by others: the 18th anniversary of the musicology project in the Gnessins Russian Academy of Music» is devoted to the theme of composer musicology – a concept that has become central to the series of collections «The Composer’s Word». This musicology project arose in the Gnessins Russian Academy of music in 2001. The article offers a general view of the concept of the collection, the materials published in the books — «The Composer’s Word» / «Slovo kompozitora» (2001), «The Composer’s Word: Thoughts on Music»/ «Slovo kompozitora: mysli o muzyke» (2011), «The Composer’s word and the Composer as seen by others»/ «Slovo kompozitora i o kompozitore» (2016). The texts published in the collections reflect both the Russian musical tradition and the foreign one. Among the authors are composers of the past (A. Scriabin, L. Sabaneev, A. Nikolsky, N. Cherepnin) and the present (E. Denissov, N. Korndorf, A. Larin, V. Tarnopolsky, V. Kikta, K. Volkov, A Batagov, I. Sokolov, and others.). Texts by foreign composers (O. Messiaen, K. Stokhausen, P. Boulez, L. Nono, J. Xenakis, S. Reich, J. Aperghis, M. Stahnke, and others) are presented in translations. The article also gives an idea of the genres in which the composer’s word is captured, and on the themes raised by the creators.

APA, Harvard, Vancouver, ISO, and other styles

9

Yoffe, Mark. "Progressive Rock from the Union of Soviet Composers." Arts 13, no. 3 (May 7, 2024): 83. http://dx.doi.org/10.3390/arts13030083.

Full text

Abstract:

This article focuses on the influence of Western progressive rock music on some innovative members of the Union of Soviet Composers, who were open to new trends and influences. These Soviet composers’ interest in progressive rock was not only intellectual, but also had serious practical implications. During the 1970s, several composers made attempts to create original works following various styles of prog rock. Occasionally, they incorporated elements of prog rock into their otherwise experimental compositions. One can see the influences of prog rock in the works of prominent composers such as A. Pärt, S. Gubaidulina, V. Martynov, V. Silvestrov, V. Artemiev, G. Kancheli, and A. Schnittke. After discussing the development of the prog rock tradition in the USSR and dwelling on the peculiarities of prog rock as a genre, I focus on three works created by Soviet composers under the influence of prog traditions: the 4th Symphony for orchestra and rhythm section by Latvian composer Imants Kalniņš, which follows the traditions of symphonic rock; an avant-garde rock opera titled “Flemish Legend” by Leningrader Romuald Grinblat, written to the lyrics by dissident bard Yulii Kim and heavily influenced by the twelve-tone system; and a suite of art-rock songs titled “On the Wave of My Memory” composed by pop composer David Tukhmanov, based on the poems of poets with a “decadent” reputation in the Soviet ideological context. All of these composers had to create within the Soviet ideological restrictions on modern and rock music, in particular, and all of them had to engage in their own trickster-like antics to produce and perform their works. Although they are little remembered today, these works stand as unexpected and singular achievements of Soviet composers during complex times.

APA, Harvard, Vancouver, ISO, and other styles

10

Salleh, Marzelan, and Camellia Siti Maya Mohamed Razali. "Creative music making through composition workshop for higher education educators: An experiential learning." Journal Of Research, Policy & Practice of Teachers & Teacher Education 10, no. 2 (November 18, 2020): 32–48. http://dx.doi.org/10.37134/jrpptte.vol10.2.3.2020.

Full text

Abstract:

This study looked into a way experiential learning was incorporated into a music course by having students participate in a workshop led by a subject matter expert. In the workshop, Passepartout Duo’s role as subject matter experts in the music field ensures an ideal experiential learning environment for composition music students to immerse themselves in order to develop new skills and knowledge. Passepartout Duo is a piano and percussion duo based in Germany, who performs and composes contemporary music. Passepartout Duo members are Nicoletta Favari (piano & keyboard) and Christopher Salvito (drums and percussion). The music composition workshop which ran for two consecutive days was presented in an informal group context introducing contemporary music. Participants and observers of the workshop included Malaysian music students of higher education institutions and professional composers. Participating composers composed original music pieces and worked together and were directly involved with Passepartout Duo in the creative processes required in creating their own music composition and the culmination of the workshop was a concert featuring music compositions from participating composers performed by the duo. Students attending the workshop were found to better grasp musical concepts, be more creative, and have a peek into the career as a composer. Implementing workshops into the music course also maximised learning for students and ensured the efficient development of the course.

APA, Harvard, Vancouver, ISO, and other styles

11

Drajewski, Stefan. "Polskie kompozytorki baletów. Rekonesans." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 205–22. http://dx.doi.org/10.2478/prm/2022-0002.

Full text

Abstract:

ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centuries have written at least one or more works whose subtitles contain the words “ballet” or “ballet music” or have been composed particularly for a dance theatre, pantomime or dance performance. Out of 122 compositions, twenty ballets have not been staged. The works composed for other types of “dance shows” were written in collaboration with specific choreographers, therefore they have all been staged, except for three compositions. The first Polish female composer to write ballet music was Anna Maria Klechniowska. Her two earliest ballets, Bilitis and Juria were composed in the interwar period, and the third one titled Fantasma in 1964. The most successful female composer was Jadwiga Szajna-Lewandowska who composed ballets for children. Her most popular work was ballet Pinokio [Pinocchio]. Another question refers to stage productions of ballets composed by women. Eighteen of the ballets staged were choreographed by men, and fourteen by women. In the case of music composed strictly for “dance shows” (dance theatre, pantomime or dance performance) female choreographers prevail (47): only twelve male choreographers decided to collaborate with a female composer. Two performances were the result of collaborative work. The findings to date constitute a point of departure for further research into music composed “for dance” (ballet, pantomime, dance theatre and dance performances).

APA, Harvard, Vancouver, ISO, and other styles

12

Drajewski, Stefan. "Polskie kompozytorki baletów. Rekonesans." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 205–22. http://dx.doi.org/10.2478/prm-2022-0002.

Full text

Abstract:

ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centuries have written at least one or more works whose subtitles contain the words “ballet” or “ballet music” or have been composed particularly for a dance theatre, pantomime or dance performance. Out of 122 compositions, twenty ballets have not been staged. The works composed for other types of “dance shows” were written in collaboration with specific choreographers, therefore they have all been staged, except for three compositions. The first Polish female composer to write ballet music was Anna Maria Klechniowska. Her two earliest ballets, Bilitis and Juria were composed in the interwar period, and the third one titled Fantasma in 1964. The most successful female composer was Jadwiga Szajna-Lewandowska who composed ballets for children. Her most popular work was ballet Pinokio [Pinocchio]. Another question refers to stage productions of ballets composed by women. Eighteen of the ballets staged were choreographed by men, and fourteen by women. In the case of music composed strictly for “dance shows” (dance theatre, pantomime or dance performance) female choreographers prevail (47): only twelve male choreographers decided to collaborate with a female composer. Two performances were the result of collaborative work. The findings to date constitute a point of departure for further research into music composed “for dance” (ballet, pantomime, dance theatre and dance performances).

APA, Harvard, Vancouver, ISO, and other styles

13

Hall, Ray. "Minor Composers." Musical Times 129, no. 1740 (February 1988): 63. http://dx.doi.org/10.2307/964417.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Paynter, John, R. Murray Schafer, and Reginald Smith Brindle. "Classroom Composers." Musical Times 128, no. 1734 (August 1987): 440. http://dx.doi.org/10.2307/965013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Miller, Malcolm. "Arranger-Composers." Musical Times 132, no. 1778 (April 1991): 199. http://dx.doi.org/10.2307/966143.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Richards, Katherine, and Edwin Mullins. "The Composers." Notes 52, no. 3 (March 1996): 879. http://dx.doi.org/10.2307/898666.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Grey, James, and Eve O'Kelly. "Irish Composers." Musical Times 134, no. 1807 (September 1993): 514. http://dx.doi.org/10.2307/1002746.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Rochester, Marc. "New Composers." Musical Times 126, no. 1704 (February 1985): 98. http://dx.doi.org/10.2307/963478.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Kivy, Peter. "Composers and ‘composers’: A response to David Rosen." Cambridge Opera Journal 4, no. 2 (July 1992): 179–86. http://dx.doi.org/10.1017/s0954586700003724.

Full text

Abstract:

David Rosen has written a detailed critique of my essay, ‘Opera Talk: A Philosophical “Phantasie”’, which appeared in a recent issue of this journal. I am grateful to him for his interest in what I had to say there. But at the same time I fear that he has misconstrued it. The result is that he has set up a parade of straw men which (not surprisingly) he has knocked – indeed bludgeoned – to the turf. There are a lot of straw men standing in for a lot of real ones, some of the real ones more important than others. It would be a bore for me as well as for my readers were I to run through them all (and if I tried, the vigilant editors of the journal would, quite rightly, put a stop to my profligacy). So I am going to concentrate on a very few of what I take to be the most important ones, and ones that cluster around the same basic issue. In the process, I hope not only to perform the negative task of refuting Rosen's ‘refutation’, but the positive one of pushing my project forward, at least to the extent of clarifying it.

APA, Harvard, Vancouver, ISO, and other styles

20

Pavlova-Borisova, Tat'yana Vladimirovna, and Milena Mikhailovna Kuz'mina. "Yakut national school of composers and works of the first Even composer P. M. Starostin: review experience." Философия и культура, no. 12 (December 2020): 1–10. http://dx.doi.org/10.7256/2454-0757.2020.12.34736.

Full text

Abstract:

This article is dedicated to the life and works of the first Even composer P. M. Starostin (1944-2013) in the context of evolution of the national school of composers in the East. The goal of this research consists in review of the life and works of the Even composer P. M. Starostin. The object of study is the professional musical art of the Evens, while the subject is the artistic heritage of the first Even composer. The article is based on the comparative and typological methods, with consideration of theoretical insights of the national musicologists dedicated to the development trends of young national schools of composers (M. N. Drozhzhina, M. Y. Dubrovskaya, L. L. Pylneva, and others.). The following conclusions were made: professional becoming of the first Even composer P. M. Starostin was within the framework of Yakut national school of composers; the primary source for his works became the rich Even folklore – epic tales, ritual genres, song lyrics. The artistic heritage of P. M. Starostin is unique and versatile in genre, featuring the large forms such as opera and cantata, as well as the chamber-vocal oeuvres and compositions for children. The geography of the young national schools of composers spread to the northeast of Russia, where is successfully functioning the Yakut national school of composers. The Yakut national school of composers becomes the new center, forming prerequisites for the establishment of national schools of composers of the indigenous peoples of the North living in the Arctic zone. The reviewed experience of the first Even composer P. M. Starostin indicates this process. The novelty of this research consists in introduction of information on the life and works of the first Even composer P. M. Starostin into the scientific discourse. Such analysis was carried out for the first time.

APA, Harvard, Vancouver, ISO, and other styles

21

Mdivani, T. G. "Composer’s interpretation of the Christian ethos in the music art of sovereign Belarus." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 2 (May 18, 2020): 203–8. http://dx.doi.org/10.29235/2524-2369-2020-65-2-203-208.

Full text

Abstract:

For the first time in the Belarusian liturgical musicology analysis of the attitude of domestic composers to Christian sources: themes, images, style, church singing culture in general is carried out. It is proved that the interest of the Belarusian musicians of the period of state sovereignty focuses on two Christian denominations – the Western and Eastern European; that the compositions of composers in their essence are representatives of musical art, and not of liturgical singing practice, and also, that the basis of the composer’s work is the phenomenon of interpretation. Three types of composer interpretation of church tradition are distinguished: «leverage» (transposition, re-establishment), author’s transcription and conventionality. The main conclusion of the work: the spiritual stratum of the national musical culture of modern times, presented by composer creativity, is a peculiar aesthetic euphemism between Eastern and Western Christianity, which manifests itself in various aspects.

APA, Harvard, Vancouver, ISO, and other styles

22

Tsaregradskaya, Tatiana V. "City Noir by John Adams: a Way to Interpretation." Contemporary Musicology, no. 4 (2023): 68–103. http://dx.doi.org/10.56620/2587-9731-2023-4-068-103.

Full text

Abstract:

John Coolidge Adams is at the present times is one of the leading composers of the USA. Being a conductor of world renown, he composes particularly frequently for the orchestra — the musical means that is the closest for the composer. In 2009 he composer City Noir — a three-movement orchestral piece inspired by an entire “bouquet” of sources. Among them is the culture and the spirit of the West Coast of the USA in general and of California in particular, the aura of Los Angeles and the era in the life of the city connected with the emergence of films in the style of “noir.” It is referred to the time period of the 1940s and the 1950s with their half-criminal romanticism of night-time adventures, bold energies and a blood-bustling freedom. Dedicated to conductor Dudamel, the orchestral composition City Noir balances in terms of genre between a three-movement symphony, a soundtrack to a film and a jazz suite, relegating the listener’s imagination to the cult figures in jazz during the 1950s, the experience of composing in the jazz idiom (among such composers as Milhaud and Gershwin) and to elements of ekphrasis (referring to Wat Disney’s unique concert hall constructed by the ingenious architect Frank Gary). The article provides an overview of all the sources of Adams’ musical ideas and engages in the attempt to interpret the result of the composer’s work.

APA, Harvard, Vancouver, ISO, and other styles

23

Broad, Leah. "BBC Proms 2015: Gary Carpenter, Anders Hillborg, Ørjan Matre, Alissa Firsova, B Tommy Andersson." Tempo 70, no. 275 (December 7, 2015): 84–85. http://dx.doi.org/10.1017/s0040298215000674.

Full text

Abstract:

Sibelius' and Nielsen's 150th anniversary year has prompted a proliferation of events to celebrate the music of the Nordic composers, from conferences to concert series. The Proms has been no exception, with an unusually high number of Nordic composers represented throughout the festival (although Glazunov, also in his 150th anniversary year, has been forgotten). British composer Gary Carpenter's Dadaville was premiered on the first night, which opened to the sounds of Nielsen's Maskarade and Sibelius's Belshazzar's Feast, while later concerts covered here presented premieres by the Swedish composers Anders Hillborg and B Tommy Andersson, the Norwegian composer Ørjan Matre, and Moscow-born (though UK-based) composer Alissa Firsova.

APA, Harvard, Vancouver, ISO, and other styles

24

Quinn, Peter. "Out with the Old and in with the New: Arvo Pärt's ‘Credo’." Tempo, no. 211 (January 2000): 16–20. http://dx.doi.org/10.1017/s004029820000735x.

Full text

Abstract:

The current standing of the Estonian-born composer Arvo Pärt (b.1935) rests almost exclusively on the works he has composed since 1976, the year the composer unveiled the first fruits of his newly-discovered modal formulae, or what has now become known as the ‘tintinnabuli’ style. There is, however, a large, important and up until now relatively unexplored series of experimental works that predate this seemingly radical change of style. For example, Pärt's first orchestral piece, Nekrolog (1960), was the very first piece of Estonian music to employ the 12-note technique, incurring the wrath of no less a person than Tikhon Khrennikov, the all-powerful general secretary of the Soviet Composers’ Union. Indeed at the Third All– Union Congress of Soviet Composers held in Moscow in March 1962 Khrennikov singled out Pärt for criticism.

APA, Harvard, Vancouver, ISO, and other styles

25

GOTCHEVA, Angelina-Ogniana. "The Position of Women Composers in the World and in Bulgaria – is the Audience of Contemporary Classical Music Privileged or Deprived?" Balkanistic Forum 32, no. 3 (September 15, 2023): 290–308. http://dx.doi.org/10.37708/bf.swu.v32i3.17.

Full text

Abstract:

The article addresses the issue of discrimination against women in their work field, which is still relevant today. It contains an overview of the historical development of women in the composers’ profession around the world and in Bulgaria, as well as an outline of the difficulties and accomplishments of famous women composers. The obstacles in the work realization of world-renowned women composers are sought: the Finnish composer Kaija Saariaho, the Soviet/Tatar composer Sofia Gubaidulina and the Bulgarian composer Julia Tsenova. An overview of annual statistics on the presence of women composers in the world's concert halls is shown and analyzed. Statistics on the concert program in the major Bulgarian halls are provided. Answers to current questions about the impact of globalization on the audience of contemporary classical music in Bulgaria in comparison with the world state are sought. The term discrimination in the professional music field is defined and researched, and those affected are noted.

APA, Harvard, Vancouver, ISO, and other styles

26

Drewniak, Janusz. "Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań." Ruch Biblijny i Liturgiczny 63, no. 4 (December 31, 2010): 327. http://dx.doi.org/10.21906/rbl.181.

Full text

Abstract:

The millennium hymn Te Deum has been known and sung in Poland for over forty years. The author of this dissertation presents the complicated circumstances revolving around the creation of this hymn. The inspiration were incorrect notes about the composer of the hymn, which had been published in song-books. In past years it lead people to believe that Te Deum was composed by the priest Antoni Chlondowski. The author, who based his research on that of Maria Wacholc, opposed the idea that the priest Chlondowski had composed the hymn. This article presents analysis of the composing style and the biography of the priest Chlondowski, which contradict his authorship. Next, in the following part of this article the author presented some facts which helped him to find the authentic composers. According to the author of this dissertation the authentic composers of Te Deum were Józef Furmanik and Franciszek Wesołowski. The aim of this article is to emphasize the necessity of the correction of the mistaken information about the composer in the song-books which will be published in the future.This article has the following structure: Te Deum in the history of the Catholic Church; Polish language version of Te Deum used in the liturgy in the XXth century; Polish millennium Te Deum; The controversy around the authorship of the priest Antoni Chlondowski; The controversy around the authorship of Franciszek Wesołowski; The authentic composers – Józef Furmanik and Franciszek Wesołowski.

APA, Harvard, Vancouver, ISO, and other styles

27

Kumbier, William. "Composed Composers: Subjectivity in E. T. A. Hoffmann's "Rat Krespel"." Studies in Romanticism 43, no. 2 (2004): 231. http://dx.doi.org/10.2307/25601673.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Williams, Lynne. "Emerging Australian Composers." Musical Times 129, no. 1749 (November 1988): 591. http://dx.doi.org/10.2307/966787.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Robison, Brian, Revel Guest, and Peter Greenaway. "4 American Composers." Notes 51, no. 1 (September 1994): 263. http://dx.doi.org/10.2307/899265.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Freund. "Guiding Young Composers." Philosophy of Music Education Review 19, no. 1 (2011): 67. http://dx.doi.org/10.2979/philmusieducrevi.19.1.67.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

McKinley, Ann, and Edith Borroff. "Three American Composers." American Music 6, no. 2 (1988): 235. http://dx.doi.org/10.2307/3051550.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Blackburn, Philip. "American Composers Forum." Circuit 14, no. 2 (February 15, 2010): 67–76. http://dx.doi.org/10.7202/902315ar.

Full text

Abstract:

Philip Blackburn dresse un portrait de l’American Composers Forum, organisation fondée en 1973 et qui a permis la création d’un réseau de diffusion de la nouvelle musique aux États-Unis. L’ACF compte 1 700 membres et soutient des projets de création basés sur l’étroite collaboration entre les créateurs, les interprètes et la communauté. Il s’agit donc de soutenir la carrière des compositeurs en intégrant leurs oeuvres aux activités culturelles des communautés. Non seulement l’ACF permet aux oeuvres de circuler, mais elle assure leur création dans le cadre d’expériences musicales qui répondent aux besoins artistiques des communautés d’accueil. Il se crée alors un véritable marché de la nouvelle musique.

APA, Harvard, Vancouver, ISO, and other styles

33

Poulton, Alan. "Modern British Composers." Musical Times 130, no. 1759 (September 1989): 518. http://dx.doi.org/10.2307/1193510.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Baird, Jo Ann C. "Four American Composers." Music Educators Journal 78, no. 9 (May 1992): 77. http://dx.doi.org/10.2307/3398443.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Brown, Ronald. "Black American composers." Music Educators Journal 76, no. 9 (May 1990): 6. http://dx.doi.org/10.2307/3401067.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Thomson, Andrew, Manuel de Falla, Enrique Granados, Federico Mompou, and Joaquin Nin. "Composers in Person." Musical Times 134, no. 1810 (December 1993): 715. http://dx.doi.org/10.2307/1002948.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Lindner, László. "Composers and Computers." ICGA Journal 14, no. 4 (December 1, 1991): 234. http://dx.doi.org/10.3233/icg-1991-14420.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Jones, Mark. "20th century composers." Psychiatric Bulletin 15, no. 7 (July 1991): 442–45. http://dx.doi.org/10.1192/pb.15.7.442.

Full text

Abstract:

At the turn of the century, opera was leaderless after the heady days of Verdi and Wagner. Puccini emerged as the new voice of Italian opera, where realism, or verismo, was the way forward. But verismo could never be the answer to the operatic dilemma that faced the latest composers, since it only gave a musical dimension to a stage painting of ‘life as it is’, without reference to underlying psychodynamics — I personally have never thought Puccini much of an intellectual. Beautiful his music may be, but as thinking pieces of theatre they are devoid of real challenges. Their appeal and potency lies, to a great extent, in Puccini's obsession with needless suffering.

APA, Harvard, Vancouver, ISO, and other styles

39

Trimble, M. "Composers and epilepsy." Epilepsy & Behavior 28, no. 2 (August 2013): 313. http://dx.doi.org/10.1016/j.yebeh.2012.04.040.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Whittall, Arnold. "Contemporary German composers." Tempo 59, no. 231 (January 2005): 67–69. http://dx.doi.org/10.1017/s0040298205210070.

Full text

Abstract:

LACHENMANN: Das Mädchen mit den Schwefelhölzern (Tokyo Version, 2000) c. Sylvain Cambreling. ECM New Series 1858/9 (2-CD set).DÖHL: Sound of Sleat; Bruchstücke zur Winterreise for piano; String quintet: Winterreise; Notturno. James Tocco (pno), Hugo Noth (accordion), Ovidiu Dabila (double bass), Auryn Quartet with Boris Pergamenschikov (vlc), Lasalle Quartet. Dreyer-Gaido 21013.HÖLLER: Piano Works. Kristi Becker, Pi-hsien Chen (pnos). cpo 999 954-2.PINTSCHER: Figura I–V; String Quartet No. 4, Portrait of Gesualdo; Dernier espace avec introspecteur. Theodoro Anzelotti (accordion), Arditti String Quartet. Winter & Winter 910 097-2.

APA, Harvard, Vancouver, ISO, and other styles

41

Wen-chung, Chou. "Whither Chinese composers?" Contemporary Music Review 26, no. 5-6 (October 2007): 501–10. http://dx.doi.org/10.1080/07494460701652939.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Kim, Junyeol. "Composers and Performers." Philosophia 48, no. 4 (January 25, 2020): 1469–81. http://dx.doi.org/10.1007/s11406-020-00176-8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Ellsworth, Therese. "Composers in academia: Women composers at American colleges and universities." Contemporary Music Review 16, no. 1-2 (January 1997): 27–36. http://dx.doi.org/10.1080/07494469700640041.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Dyatlov, Dmitry A. "”Musical theater” by Mark Levyant." Sphere of culture 2, no. 4 (December 17, 2021): 89–101. http://dx.doi.org/10.48164/2713-301x_2021_6_89.

Full text

Abstract:

The article is devoted to the work of Samara composer Mark Levyant. The musician celebrates his anniversary in 2021. In the composers extensive creative background of writing there is a variety of genres including classical music. Brief analytical overview presents composers chamber, choral, vocal and symphonic works. They are all considered in the music paradigm of drama theatre. Each of them reflects some interaction with the composers theatre music.

APA, Harvard, Vancouver, ISO, and other styles

45

Habibi, Ali, and Rizqy Khairuna. "EUPHEMISM AND GENDER: THE EUPHEMISM USED BY MALE AND FEMALE IN MINANGKABAU SONGS." AICLL: ANNUAL INTERNATIONAL CONFERENCE ON LANGUAGE AND LITERATURE 1, no. 1 (April 17, 2018): 98–103. http://dx.doi.org/10.30743/aicll.v1i1.15.

Full text

Abstract:

This study aims to identify the differences types of euphemism as an expression in deriving meaning used by the composer of male and female Minangkabau in their song lyrics. The subjects of this research are male and female Minangkabau composers. Data taken from this study were downloaded from youtube and transcribed. The procedure of collecting the data was taken from two of song lyrics by the composers Ipank and Ria Amelia “Rantau Den Pajauh” and “Harok di Rantau urang”. The procedure of analyzing the data was descriptive qualitative method, by having the lyrics identified and underlined to get the types of euphemism that used in their lyrics. The result of analyzing the data indicated that there were three types of euphemism used by male and female composers. The female composer used euphemism more than the male composer. The female composer used three types of euphemism such as ; Circumlocution, Metaphor, understatement and Hyperbole while the male composer only used Hyperbole in the Lyrics.

APA, Harvard, Vancouver, ISO, and other styles

46

Kruglova, M. G. "Romantic Style in American Music and Its Place in Courses of Disciplines of Universities of Culture and Art." Uchenye Zapiski RGSU 19, no. 4 (December 29, 2020): 220–27. http://dx.doi.org/10.17922/2071-5323-2020-19-4-220-227.

Full text

Abstract:

in the development of American music of the 19th century, researchers find stylistic trends in romanticism. During this period, the characteristic features of national musical thinking and the features of the composer’s work of US composers manifest themselves. A similar thing was observed in European music of the same century: the Polish national composer school was formed in Chopin’s works, Liszt embodied the features of Hungarian music, Grieg – Norwegian, etc. Since the beginning of the 19th century, American composers have been passionate about European romantic trends, but at the same time they have gone and developed along their special path. The influence of Schubert, Schumann, Mendelssohn is felt in the works of American composers of the mid-19th century, in the literature of the USA romanticism manifested itself much earlier, and its development was peculiar and special due to the ethnic and historical development of the country. However, all these most important historical pages still remain almost without the attention of scholars, researchers, and are also absent from the courses of music history not only colleges, but also universities of art culture. In this work, an attempt is made to outline ways to master the artistic and creative experience of composers of the USA of the 19th century in the process of studying professional disciplines by students of universities of culture and art and at the same time enriching the scientific experience of musicology with new discoveries in the field of American romantic music.

APA, Harvard, Vancouver, ISO, and other styles

47

Duchen, Jessica. "Developments and Dangers: The Training of Young Composers." Tempo, no. 171 (December 1989): 4–11. http://dx.doi.org/10.1017/s004029820001994x.

Full text

Abstract:

As the 1980s draw to their close, contemporary music is becoming more eclectic than ever before. In the tremendous range of idioms, from symphonies to synthesizers via many ‘isms’ and ‘neos’, composers of the younger generation have a baffling choice of directions for their preferred moves. Ideologies have altered considerably during the past two decades; the demands of technology have left some institutions unable to keep up with the progress of electronic music in others; now the early musical experience of children in schools is changing too, with the introduction of GCSE placing emphasis on creativity and composition. But amongst the changes some aspects of a composer's training remain unaltered. There is a general sense that composers are ‘born and not made’, although they can be helped – or hindered – by their teachers. As Professor Alexander Goehr remarked: ‘I can teach anybody to compose so long as they are not a composer’. The mechanics of composing, such as formal structure or writing counterpoint, can be taught; the source of inspiration is as inexplicable as ever. The young composer remains something of a rebel figure, with a need for a particular means of self-expression that can be shaped but not dictated to. The rudiments of harmony and counterpoint, form and orchestration, can all be explained and absorbed by the student. But for a gifted composer in training, the essential search remains for the individual voice which must be found through independent choices, under the careful guidance of a good teacher.

APA, Harvard, Vancouver, ISO, and other styles

48

Yaremchuk, Olena. "The Polystylistics of Svyatoslav Lunyov’s Paraliturgical Music." NaUKMA Research Papers. History and Theory of Culture 6 (June 21, 2023): 65–71. http://dx.doi.org/10.18523/2617-8907.2023.6.65-71.

Full text

Abstract:

Paraliturgical music is a sophisticated expression of the composer’s pure faith, acquired through knowledge of his craft in historical and technical progress. Many examples of sacred music have come down to us from the past, and most of them were in the territory of modern Ukraine, along with works by Russian composers that are still a priority in some churches. One way to rethink this topic is to study the work of Ukrainian composers, particularly in the context of paraliturgical music. One example is the work of contemporary Ukrainian composer Svyatoslav Lunyov. While many scholarly studies have been analyzing liturgical genres and music in the liturgy in various aspects, including canonical music and the work of S. Lunyov, the question of the place of the choral symphony “Strasna Sedmytsia” in the context of paraliturgical music remains unresolved. Due to its scientific novelty, the study of Lunyov’s choral symphony in the context of Ukrainian paraliturgical music became the subject of a special musical and cultural analysis for the first time. Since the beginning of the twenty-first century, the spiritual revival has become more and more important. The historical path of development of church culture, which was deliberately almost destroyed at the beginning of the last century, is being rehabilitated as a result of the establishment of church-state relations. Currently, sacred music is subject to very mixed opinions among scholars, composers, church leaders, philosophers, and people of different faiths. Music based on the canonical texts that form the basis of the church rite but interpreted by contemporary composers seems impossible to introduce into the service on an everyday level. Such music is defined as “paraliturgical.” Today, there are many different examples of music of this genre, as almost all academic composers turn to.

APA, Harvard, Vancouver, ISO, and other styles

49

Chabashvili, Eka, Nino Jvania, and Tamar Zhvania. "Eco-piano ModEkAl." New Sound, no. 59-1 (2022): 50–70. http://dx.doi.org/10.5937/newso22059050c.

Full text

Abstract:

For the major part of contemporary composers, the main field of interest is electroacoustic music. On the one hand, the capabilities of classical instruments often no longer satisfy composers-they see more creative potential in music programming; on the other hand, this interest is driven by the composers' desire to have their composed works performed, the realization of which is much easier at the expense of technologies. These trends have clearly created a shortage of new sounds in instrumental music. It is important to maintain instrumental music and to make its existence suitable for the modern environment. To solve this problem, an upright piano "Zarya" was modified according to the principles of modern musical thinking and very topical ecomusicology into the piano called ModEkAl. The modified piano is a new type of piano constructed for the artistic research 'Has Piano Music Come to an End?' conducted by composer Eka Chabashvili and pianists Nino Jvania and Tamar Zhvania. The piano was modified according to Chabashvili's scheme which was enriched with the ideas of piano master Alexander Zirakashvili. The paper describes the modified instrument in detail, and introduces a new notation system designed exclusively for the ModEkAl.

APA, Harvard, Vancouver, ISO, and other styles

50

Elvin Dainal. "AN ARTISTIC REVIEW OF SELECTED MUSICAL WORKS BY INTERCULTURAL COMPOSERS." Jurnal Gendang Alam (GA) 13, no. 2 (December 17, 2023). http://dx.doi.org/10.51200/ga.v13i2.4737.

Full text

Abstract:

It is natural to make new music compositions as self-expression but as a strength of self-identity as a music composer. However, are there things that need to be taken into account if an intercultural approach is applied to create new works? References to previous composers’ works are very important in helping to develop the ideological direction of a composer’s thoughts. Therefore, this article is written to analyze and discuss a few selected music composers who use intercultural approaches in their musical language. In line with the qualitative design, this artistic review applies an interpretive content analysis approach to works from selected music composers. The results of the analysis and further discussion have given the view that intercultural composers create their music by (i) combining or adapting elements in their own cultures with external cultures, and (ii) applying compositional music techniques according to the composer’s musical genre.

APA, Harvard, Vancouver, ISO, and other styles

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!