Relevant bibliographies by topics / Music, Arabic History and criticism

Academic literature on the topic 'Music, Arabic History and criticism'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Music, Arabic History and criticism.'

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

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

Journal articles on the topic "Music, Arabic History and criticism"

1

Mallah, Mohammed. "Aesthetics of the musical and rhythmic sense and its relation to Arabic poetry." Dirasat: Human and Social Sciences 49, no. 2 (August 2, 2022): 238–48. http://dx.doi.org/10.35516/hum.v49i2.1787.

Full text
Abstract:
Music and poetry played an important role in life and created its own space. Also, they crystallized more clearly and their role have became more effective with the evolution of human civilizations. From Greeks Era to this time, the relationship between them has become coherent and continuous and it's not limited to celebrations, anniversaries, feasts or rituals, but rather took their place on stage and contributed in building and developing society. The Arabic language sciences student cannot separate sounds, performances, prose, grammar, rhetoric, not even morphology , literature or criticism, as they are coherent elements and cannot be separated, and all of them seek an important purpose, which is to understand the Holy Qur'an and the noble Prophetic hadiths in addition to Arabic poetry. The researcher believes that there is a relationship between rhythm in music and rhythm in Arabic language (the science of performances) in Arabic poetry. The study summarizes the rhythmic and musical sense in Arabic language and the relationship between them, since they represent one unit in the history and course of modern Arab culture.
APA, Harvard, Vancouver, ISO, and other styles
2

Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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

M. Himeidi, Assist Prof Dr Sundus. "Plagiarism in Arabic Criticism Heritage." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, no. 1 (December 1, 2017): 33–56. http://dx.doi.org/10.36473/ujhss.v223i1.318.

Full text
Abstract:
The phenomenon of plagiarism has been commonly dealt with in Arabic criticism heritage,and many traditional Arab critics have written a specific part in their books covering this phenomenon under the title of "literary thefts". Literary thefts have been condemned in Arabic heritage as one poet takes some expressions or phrases from his predecessors, and such a tendency leads to the underestimation of the poet’s status. This phenomenon is called "citation" in Arabic rhetorics when the cited materials are extracted from the Glorious Qur'an or the Prophetic Traditions. This phenomenon has been given different names in Arabic heritage depending on the source of taken materials like sayings, poetry, etc.The phenomenon of plagiarism can be found in the poetic antithesis. Accordingly, plagiarism is the focus of this study. This study is organized around an introduction and three sections. Section one presents the concept of plagiarism from linguistic and terminological perspectivesa long with its history. Section two is limited to the different types of plagiarism in Arabic criticism heritage. Section three deals with the construction patterns of Arabic criticism heritage. Finally, conclusions are drawn out.
APA, Harvard, Vancouver, ISO, and other styles
4

ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.

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

Kilpatrick, Hilary, and Roger Allen. "Modern Arabic Literature (A Library of Literary Criticism)." Die Welt des Islams 29, no. 1/4 (1989): 217. http://dx.doi.org/10.2307/1571022.

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

Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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

Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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

Tottoli, Roberto. "Textual Criticism and Bibliography: The Case of Qurʾānic Studies." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 42, no. 1 (October 19, 2020): 208–22. http://dx.doi.org/10.1163/17246172-40010035.

Full text
Abstract:
Abstract Philological studies on Arabic and Islamic literature have traditionally been limited in many respects. The approaches to the texts and their editing have mostly reflected a primary interest in diffusing texts without sharing the editing methodology or discussing the specific problematic aspects of Arabic. In the realm of Qurʾānic studies most of the research has been devoted to the formation of the text and early manuscript evidence with some significant results but without addressing many other aspects and critical problems which still await the attention of scholarly research. Later manuscript attestations and the history of the printed Qurʾān have also been in general neglected fields of critical research.
APA, Harvard, Vancouver, ISO, and other styles
9

Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.

Full text
Abstract:
As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
APA, Harvard, Vancouver, ISO, and other styles
10

Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

Full text
Abstract:
"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Music, Arabic History and criticism"

1

Jamil, Nadia. "Ethical values & poetic expression in early Arabic poetry." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670213.

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

Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.

Full text
Abstract:
555 pages
This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
10000-01-01
APA, Harvard, Vancouver, ISO, and other styles
3

Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

Full text
Abstract:
In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
APA, Harvard, Vancouver, ISO, and other styles
4

Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

Full text
Abstract:
French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
APA, Harvard, Vancouver, ISO, and other styles
5

Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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

Sarmast, Ahmad Naser. "A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D." Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.

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

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.

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

Zambelli, Sessona Anna. "Intertextual strategies and the poetics of identity in Imīl Ḥabībī's literary works." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711596.

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

Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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

Schmitz, Michael David. "Oriental influences in the piano music of Claude Achille Debussy." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187118.

Full text
Abstract:
This paper explores the influences of Vietnamese and Indonesian music in the piano compositions of Claude Debussy. A brief background of Debussy's formative years and of pertinent social trends in Paris at the turn-of-the-century is provided. This paper then looks at two specific musical events that affected the way Debussy composed for the piano: the Javanese and Annamite exhibits at the Exposition Universelles de 1889 and 1900 in Paris. The musical styles and timbres of these two countries are explored, backed up by accounts of what Debussy actually experienced at the Expositions. Following a look at specific musical effects used by Debussy that reveal the influence of the Orient, this paper surveys an extensive body of his piano music chronologically, focusing on compositional techniques that were learned from the Asian ensembles at the cultural exhibits of the Paris Expositions. This paper reveals the depth of the Oriental influence in Debussy's piano music.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Music, Arabic History and criticism"

1

An Arabic musical and socio-cultural glossary of Kitab al-aghani. Boston: Brill, 2015.

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

The Arab Andalusian music tradition of ma'luf in contemporary Libya. Burlington, VT: Ashgate Publishing Company, 2012.

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

La musique arabe. 3rd ed. Paris: Presses universitaires de France, 1988.

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

The music of the Arabs. Portland, Or: Amadeus Press, 1996.

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

Shaʻrānī, Munā Sanjaqdār. Tārīkh al-mūsīqā al-ʻArabīyah wa-ālātihā. Bayrūt: Maʻhad al-Inmāʾ al-ʻArabī, 1987.

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

Touma, Habib. Die Nūbah Māyah: Zur Phänomenologie des Melos in der arabisch-andalusi Musik Marokkos : eine Strukturanalyse der Nūbah Māyah. Hildesheim: G. Olms, 1998.

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

Küstenmusik in Südarabien: Die Lieder und Tänze an den jemenitischen Küsten des Arabischen Meeres. Frankfurt am Main: P. Lang, 1997.

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

Liu, Benjamin M. Ten Hispano-Arabic strophic songs in the modern oral tradition: Music and texts. Berkeley: University of California Press, 1989.

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

Hefny, Mahmoud El. Mūsīqā qudamāʼ al-Miṣrīyīn. [Cairo]: al-Hayʼah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 1992.

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

Hefny, Mahmoud El. Mūsīqā qudamāʾ al-Miṣrīyīn. [Cairo]: al-Hayʾah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 1992.

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

Book chapters on the topic "Music, Arabic History and criticism"

1

Wehrs, William. "Affect and Film Music: A Brief History." In The Palgrave Handbook of Affect Studies and Textual Criticism, 735–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63303-9_28.

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

Dahl, Per. "Music Criticism in Norway." In The Cambridge History of Music Criticism, 392–407. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.021.

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

Karnes, Kevin C. "MUSIC CRITICISM AS LIVING HISTORY." In Music, Criticism, and the Challenge of History, 48–76. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195368666.003.0003.

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

Frey, Emily. "Music Criticism in Imperial Russia." In The Cambridge History of Music Criticism, 208–28. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.012.

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

Watt, Paul. "British Music Criticism, 1890–1945." In The Cambridge History of Music Criticism, 371–91. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.020.

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

Racz, Mark. "Jazz Criticism in America." In The Cambridge History of Music Criticism, 459–83. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.025.

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

Frith, Simon. "Writing about Popular Music." In The Cambridge History of Music Criticism, 502–26. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.027.

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

Dingle, Christopher. "Comparing Notes: Recording and Criticism." In The Cambridge History of Music Criticism, 249–71. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.014.

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

Smyth, William. "Criticism in the post-classical period: a survey." In The Cambridge History of Arabic Literature, 385–418. Cambridge University Press, 2006. http://dx.doi.org/10.1017/chol9780521771603.021.

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

Rose, Stephen. "German-Language Music Criticism before 1800." In The Cambridge History of Music Criticism, 104–24. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.007.

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

Conference papers on the topic "Music, Arabic History and criticism"

1

Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.

Full text
Abstract:
The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.
APA, Harvard, Vancouver, ISO, and other styles
2

Kohl, Marie-Anne. "Die weinende Jury. »Geschlechtslose« Tränen bei globalen Musik-Castingshows?" 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/10.25366/2020.59.

Full text
Abstract:
Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an ‘affective economy’ as an effect of their circulation, their staging as a specific ‘emotional style’ of dealing with emotions (Eva Illouz). The circulation of affects in casting shows is a global one, since the formats, developed in Europe, have produced local versions in over 60 countries worldwide. Emotions play an important role in the successful localization of the formats and define a complex area of conflict between a sensitization to socio-cultural characteristics and the ‘reproduction of culturalistic concepts’ (Laura Sūna) or clichés. In European cultural history, tears have developed a special significance as guarantors of the authenticity of empathy (Sigrid Weigel), and are generally associated with femininity, however at the same time have been film-historically recoded as ‘gender-neutral’ (Renate Möhrmann). Keeping in mind that all these casting show formats have been exported from Europe, these observations are of special interest, especially since one can see men and women crying equally in the Arabic, German or South African versions of e. g. The Voice. This article questions the concurrence of musical performance, display of tears, gender performance and the translocal dramaturgy of music casting shows.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Music, Arabic History and criticism' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography