Log in

Relevant bibliographies by topics / Music History

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'Music History'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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

Select a source type:

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

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 History"

1

Kárpáti, János. "Music history — Conference history." Studia Musicologica 49, no. 1-2 (March 1, 2008): 193–95. http://dx.doi.org/10.1556/smus.49.2008.1-2.9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Lam, Joseph S. C. "MING MUSIC AND MUSIC HISTORY." Ming Studies 1997, no. 1 (January 1997): 21–62. http://dx.doi.org/10.1179/014703797788763526.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Zbikowski, Lawrence M. "Music Theory, Music History, and Quicksand." Music Theory Spectrum 33, no. 2 (October 2011): 226–28. http://dx.doi.org/10.1525/mts.2011.33.2.226.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Mukhutovich, Islomov Dilmurod. "History and music." ACADEMICIA: An International Multidisciplinary Research Journal 12, no. 5 (2022): 1233–35. http://dx.doi.org/10.5958/2249-7137.2022.00594.8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Lucia, Joe. "Music, Imagination, History." Journal for Peace and Justice Studies 16, no. 1 (2006): 18–26. http://dx.doi.org/10.5840/peacejustice20061614.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Treitler, Leo. "History and Music." New Literary History 21, no. 2 (1990): 299. http://dx.doi.org/10.2307/469254.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Rees, Owen. "Welsh music history." Early Music XXVI, no. 3 (August 1998): 490–92. http://dx.doi.org/10.1093/earlyj/xxvi.3.490.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Oliver, Paul. "Music, History, Democracy." Popular Music 9, no. 1 (January 1990): 133–34. http://dx.doi.org/10.1017/s0261143000003780.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Goehr, Lydia. "Writing Music History." History and Theory 31, no. 2 (May 1992): 182. http://dx.doi.org/10.2307/2505596.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

van der Linden, Bob. "Non-Western national music and empire in global history: interactions, uniformities, and comparisons." Journal of Global History 10, no. 3 (October 5, 2015): 431–56. http://dx.doi.org/10.1017/s1740022815000212.

Full text

Abstract:

AbstractInspired by C. A. Bayly’s notion of global uniformities, this article investigates the different ways in which elitist non-Western music reformers, often with state support, canonized and institutionalized modern national music traditions during the age of liberalism and empire. As these non-Western music reformers reinterpreted liberal and earlier Enlightenment ideas, they envisaged their own musics hierarchically in comparison with Western music. In the context of comparative musicological thinking, they became particularly preoccupied with the systematization of scales, equal temperament tuning, and the origins of their own music. In the process, they often incorporated claims about authenticity and spirituality in music to give strength to burgeoning national, if not anti-imperial, identities. However, beneath the appearance of formal similarity and mutual translatability of non-Western national musics, significant sonic and cultural differences remained. As a contribution to global history scholarship, the article principally attempts to establish these global parallels and comparisons.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Music History"

1

Bidgood, Lee. "History of Bluegrass Music." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1087.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Bidgood, Lee. "Bluegrass Music in History." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1085.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Nummela, Arttu. "Dmitri Shostakovich’s Viola Sonata : History and analysis." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3485.

Full text

Abstract:

In this thesis I’m writing about Dmitri Shostakovich’s only Viola Sonata. I’ve read about Shostakovich life and analysed the sonata. Shostakovich’s Sonata is one of the first pieces from the composer that I have listened to and gotten familiar with. It’s one of the most played viola sonatas and a one of a kind in Russian modern music. The purpose is to dig deep into the music and to understand it. Questions like “why am I playing this like this?” or “how should I do this?” regarding the interpretation of the music is the core of this study. The research is also trying to be of help to get an image of viola music overall and what is the place of Shostakovich’s Viola Sonata in this world. How the piece was reacting to the world around it and how it was affected by the history of viola music and what is its position in the future.

APA, Harvard, Vancouver, ISO, and other styles

4

Summers, Timothy Richard David. "Video game music : history, form and genre." Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573894.

Full text

Abstract:

This dissertation investigates video game music from a musicological perspective, considering the role, function and effect of music in games. I hypothesize that music's significance for the gamer is founded upon the way the player interacts with the game. The nature of this interaction is determined by what is termed the 'interactive genre' in question - the type of interaction typical for a particular class of games. Thus the musical analysis of game interactive genres is an appropriate and potentially rewarding way of understanding game music. These genres of interaction are distinct and historically established, which allows a survey of many games over a relatively long chronological period. Musical analysis of interactive genres, in turn, illuminates the way in which gamers play and understand games. After creating a contextual frame for the study of game music, the body of the dissertation focuses on a genre-by-genre examination. Each chapter considers the features of a particular genre (or genres sharing key features), and examines representative games to ascertain the relationship between the game and the music. Certain genres prioritize distinct modes of interaction and components of musical function because of the interactive mechanism of the game, and thus provide the opportunity for the examination of particular musical concerns. That this is so indicates the close relationship between music and gameplay /interaction in the video game medium. A case study is used to demonstrate a 'deep reading' of the musical concerns or issues that are seen to feature prominently in the game genre in question. The study concludes with a summary in the form of a chapter on action games that focuses on the aspects of game music that can be extracted from the preceding discussions. The epilogue explores how game music may reveal the playfulness of the human-music interaction in a more general way. ii

APA, Harvard, Vancouver, ISO, and other styles

5

Matus, Chloe Hannah. "Designing interactive music history for young adults." Thesis, Glasgow School of Art, 2010. http://radar.gsa.ac.uk/4625/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Williams, Benjamin John. "Music Composition Pedagogy: A History, Philosophy and Guide." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274787048.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Rice, Albert R. "A History of the Clarinet to 1820." Scholarship @ Claremont, 1987. http://scholarship.claremont.edu/cgu_etd/106.

Full text

Abstract:

This study presents a detailed history of the clarinet from its ancient origins to 1820. It is divided into three parts: 1) origins, 2) the baroque clarinet, and 3) the classical clarinet. In the first part the ancestor of the modern instrument is traces to the memet of Ancient Egypt (2700 B.C.), and evidence is reviewed for the existence of a wind instrument having a single reed during the sixteenth century. Three chapters are then devoted to the Mock Trumpet and the seventeenth- and eighteenth-century chalumeau. The baroque clarinet is discussed in the second part. This part consists of four chapters concerning design and construction, playing techniques, music, and use by amateurs and professionals. The last part is devoted to the classical clarinet. It consists of three chapters concerning design and construction, playing techniques, and music.

APA, Harvard, Vancouver, ISO, and other styles

8

Holman, Rebecca. "Music history pedagogy| Three approaches to teaching a one-semester music history survey course in accordance with the LEAP Initiative." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527558.

Full text

Abstract:

Music appreciation is a popular General Education course at the university level and is included as a survey course for music majors at many universities, yet there is not a consensus on the "correct" way to teach the course. Many pedagogical approaches have been explored; each having its merits, and it is probable that there will never be unanimous agreement among music educators regarding which approach is the most effective. Three pedagogical approaches in particular have been effective; namely the analytical approach, the historical approach, and the contextual approach as described by professor of music Dr. Lewis W. Gordon. These approaches were applied in a onesemester survey music history course with the goal of analyzing which is the most effective in teaching freshman music majors. The assessment of these results will be discussed, and suggestions of ways to incorporate these methodologies into teaching will be offered. These approaches will also be discussed in their accordance with the Essential Learning Outcomes of AAC&U's LEAP initiative.

APA, Harvard, Vancouver, ISO, and other styles

9

Anbari, Alan Roy. "Richard Wagner's concepts of history /." Austin, Tex. : University of Texas Libraries, 2007. http://www.lib.utexas.edu/etd/d/2007/anbaria35075/anbaria35075.pdf#page=3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Stanevičiūtė-Goštautienė, Rūta. "Narratives of Lithuanian National Music: Origins and Values: the Historiography of Music and National Music History Writing." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2008. https://ul.qucosa.de/id/qucosa%3A16006.

Full text

Abstract:

In the current musicological discussion on the issues of historiography and the need to overcome the entrenched canons of historical writing, questions concerning the history of national music often become marginalised, and, to some extent, placed into a paradoxical situation.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Music History"

1

Hila, Antonio C. Music in history, history in music. España, Manila: University of Santo Tomas Pub. House, 2004.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

1870-1941, Forsyth Cecil, Fuchs Carl, Stanford Charles Villiers 1852-1924, and Research and Education Association, eds. Music history. Piscataway, N.J: Research & Education Association, 2003.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Tibbetts, John C., Michael Saffle, and William A. Everett, eds. Performing Music History. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92471-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Nery, Rui Vieira. History of music. Lisbon: Europália-Portugal, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Iain, Fenlon, ed. Early music history. Cambridge: Cambridge University Press, 2002.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Iyer, Padma. History of music. New Delhi: Vishvabharti Publications, 2004.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Heller, George N. Music and music education history: A chronology. Lawrence, Kan. (311 Bailey Hall, Lawrence 66045-2344): University of Kansas, Dept. of Art and Music Education and Music Therapy, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

History in Music : Music in History. University of Santo Tomas, 2004.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Kallmann. History Music. University of Toronto Press, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Early Music History Volume 27 Early Music History. Cambridge University Press, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Music History"

1

Standen, John. "Music." In Handbook for History Teachers, 483–87. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-63.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Leslie, Orrey. "Music." In Handbook for History Teachers, 1014–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-176.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Heile, Björn. "Integrative music history." In Higher Education in Music in the Twenty-First Century, 55–76. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586793-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Standen, John. "Music and History." In Handbook for History Teachers, 673–87. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-100.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Williams, Carol J. "Music." In The Routledge History of Emotions in Europe, 390–405. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: The Routledge histories: Routledge, 2019. http://dx.doi.org/10.4324/9781315190778-31.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Tibbetts, John C. "Late Baroque Music." In Performing Music History, 45–68. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92471-7_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

de Alencar, Marcelo Sampaio. "History and Evolution of Music." In Music Science, 21–28. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003338895-2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Fubini, Enrico. "Music Aesthetics and Sociology of Music." In The History of Music Aesthetics, 413–55. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-09689-3_16.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Borgeson, Kevin, and Robin Maria Valeri. "Skinhead Music." In Skinhead History, Identity, and Culture, 91–118. 1 Edition. | New York: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315474816-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Langenbruch, Anna. "Histoire Croisée/Entangled History." In The Routledge Handbook of Music and Migration, 83–84. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003309437-21.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Music History"

1

Dias, Ricardo, Manuel J. Fonseca, and Daniel Gonçalves. "Music listening history explorer." In the 2012 ACM international conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2166966.2167013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Crab, Simon. "Exploring the Mystical Origins of Electronic Music." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/mysticalorigins.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Hyde, Joseph. "Tracing Music Technology to its Interdisciplinary Roots." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/tracingmusic.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

OKeefe, Linda. "Sound Art and New Media: An Alternate History." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/soundartandnewmedia.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Matsuura, Tomoya, Kazuhiro Jo, and Akihiro Kubota. "Towards a Civil Engineering of Music: A Media-Archeological Approach in the Development of “mimium,” the Programming Language for Music." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/civilengineeringmusic.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

McArthur, Angela, Brona Martin, Emma Margetson, and Nikki Sheth. "Women in Spatial Sound - Working with the IKO Loudspeaker." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/womeninspatialsound.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Moriaty, Manoli. "Upsetting the Controls: Considering Controllerist Practice in Computer Music Performance." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/consideringcontrollerist.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Knight-Hill, Andrew. "Convergence in Parallel Praxis: Electroacoustic Music and Sound Design." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/parallelpraxis.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Ucanok, Fulya. "Electroacoustic Composition Process as a Process of Com-position." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/electroacousticcomposition.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Røsnes, Irine. "Tracing Ecosystemic Virtuosity in Performance of Simon Emmerson’s Stringscape (2010) for Violin and Electronics." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/tracingecosystemic.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Music History"

1

Anzillotti Zamorano, Marta. ECMI Minorities Blog. The Cultural Appropriation of Flamenco: Views of Gitanos from Jerez de la Frontera. European Centre for Minority Issues, May 2023. http://dx.doi.org/10.53779/aapl9656.

Full text

Abstract:

With discussions surrounding cultural appropriation ongoing in numerous spheres including music, fashion, and language, this blogpost explores the ever-changing nature of culture through the first-hand accounts of Gitanos from Jerez de la Frontera. The presence of the Gitano minority in Jerez has historically had – and continues to have – a significant impact on the city. This is especially true regarding flamenco, an artform encompassing centuries of history and culture. In this blogpost, the author uses interviews and a survey conducted for her MA thesis, as well as two case studies (namely that of Lola Flores and Rosalía), to explore the various ways of approaching and contextualizing theoretical understandings of cultural appropriation.

APA, Harvard, Vancouver, ISO, and other styles

2

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

3

Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

Full text

Abstract:

As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.

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!