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Journal articles on the topic 'Music restoration'

Author: Grafiati

Published: 9 March 2023

Last updated: 10 March 2023

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1

Holman, Peter. "A New Source of Restoration Keyboard Music." Royal Musical Association Research Chronicle 20 (1987): 53–57. http://dx.doi.org/10.1080/14723808.1987.10540919.

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Restoration keyboard music has been well served in recent years by modern editions, source studies and thematic catalogues. Thus it is all the more surprising that Brussels Conservatoire MS XY 15139, a large manuscript from the early eighteenth century containing unique pieces by John Blow and William Croft as well as a number of early copies of music by Henry Purcell, has almost entirely escaped notice. It seems that the only references to it in the scholarly literature to date have been a brief description by Margaret Reimann in her article on the Kortkamp family in Die Musik in Geschichte und Gegenwart, and my edition of two Croft suites in the 1982 revision of that composer's Complete Harpsichord Works.

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2

DeWitt, Lucinda A., and Arthur G. Samuel. "Perceptual restoration of music." Journal of the Acoustical Society of America 80, S1 (December 1986): S110. http://dx.doi.org/10.1121/1.2023559.

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3

Herissone, Rebecca. "Playford, Purcell, and the Functions of Music Publishing in Restoration England." Journal of the American Musicological Society 63, no. 2 (2010): 243–90. http://dx.doi.org/10.1525/jams.2010.63.2.243.

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Abstract During Purcell's lifetime the music-publishing business in England flourished, thanks mainly to John Playford. Since intellectual property rights did not yet exist, Playford and his successors were able to select music they were confident of selling, predominantly producing multicomposer anthologies of popular tunes. Composers may have benefited little from these publications so it is significant that some took the financial risk of printing their music without an established publisher's support. Analysis suggests that musical self-publication was undertaken for several quite specific purposes. Three self-published books stand out as the only operatic scores published in seventeenth-century England: Locke's The English Opera (1675), Grabu's Albion and Albanius (1687), and Purcell's The Vocal and Instrumental Musick of the Prophetess (1691). These substantial volumes had no obvious practical use and all sold poorly; put into political context, however, they reveal how printed music in England was developing from a purely practical performance tool into a medium through which statements could be made and musical works given monumental status. Yet Purcell's own management of the printing of The Vocal and Instrumental Musick of the Prophetess suggests that he was confused about the distinct and mutually exclusive functions of music printing in the period, which led him to misunderstand the nature of the market and how he might appropriate the medium for his own benefit.

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4

Wolfe, Patrick J., and Simon J. Godsill. "Perceptually Motivated Approaches to Music Restoration." Journal of New Music Research 30, no. 1 (March 1, 2001): 83–92. http://dx.doi.org/10.1076/jnmr.30.1.83.7122.

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5

McGeary, T. "Music and science in Restoration London." Early Music 38, no. 4 (November 1, 2010): 591–92. http://dx.doi.org/10.1093/em/caq084.

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6

Morehen, John. "From Jacobean to Restoration." Early Music XXII, no. 4 (November 1994): 685–87. http://dx.doi.org/10.1093/earlyj/xxii.4.685.

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7

Kaminska, Zofia, and Peter Mayer. "Transformation, migration and restoration." Contemporary Music Review 9, no. 1-2 (January 1993): 151–61. http://dx.doi.org/10.1080/07494469300640411.

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8

MEMELSDORFF, PEDRO. "New music in the Codex Faenza 117." Plainsong and Medieval Music 13, no. 2 (October 2004): 141–61. http://dx.doi.org/10.1017/s0961137104000105.

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New photographic images and digital restoration have finally permitted the integral restoration and transcription of several diminutions from the manuscript Faenza, Biblioteca Comunale Manfrediana 117, hitherto impossible because of illegible passages. Above all, it has been possible to restore two completely new pieces: a Kyrie Orbis factor (virtually complete) and part of its corresponding Gloria dominicalis (Vatican Edition XI). The two new pieces are here transcribed and published for the first time, along with the completion of the diminution of Jacopo da Bologna's madrigal Sotto l'impero with the aid of photographic material and virtual restoration.

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9

Bailey, C. "Restoration keyboard music in the digital age." Early Music 37, no. 2 (April 23, 2009): 320–22. http://dx.doi.org/10.1093/em/cap012.

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10

Dyer, Mark. "Interpreting Telemann: restoration and reconstruction." Early Music 46, no. 2 (May 2018): 345–47. http://dx.doi.org/10.1093/em/cay030.

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11

Metzer, David. "Musical Decay: Luciano Berio's Rendering and John Cage's Europera 5." Journal of the Royal Musical Association 125, no. 1 (2000): 93–114. http://dx.doi.org/10.1093/jrma/125.1.93.

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Restoration and reproduction have served as two of the primary means by which the present has approached the past. These practices are the focus of Luciano Berio's Rendering and John Cage's Europera 5, two recent works that draw upon earlier compositions. In Rendering, Berio ‘restores ’ the drafts for what would have been Schubert's Tenth Symphony. Contrary to conventional restorations, Berio not only builds up the sketch materials but also fragments them, having Schubert's themes disappear into musical voids. Europera 5 looks back at eighteenth- and nineteenth-century opera, which is presented in a collage of live performance and reproductions. During the course of the work, opera gradually disappears into a world of reproductions, losing its vocality and presence. In both compositions, restoration and reproduction ultimately make the past more distant and inaccessible. A similar use of these two practices occurs in recent visual artworks by Igor Kopystiansky and Mike and Doug Starn. Both the musical and visual artworks create scenes of decay, in which the past appears as crumbling and the present as an emptiness.

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12

Pollens, Stewart. "Curt Sachs and Musical Instrument Restoration." Musical Times 130, no. 1760 (October 1989): 589. http://dx.doi.org/10.2307/965574.

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13

MABBETT, MARGARET. "ITALIAN MUSICIANS IN RESTORATION ENGLAND (1660–90)." Music and Letters 67, no. 3 (1986): 237–47. http://dx.doi.org/10.1093/ml/67.3.237.

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14

Kotašová, Daniela, and Tereza Žůrková. "Zpráva z konference Dokumentace, konzervace a restaurování hudebních nástrojů." Muzeum Muzejní a vlastivedná práce 59, no. 1 (2022): 57–60. http://dx.doi.org/10.37520/mmvp.2021.005.

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The conference of the Methodological Center for Documentation, Conservation and Restoration of Musical Instruments presented specific approaches and methods of care for musical instruments in museum collections. Great attention was paid to restoration ethics or terminology in the documentation of musical instruments. At the end of the program, specific examples of restoration practice were presented as part of an excursion to the restoration workshops of the Czech Museum of Music.

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15

Mazur, Olexander. "Sound recordings from radio archives: the restoration of music in digits." Obraz 35, no. 1 (2021): 142–51. http://dx.doi.org/10.21272/obraz.2021.1(35)-142-151.

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A holistic historical and informational analysis was conducted in the scientific context of the synergy of two systems – sound recording and radio broadcasting. Methodological support of the study was based on the use of general scientific and special methods. Taking into account the experience of «BBC Radio 1» in creating a unique collection of sound recordings and areas of use of music collections as objects of archival storage, the features of recording music sessions in recording studios of radio stations are revealed. The main methods of restoration, restoration and digitization of stock music phonograms of radio broadcasting subjects are revealed. Find out which software products perform digitization tasks. The author concludes that the basis for the protection and storage of music collections of radio archives is the organization of a system of backup and duplication of data.

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16

Creel, Sarah C. "Metrical Restoration From Local and Global Melodic Cues." Music Perception 38, no. 2 (November 25, 2020): 106–35. http://dx.doi.org/10.1525/mp.2020.38.2.106.

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What factors influence listeners’ perception of meter in a musical piece or a musical style? Many cues are available in the musical “surface,” i.e., the pattern of sounds physically present during listening. Models of meter processing focus on the musical surface. However, percepts of meter and other musical features may also be shaped by reactivation of previously heard music, consistent with exemplar accounts of memory. The current study explores a phenomenon that is here termed metrical restoration: listeners who hear melodies with ambiguous meters report meter preferences that match previous listening experiences in the lab, suggesting reactivation of those experiences. Previous studies suggested that timbre and brief rhythmic patterns may influence metrical restoration. However, variations in the magnitude of effects in different experiments suggest that other factors are at work. Experiments reported here explore variation in metrical restoration as a function of: melodic diversity in timbre and tempo, associations of rhythmic patterns with particular melodies and meters, and associations of meter with overall melodic form. Rhythmic patterns and overall melodic form, but not timbre, had strong influences. Results are discussed with respect to style-specific or culture-specific musical processing, and everyday listening experiences. Implications for models of musical memory are also addressed.

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17

HOONDERT, MARTIN J. M. "The ‘restoration’ of plainchant in the Premonstratensian Order." Plainsong and Medieval Music 18, no. 2 (September 10, 2009): 141–61. http://dx.doi.org/10.1017/s0961137109990040.

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ABSTRACTIn 1910 the Premonstratensian Order acquired its own Graduale. Soon after the publication of this Graduale doubts were expressed about its authenticity. Still, to this very day the Premonstratensians stand by their ‘own’ chant and use the 1910 Graduale. In this article, I reveal that the Graduale is not a reconstruction of Premonstratensian chant of the twelfth or thirteenth centuries and I also attempt to explain why the Premonstratensians undertook the quest for their ‘own authentic’ Premonstratensian chant.

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18

Bari, Andrea, Sergio Canazza, Giovanni De Poli, and Gian Antonio Mian. "Toward a Methodology for the Restoration of Electroacoustic Music." Journal of New Music Research 30, no. 4 (December 1, 2001): 351–63. http://dx.doi.org/10.1076/jnmr.30.4.351.7490.

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19

Fadeev, A. S., V. I. Konovalov, T. I. Butakova, and A. V. Sobetsky. "Music Tune Restoration Based on a Mother Wavelet Construction." Journal of Physics: Conference Series 803 (January 2017): 012039. http://dx.doi.org/10.1088/1742-6596/803/1/012039.

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20

Sasaki, Takayuki. "Music sound restoration and the effect of presentation conditions." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3204. http://dx.doi.org/10.1121/1.4788100.

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21

Lebedinski, Ester. "‘Obtained by peculiar favour, & much difficulty of the Singer’: Vincenzo Albrici and the Function of Charles II's Italian Ensemble at the English Restoration Court." Journal of the Royal Musical Association 143, no. 2 (2018): 325–59. http://dx.doi.org/10.1080/02690403.2018.1507116.

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AbstractThis article discusses the function of Vincenzo Albrici and Charles II's Italian ensemble at the English Restoration court. The article cites newly discovered archival evidence to suggest that Albrici arrived at the English court in 1664 to become the leader of an exclusive ensemble performing Italian chamber music. The employment of the Italian ensemble imitated Mazarin's patronage of Italian music at the French court, arguably to rehabilitate the recently restored Stuart dynasty in the eyes of Continental courts. The article suggests that the ensemble performed chamber music privately at court, and also occasionally appeared in the queen's Catholic chapel after 1666. The recruitment of Albrici and the Italian ensemble shows that the English court participated in Continental musical fashions after the Restoration, and illustrates the complex webs of cultural exchange in mid-seventeenth-century Europe.

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22

Prest and Goble. "Language, Music, and Revitalizing Indigeneity: Effecting Cultural Restoration and Ecological Balance via Music Education." Philosophy of Music Education Review 29, no. 1 (2021): 24. http://dx.doi.org/10.2979/philmusieducrevi.29.1.03.

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23

le Huray, Peter. "Music in a Provincial Cathedral: Chichester from Reformation to Restoration." Musical Times 128, no. 1729 (March 1987): 161. http://dx.doi.org/10.2307/964514.

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24

Wood, Julia K. "‘A flowing harmony’: music on the Thames in Restoration London." Early Music XXIII, no. 4 (November 1995): 553–84. http://dx.doi.org/10.1093/earlyj/xxiii.4.553.

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25

Moon, Sukhie. "A Study on Restoration of the 15th Century Boheoja Music." Korean Literature and Arts 36 (December 31, 2020): 5–36. http://dx.doi.org/10.21208/kla.2020.12.36.5.

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26

HULSE, LYNN. "MATTHEW LOCKE: THREE NEWLY DISCOVERED SONGS FOR THE RESTORATION STAGE." Music and Letters 75, no. 2 (1994): 200–213. http://dx.doi.org/10.1093/ml/75.2.200.

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27

Walkling, A. "Masque and politics at the Restoration court: John Crowne's calisto." Early Music 24, no. 1 (February 1, 1996): 27–62. http://dx.doi.org/10.1093/em/24.1.27.

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28

Tsukahara, Yasuko. "State Ceremony and Music in Meiji-era Japan." Nineteenth-Century Music Review 10, no. 2 (December 2013): 223–38. http://dx.doi.org/10.1017/s1479409813000244.

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The music culture of Japan following the Meiji Restoration of 1868 is characterized by the coexistence and interdependent development of three types of music: (1) traditional music passed down from the Edo period (1603–1867) as exemplified by gagaku (court music); (2) the Western music that entered the country and became established after it was opened to the outside world; and (3) modern songs that were the first to be created in East Asia, such as shōka and gunka (school and military songs). These three types of music each played the role required of them by the Meiji state, and they became indispensable elements of the music culture of modern Japan. Traditional music is an irreplaceable fund of original musical expression intrinsic to Japan, Western music offers a common language facilitating musical contact in international society, especially with countries of the West, and modern songs are an essential tool for unifying the Japanese people through the act of ‘singing together in Japanese’.This article examines the way in which the coexistence of these three types of music began, from the perspective of the musical expression of national identity in the state ceremonies of the Meiji era, namely imperial rites, military ceremonies and school ceremonies. Gagaku was reorganized and strengthened in the 1870s as the music of Japan's imperial rites, and it was given priority both within Japan and overseas, as the most intrinsic of Japan's genres of traditional music. The gagaku scales, defined clearly only from 1878 onwards, were used to amalgamate the musical language of Japan's state ceremonies by their use in ceremonial pieces for military and school ceremonies. This article clarifies the special role played by gagaku in post-Restoration nineteenth-century Japan.

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29

McAuley, Tomas. "Music and Belonging Between Revolution and Restoration. By Naomi Waltham-Smith." Music Theory Spectrum 42, no. 1 (2020): 158–63. http://dx.doi.org/10.1093/mts/mtz027.

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30

Gritten, Anthony. "Music and Belonging between Revolution and Restoration. By Naomi Waltham-Smith." Music and Letters 100, no. 1 (February 1, 2019): 145–50. http://dx.doi.org/10.1093/ml/gcz014.

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31

Bernard, Jonathan W. "Ligeti's Restoration of Interval and Its Significance for His Later Works." Music Theory Spectrum 21, no. 1 (April 1999): 1–31. http://dx.doi.org/10.1525/mts.1999.21.1.02a00010.

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32

Mehl, Margaret. "Between the Global, the National and the Local in Japan: Two Musical Pioneers from Sendai." Itinerario 41, no. 2 (July 31, 2017): 305–25. http://dx.doi.org/10.1017/s0165115317000389.

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Western visitors to Japan are often surprised at how widely European art music can be heard. The roots of what is arguably one of Japan’s greatest success stories lie in the systematic introduction and dissemination of Western music by the government after the Meiji Restoration of 1868. Much research has focused on the government’s role; but how was Western music disseminated and received in different parts of Japan? This article discusses the roles of two brothers, Shikama Totsuji (1853–1928) and Shikama Jinji (1863–1941), who in different ways contributed significantly to the dissemination of Western music beyond Tokyo and in particular to the northern provincial town of Sendai.

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33

Savile, Anthony. "The Rationale of Restoration." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 463. http://dx.doi.org/10.2307/431518.

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34

Wilsmore, S. J. "Unmasking Skepticism about Restoration." Journal of Aesthetics and Art Criticism 46, no. 2 (1987): 304. http://dx.doi.org/10.2307/431871.

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35

WILSMORE, S. J. "Unmasking Skepticism About Restoration." Journal of Aesthetics and Art Criticism 46, no. 2 (December 1, 1987): 304–6. http://dx.doi.org/10.1111/1540_6245.jaac46.2.0304.

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36

SAVILE, ANTHONY. "The Rationale of Restoration." Journal of Aesthetics and Art Criticism 51, no. 3 (June 1, 1993): 463–74. http://dx.doi.org/10.1111/1540_6245.jaac51.3.0463.

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37

CHEN, YUNG-SHENG, FENG-SHENG CHEN, and CHIN-HUNG TENG. "AN OPTICAL MUSIC RECOGNITION SYSTEM FOR SKEW OR INVERTED MUSICAL SCORES." International Journal of Pattern Recognition and Artificial Intelligence 27, no. 07 (November 2013): 1353005. http://dx.doi.org/10.1142/s0218001413530054.

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Optical Music Recognition (OMR) is a technique for converting printed musical documents into computer readable formats. In this paper, we present a simple OMR system that can perform well for ordinary musical documents such as ballad and pop music. This system is constructed based on fundamental image processing and pattern recognition techniques, thus it is easy to implement. Moreover, this system has a strong capability in skew restoration and inverted musical score detection. From a series of experiments, the error for our skew restoration is below 0.2° for any possible document rotation and the accuracy of inverted musical score detection is up to 98.89%. The overall recognition accuracy of our OMR can achieve to nearly 97%, a figure comparable with current commercial OMR software. However, if taking into image skew into consideration, our system is superior to commercial software in terms of recognition accuracy.

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38

Canadas-Quesada, F. J., P. Vera-Candeas, D. Martinez-Munoz, N. Ruiz-Reyes, J. J. Carabias-Orti, and P. Cabanas-Molero. "Constrained non-negative matrix factorization for score-informed piano music restoration." Digital Signal Processing 50 (March 2016): 240–57. http://dx.doi.org/10.1016/j.dsp.2016.01.004.

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39

Archbold, L. "Organ Restoration Reconsidered; Proceedings of a Colloquium. Ed. by John R. Watson." Music and Letters 88, no. 2 (May 1, 2007): 333–35. http://dx.doi.org/10.1093/ml/gcl094.

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40

Bailey, Candace. "William Ellis and the transmission of continental keyboard music in restoration England." Journal of Musicological Research 20, no. 3 (January 2001): 211–42. http://dx.doi.org/10.1080/01411890108574789.

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41

Burden, M. "To repeat (or not to repeat)? Dance cues in Restoration English opera." Early Music 35, no. 3 (June 4, 2007): 397–418. http://dx.doi.org/10.1093/em/cam055.

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42

Lampert-Greaux, Ellen. "Engineers for an Icon." Mechanical Engineering 123, no. 09 (September 1, 2001): 56–59. http://dx.doi.org/10.1115/1.2001-sep-3.

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This article highlights the restoration of Radio City Music Hall that returns a landmark to its original glory with a number of updates. At the height of its glory, the hall was a glamorous showplace for first-run films and live entertainment on a stage that measures 144 by 66½feet. When the army of architects, engineers, and consultants attacked the restoration of Radio City Music Hall, they discovered that many of the technical systems in the building were the same ones that were in place when the building opened more than 65 years earlier. The goal of architectural lighting throughout the building was twofold: to restore everything that was there and to upgrade everything to meet modern expectations. To reduce maintenance and increase reliability, the designers re-engineered the marquee to use smaller transformers, with fewer lamps per transformer.

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43

Harley, James. "Waves Audio Restoration and Noise Reduction Toolkit; BIAS SoundSoap Pro Pro-Audio Restoration Software." Computer Music Journal 30, no. 4 (December 2006): 114–20. http://dx.doi.org/10.1162/comj.2006.30.4.114.

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44

Hunter, David. "English Country Psalmodists and their Publications, 1700–1760." Journal of the Royal Musical Association 115, no. 2 (1990): 220–39. http://dx.doi.org/10.1093/jrma/115.2.220.

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The singing of metrical psalms, canticles, some anthems and a few hymns in the ‘old way’ constituted almost the sole musical activity in English parish church services after the Restoration. By the start of the eighteenth century a reform was under way. Parish clerks ceased to line out the psalms for the benefit of congregations. As the clergy and gentry generally disdained to assist the improvement of music and only the wealthiest urban churches could afford organs, congregations took their lead from choirs trained by itinerant singing-masters. Church music became divided between the art music of cathedrals, chapels and rich parishes and the popular psalmody performed elsewhere.

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45

Holman, Peter. "Bartholomew Isaack and 'Mr Isaack' of Eton: A Confusing Tale of Restoration Musicians." Musical Times 128, no. 1733 (July 1987): 381. http://dx.doi.org/10.2307/964531.

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46

Everist, Mark. "Giacomo Meyerbeer, the Théâtre Royal de l'Odéon, and Music Drama in Restoration Paris." 19th-Century Music 17, no. 2 (1993): 124–48. http://dx.doi.org/10.2307/746330.

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47

Everist, Mark. "Giacomo Meyerbeer, the Theatre Royal de l'Odeon, and Music Drama in Restoration Paris." 19th-Century Music 17, no. 2 (October 1993): 124–48. http://dx.doi.org/10.1525/ncm.1993.17.2.02a00020.

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48

Kang, Min-Jung. "The Sonata in Restoration England: From Fantasia Suites to Early English Trio Sonatas." Journal of Musicological Research 39, no. 4 (September 10, 2020): 276–300. http://dx.doi.org/10.1080/01411896.2020.1809393.

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49

Brandt, Matthias, and Simon Doclo. "Automatic Noise PSD Estimation for Restoration of Archived Audio." Journal of the Audio Engineering Society 67, no. 1/2 (January 31, 2019): 38–53. http://dx.doi.org/10.17743/jaes.2018.0073.

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50

Cunningham, John, and Andrew Woolley. "A Little-Known Source of Restoration Lyra-Viol and Keyboard Music: Surrey History Centre, Woking, LM/1083/91/35." Royal Musical Association Research Chronicle 43 (2010): 1–22. http://dx.doi.org/10.1080/14723808.2010.10541029.

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This article presents a detailed account (provenance, codicology and contents) of Surrey History Centre, Woking, MS LM/1 083191/35, a late Restoration manuscript of lyra-viol and keyboard music. Originally from the papers of the More-Molyneux family of Loseley Park, LM/1083191135 is a source of otherwise unknown music by John Moss and Gerhard Diesineer. Two of the lyra-viol pieces in particular demonstrate that the Waking manuscript dates to at least 1687 or 1688, making it the latest known English source of viol music in tablature. The primary purpose of the manuscript seems to have been didactic. It was copied by a single scribe, who was evidently a musician actively engaged with the popular music and current political events of mid- to late-1680s London. LM/1083191/35 allows us a rare glimpse into the amateur musical world of 1680s London.

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