Relevant bibliographies by topics / Musicians – History – 20th century

Academic literature on the topic 'Musicians – History – 20th century'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "Musicians – History – 20th century"

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Grašytė, Toma. "Traditional Musician in the Nowadays Lithuanian Village or Small Town’s Community." Tautosakos darbai 52 (December 30, 2016): 213–30. http://dx.doi.org/10.51554/td.2016.28874.

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Folk musicians belonging to the older generations and playing various instruments have been subject to rather exhaustive research in Lithuania since the end of the 20th century until the present. Various aspects of their music making, including the repertoire, changes in the style of their performance, the musician’s image, role and place in the community have also received considerable attention. However, traditional musicians belonging to the younger generation and their music making have scarcely fallen into the focus of study so far. The modern ethnomusicologists researching and appreciating the traditional music making devote considerable attention to the perspectives of the musicians and their surrounding community. Such a two-fold research, taking into consideration both the musician’s and the community’s approach, enables evaluating the general situation of the traditional instrumental and vocal instrumental music making in the community. By comparing the expressed views of the Lithuanian traditional musicians belonging to the younger generation and the perspectives of the surrounding community, the author of the article attempts establishing the kind of musicians that is in demand in the Lithuanian villages and small towns of the end of the 20th – beginning of the 21st century. The author of the article combines qualitative research (the in-depth partly structured multiple interviews) with documentary and biographical methods.According to the analysis, not only the roles of the traditional musician and the community, but also their mutual relationship has suffered considerable shifts in the nowadays culture. The functions of the musician as bearer, promoter and reviver of the tradition have become much more prominent. By adapting to the altering wedding traditions, the musician does not decline performing not only the functions of the former main participants of the wedding, but also those of the presenter of the whole event. The individual musical faculties and skills do not bear such importance in the eyes of the community members, as they do to the musicians themselves. The community mostly appreciates the universal capacities of the traditional musician, also ascribing importance to his tight relationship with the local traditions. The latter quality is important to the musicians as well; it includes the inherent feeling of the local music and its appreciation (from instrumentation and familiarity with the traditional local repertoire, to the live music making, and to the knowledge of customs and rituals, which are particularly important during various festive events and weddings). Since the tradition of the ritual communal singing is increasingly in decline, the capacity of the musicians to sing well and to start the appropriate songs as means of preserving and supporting this tradition is especially meaningful. It is safe to maintain that traditional musicians are currently people sensitively reacting to the changes in the traditional musical culture and actively participating in the local musical life until nowadays. To the contrary, rejection of the musical innovations renders the traditional musician incapable of competing with the requirements of the modern musical market. In such case, the musician may even have to stop playing and surrender his place to the professional or semi-professional wedding musicians with virtually no knowledge of the local musical customs, or even to the sound recordings.
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Slobodchikova, Anastasiya Yu. "Avant-Garde Scores as a Subject of Artistic Interpretation in Modern Rock Music." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 64–73. http://dx.doi.org/10.33779/2782-3598.2022.2.064-073.

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The artistic interpretation of musical works by academic composers is an integral component of certain styles of rock music, identified back in the 1960s at the very early stage of its formation. At the present time, various arrangements, transcriptions and adaptations, along with quotations of works from different periods, from medieval music to contemporary composer's music, have not lost their relevance and have remained part of the performing practice of rock musicians. This article is about the dialogue with 20th century music, in the interpretation of which the artistic qualities have not lost their value, but, on the contrary, have been reevaluated and enriched. In the albums of progressive rock, jazz-rock, fusion and avant-rock performers, 20th century contemporary composers’ music is cognized in a new way, from the use of short fragments borrowed as a source of the musical thematicism to the recreation of large cyclic forms. At the same time, an important aspect of the artistic creativity of individual musicians is their interest in verbal musical scores of the avant-garde trends, as well as spontaneous improvisational forms of minimalism, which have had ample opportunities for performing interpretations and have instigated the emergence of rock interpretations. Rock musicians, stemming from avantgarde musical texts, have tended to create a self-sufficient artistic integral entity, as in the case of In 0 to ∞ by ACID MOTHERS TEMPLE & THE MELTING PARAISO UFO, the structures of which have been based on Terry Riley’s In C. In conclusion, the album Goodbye 20th Century by SONIC YOUTH with selected works by avant-garde composers (Steve Reich, Cornelius Cardew, Christian Wolff, John Cage and Pauline Oliveros), which has formed an important stage in the history of experimental rock at the turn of the century, is examined.
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Žarskienė, Rūta. "The Music Making at the Church Feasts, or Baroque of the 20th–21st Centuries." Tautosakos darbai 49 (May 22, 2015): 145–70. http://dx.doi.org/10.51554/td.2015.29010.

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The subject of this article is the music making during the Catholic Church feasts and its development since the Christianization of the Grand Duchy of Lithuania until nowadays, with special emphasis on the music making tradition of the 20th–21st centuries. Following the spread of Christianity, the tradition of the religious feasts was quick to catch on, along with its peculiar Western European customs and culture of the musical styling. According to the historical sources, as early as in the end of the 14th century (that is, barely ten years after the official Christianization) the wind and percussion instruments were played in the Vilnius Cathedral. The academic wind and percussion instruments, having been since ancient times used in the army of various European countries, including the Grand Duchy of Lithuania, became adapted by the musical culture of the manors and dioceses, finding their use during pilgrimages, celebratory processions, services, etc. During the Renaissance and Baroque periods, an especially important social and cultural role was played by the Vilnius Academy, established by the Jesuits, at which also instruction in music was offered. The Jesuits organized particularly pompous processions of the Corpus Christi, which included theatrical performances, participation of numerous musicians and singers, firing guns, etc. According to the archived data, during the Baroque times the majority of the churches or the affiliated brethrens used to possess both the brass and the percussion instruments: usually – two or more trumpets, French horns, and kettledrums. These instruments were regarded necessary in order to celebrate the titular feasts of the parish in the appropriate way, that is, with musical accompaniment, or to travel likewise to the festivities held in the neighborhood. Thus the folk piety tradition of the brass bands got shaped, which, having already disappeared in other Lithuanian regions, continues to live on in Samogitia in the 20th–21st century. It is particularly important in relation to the rituals of visiting the Samogitian Calvary (Žemaičių Kalvarija) – a variety of the popular baroque European tradition of the Way of the Cross (Via Crucis), the first one of which in the Grand Duchy of Lithuania was established in Samogitia. Quite likely, these Stations of the Cross since their very establishment used to be visited ceremoniously, including singing and the appropriate accompaniment by wind instruments and kettledrums. This tradition survived in spite of being prohibited both during the tsarist Russian oppression and during the Soviet atheism periods. During the Soviet occupation the musicians, although being harassed or even arrested, still used to go to play at the religious feasts, thus expressing not only their devotion, but also their protest against the regime of the religious oppression. After Lithuania regained its independence in the end of the 20th century, the new kind of worshipers who had been brought up unaware of the traditional Calvary Hymns singing started the new way of singing accompanied by kanklės (Lithuanian cithertype instrument) and guitars. Still, in spite of this wave of musical pluralism, the brass bands preserved their positions. Until the present day, worshipers visiting the Stations of the Cross at the Samogitian Calvary are accompanied by the musicians playing the brass instruments, who are traditionally rewarded with money. Depending on the particular worshipers’ needs, three kinds of functions performed by the musicians can be discerned: firstly, the group of 4 to 6 musicians may only play; secondly, 2 to 5 musicians lead the prayers both singing and playing; and thirdly (a medium variant), the group of 4 to 6 musicians both plays and sings. The analysis presented in the article allows maintaining that prior to becoming part of the wedding, christening and funeral rituals of the village people, brass instruments had already become an integral part of the musical expression of the exceptional solemnity of folk piety.
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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.

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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.
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Lewisohn, Jane. "Flowers of Persian Song and Music: Davud Pirniā and the Genesis of the Golhā Programs." Journal of Persianate Studies 1, no. 1 (2008): 79–101. http://dx.doi.org/10.1163/187471608784772742.

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AbstractThis article examines the 'Flowers of Persian Song and Music' (golhā) radio programs broadcast during the third quarter of the 20th century on the Iran National Radio. These programs—some 1,400 of which the author has collected and deposited in the British Library—constitute an unrivalled encyclopaedia of classical Persian music and poetry. The golhā programs introduced to the general public over 250 poets from the ancients to the moderns, and it preserved Persian classical music and fostered its future development. The seminal role played by Dāvud Pirniā in founding and producing these programs is examined and explored, while highlighting the various artists, poets, musicians, vocalists and scholars who performed in them.
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Pereverzeva, Marina V., and Anna A. Davydova. "History of Piano Technique Development: Methodical Aspect." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 181–88. http://dx.doi.org/10.17922/2071-5323-2021-20-1-181-188.

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The history of the development of piano technique has been counting down since the 17th century. The most common keyboard instruments before the invention of the piano were the harpsichord, clavicord and organ. These early instruments had much lighter keys compared to modern ones. Therefore, performers could easily press the keys without feeling much resistance. With the advent of the piano, both the playing technique and the training technique for professional pianists and amateurs began to be reviewed. Musicians, summarizing their own performing experience, wrote treatises, textbooks and manuals, looking for the most effective method of mastering the technique of playing the keyboard instrument. In history, there are two schools of piano technique: the so-called school of “high lifting of fingers” and “playing with all the weight of the hand”. This work is devoted to the history of the development of these schools and methodological approaches to piano training. The views on piano technique that developed in the 18th–20th centuries, which were reflected in the textbooks of pianistsperformers and teachers, help to understand how to perform music of a particular period and what finger technique to use for a perfect interpretation of piano works of the past.
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McLaughlin, Levi. "Beethoven and Buddhism in a Japanese Religion: Culture as Cultivation in Soka Gakkai." Numen 68, no. 5-6 (September 20, 2021): 593–618. http://dx.doi.org/10.1163/15685276-12341641.

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Abstract Why is the museum at the headquarters of the lay Japanese Buddhist organization Soka Gakkai full of pianos? How did Gakkai members in Japan come to revere the compositions and ethos of Ludwig van Beethoven as means of defending Buddhist orthodoxy? And how did this Buddhist organization come to rely on classical music as a key form of self-cultivation and institution building? This article draws on ethnographic engagements with musicians in Soka Gakkai, along with study of the Gakkai’s development in 20th-century Japan, to detail how practitioners’ Buddho-cultural pursuits demonstrate ways cultural practices can create religion. Attention to Soka Gakkai’s fusions of European high culture with lay Buddhist teachings and practices troubles static definitions of “Buddhism” and signals the need for broader inquiry into the nature of religious belonging through investigations of aesthetic forms.
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Kyselova, Kateryna, Olha Shandrenko, Tetiana Dementovych, and Alina Shcherbak. "Quotation of Stage Images of Hard Rock and Heavy Metal Musicians of the 1970-90s in Clothing Design of the 21st Century." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 2 (October 31, 2022): 319–32. http://dx.doi.org/10.31866/2617-7951.5.2.2022.266925.

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Research aim. The article is devoted to the review of modern clothing design projects in the context of quoting the stage images of hard rock and heavy metal musicians of the 1970s-1990s. Research methods. The source analysis method was used to find out the level of scientific development of the problem. Collecting factual material method was used to search for visual information. To describe and process the visual information of stage images of musicians and shows of leading designers’ collections, the Art history methods, aesthetic and structural-compositional analysis, as well as the comparative method, were used. The theoretical generalization method was used to formulate the conclusions. Visual material is taken from printed publications and the Internet. Scientific novelty is in identifying the main stylistic features of the stage costume of performers of the hard rock and heavy metal musical genres in the 70s and 90s of the 20th century, as well as in comparing and finding quotes of stage images of musicians in modern catwalk clothing collections. Conclusions. The development of the stage costume design of hard rock and heavy metal genres with its wide influence on street fashion, as well as “official fashion”, was due to a significant spread of media technologies popularization at the end of the 20th century. Stage images of artists were imitated and introduced into an everyday wardrobe, firstly, by their fans; secondly, its distribution was facilitated by high-profile advertising companies promoting bands and performers; thirdly, it spread through the fashion industry and the work of talented designers who sensed the mood of society and were able to predict the commercial success of the new aesthetic. In the 21st century well-known brands and designers actively quote performers’ stage costumes. Ways of quoting are very diverse: from completely copying images or borrowing a separate assortment, copying forms and details of clothes to the imitation of cut, decoration, and trimming. The most popular quoting is the use of band mascots or logos to print and design materials, various patches, and stickers. Borrowing a characteristic combination of the assortment in creating a general image has recently become the most popular. From the general trends of today, we come to the conclusion that experiments with the form itself and its material components are significantly inferior to experiments with the emotional filling of images, which are successfully provided by quoting the stage costume with its hyperbolized spectacularity and expressiveness.
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Kyrgys, Kira. "From the history of collecting Tuvan folk songs: Yrlar and Kozhamyks." Religación. Revista de Ciencias Sociales y Humanidades 7, no. 33 (September 26, 2022): e210944. http://dx.doi.org/10.46652/rgn.v7i33.944.

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The ancient history and culture of the inhabited tribes of Tuva attracted the attention of travelers, linguists, ethnographers, and musicians, especially in recent decades. The primary recordings of yrlar (tuvan songs) and kozhamyk (ditties) in the writing sources of scientists contained samples of ancient musical poetry, including one-thousand-year history images, plots, motifs, and archaic vocabulary. Owing to ethnocultural values and beliefs of Tuvan people in Southern-Central Siberia it preserved features of relict cultures in music traditions. Based on field works conducted in the late 20th century, via ethnographic, historical, and typological principles of systematic approaches to folklore music genres, all songs were divided into occasional rituals and non-occasional songs, according to musical stylistic characteristics folk songs were classified into long songs ʽuzun yrlarʼ, short songs ʽkyska yrlarʼ and traditional ditties ʽkozhamykʼ. Tuvan culture is rich with musical traditions, it includes various song types, melodic recitations, instrumental creativity, calendar, and ritual songs, epic genres, etc. The author considers the development of song art as the most mobile layer, which absorbs all from the surrounding sound world. Songwriting reflects the spiritual experience and national character of the Tuvan ethnos.
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Stanevičiūtė, Rūta. "“Let Us Create a Modern Lithuania!” Confrontations of National Identity with Modernity in the Lithuanian Music Modernisation Discourse of the 1930s." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 118–33. http://dx.doi.org/10.2478/prm-2021-0008.

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Abstract The project of modernisation, which emerged as the central idea in the course of 20th-century Lithuanian music, predetermined many creative orientations and discoveries by Lithuanian composers of various generations, as well as critical reflection on their works. At the root of Lithuanian projections of musical modernism lies a central concern with questions of national identity, affected by crucial historical changes and political processes. In this paper, I explore issues of relationship between construction of national identity and the modernity, focusing in particular on public discussions concerning national and modern elements in music, which appeared in the musical press of the 1930s and became emblematic of subsequent Lithuanian music history. Among the most active participants of the debates were young composers and musicians who had set up the Society of Progressive Musicians in 1932 and the iscM Lithuanian Section in 1936: Vytautas Bacevičius, Jeronimas Kačinskas, and Vladas Jakubėnas. Their opinions marked a significant turning point in the national music discourse, updating and expanding the understanding and use of the concepts of modern and national music in Lithuania. The interwar polemical observations, insights and statements were effectively elaborated in later reception and served as basis for a reinterpretation and revision of the Lithuanian music modernisation discourse.
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Dissertations / Theses on the topic "Musicians – History – 20th century"

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Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.

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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
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Kelly, Kenneth Todd. "Chet Baker : a study of his improvisational style, 1952-1959." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1167797.

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The purpose of this study was to identify characteristics of jazz trumpeter Chet Baker's improvisational style, both instrumental and vocal, during the early period of his career (1952-1959). Baker's early years were divided into six periods, based on major milestones: The Charlie Parker Groups (1952-1953), The Gerry Mulligan Quartet and Tentette (1952-1953), The Chet Baker Quartets (1953-1956), The European Groups (1955-1956), Quartets, Quintets, and Sextets (1956-1957), and The Riverside Recordings (1958-1959). Improvised lines and chord changes from fifteen solos were transcribed and analyzed by the researcher; melodies of standard songs were transcribed and compared with the original version. The number of solos selected from each period was based on the length of time Baker spent with each particular group and the number of albums recorded. The solos were analyzed in terms of rhythmic interpretation of melodies, intervals utilized, use of nonharmonic tones, use of jazz cliches, embellishment of the melodic line, use of melodic and rhythmic patterns, range, tone quality, articulation, vibrato, and vocal scat syllables. As a result of this analysis, the researcher was able to draw conclusions concerning Baker's improvisational style during the period of the study.
School of Music
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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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Mamola, Bethany Grace. "Perseverance in the Face of Totalitarianism: The Life and Legacy of Józef Zygmunt Szulc in Nazi Occupied France." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505262/.

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The Reichsleiter Rosenberg Task Force of 1940, initiated a systematic confiscation of items belonging to Jews throughout Europe. Because of this task force and Hitler's decrees, Jews across Europe were labeled as stateless, and were stripped of ownership and rights to property. Not only did these actions devastate Jews economically, but intellectually and artistically as well. In parts of occupied France, this task force was legitimized by Vichy laws under the label of the Commissariat Générale aux Questions Juives (General Commission for Jewish Issues) and enabled Nazi officials to closely watch Jewish musicians and stop them from performing their music, profiting from anyone else performing it, and to halt any public performance of Jewish compositions. This dissertation exhibits the lost legacy of one such Jewish musician, Józef Szulc. It discusses him as a musician of great importance in the ongoing recovery of Jewish culture, music, and life during World War II. His musical output has historical notoriety, as seen through reviews and performance history. The study of Vichy laws and their effect on Jewish musicians in Paris during the Nazi occupation provides the socio-political context for Szulc's life. It also provides the most plausible reason why his contribution to French vocal music was almost entirely lost. Szulc's success with his operetta compositions created a trajectory of performances that lasted well into the late 1920s and early 1930s.
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Cao, T. Y. "The intellectual history of 20th century field theories." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383778.

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Ahlquist, Karen. "»Thou Shalt Learn These Things«. American Musicians’ Education and Dual Consciousness in the Early 20th Century." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71895.

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Baumer, Andreas. "Urban rejuvenation : a contemporary urban topology for the information age." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137647.

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A changing perception based on the appreciation for information in our era allows a broader idea and different understanding of life as a system driven by the flow of information. Simultaneously, our understanding of 'the' urban was broadened. It enabled us to perceive urban structures as living organisms beyond their physical manifestation and separated from human control. Like species, our cities are great products of evolutionary forces and contain invaluable information worth preserving.When writing about urban spaces, urban is understood as a system which is constituted not so much by built forms and infrastructures, but as a heterogeneous field that is constituted by intervention and lines of forces and action. These lines form the coordinates of an urban topology that is not based on the human body and its movements in space alone, but also on relational acts and events within the urban system. These relational acts can be economic, political, technological or tectonic processes, as well as acts of communication. The urban is therefore quite different from the physically defined spaces of events and movements.The focal point of this paper is to explore the relationship between the spaces of movement, the spaces of events and the relational systemic 'spaces'. It will be attempted to identify fundamental processes behind urban design. Rules are derived from connective principles in complexity theory, systems theory, pattern recognition, and artificial intelligence.
Department of Architecture
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Braun, Ramona. "Laparoscopy as a neo-eugenic practice, 1940s-60s." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708461.

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Ng, Kin-yuen. "Constitutional developments in China and Japan from the mid 19th century to the early 20th century." [Hong Kong : University of Hong Kong], 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13280181.

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Ng, Kin-yuen, and 吳健源. "Constitutional developments in China and Japan from the mid 19th century to the early 20th century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31950395.

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Books on the topic "Musicians – History – 20th century"

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John, Amis, ed. Musicians in camera. London: Bloomsbury, 1987.

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(Firm), Granary Books, ed. Arcana: Musicians on music. New York: Granary Books/Hips Road, 2005.

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1953-, Zorn John, Granary Books (Firm), and Press Collection (Library of Congress), eds. Arcana: Musicians on music. New York: Granary Books, 1999.

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1953-, Zorn John, ed. Arcana III: Musicians on music. New York: Hips Road, 2008.

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Libby, Van Cleve, ed. Composer's voices from Ives to Ellington: An oral history of American music. New Haven: Yale University Press, 2005.

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Queer noises: Male and female homosexuality in twentieth century music. Minneapolis: University of Minnesota Press, 1995.

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Štolfa, Franc. Zdravnik in skladatelj dr. Anton Schwab. Ljubljana: Inštitut za zgodovino medicine Medicinske fakultete v Ljubljana, 1999.

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Cultural considerations: Essays on readers, writers, and musicians in postwar America. Amherst: University of Massachusetts Press, 2013.

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Seeing with music: The lives of 3 blind African musicians. Seattle: University of Washington Press, 1996.

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Kater, Michael H. The twisted muse: Musicians and their music in the Third Reich. New York: Oxford University Press, 1997.

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Book chapters on the topic "Musicians – History – 20th century"

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Bergmann, Karl-Christian. "Milestones in the 20th Century." In History of Allergy, 27–45. Basel: S. KARGER AG, 2014. http://dx.doi.org/10.1159/000358478.

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Abrams, Jesse. "Late 20th-Century Forest History." In Forest Policy and Governance in the United States, 51–71. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003043669-4.

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Varvoglis, Harry. "Physics of the 20th Century." In History and Evolution of Concepts in Physics, 105–19. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-04292-3_5.

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Welch Guerra, Max. "Interpreting 20th Century European Planning History." In European Planning History in the 20th Century, 268–71. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003271666-28.

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Rao, J. S. "20th Century Graphical and Numerical Methods." In History of Mechanism and Machine Science, 99–114. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-1165-5_11.

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Blaauw, Adriaan. "Earlier 20th Century Developments; World War I." In History of the IAU, 15–53. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-0978-9_2.

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Larkham, Peter J. "History and Heritage." In European Planning History in the 20th Century, 139–52. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003271666-15.

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Roberts, Adam. "The Early 20th Century, 2: The Pulps." In The History of Science Fiction, 253–85. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_10.

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Brosens, Ivo, and Giuseppe Benagiano. "History of Endometriosis: A 20th-Century Disease." In Endometriosis, 1–18. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444398519.ch1.

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Lopez, Gary C. "A History of 20th-Century Safety Metrics." In Safety Metrics for the Modern Safety Professional, 9–16. First edition. | Boca Raton, FL : CRC Press, 2021.: CRC Press, 2020. http://dx.doi.org/10.1201/9781003088332-2.

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Conference papers on the topic "Musicians – History – 20th century"

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Romanovska, Alina. "20TH CENTURY HISTORY OF LATVIA IN LITERARY NARRATIVES." In 3rd Arts & Humanities Conference, Barcelona. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2018.003.002.

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Szoro, Ilona. "READING CIRCLES IN HUNGARY IN THE 20TH CENTURY." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s10.072.

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Zhou, Dian. "THE HISTORY OF THE RUSSIAN ETCHING OF THE 20th CENTURY." In VI Международная научно-практическая конференция "Искусствознание и педагогика. Диалектика взаимосвязи и взаимодействия". Общество с ограниченной ответственностью «Книжный дом», 2018. http://dx.doi.org/10.25807/pbh.978-5-94777-431-3.134.138.

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Munhanova, Yu A. "HISTORY OF THE MONGOLIAN AGITPROP POSTER OF THE 20TH CENTURY." In Искусство и дизайн: история и практика. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868829_258.

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BARBOSA, Helena. "The signature of Portuguese posters from 17th Century to 20th Century: one history of identities." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-035.

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KURAS, L. V., and B. D. TSYBENOV. "KYAKHTA IN 20th – THE BEGINNING OF 21 CENTURY: HISTORY, PRESENT, PROSPECTS." In Scientific conference, devoted to the 95th anniversary of the Republic of Buryatia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0521-6-2018-81-84.

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Bosak, Martin. "SLOVAK NATIONAL ACTIVITIES IN AMERICA AT THE BEGINNING OF 20TH CENTURY." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s10.074.

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NECHITA, Constantin. "DECLINE HISTORY OF OAKS IN 20TH CENTURY FOR ROMANIAN EXTRA-CARPATHIAN REGIONS." In 19th SGEM International Multidisciplinary Scientific GeoConference EXPO Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgem2019/3.2/s14.087.

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Cooke, Gilmore G. "Fred Stark Pearson, the AIEE, and Transnational Engineering in the Early 20th Century." In 2009 IEEE Conference on the History of Technical Societies. IEEE, 2009. http://dx.doi.org/10.1109/hts.2009.5337842.

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Simonova, Natalya B. "Formation of professional ethical standards in journalism: internal corporate necessity and external influence (early 20th century)." In Communication and Cultural Studies: History and Modernity. Novosibirsk State University, 2021. http://dx.doi.org/10.25205/978-5-4437-1258-1-90-95.

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Reports on the topic "Musicians – History – 20th century"

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Kempgen, Sebastian. Was Postkarten erzählen können… Otto-Friedrich-Universität, 2021. http://dx.doi.org/10.20378/irb-49498.

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