Relevant bibliographies by topics / Northeastern Music History and criticism

Academic literature on the topic 'Northeastern Music History and criticism'

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

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Journal articles on the topic "Northeastern Music History and criticism"

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

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

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

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

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
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Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (November 1, 2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.

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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.

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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (April 1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.

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Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.

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Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.

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Dissertations / Theses on the topic "Northeastern Music History and criticism"

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

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555 pages
This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
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Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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

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

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This paper explores the influences of Vietnamese and Indonesian music in the piano compositions of Claude Debussy. A brief background of Debussy's formative years and of pertinent social trends in Paris at the turn-of-the-century is provided. This paper then looks at two specific musical events that affected the way Debussy composed for the piano: the Javanese and Annamite exhibits at the Exposition Universelles de 1889 and 1900 in Paris. The musical styles and timbres of these two countries are explored, backed up by accounts of what Debussy actually experienced at the Expositions. Following a look at specific musical effects used by Debussy that reveal the influence of the Orient, this paper surveys an extensive body of his piano music chronologically, focusing on compositional techniques that were learned from the Asian ensembles at the cultural exhibits of the Paris Expositions. This paper reveals the depth of the Oriental influence in Debussy's piano music.
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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

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Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.
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Books on the topic "Northeastern Music History and criticism"

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Carol, Ripic, ed. A history of bluegrass in New York and northeastern Pennsylvania. Deposit, NY: K & C Publications, 1999.

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Brazilian music: Northeastern traditions and the heartbeat of a modern nation. Santa Barbara, Calif: ABC-CLIO, 2005.

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Kamonsērīrat, Yūn. Khǣn: Khrư̄angdontrī ʻan pen ʻēkkalak khō̜ng Phāk ʻĪsān. Krung Thēp: Samnakphim Thī Čhē Čhē, 2003.

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1959-, Cronk M. Sam, and Von Rosen Franziska 1944-, eds. Visions of sound: Musical instruments of First Nations communities in Northeastern America. Chicago: University of Chicago Press, 1994.

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Diamond, Beverley. Visions of sound: Musical instruments of First Nations communities in Northeastern America. Waterloo, Ont: Wilfrid Laurier University Press, 1994.

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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.

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

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History of music. Cambridge: Cambridge University Press, 1987.

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

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

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Book chapters on the topic "Northeastern Music History and criticism"

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

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

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

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

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

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

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

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

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

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Wilson, Alexandra. "Music Criticism in Nineteenth-Century Italy." In The Cambridge History of Music Criticism, 190–207. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.011.

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Conference papers on the topic "Northeastern Music History and criticism"

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

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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.
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