Relevant bibliographies by topics / Organ music Analysis, appreciation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Organ music Analysis, appreciation'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Organ music Analysis, appreciation"

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Wei, Zhou. "Analysis on the Charm of Music Appreciation." Music Report 2, no. 3 (2020): 73–77. http://dx.doi.org/10.35534/mur.0203012c.

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Buel, Dona L., and Samuel C. Welch. "Improving Music Appreciation Class Using Cohort Analysis." General Music Today 13, no. 3 (April 2000): 13–15. http://dx.doi.org/10.1177/104837130001300304.

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Cho, Sung-gi, and YeoJin Hwang. "Status Analysis of Music Appreciation Education in the Secondary School." Korean Society of Music Education Technology 33 (October 16, 2017): 135–53. http://dx.doi.org/10.30832/jmes.2017.33.135.

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Jorgensen, Estelle R. "Percy Scholes on Music Appreciation: Another View." British Journal of Music Education 4, no. 2 (July 1987): 139–56. http://dx.doi.org/10.1017/s0265051700005908.

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Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.
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Platz, Friedrich, and Reinhard Kopiez. "When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance." Music Perception 30, no. 1 (September 1, 2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.

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the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. The outcome focus was on evaluation ratings such as liking, expressiveness, or overall quality of musical performances. For the first time, this study reveals an average medium effect size of 0.51 standard deviations — Cohen's d; 95% CI (0.42, 0.59) — for the visual component. Consequences for models of intermodal music perception and experimental planning are addressed.
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Meehan, Sarah, Elizabeth A. Hough, Gemma Crundwell, Rachel Knappett, Mark Smith, and David M. Baguley. "The Impact of Single-Sided Deafness upon Music Appreciation." Journal of the American Academy of Audiology 28, no. 05 (May 2017): 444–62. http://dx.doi.org/10.3766/jaaa.16063.

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Background: Many of the world’s population have hearing loss in one ear; current statistics indicate that up to 10% of the population may be affected. Although the detrimental impact of bilateral hearing loss, hearing aids, and cochlear implants upon music appreciation is well recognized, studies on the influence of single-sided deafness (SSD) are sparse. Purpose: We sought to investigate whether a single-sided hearing loss can cause problems with music appreciation, despite normal hearing in the other ear. Research Design: A tailored questionnaire was used to investigate music appreciation for those with SSD. Study Sample: We performed a retrospective survey of a population of 51 adults from a University Hospital Audiology Department SSD clinic. SSD was predominantly adult-onset sensorineural hearing loss, caused by a variety of etiologies. Data Analysis: Analyses were performed to assess for statistical differences between groups, for example, comparing music appreciation before and after the onset of SSD, or before and after receiving hearing aid(s). Results: Results demonstrated that a proportion of the population experienced significant changes to the way music sounded; music was found to sound more unnatural (75%), unpleasant (71%), and indistinct (81%) than before hearing loss. Music was reported to lack the perceptual qualities of stereo sound, and to be confounded by distortion effects and tinnitus. Such changes manifested in an altered music appreciation, with 44% of participants listening to music less often, 71% of participants enjoying music less, and 46% of participants reporting that music played a lesser role in their lives than pre-SSD. Negative effects surrounding social occasions with music were revealed, along with a strong preference for limiting background music. Hearing aids were not found to significantly ameliorate these effects. Conclusions: Results could be explained in part through considerations of psychoacoustic changes intrinsic to an asymmetric hearing loss and impaired auditory scene analysis. Given the prevalence of music and its capacity to influence an individual’s well-being, results here present strong indications that the potential effects of SSD on music appreciation should be considered in a clinical context; an investigation into relevant rehabilitation techniques may prove valuable.
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Osiebe, Garhe. "Electoral Music Reception." Matatu 49, no. 2 (December 20, 2017): 439–66. http://dx.doi.org/10.1163/18757421-04902011.

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Abstract Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ results and the surveys’ procedure while focusing on the middle-ground between aesthetics and politics in the context.
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Lv, Yang. "Influence of cognitive neural mechanism on music appreciation and learning." Translational Neuroscience 10, no. 1 (April 23, 2019): 57–63. http://dx.doi.org/10.1515/tnsci-2019-0010.

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AbstractBased on the related research results of the relationship between cognitive neural mechanism and music in recent years. In this paper, we study the relationship between the cognitive neurons and music from the overlapping and separation of brain neuro-mechanism and the significance of functional relationships between the two. Through analysis, it can be seen that the cognitive neural mechanism has a certain influence on music appreciation and learning and the studies on brain-damaged patients show that the two may have separate and independent neural bases. Finally, we find the influence of sub-consciousness on decision making through the measurement of SCRs (skin conductance responses), and thus propose a decision model modified by subconscious and make an outlook for future research trends.
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Wolf, Motje. "The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site." Organised Sound 18, no. 2 (July 11, 2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.

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This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design. Following this, the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester, UK. Data were collected using questionnaires, a listening response test and a summary of the teaching (letter written by participants). Qualitative content analysis was used for the data analysis.Results include the change of the participants’ appreciation of electroacoustic music during the study. Successful learning and a decrease in alienation towards electroacoustic music could be measured. The study shows that the appreciation of electroacoustic music can be enhanced through the acquirement of conceptual knowledge. Especially important was the enhancing of listening skills following a listening training as well as the broadening of the participants’ vocabulary that enabled them to describe their listening experience.
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Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (October 9, 2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.

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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
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Dissertations / Theses on the topic "Organ music Analysis, appreciation"

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Howard, Beverly A. (Beverly Ann). "Texture in Selected Twentieth-Century Program Music for Trumpet and Organ, A Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, J.S. Bach, G. Bohm, N. Degrigny, H. Distler, M. Durufle, J. Guillou, A. Heiller, W.A. Mozart, E. Raxache, M. Reger, L. Vierne." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc330759/.

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This dissertation is concerned with the relationship between the trumpet and organ in twentieth-century music for this ensemble and how that relationship effects performance with regard to organ registration and synchronization. The compositions discussed include "The Other Voices of the Trumpet," by Daniel Pinkham (1971); "Jericho: Battle Music," by William Albright (1976); "Three Pictures of Satan," by Jere Hutcheson (1975); and "Okna," by Petr Eben (1980). The theoretical writings of Pierre Boulez, Robert Erickson, and Donald Cogan deal with developing a contemporary concept of texture. This dissertation applies their theory that texture exists in two dimensions: vertical and horizontal. Stratification and blending of timbres comprise the vertical dimension. The succession of textures, governed by tempo, creates the second dimension. Chapter I provides an historical setting for the genre, introduces the theory of Boulez, Erickson, and Cogan, and supplies the programmatic content of the four works chosen for analysis. In Chapter II , the vertical elements of texture in these four works are isolated and examined. Chapter III deals with Pierre Boulez's theory that the succession of textures, governed by tempo, shapes the work. Each work is examined with regard to tempo, either mobile (fluctuating) or fixed. In Chapter IV the analysis is related to performance. Stratified textures, fused ensemble timbres, and their horizontal progression present problems for the ensemble in organ registration and synchronization. There are general guidelines given for registration as well as specific registration problems encountered in stratified textures and fused ensemble timbres. Synchronization, or coordination of events is the second challenge presented by the horizontal progression of textures.
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McAfee, Kay Roberts. "Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.

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This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for categorization of figures derive from the twentieth-century writers Timothy Albrecht, George Buelow, Lena Jacobson, and Peter Williams. Chapter I provides justification for the rhetorical approach through a brief description of the rise of the process as applied to composition during the Baroque period by relating Bach's own familiarity with the terminology and processes of rhetorical prescription, and by describing the implications for performance in observing the sonatas from the rhetorical viewpoint. Chapter II deals with the process of composition by rhetorical prescription in (1) the invention of the subject and its figural decoration and (2) the elaboration of the subject through the sixpart discourse of an entire movement. Specific figures of decoration are defined through examples of their use within the context of the sonatas. Chapter III constitutes the analysis of the six sonata movements. Chapter IV reinforces the justification of this type of analysis. The figures, as aids for inflection and punctuation, affect decisions concerning articulation of events and assist in effecting convincing performance.
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King, Deborah Simpkin. "The Full Anthems and Services of John Blow and the Question of an English Stile Antico." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332091/.

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John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. The sacred polyphony of John Blow represents the last great flowering of the English polyphonic tradition, with all of its idiosyncracies, in a lively, as yet unfettered style.
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李德芬 and Daphne Lee. "The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.

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Lucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.

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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
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Omelchenko, Stas. "Concerto for Organ and Chamber Orchestra." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5032.

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This composition proposes and implements a way in which to incorporate the pipe organ into a contemporary instrumental setting. Considering the instrument's wide use in concert halls and its popularity with contemporary music, much of the timbre-based music has evaded incorporating it into its settings; for one reason or another, there are currently no timbre-based works composed for organ and chamber orchestra. By using the process of spectral analysis, this timbre-based composition demonstrates one possible way of doing so by investigating timbre similarities and differences between selected ranks of the organ and selected orchestral instruments and mapping them into pitch structures.
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Wong, Hock-wei Wendy, and 黃學慧. "Containing the German within: the unpublishedpiano works of Dohnanyi Erno." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.

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Chan, Chor-shan Sharon, and 陳楚珊. "Neither here nor there: the dramatic tension between the spoken word and music performance in Igor Stravinsky'sOedipus rex (1927)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199540.

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Stravinsky’s opera-oratorio Oedipus Rex was based on Sophocles’ classic tragedy Oedipus Tyrannus. Jean Cocteau wrote the libretto for Stravinsky in French, the text was then translated into Latin. Le speaker speaking in the audience’s native language with a detached voice is added to the opera-oratorio to narrate the events of the story throughout. With its mixed genres, the juxtaposition of the dead language and the vernacular, the contrast of the spoken word and the music performance, and the intertexual references in the music, a strong dialectical tension is created. This study is a critical review of the narrative mode of Stravinsky’s Oedipus Rex. For a very long time, literature on Oedipus Rex has mainly focused on the presentation of its music. However, as an opera-oratorio, Oedipus Rex is composed to stage. This study aims at investigating the theatrical significance of the work, for its theatrical presentation is influential and profound in 20th century music theatre. Of particular note is the use of le speaker. The narration inserted in between each musical episode creates a sense of ambivalence in the storytelling. The work is therefore a bold challenge to the way stories have been told in theatre over the past centuries. The discussion concludes with the analysis of Julie Taymor and Seiji Ozawa’s film version of Oedipus Rex in 1992. With Japanese elements infused in the work, the dramatic tension between the spoken word and the music performance is further polarised. This production is an example of how a combination of the spoken word and the music performance pushes the Oedipus story further away from Sophocles’ original.
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Music
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Master of Philosophy
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Johnson, Stephen. "Hecate nocturne : for large orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99173.

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With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece.
The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" through depictions of natural sounds occurring---in this case---in British Columbia. The tertiary goal is to write musical returns, or recapitulations, that are always significantly altered from their original presentations, to give the piece a feeling of consequence or alteration. This last goal arises from the aesthetic application of some of the composer's philosophical beliefs.
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Books on the topic "Organ music Analysis, appreciation"

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A guide to organ music. Portland, OR: Amadeus Press, 1986.

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Lukas, Viktor. A guide to organ music. Portland, Or: Amadeus Press, 1989.

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The organ works of Marcel Dupré. Stuyvesant, NY: Pendragon Press, 1999.

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Twentieth-century organ music. New York, NY: Routledge, 2011.

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Die Orgelwerke Max Regers: Ein Handbuch für Organisten. Wilhelmshaven: F. Noetzel Verlag, Heinrichshofen-Bücher, 1989.

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Kilian, Dietrich. Sechs Sonaten und verschiedene Einzelwerke: Kritischer Bericht. Kassel: Bärenreiter, 1988.

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Johann Nepomuk David, das Choralwerk für Orgel: Versuch einer hinführenden Analyse. Frankfurt am Main: P. Lang, 1994.

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Weyer, Martin. Die Orgelwerke Josef Rheinbergers: Ein Handbuch für Organisten. Wilhelmshaven: F. Noetzel, 1994.

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Harald, Schützeichel, ed. Die Orgelwerke Johann Sebastian Bachs: Vorworte zu den "Sämtlichen Orgelwerken". Hildesheim: G. Olms, 1995.

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Kehrer, Jodok. Joh. Seb. Bach als Orgelkomponist und seine Bedeutung für den kath. Organisten. Buren, the Netherlands: F. Knuf, 1986.

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Book chapters on the topic "Organ music Analysis, appreciation"

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Palma-Martos, María Luisa, Manuel Cuadrado-García, and Juan D. Montoro-Pons. "Breaking the Gender Gap in Rap/Hip-Hop Consumption." In Music as Intangible Cultural Heritage, 51–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_5.

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AbstractSome music genres have traditionally and mainly been consumed by men. This is the case of rap/hip-hop. However, data on the consumption of this genre in recent years shows a relevant increase in the number of women interested in this type of music. It would therefore seem to be pertinent to analyse this new trend, not only as a question linked to gender studies but also to marketing decision-making for the music industry, which is struggling to attract new audiences, a factor compounded in the pandemic. To frame this analysis, literature on music consumption, specifically in relation to gender and rap as an alternative music genre, has been reviewed from different approaches. An exploratory survey was conducted to obtain an insight into rap/hip-hop consumption and appreciation by gender. Results show that rap concert attendees’ satisfaction and interest in this kind of music are high, irrespective of gender. Only knowledge, which has not been as extensively studied, seems to be different between men and women, with this factor being slightly higher for the former. In addition, the identification of three clusters (involved, apathetic and hedonists), including both women and men, leads us to suggest that the gender gap in rap/hip-hop consumption is closing.
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Jacquemin, Christian, Rami Ajaj, Sylvain Le Beux, Christophe d’Alessandro, Markus Noisternig, Brian F. G. Katz, and Bertrand Planes. "Organ Augmented Reality." In Innovative Design and Creation of Visual Interfaces, 131–47. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0285-4.ch010.

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This paper discusses the Organ Augmented Reality (ORA) project, which considers an audio and visual augmentation of an historical church organ to enhance the understanding and perception of the instrument through intuitive and familiar mappings and outputs. ORA has been presented to public audiences at two immersive concerts. The visual part of the installation was based on a spectral analysis of the music. The visuals were projections of LED-bar VU-meters on the organ pipes. The audio part was an immersive periphonic sound field, created from the live capture of the organ sounds, so that the listeners had the impression of being inside the augmented instrument. The graphical architecture of the installation is based on acoustic analysis, mapping from sound levels to synchronous graphics through visual calibration, real-time multi-layer graphical composition and animation. The ORA project is a new approach to musical instrument augmentation that combines enhanced instrument legibility and enhanced artistic content.
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Boczkowski, Pablo J. "Entertainment." In Abundance, 125–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565742.003.0005.

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Chapter 5 focuses on the reception of entertainment. The survey reveals that the top three entertainment activities among the respondents are watching television, listening to music, and being on social media, in that order, and that age is the preeminent organizer of entertainment consumption. The interviews show the continued relevance of routines in reception practices, and highlight the versatility of watching television. This versatility applies to how people access the content; the devices through which they watch it; with whom they do this; and the habits associated with this experience. This versatility contrasts with the perceived rigidity of going to the movies, watching a play, and visiting a museum. The affect related to consuming audiovisual entertainment within the household is overwhelmingly positive, and there is a high level of attachment to serialized content on streaming platforms. The analysis shows an experiential appreciation of audiovisual entertainment content on television.
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Stinson, Russell. "Introduction." In Bach's Legacy, 1–5. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.003.0001.

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This book deals with J. S. Bach’s posthumous role in music history. Combining the disciplines of history, biography, and musical analysis, it considers how four of the greatest composers of the nineteenth and twentieth centuries engaged with Bach’s legacy. Special emphasis is given to Felix Mendelssohn’s and Robert Schumann’s reception of Bach’s organ works, Schumann’s encounter with the St. Matthew and St. John Passions, Richard Wagner’s musings on the Well-Tempered Clavier, and Edward Elgar’s (resoundingly negative) thoughts on Bach’s vocal works.
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Leong, Daphne. "Reception and Structure." In Performing Knowledge, 332–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0011.

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This chapter discusses the results of an experiment testing audience response to Robert Morris’s Clear Sounds among Hills and Waters (1989, revised 2013), for solo piano, under five different preparatory conditions: simple identification (ID), program note (PN), aesthetic/visual introduction by the composer on video (AES), structural/aural introduction by the composer on video (STR), and the combination of all of the preceding (CMB). Qualitative analysis of responses suggested that preparations ID, STR, PN, AES, and CMB, in that order, were increasingly beneficial for audience appreciation and understanding. The piece’s context and meaning needed to be explained before structural information could be employed effectively. The combination of aesthetic with structural information was more helpful than either alone. Indirect knowledge about the piece must translate into direct knowledge for greater impact. The chapter then explores broader issues implicated in audience reception of new music: characteristics of the listener, social and cultural factors, and features of the musical language, described by analogy to phonetics, morphology, syntax, and semantics. Stimuli for the experiment, including Leong’s performance of Clear Sounds on video, may be found online.
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Hobbs, Renee, Liz Deslauriers, and Pam Steager. "Creating." In The Library Screen Scene, 67–102. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190854317.003.0003.

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Authorship is a fundamental impulse that’s rooted in the value of “telling your own story.” When people engage in practices of creating media, they deepen their understanding of the constructed nature of all forms of media and can shift their identity in important ways. As people gain confidence in self-expression and recognize the value and power of using communication to address community and national social and cultural issues, they take on the role of active citizens in a democratic society. The library has always been a source of inspiration for people who want to make things as well as a community hub where people can come to learn, create, and explore possibilities. Makerspaces and media centers can support the mission of the library. Many academic librarians have made a deep commitment to supporting student media creation as a dimension of their academic work. And whether it’s to explain library services, document a community event or history, or market the library, when school librarians are themselves digital authors, they often have a broader, deeper appreciation of the creative process and recognize the potentially transformative impact that such learning experiences can have. Creating media can be important for advancing self-expression and learning, but it is also a time-honored way to deepen media analysis skills. Getting the balance between creative freedom and creative restraint in media production can be challenging, but from creating storyboards, book trailers, or parody music videos to documentary filmmaking, creating media in the library can reap multiple benefits and can prove that it’s through creating and collaborating that people of all ages learn best.
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Conference papers on the topic "Organ music Analysis, appreciation"

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Kakegawa, Mayu, Ryo Komiyama, Yuko Masakura, and Masayuki Kikuchi. "Analysis of music appreciation by Kansei evaluation and brain activity." In 2012 Joint 6th Intl. Conference on Soft Computing and Intelligent Systems (SCIS) and 13th Intl. Symposium on Advanced Intelligent Systems (ISIS). IEEE, 2012. http://dx.doi.org/10.1109/scis-isis.2012.6505407.

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