Literatura académica sobre el tema "Musicology / Organ / 20th century"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Musicology / Organ / 20th century".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Musicology / Organ / 20th century"
1
Whittall, Arnold. "Thoughts for the Future". Tempo, n.º 202 (octubre de 1997): 2. http://dx.doi.org/10.1017/s0040298200048865.
Texto completoResumen
Among many other even less important things, the 20th century has been the Age of Musicology. If music as the object of historical and theoretical enquiry began to impinge on the Academy well before 1900, it has taken the 20th century to explore its full potential for various kinds of systematic, even scientific analysis. And so a problem has emerged, for although most musicologists accept that compositions are at least a part of their subject-matter, they have difficulty with the proposition that composition – the creative act – itself is a part of musicology. In a sense, therefore, it is entirely logical for the British Academy to consider ceasing its financial support for postgraduate courses in composition.
2
Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory". Terminological Bulletin, n.º 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.
Texto completoResumen
The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical category of the speech genre, which combines the characteristics of the speech and creative genres in music. Since the end of the 19th century phenomena musical forms / models / patterns (song form, form of rondo, etc.) and the content of music are the subject of studying and classification within the academic discipline “The doctrine of the musical form”. And in relation to the studying of genre types, other criteria are the determining factors: performance composition (instrumental, vocal, vocal-instrumental, musical and theatrical work), text, functions, place of execution, structure of construction. Additional factors of the systematic classification are periods (such as the Renaissance, Baroque, Viennese classicism) and styles (respectively, genres). The process of emancipation of functional music (which had certain social functions) determined the emergence in the 20th century so called “pure music”, almost unrelated to the primary circumstances of origin and existence. In 20th century composers begin to avoid the narrow qualifications of “genres” and established “genre types” and create “hybrid mixed forms” within the usual “classical genre types” (such as chamber symphony) or with the involvement of other types of art (for example, performances as a mixed form of art based on singing action of dance, theatre and music). In the middle of the 20th century began to differentiate musical-creative and musical-language genres within the T. Adorno’s classification of music practices for E-music, U-music and F-music. However, in contemporary Ukrainian musicology we have not a general acceptance of theoretical and methodological principles for the demarcation of classical music and entertainment. Accordingly, there is no proper musicology terminology. Working out of approaches and convincing criteria of the decision of these difficult theoretical and practical issues still continues. In connection with this, the necessity of introducing into the scientific circle the concept of “genre type”, as well as comprehension of its musical and speech nature is actualized.
3
Nuo, Xu. "The reform of Chinese Musical Culture and the Formation of Musical Psychology in the Early 20th Century". Университетский научный журнал, n.º 77 (25 de diciembre de 2023): 99–111. http://dx.doi.org/10.25807/22225064_2023_77_99.
Texto completoResumen
In the history of the origin and development of aesthetic ideas, refl ected in music psychology in China, two historical stages should be highlighted: the fi rst one – from antiquity to the beginning of the 20th century, and the second stage – from the beginning of the 20th century to the present, when the Chinese civilisation turned to the assimilation of Western forms of culture, including music. The article presents the view of one of the main researchers of musical psychology of the fi rst third of the 20th century, professor Wang Guangqi, and analyses the signifi cance of his ideas for the formation and development of musical psychology as a new science, as well as their relevance in the current problem fi eld of this area of musicology.
4
Vesic, Ivana y Danka Lajic-Mihajlovic. "The dominant currents in the research of music in Serbia: An overview of the Institute of Musicology SAS’s early history (1947-1965)". Muzikologija, n.º 25 (2018): 49–76. http://dx.doi.org/10.2298/muz1825049v.
Texto completoResumen
This paper is dedicated to the investigation of the initial period of the Institute of Musicology SAS, the first scientific institution of this kind in Serbia (and Yugoslavia), in order to give an insight into the development of national musicology and ethnomusicology. The results of earlier research about the topic have been expanded by means of the analysis of documents from the archive of the Institute of Musicology SASA. The organization of the Institute?s functioning, general research orientation, key topics, methodological choices and the significance of individual researchers were considered in detail. This diachronically oriented overview of research into music throughout the 20th century enabled us to pointing out the continuities and innovations after World War II and the Institute?s foundation.
5
Huovinen, Erkki. "Musiikin aatehistoriaa". Trio 12, n.º 1 (29 de junio de 2023): 33–42. http://dx.doi.org/10.37453/tj.131226.
Texto completoResumen
In his book Music, Ideas, History: Texts 1990–2022 Matti Huttunen sheds light on the world of Western art music by showing how past historiographies of music have given it form and meaning. While grounded in Dahlhaus’ principles of structural history, Huttunen also challenges such models by allowing greater interpretive multidimensionality. In future accounts of Finnish musicology, Huttunen’s writings may provide a focus for a “long 20th century” of musical historiography.
6
Lajic-Mihajlovic, Danka. "Audio collection in the SASA Institute of Musicology". Muzikologija, n.º 10 (2010): 141–51. http://dx.doi.org/10.2298/muz1010141l.
Texto completoResumen
The paper is relating to audio collection of the Institute of Musicology SASA as extremely important part of this institution?s fund. The collection comprises of valuable sound materials, especially significant collections of fieldwork recordings of traditional folk and church music, as also recordings of pieces of the 19th and 20th century Serbian composers. Information on sound carriers, methodologies and circumstances in which the recordings have been made, their preservation and further treatment with modern technologies, are a part of ethnomusicological and musicological histories in Serbia. According to number of sound recordings, diachronical dimensions that encompass, geographical areas and genre diversity, this collection is one of the most important sound collections of scientific profile in Serbia.
7
Hysa, Oksana, Bingqiang Liu, Olha Yeremenko, Larisa Biryukova y Bei Liu. "THE HISTORY OF MUSICOLOGY STUDIES AT THE UNIVERSITY OF WROCLAW AND THEIR RELATIONSHIP WITH THE STATE-RELIGIOUS GENESIS OF JAGELLONISM IN THE XV-XVI CENTURIES". Conhecimento & Diversidade 15, n.º 40 (6 de diciembre de 2023): 417–27. http://dx.doi.org/10.18316/rcd.v15i40.11246.
Texto completoResumen
Research on the origins and functioning of the Wroclaw School of Musicology in the first half of the 20th century. is relevant, since the development of new approaches in modern Ukraine requires the broadest historical generalizations, while the general indicator of the genesis and results of the development of the relevant links of educational institutions indicated in the special literature is not sufficiently covered in the scientific works of Ukrainian and foreign musicologists until our time. This is connected not only with the discovery and analysis of new documentary materials and facts, but also with the unfortunate lack of regular cooperation between the musicology centers of Wroclaw and Lviv at the scientific and educational and methodological levels in the modern period. University musicology of the Wrocław school in the forms of musicological embodiments of the concept of a higher school has become an important factor in the educational completeness of professional musical training, taking into account the organic interaction of the higher level of music schooling with primary and secondary levels, which is broken in the modern Western European music-educational system.
8
Brie, Mihai. "Gheorghe Dima – Seiten von der wertvollen hermannstädter musikalischen Tätigkeit". Studia Universitatis Babeş-Bolyai Musica 65, n.º 2 (21 de diciembre de 2020): 129–42. http://dx.doi.org/10.24193/subbmusica.2020.2.10.
Texto completoResumen
"An indisputable musical personality of all times, the great musician Gheorghe Dima gave a new breath to Romanian music but also to religious music. Activating in the second half of the 19th century, turbulent times for history and nation and the first half of the 20th century, he established himself through his substantial and rich academic training in famous western schools. It remained in the consciousness of researchers and generations as one who put Romanian music (instrumental or polyphonic) on the research corridor of the late nineteenth and early twentieth centuries. In this sense, the present academic research wants to pay homage to an unforgettable personality from the local space. Keywords: musicology, history, personality, etc."
9
Qiang, Wang. "Qu Xiao-Song’s Oratorio “Cleaving the Coffi n”: Features of Vocal and Orchestral Style". Университетский научный журнал, n.º 79 (24 de abril de 2024): 152–59. http://dx.doi.org/10.25807/22225064_2024_79_152.
Texto completoResumen
The oratorio “Cleaving the Coffi n” is a work created as part of the new wave music movement in China at the end of the 20th century. The dynamic fusion of avant-garde creative and aesthetic concepts with traditional Chinese culture marked a turning point in the development of Chinese oratory. This article presents the history of the development of Chinese oratorio prior to the appearance of this work, as well as the composer Qu XiaoSong and his creative ideas embodied in the genre of oratorio. The author of the article emphasises the important role of national percussion instruments in the work, and for the fi rst time analyses the specifi c features of the use of voice in the oratorio “Cleaving the Coffi n”, refl ecting vivid national colours and the composer’s unique musical and artistic style. This article is the fi rst mention of this oratorio in Russian musicology, and one of the few articles in Chinese musicology that analyse this work.
10
Miklós, Noémi. ""Organs in Transylvania – Part 2. Transylvanian Organs During the 19th Century "". Studia Universitatis Babeş-Bolyai Musica 67, n.º 2 (20 de diciembre de 2022): 177–91. http://dx.doi.org/10.24193/subbmusica.2022.2.10.
Texto completoResumen
"The following study is the second chapter of a series, which is intended to shed light on the development of the Transylvanian organ landscape throughout the centuries. It offers information regarding the organs and organ builders of the early romantic period up to the turn of the 20th century, when pneumatic and electro pneumatic organs have started to take over. Keywords: Transylvania, organ, romantic period, organ builders, stops, restoration. "
Tesis sobre el tema "Musicology / Organ / 20th century"
1
Bray, Michael Robert. "The liturgical canticle settings for chorus and organ of Ralph Vaughan Williams". Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186253.
Texto completoResumen
Within the sacred choral music of composer Ralph Vaughan Williams, little is known regarding his subset of works intended for liturgical use. This study focuses on the canticle settings for choir and organ, written by Ralph Vaughan Williams for use in Anglican Worship. The compositions in this study include: Magnificat and Nunc dimittis (Village Service), Te Deum in G, Service in D Minor and Te Deum and Benedictus. This study provides a discussion of the structure and history of the Anglican service and a description of how canticle settings traditionally function in liturgical worship. Each work in this study is analyzed with particular attention given to form and structure, harmonic language, text derivation and declamation, melodic tendencies and the role of the organ accompaniment. Evidence gathered from this study demonstrates that, although the liturgical canticle settings for choir and organ are diverse in function and style, they contain many common characteristics in such compositional areas as: structural form, voicings, consistent use of thematic material, and the effective application of text to music. Suggestions for performance options of the settings are also included in the results of this study. It is hoped that, through differentiating between these works with regard to function and style, this study will help close the lacuna in the choral literature concerning Vaughan Williams' smaller liturgical works and serve as an introduction to modern choral conductors.
2
Prozzillo, Nicholas Stefano. "Organ reform in England : aesthetics and polemics, 1901-1965". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:edc38b39-1749-49b6-b35f-1493f605e7e0.
Texto completoResumen
This thesis examines organ reform in England between 1901 and 1965, an arena of practical music-making and intellectual and ideological debates in which a number of related practices surrounding the English organ – notably its scholarship, aesthetics of design, liturgical functions, native and foreign repertoires, including J. S. Bach’s organ music – played a central role in transforming the sound, design, and appearance of the instrument. Whilst influential musicians asserted that the English organ of the first half of the twentieth century was a great work of art, and survived in what could be termed ‘splendid isolation’ from Continental models, others contended that it lacked a logical relationship with more than a home-grown repertory. However, supporters of the English organ claimed that technological and tonal improvements made it the most perfect medium for Bach performance. It was a renewed interest in historical organs and repertory that exposed the limitations of cultural centrism, pointing to the English organ’s weakness as a point of departure for understanding its European repertory. This insistence paved the way for an enthusiastic reception of other organs, which, through their construction and new tonal qualities, won the favour of musicians who had found the English organ too limited and focused on a particular culture. The thesis allows historical actors to populate the discourse, revealing the diverse practices out of which a quest for reform emerged. As such the organ provides a fascinating and preliminary rehearsal case for what in the 1970s and 80s would be termed the early music revival.
3
Buffington, Adam. "In Relation to the Immense: Experimentalism and Transnationalism in 20th-Century Reykjavik". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587637102245713.
Texto completo
4
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/.
Texto completoResumen
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.
5
Still, Tamara G. "Paul Fritts and Company, organ builders : the evolution of the mechanical-action organ in the United States during the 20th century with historical emphasis on the instruments of Paul Fritts /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11254.
Texto completo
6
Weber-Rigaudière, Angélica. "La participation des revues à la construction d’une discipline : the Musical Quarterly (1915-…) : revue de Musicologie (1917-…) : archiv für Musikwissenschaft (1918-1927 ; 1952-…)". Thesis, Avignon, 2009. http://www.theses.fr/2009AVIG1099.
Texto completoResumen
À partir d’une approche documentaire, éditoriale et historique du périodique musicologique est interrogée la participation des revues académiques à la construction d’une discipline.Composé de 122 titres américains, français et allemands du 20e siècle ainsi que de l’Archiv für Musikwissenschaft, de la Revue de Musicologie et du Musical Quarterly, le corpus est soumis à une double observation, macroscopique et microscopique, sur le temps long, ainsi qu’à une analyse des sommaires. Partant de l’idée que la musicologie est une forme d’écriture sur la musique, cette investigation a pour objectif d’éclairer les ambiguïtés et l’historicité du périodique savant sur la musique ainsi que de repérer la manière dont l’articulation entre science, écriture et musique agit sur la revue musicologique. Instrument rhétorique et de captation du lecteur, cette dernière régule, hiérarchise et contrôle un territoire disciplinaire qu’elle délimite. Espace de représentation, le périodique musicologique fabrique l’histoire et l’identité d’un collectif qu’il fédère et dont il constitue le support de communication. La capacité de la revue à accepter la différence et à relier, à laisser place aux polémiques et aux prises de position, ainsi qu’à faire circuler le discours en font un objet hétérogène en perpétuelle transformation que l’on envisage comme un objet culturelBasing on a documentary, editorial and historical approach of the musicological periodical and considering musicology as a form of writing about music, we examine the contribution of journals to the construction of a discipline. Consisting of 122 american, french and german titles, as well as of three leading journals in musicology, the Archiv für Musikwissenschaft, the Revue de Musicologie and The Musical Quarterly, the corpus is submitted to a macroscopical and microscopical observation and to a content analysis. The aim of this investigation is to shed light on the ambiguities and the historicity of learned journals about music. As a rhetorical instrument, the periodical circumscribes a disciplinary territory. This medium of communication federates a collective of which it writes the story, elaborates the history and constructs the identity. By its faculty to accept differences, to link, to leave room to controversy as well as to put discourses into circulation, it can be viewed as a cultural and a heterogeneous object. The articulation between science, writing and music acts on the musicological periodical which is in perpetual transformation
7
Lu, Shu-Ling. "The influence of scholarly research on the orchestral performance practice of Raymond Leppard". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1233200.
Texto completoResumen
The purpose of this study is to determine the influence of scholarly research on the orchestral performance practice of conductor Raymond Leppard.This study presents, with supporting evidence, what an international conductor does today to incorporate the results of research into the interpretation of music. From this study, the writer has presented the influence scholarly research has had on orchestral performance practice, how one of today's conductor and orchestras deal with the issues raised and how they are carried into current performances, and to what degree do musicologists influence his performance. Orchestra conductors continue to learn from performance practice research and young conductors must be encouraged to gain knowledge from this field.Three scholarly musicians, Arnold Dolmetsch (1858-1940), Edmund H. Fellowes (1870-1951), and Thurston Dart (1921-1971), among many others, did much to revive authentic performances of earlier music. Their critical and historical writings are based on original sources and the concept of interpretation by studying composers' original manuscripts and editions in order to better present their musical style and heritage. This developed a strong movement towards the study of incorporating authentic music research into music performance.Maestro Leppard is known particularly for his interpretations of seventeenth and eighteenth century music. He prepared the revivals of Monteverdi and Cavalli's Italian operas. Maestro Leppard has had many experiences with European and American orchestras and has made many recordings. The contents of the interview focused on (1) orchestra size and seating, (2) the authenticity of music, (3) some basic performance practice elements such as tempo, rhythm, dynamics, articulation and phrasing, ornamentation, vibrato, and portamento, (4) string bowing, (5) editions, and (6) interpretation and personal observations.School of Music
8
Lizama, Natalia. "Afterlife, but not as we know it : medicine, technology and the body resurrected". University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0186.
Texto completoResumen
This thesis contends that technologically-derived resurrections of human bodies and bodily fragments can be viewed as indicative of a 'post-biological' ontology. Drawing from examples in which human bodies are resurrected, both figuratively and actually, this thesis puts forward the term 'post-biological subject' as an ideological framework for conceptualising the reconfiguration of human ontology that results from various medical technologies that 'resurrect' the human body. In this instance, the term 'postbiological', borrowed from Hans Moravec who uses it denote a future in which human being is radically disembodied and resurrected within a digital realm, is used somewhat ironically: where Moravec imagines an afterlife in which the body is discarded as so much 'meat', the post-biological afterlife of the body in this thesis centres around a form of corporeal resurrection. Corpses, living organs and excreta may all be resurrected, some of them in digital format, yet this kind of resurrection departs radically from the disembodied spiritual bliss imagined in many conceptualisations of resurrection. The post-biological subject resists ontological delineation and problematises boundaries defining self and other, living and dead, and human and nonhuman and is fraught with a number of cultural anxieties about its unique ontological status. These concerns are analysed in the context of a number of phenomena, including melancholy, horror, monstrosity and the uncanny, all of which similarly indicate an anxious fixation with human ontology. The purpose of discussing post-biological bodies in relation to phenomena such as melancholy or the uncanny is not to reinstate as ideological frameworks the psychoanalytic models from which these concepts are derived, but rather to use them as starting points for more complex analyses of postbiological ontology. The first and second chapters of this thesis discuss instances in which the human body is posthumously modified, drawing on Gunther von Hagens's Body Worlds exhibition and the Visible Human Project. The Body Worlds plastinates are situated in a liminal and ambiguous ontological space between life and death, and it is argued that their extraordinary ontological status evokes a form of imagined melancholy, wherein the longed-for and lost melancholic object is a complete process of death. In the case of the Visible Human Project, it is argued that the gruesome and highly technologised process of creating the Visible Male, wherein the corpse is effectively dehumanised and iv rendered geometric, evokes the trope of horror, while at the same time being fraught with a nostalgic longing for a pre-technological, anatomically 'authentic' body. The third and fourth chapters of this thesis discuss instances in which the living human body is reconfigured, focusing on immortal cell lines and organ transplantation, and on medical imaging technologies such as computed tomography and magnetic resonance imaging. In the third chapter it is argued that organ transplantation and the creation of immortal cell lines give rise to profound anxieties about ontological contamination through their capacity to render permeable the imagined boundaries defining self, and in this way invoke the monstrous. The fourth chapter interrogates the representation of medical imaging in Don DeLillo?s novel White Noise, arguing that the medical representation of the body functions as a form of double, a digital doppelganger that elicits an uncanny anxiety through its capacity to presage death.
9
Chaplin-Kyzer, Abigail. "Searching for Songs of the People: The Ideology of the Composers' Collective and Its Musical Implications". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157558/.
Texto completoResumen
The Composers' Collective, founded by leftist composers in 1932 New York City, sought to create proletarian music that avoided the "bourgeois" traditions of the past and functioned as a vehicle to engage Americans in political dialogue. The Collective aimed to understand how the modern composer became isolated from his public, and discussions on the relationship between music and society pervade the radical writings of Marc Blitzstein, Charles Seeger, and Elie Siegmeister, three of the organization's most vocal members. This new proletarian music juxtaposed revolutionary text with avant-garde musical idioms that were incorporated in increasingly greater quantities; thus, composers progressively acclimated the listener to the dissonance of modern music, a distinctive sound that the Collective hoped would become associated with revolutionary ideals. The mass songs of the two Workers' Song Books published by the Collective, illustrate the transitional phase of the musical implementation of their ideology. In contrast, a case study of the song "Chinaman! Laundryman!" by Ruth Crawford Seeger, a fringe member of the Collective, suggests that this song belongs within the final stage of proletarian music, where the text and highly modernist music seamlessly interact to create what Charles Seeger called an "art-product of the highest type."
10
Nettelbladt, Anders. "Reception av Helena Munktells kompositioner : Konserter och musikrecensioner 1885-1921". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-190539.
Texto completoResumen
In this essay the reception of Helena Munktell’s 1885 1921 compositions are mapped andanalysed. The term reception is used to express to what extent Munktell’s compositions wereperformed, and also how they were received in newspaper reviews. The reception is studiedholistically. This means that all identifiable concerts and all accessible newspaper reviews havebeen taken into consideration, and that the mapping and analysis aims to demonstrate how thereception differs between genres and countries, as wel l as how it changes over time.Helena Munktell (1852 1919) was a Swedish composer, pianist, and singer. Hercatalogue is concise, but she composed music in several different genres. In 1915 she wasinducted into The Royal Swedish Academy of Music Munktell was active in both Sweden andFrance, and her work shows traces of Swedish folk music as well as French style elements. Shestudied composition with a number of teacher s, both in Stockholm and Paris. Her mostinfluential teacher was Vincent d’Indy. Through him directly, and César Franck indirectly, hercompositions came to include neo French mannerisms such as cyclic form, colourful chordchanges, and downplaying the imp ortance of melody in favour of harmonic progression.The analysis was done in four stages. In the first stage facts were collected. Thebulk of the source material was gathered from a scrapbook with reviews from Munktell ’sposthumous collections, and from the national database of Swedish newspapers Svenskadagstidningar In the second stage a calendar of all identifiable concerts was comprised. In thethird stage an account of all compositions, concerts, and reviews for each respective genre wascreated. In the fourth stage the results were analysed from a historical perspective and fromPierre Bourdieu’s theory on capital and fieldApproximately 140 concerts have been identified. The vocal genres are dominantmore than half of the performances concern works for vocal soloists. The opera I Firenze wasperformed in Stockholm 13 times. This accomplishment can be attributed to the fact thatMunktell had an abundance of what Bourdieu call s cultural and social capital. The opera andthe vocal performances were almost exclusively well reviewed. Munktell’s compositions werealso successful in France. She became a member of the prestigious organisation SociétéNationale de Musique where several of her compositions were performed. Three of her fourorchestral works were premiered in France, as was her violin sonata. Munktell’s success inFrance can be explained partly by her compositions having a strong French influence, and thefact that cultural capital is highly valued in France. Dalsvit was the only orchestral work thatwas performed in Sweden during her lifetime and it received very mixed reviews. The violinsonata is the instrumental composition that w as performed the most. It received mixed reviewsin the daily newspapers at the time of its first performance in Stockholm in 1905, butconsiderably more positive appraisal after the memorial concert at The Royal Swedish Operain 1921. This can be explained by the societal interest and appreciation of German musicaldominance giving way to F rench musical styles in a different way in 1921.The account from Swedish Musical Heritage Anders Edling’s biography onHelena Munktell, saying that all contemporary re views of Munktell as a composer were positiveis incorrect; they were mixed, varying between genres, and changing over time.A similar analysis could be carried out concerning other composers works. Suchan analysis would make it possible to compare the reception between two or more composers’work, but also how their different prerequisites may have influenced their reception.I uppsatsen kartläggs och analyseras receptionen av Helena Munktells kompositioner under åren 1885–1921. Med reception avses dels i vilken utsträckning Munktells kompositioner blev framförda, dels hur de blev mottagna i tidningsrecensioner. Receptionen utforskas ur ett helhetsperspektiv. Det betyder att alla identifierbara konserter och alla tillgängliga recensioner omfattas och att kartläggningen och analysen syftar till att åskådliggöra hur receptionen skiljer sig åt mellan genrer och mellan länder liksom hur den förändras med tiden. Helena Munktell (1852–1919) var en svensk tonsättare, pianist och sångerska. Hennes verkförteckning är kort men hon komponerade i ett flertal genrer. År 1915 blev hon invald som tonsättare i Kungliga Musikaliska Akademien. Munktell var verksam i både Sverige och Frankrike och i hennes verk finns såväl svenska folkmusikinfluenser som franska stilelement. Hon tog lektioner i komposition för ett flertal lärare, både i Stockholm och Paris. Den lärare som påverkade henne mest var Vincent d’Indy. Genom honom och därmed indirekt genom César Franck kom hennes kompositioner att inrymma stildrag från den nyfranska skolan: cyklisk form, färgskapande ackordväxlingar och nedtoning av melodins betydelse till förmån för harmonisk progression. Undersökningen har genomförts i fyra steg. I första steget samlades fakta in. Huvud-sakligt källmaterial var en klippbok med recensioner från Munktells efterlämnade samlingar samt recensioner från databasen Svenska dagstidningar. I andra steget togs en kalender fram omfattande alla identifierade konserter. I tredje steget utarbetades en redogörelse över kompositioner, konserter och recensioner för respektive genre. I fjärde steget analyserades resultatet ur ett historiskt perspektiv och utifrån Pierre Bourdieus teorier om kapital och fält. Cirka 140 konserter har identifierats. De vokala genrerna dominerar och över hälften av konserterna avser solosång. Operan I Firenze framfördes i Stockholm 13 gånger. Denna bedrift kan till viss del förklaras med att Munktell hade god tillgång till det Bourdieu kallar kulturellt och socialt kapital. Operan och solosångerna fick nästan uteslutande goda omdömen i recensionerna. Munktells kompositioner rönte stora framgångar i Frankrike. Hon blev medlem i den prestigefyllda föreningen Société Nationale de Musique där flera av hennes kompositioner framfördes. Tre av hennes fyra orkesterverk uruppfördes i Frankrike, så också hennes violinsonat. Munktells framgångar i Frankrike kan förklaras dels med att hon till stor del komponerade i fransk stil, dels med att kulturellt kapital värderas mycket högt i Frankrike. Dalsvit var det enda orkesterverk som framfördes i Sverige under hennes levnad och den renderade starkt skiftande omdömen. Munktells violinsonat är den instrumentala komposition som framfördes mest. Sonaten fick ett blandat bemötande i dagspressen efter framförandet i Stockholm 1905 men betydligt positivare omdömen efter minneskonserten på Kungliga Operan 1921. Detta kan förklaras med att den tyska musikstilens dominans hade mattats av och att de franska stildragen uppskattades på ett annat sätt 1921. Uppgiften i Anders Edlings biografi över Helena Munktell i Levande musikarv om att alla samtidens omdömen om Munktell som tonsättare var positiva stämmer inte; de var skiftande, skiljde sig åt mellan genrer och förändrades med tiden. En motsvarande undersökning skulle kunna genomföras rörande andra tonsättares verk. En sådan studie skulle göra det möjligt att jämföra receptionen av tonsättarnas verk och också jämföra vilken betydelse tonsättarnas olika förutsättningar kan ha haft för receptionen.
Libros sobre el tema "Musicology / Organ / 20th century"
1
Bell, Yung y Rees Helen 1964-, eds. Understanding Charles Seeger, pioneer in American musicology. Urbana: University of Illinois Press, 1999.
Buscar texto completo
2
The origins of organ transplantation surgery and laboratory science, 1880-1930. Rochester, NY: University of Rochester Press, 2010.
Buscar texto completo
3
Many sleepless nights: The world of organ transplantation. Pittsburgh, Pa: University of Pittsburgh Press, 1990.
Buscar texto completo
4
Flesh and blood: Organ transplantation and blood transfusion in twentieth-century America. Oxford: Oxford University Press, 2008.
Buscar texto completo
5
1935-, Crawford Richard, Lott R. Allen y Oja Carol J. 1953-, eds. A celebration ofAmerican music: Words and music in honor of H. Wiley Hitchcock. Ann Arbor: University of Michigan Press, 1990.
Buscar texto completo
6
1936-, Laske Otto E. y Tabor Jerry, eds. Otto Laske: Navigating new musical horizons. Westport, Conn: Greenwood Press, 1999.
Buscar texto completo
7
Pizà, Antoni. Alan Lomax: Mirades : músics i gent de Mallorca, Eivissa i Formentera = miradas : músicos y gente de Mallorca, Ibiza y Formentera = glances : musicians and people of Mallorca, Ibiza and Formentera. [Palma]: Fundació "Sa Nostra", 2006.
Buscar texto completo
8
Joseph, Smith F., ed. Understanding the musical experience. New York: Gordon and Breach, 1989.
Buscar texto completo
9
Stockhausen, Karlheinz. Stockhausen on music. London: Marion Boyars Publishers, 1989.
Buscar texto completo
10
Robin, Maconie, ed. Stockhausen on Music: Lectures and interviews. London: Marion Boyars, 1991.
Buscar texto completoCapítulos de libros sobre el tema "Musicology / Organ / 20th century"
1
Seeger, Anthony. "Music of Struggle and Protest in the 20th Century". En Springer Handbook of Systematic Musicology, 1029–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_53.
Texto completo
2
Gwynn, Dominic. "Study Session 42". En Musicology And Sister Disciplines Past,Present,Future, 562–64. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0086.
Texto completoResumen
Abstract This session investigated aspects of the siting (Timothy Easton), nature (Dominic Gwynn), use (John Harper), and repertory (John Caldwell) of the early sixteenth-century English organ, taking advantage of recent discoveries and research.
3
Pistunova, T. V. "Folklore in the architectonics of Ukrainian composers’ piano works of the 20th century". En MODERN UKRAINIAN MUSICOLOGY: FROM MUSICAL ARTIFACTS TO HUMANISTIC UNIVERSALS, 213–30. Izdevnieciba “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-072-8-11.
Texto completo
4
Libin, Laurence. "Study Session 24 The Evolution Of Musical Instruments". En Musicology And Sister Disciplines Past,Present,Future, 518–20. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0070.
Texto completoResumen
Abstract This session dealt primarily with extramusical influences on the development of instruments. The speakers stressed that instruments evolve largely independently of musicians’ concerns, and that political and economic forces and technological innovation can powerfully stimulate or retard their development. New types of instruments, such as the piano in the eighteenth century, can inspire unpredictable changes in musical style. But, as the piano’s history demonstrates, extension of an instrument’s idiom in unexpected directions (e.g. by Henry Cowell and John Cage) may have minimal effects on its design. Common assumptions about the relationship between musical style and instrument design were thus brought into question. Innovative instrumentmakers do not merely serve composers’ ‘needs’. Rather, the medium precedes the message; the saxophone, for example, developed a distinctive idiomatic voice only after much experiment—some would say, only in the jazz age. As the fate of the once ubiquitous reed organ demonstrates, an instrument’s immediate success in the market-place may bear little relation to the quality of its repertory; but an instrument survives in general use only if it inspires a critical mass of enduring music.
5
Nadkarni, Siddhartha. "History of Neuropsychiatry". En The Oxford Handbook of the History of Clinical Neuropsychology, C23.P1—C23.S7. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780199765683.013.23.
Texto completoResumen
Abstract The fields of neurology and psychiatry largely share the same organ of study, the brain. Historically, these two fields were always inextricably interwoven in terms of symptomatology, diagnoses, pathologies, and treatments. With the advent of psychoanalysis in the early 20th century, these two fields diverged. When they were in their infancies, psychiatry addressed questions of “mind” and neurology questions of the “brain.” But now, in the last 30 years, we have seen a recombination in perspectives on brain illnesses. This chapter sets out to delineate this arc of clinical neuroscience through the lens of history, focusing on movements, personalities, and patients.
6
Rice, Albert R. "Origins of the Chalumeau". En The Baroque Clarinet and Chalumeau, 1–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0001.
Texto completoResumen
Chapter 1 describes the basic construction of the chalumeau and discusses its ancestors in Egyptian antiquity and from the tenth through the 17th centuries; the mock trumpet; chalumeaux during the 17th and 18th centuries; Jacob Denner’s chalumeaux and clarinets revealed in archival sources and three surviving two-key clarinets; an organ pipe that sounds like a chalumeau; chalumeau players; chalumeau descriptions from the mid-18th century; later documented chalumeau makers; and chalumeau reproductions. Ten surviving chalumeaux are described in detail and biographical information is presented on seven makers. Individual players are identified when playing specific musical works, and the chalumeau size as required in the music. Late-19th- and early-20th-century reproductions of chalumeaux and their makers are identified.
7
Jeffery, Stephen y Anand K. Saggar-Malik. "Gene structure and regulation and the application of laboratory techniques". En Inherited Disorders of the Kidney, 21–46. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780192624734.003.0002.
Texto completoResumen
Abstract Cell activity is essential for cell survival and organ function and is determined by the integrated activity of almost 100 000 genes through control of protein synthesis at the nuclear and cytoplasmic level. It was first believed that proteins were more likely candidates than DNA as components of the genetic code, but by the beginning of the 20th century it was apparent that chromosomes determined inheritance. In the late 1940s, Linus Pauling demonstrated that gene function could be studied not only by gross phenotypic change but also through encoded protein products, e.g. by gel electrophoresis. In 1953, James Watson and Francis Crick, from x-ray crystallographic data, described the double helical structure for DNA of two intertwined chains running in opposite directions.
Actas de conferencias sobre el tema "Musicology / Organ / 20th century"
1
Titova, Elena. "FACTUROLOGY IN THE RUSSIAN MUSICOLOGY OF THE 20TH CENTURY". En 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s26.040.
Texto completo
2
Tcacenco, Victoria. "Genres of jazz origin in moldovan music from the first half of the 20th century: Ragtime by Ștefan Neaga". En Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.02.
Texto completoResumen
This article represents the first attempt in national and world musicology to introduce into the scientific circuit the piano piece named Ragtime written by the classic of the Moldovan national school of composition Ştefan Neaga in 1935. The author analyzes some aesthetic and stylistic features of this genre of early jazz reflected in Ş. Neaga’s opus, using the tools of comparative analyses. As for the material for comparison, collections written by the classic of ragtime music, the American composer Scott Joplin, have been studied. At the same time, a non-traditional treatment of the typical genre features has been identified, revealing Şt. Neaga’s individual approach.
3
Miyazaki, Shintaro. "Musik für Maschinen?! – Wo sich die Wissenschaft der Medien, des Computers und der Musik treffen und wie sie zusammenarbeiten könnten". En Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.105.
Texto completoResumen
Musicology and computer science do not only come together in areas such as the use, analysis and performance of digitized data, but also meet in unexpected places such as in context of critical media studies and inquiries about the material and aesthetic conditions of digitality. Such „exploratory interactions“ with computers and their aesthetics might resonate well with musicology. This mini-contribution firstly presents a historical situation in which for a short period in the 20th century the machinic music of digitality became audible. It then formulates, just as briefly and sketchily, the socio-critical potential of music-oriented approaches, especially rhythm analysis, still to be tested, when it comes to grasp and understand digitality in as many facets as possible (socio-technological, aesthetic, historical and epistemic). Thereby, a fourth partner might be of importance: pedagogy.