Bibliografías temáticas / Passion music Analysis

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Literatura académica sobre el tema "Passion music Analysis"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 18 de febrero de 2022

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Artículos de revistas sobre el tema "Passion music Analysis"

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Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry." Journal of Education and Training Studies 6, no. 3a (April 1, 2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.

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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning thei
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Vuorinen, Mark. "Symbolic Chiasm in Arvo Pärt’s Passio (1982)." Circuit 21, no. 1 (March 11, 2011): 45–59. http://dx.doi.org/10.7202/1001162ar.

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Passio, is Arvo Pärt’s first large scale vocal-instrumental work in the tintinnabuli style and remains today one of his most significant compositions. In this setting of the Passion text according to St. John, Pärt codifies procedures of tintinnabuli that will remain his principle means of musical communication for years to come while implying a very important perspective of Johannine theology. His compositional design utilizes both small-scale and large-scale chiastic constructions and gives prominence to John’s observance in Chapter 18, verse 4, that Christ knows all that will occur in the e
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BALMER, YVES, THOMAS LACÔTE, and CHRISTOPHER BRENT MURRAY. "Un cri de passion ne s'analyse pas: Olivier Messiaen's Harmonic Borrowings from Jules Massenet." Twentieth-Century Music 13, no. 2 (July 26, 2016): 233–60. http://dx.doi.org/10.1017/s1478572216000025.

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AbstractUntil the present article, Massenet's influence upon the music of Olivier Messiaen has remained entirely unexplored. During the 1930 and 1940s, Messiaen professed his love for the music of Massenet and regularly used Massenet as a model in his teaching materials. Several examples of the way in which Messiaen selects and transforms passages from Massenet's Werther and Manon are considered. The inclusion of a harmonic formula borrowed from Massenet, contrasted with a melodic formula borrowed from Mozart, in ‘Amen du Désir’, the fourth movement of the Visions de l'Amen, reveals the operat
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Erasmus, Ewie, and Liesl van der Merwe. "An interpretative phenomenological analysis of the lived musical experiences of three Williams syndrome individuals." Psychology of Music 45, no. 6 (February 1, 2017): 781–94. http://dx.doi.org/10.1177/0305735616689829.

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The purpose of this interpretative phenomenological analysis (IPA) is to understand the lived musical experiences of three individuals living with Williams syndrome (WS). We are interested in their lived musical experiences because the musical abilities of WS individuals are similar to those of normal control groups despite their severe cognitive impairments. Although there is literature on the medical manifestations of the syndrome, there is no research on their lived musical experiences. Their musical experiences need to be explored as a possible way to help them to cope with their unique ch
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Shishkin, Andrei Gennadievich. "Opera and religion: the experience of staging the opera “The Greek Passion” by Bohuslav Martinu in the Ural Opera Ballet Theatre." Культура и искусство, no. 5 (May 2020): 140–48. http://dx.doi.org/10.7256/2454-0625.2020.5.32932.

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Opera “The Greek Passion”, based upon Nikos Kazantzakis’ novel “Christ Recrucified”, demonstrated the Biblical story in “passions” of the XX century: in 2019 it was staged for the first time in Russia by Ural Opera Ballet Theatre. The article analyzes Martinu’s interpretation of the genre of passion, related to music and folk mistrial nature of this genre. Experience of interaction of the theatre in the course of staging the spectacle with representatives of the Russian Orthodox Church is reviewed. The research des
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Ma, Benjamin, Timothy Greer, Dillon Knox, and Shrikanth Narayanan. "A computational lens into how music characterizes genre in film." PLOS ONE 16, no. 4 (April 8, 2021): e0249957. http://dx.doi.org/10.1371/journal.pone.0249957.

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Film music varies tremendously across genre in order to bring about different responses in an audience. For instance, composers may evoke passion in a romantic scene with lush string passages or inspire fear throughout horror films with inharmonious drones. This study investigates such phenomena through a quantitative evaluation of music that is associated with different film genres. We construct supervised neural network models with various pooling mechanisms to predict a film’s genre from its soundtrack. We use these models to compare handcrafted music information retrieval (MIR) features ag
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ANSON-CARTWRIGHT, MARK. "SUBDOMINANT RETURNS IN THE VOCAL MUSIC OF J. S. BACH." Eighteenth Century Music 10, no. 2 (August 1, 2013): 253–76. http://dx.doi.org/10.1017/s1478570613000067.

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ABSTRACTBach's vocal oeuvre contains a significant number of movements (about thirty-five), including but not limited to those in modified da capo form, with a concluding reprise of opening thematic material in the subdominant key. Some of these ‘subdominant returns’ involve strict parallelism, whereby the entire A section returns at the new pitch, thus transforming the original ‘departing’ modulation from I to V into a ‘returning’ modulation from IV to I. Many subdominant returns, however, occur in a range of contexts, which resist straightforward formal categorization. One example is the ope
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Rahayuningsih, Bina Kiki. "BENTUK DAN PERUBAHAN FUNGSI MUSIK KONGKIL DI DESA BUNGKAL KABUPATEN PONOROGO." Sorai: Jurnal Pengkajian dan Penciptaan Musik 13, no. 1 (July 1, 2020): 23–35. http://dx.doi.org/10.33153/sorai.v13i1.3091.

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Kongkil music was created in 1933 by Eyang Toinangun as a means of gathering the people of Bungkal Village as an effort to resist the Dutch invaders. Kongkil music is an ensemble consisting of instruments of kongkil, kedhang, saron, kethuk, kenong, kempul and gong. In the beginning, Kongkil's music brought songs created by its members with the theme of passion-building, because there was no legacy of the old repertoire of the predecessors. There was an innovation in the form of repertoire changes since 1975, namely bringing dolanan gendhing. Around 2000, Kongkil's music was in a vacuum, then i
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V.V., Plokhikh, and Kadukha O.S. "INTELLECTUAL ABILITIES OF STUDENTS WITH AN ADDICTIVE TENDENCY TO LISTEN TO MUSIC." Scientic Bulletin of Kherson State University. Series Psychological Sciences, no. 1 (April 15, 2021): 32–40. http://dx.doi.org/10.32999/ksu2312-3206/2021-1-4.

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Purpose. The purpose of the researchis to determine the features of the connection of intellectual abilities with addictive manifestations of passion for listening to music in students. Methods. The subjects were 57 students. In an empirical study, the following methods were used: “The scale of Progressive Matrices” by J. Raven; “Simple analogies”; scale “Sports and music fanaticism” from the method “Tendency to dependent behavior” by V.D. Mendelevich. Passion for listening to music was determined using a research questionnaire. We performed statistical analysis of empirical data using correla
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Frigyesi, Judit. "Who is the girl in Bartók’s The Miraculous Mandarin? a case study of Mimi’s deleted scene and its dramatic meaning." Studia Musicologica 53, no. 1-3 (September 1, 2012): 241–74. http://dx.doi.org/10.1556/smus.53.2012.1-3.18.

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The story of Bartók’s pantomime is usually understood as the clash between the cold-blooded brutality of the city — represented by the tramps — and the force of primeval passion — represented by the mandarin. Within these opposing forces stands the girl — whose character, however, is not obvious. In the first complete manuscript version (piano four-hand), immediately before the ending of the piece, there existed a scene depicting a confrontation between the girl and the tramps. This scene, whose main actor is the girl, is crucial for the drama and reveals Bartók’s view with regard to the girl’
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Tesis sobre el tema "Passion music Analysis"

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Hughes, John Charles. "Leonhard Lechner's Passion (1593): cultural contexts, musical analysis, and historical implications." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1469.

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The Historia der Passion und Leidens unsers einigen Erlösers und Seligmachers Jesu Christi (1593) by Leonhard Lechner (c. 1553-1606) is frequently cited as an important work in the development of the Passion idiom. Given the work's notoriety, it is therefore odd that little substantive analysis of the piece exists. Aside from some scholars' cursory comments about the piece, only James Morgan Sides's dissertation has discussed the work at length. Sides's findings give a somewhat limited picture of Lechner's Passion because he primarily focuses on technical aspects of Lechner's musical language.
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Clavere, Javier. "Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227221958.

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Volgsten, Ulrik. "Music, mind and the serious Zappa : the passions of a virtual listener." Doctoral thesis, Stockholm : Universitet, 1999. http://catalogue.bnf.fr/ark:/12148/cb37107293k.

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Libros sobre el tema "Passion music Analysis"

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Die Matthäus-Passion von Johann Sebastian Bach: Entstehung, Werkbeschreibung, Rezeption. München: Deutscher Taschenbuch Verlag, 1991.

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"Die sieben Worte am Kreuz" bei Schütz und Haydn: Vorgetragen am 13. Januar 1984. München: Verlag der Bayerischen Akademie der Wissenschaften, 1986.

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Scholz, Gottfried. Bachs Passionen: Ein musikalischer Werkführer. München: C.H. Beck, 2000.

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Jena, Günter. "Das gehet meiner Seele nah": Die Matthäuspassion von Johann Sebastian Bach. Freiburg i. Br: Herder, 1999.

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Bach's St. Matthew Passion: A closer look. New York: Continuum, 2008.

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Geck, Martin. Johann Sebastian Bach: Mit Selbstzeugnissen und Bilddokumenten. Reinbek bei Hamburg: Rowohlt, 1993.

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Geck, Martin. Johann Sebastian Bach: Johannespassion : BWV 245. München: W. Fink, 1991.

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Geck, Martin. Bach: Leben und Werk. Reinbek: Rowohlt, 2000.

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Geck, Martin. Johann Sebastian Bach: His life, work and influence. Bonn: Inter Nationes, 2000.

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Geck, Martin. Bach. London: Haus, 2003.

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Capítulos de libros sobre el tema "Passion music Analysis"

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Rathey, Markus. "Individual and Communal Freedom and the Performance History of the St. Matthew Passion by Bach and Mendelssohn." In Theology, Music, and Modernity, 147–79. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0008.

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When Felix Mendelssohn Bartholdy performed Johann Sebastian Bach’s St. Matthew Passion in the concert hall of the Berlin Singakademie in 1829, he not only transferred a piece of liturgical music into a secular space, but he also made numerous cuts that changed the theological profile of Bach’s composition. The essay explores the theology of the St. Matthew Passion in the context of early eighteenth-century theology and gives an overview of the original performance conditions and the audiences at the performances in Bach’s time. The second half of the essay analyses how these parameters changed when Mendelssohn conducted the Passion in 1829. It becomes clear that the sociological profile of the audience (educated middle and upper class who had to pay money to attend the performance) remained essentially the same, while the theology shifted from a focus on the freedom of the individual in Bach’s time to an emphasis on the community (congregation, Volk, nation) in the adapted version the Singakademie presented to its listeners in 1829.
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Bonini Baraldi, Filippo. "Performing sorrow." In Roma Music and Emotion, translated by Margaret Rigaut, 172–215. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190096786.003.0011.

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This chapter analyzes the slow “sorrowful” (de jale) tunes that Roma often associate with crying. Three musical parameters characterize this repertoire: (1) the rhythmic and temporal structure (irregular aksak or unmeasured rhythm); (2) the slight asynchronies between the melody and the harmonic accompaniment, which creates a swinging effect; and (3) the complex elaboration of the melodic line, in particular the addition of ornaments and passing notes to create an effect that is known locally as “sweetness.” The analysis is supported by empirical measurements of timing durations, obtained by tracking the musician’s bow’s movements with motion capture techniques.
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Høffding, Simon. "Performative passivity: Lessons on phenomenology and the extended musical mind with the Danish String Quartet." In Music and Consciousness 2, 127–42. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0008.

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Based on interviews with the Danish String Quartet, this chapter points to limitations in the philosophical literature that construes musical absorption primarily as involving various forms of reflective and pre-reflective self-awareness. It then shows the paradigmatic experience of musical absorption as being expressed in statements such as ‘It wasn’t I who played the music’ or ‘The music played/came by itself’. To understand this type of experience, the chapter presents a new framework of ‘performative passivity’, relying on an analysis of the Husserlian notion of passivity or passive synthesis. Finally, it shows how the body, the performer’s emotions, and the nature of the performed music are centrally involved in performative passivity.
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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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Judovitz, Dalia. "The Enigma of the Visible." In Georges de La Tour and the Enigma of the Visible. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277438.003.0002.

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This chapter begins with an analysis of La Tour’s allegorical paintings of blind hurdy-gurdy musicians in order to explore the deceptive, even blinding, character of ordinary vision. These renderings of music making and audition (whose invisibility defies vision and challenges the representational purview of painting) are examined in reference to his portrayals of St. Jerome and Mary Magdalene. Figuring the attainment of spiritual insight rather than sight, these devotional works attest to a contemplative mode of seeing illuminated by the biblical Word. They challenge the viewer by attempting to depict what painting cannot ultimately show: namely, spoken words, audition, the passage of time, and spiritual passions reflecting changes of heart.
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Thaller, Jonel, Megan Lindsay Brown, and Jill Theresa Messing. "Depictions of Intimate Partner Violence." In Recent Advances in Digital Media Impacts on Identity, Sexuality, and Relationships, 82–98. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1063-6.ch005.

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The music video for Eminem and Rihanna's hit single “Love the Way You Lie” (2010) reproduces commonly held myths about intimate partner violence (IPV), primarily that many women instigate their abuse or even enjoy it. Music video culture has been of concern to parents, researchers, and policymakers because youth are considered developmentally susceptible to gendered sexual scripts. However, some scholars suggest that audience members, rather than being passive consumers, are practical actors who filter information according to first- and secondhand experiences. This study examined how young adults' respond to the depiction of IPV in the music video for “Love the Way You Lie.” Findings indicated strong emotional response, a tendency to filter media through personal experiences, and a continuation of gendered blame. However, participants also demonstrated critical analysis. Thus, even when depictions are sensational or reinforce myth-based beliefs and gendered biases, young adults are capable of being critical consumers of popular culture.
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Nakai, You. "Neural Syntheses." In Reminded by the Instruments, 556–78. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190686765.003.0011.

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One of Tudor’s last projects used an instrument custom-made for him using the neural network chip that had just been developed. The Neural Synthesizer began as an attempt to build a universal instrument that would synthesize the proliferation of his modular devices. But the actual mechanism of the analog chip, which happened to be an extensive array of amplifiers, shifted the nature of the endeavor, causing a return to the no-input works from the 1970s. In this way, the neural network instrument, used against its usual purpose of extracting patterns from past examples, nonetheless found a strange connection with reminiscences of Tudor’s own past. The analyses of Neural Syntheses and Neural Network Plus, two series of works Tudor made using his new synthesizer, further brings up the issue of memory concerning the performance of his music, which is different every time yet open to revivals, something he tried to capture by setting a number to each performance. This also connects to the problem of how Tudor thought of passing his music on to others so that they could be performed in his absence, a natural concern in the last years of his life, but also something that reflected his lifelong interest in the role of memory and reminiscence in music.
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He, Jianjun. "The Tradition of King Shoumeng of Wu." In Spring and Autumn Annals of Wu and Yue, 32–38. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501754340.003.0003.

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This chapter covers the time during the reign of King Shoumeng and the reigns of his three sons, emphasizing the difference between Wu culture and the culture of the central states that is represented by Zhou ritual. It recounts the succession among King Shoumeng's sons and highlights the narrative of the rivalry between Wu and Chu. It also discusses King Shoumeng's will in passing down the throne to Jizha, Zhufan's attempt to yield the position to his brother, and his suicidal behaviors that were intended to shorten his rule and hasten the process of Jizha's accession. The chapter analyzes accounts in Sima Qian's Shiji concerning the time that describes King Shoumeng's admiration of Zhou ritual and music. It reviews the Zuozhuan and Shiji accounts, wherein Jizha was portrayed simply as a master of Zhou culture.
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Actas de conferencias sobre el tema "Passion music Analysis"

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Montoya, Gustavo, Yixiang Liao, Dirk Lucas, and Eckhard Krepper. "Analysis and Applications of a Two-Fluid Multi-Field Hydrodynamic Model for Churn-Turbulent Flows." In 2013 21st International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/icone21-16297.

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Today Computational Fluid Dynamic (CFD) codes are widely used for industrial applications, mostly in the case of single phase flows in automotive or aircraft engineering, but multiphase flow modeling had gain an increasing importance in the last years. Safety analyses on nuclear power plants require reliable prediction on steam-water flows in case of different accident scenarios. This is particularly true for passive safety systems such as the GEKO component of the KERENA reactor. Here flashing may occur in the riser (Leyer and Wich, 2012). In such case, high gas volume fractions and the churn
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