Bibliographies thématiques / Music restoration

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Littérature scientifique sur le sujet « Music restoration »

Auteur : Grafiati
Publié le 9 mars 2023
Mis à jour le 10 mars 2023

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Articles de revues sur le sujet "Music restoration"

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Holman, Peter. « A New Source of Restoration Keyboard Music ». Royal Musical Association Research Chronicle 20 (1987) : 53–57. http://dx.doi.org/10.1080/14723808.1987.10540919.

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Restoration keyboard music has been well served in recent years by modern editions, source studies and thematic catalogues. Thus it is all the more surprising that Brussels Conservatoire MS XY 15139, a large manuscript from the early eighteenth century containing unique pieces by John Blow and William Croft as well as a number of early copies of music by Henry Purcell, has almost entirely escaped notice. It seems that the only references to it in the scholarly literature to date have been a brief description by Margaret Reimann in her article on the Kortkamp family in Die Musik in Geschichte und Gegenwart, and my edition of two Croft suites in the 1982 revision of that composer's Complete Harpsichord Works.
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DeWitt, Lucinda A., et Arthur G. Samuel. « Perceptual restoration of music ». Journal of the Acoustical Society of America 80, S1 (décembre 1986) : S110. http://dx.doi.org/10.1121/1.2023559.

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Herissone, Rebecca. « Playford, Purcell, and the Functions of Music Publishing in Restoration England ». Journal of the American Musicological Society 63, no 2 (2010) : 243–90. http://dx.doi.org/10.1525/jams.2010.63.2.243.

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Abstract During Purcell's lifetime the music-publishing business in England flourished, thanks mainly to John Playford. Since intellectual property rights did not yet exist, Playford and his successors were able to select music they were confident of selling, predominantly producing multicomposer anthologies of popular tunes. Composers may have benefited little from these publications so it is significant that some took the financial risk of printing their music without an established publisher's support. Analysis suggests that musical self-publication was undertaken for several quite specific purposes. Three self-published books stand out as the only operatic scores published in seventeenth-century England: Locke's The English Opera (1675), Grabu's Albion and Albanius (1687), and Purcell's The Vocal and Instrumental Musick of the Prophetess (1691). These substantial volumes had no obvious practical use and all sold poorly; put into political context, however, they reveal how printed music in England was developing from a purely practical performance tool into a medium through which statements could be made and musical works given monumental status. Yet Purcell's own management of the printing of The Vocal and Instrumental Musick of the Prophetess suggests that he was confused about the distinct and mutually exclusive functions of music printing in the period, which led him to misunderstand the nature of the market and how he might appropriate the medium for his own benefit.
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Wolfe, Patrick J., et Simon J. Godsill. « Perceptually Motivated Approaches to Music Restoration ». Journal of New Music Research 30, no 1 (1 mars 2001) : 83–92. http://dx.doi.org/10.1076/jnmr.30.1.83.7122.

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McGeary, T. « Music and science in Restoration London ». Early Music 38, no 4 (1 novembre 2010) : 591–92. http://dx.doi.org/10.1093/em/caq084.

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Morehen, John. « From Jacobean to Restoration ». Early Music XXII, no 4 (novembre 1994) : 685–87. http://dx.doi.org/10.1093/earlyj/xxii.4.685.

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Kaminska, Zofia, et Peter Mayer. « Transformation, migration and restoration ». Contemporary Music Review 9, no 1-2 (janvier 1993) : 151–61. http://dx.doi.org/10.1080/07494469300640411.

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MEMELSDORFF, PEDRO. « New music in the Codex Faenza 117 ». Plainsong and Medieval Music 13, no 2 (octobre 2004) : 141–61. http://dx.doi.org/10.1017/s0961137104000105.

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New photographic images and digital restoration have finally permitted the integral restoration and transcription of several diminutions from the manuscript Faenza, Biblioteca Comunale Manfrediana 117, hitherto impossible because of illegible passages. Above all, it has been possible to restore two completely new pieces: a Kyrie Orbis factor (virtually complete) and part of its corresponding Gloria dominicalis (Vatican Edition XI). The two new pieces are here transcribed and published for the first time, along with the completion of the diminution of Jacopo da Bologna's madrigal Sotto l'impero with the aid of photographic material and virtual restoration.
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Bailey, C. « Restoration keyboard music in the digital age ». Early Music 37, no 2 (23 avril 2009) : 320–22. http://dx.doi.org/10.1093/em/cap012.

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Dyer, Mark. « Interpreting Telemann : restoration and reconstruction ». Early Music 46, no 2 (mai 2018) : 345–47. http://dx.doi.org/10.1093/em/cay030.

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Thèses sur le sujet "Music restoration"

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Winstone, Naomi E. « The perceptual restoration of music in young children ». Thesis, University of Surrey, 2009. http://epubs.surrey.ac.uk/2225/.

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Giombini, Lisa. « Music, restoration and ontology : a guide for the perplexed ». Thesis, Université de Lorraine, 2015. http://www.theses.fr/2015LORR0093/document.

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J’analyse la nature des relations entre art et métaphysique dans la tradition de la musique classique, de la performance, et de la restauration de l’art. La première partie de la thèse est dédiée à l’étude de l’ontologie de la musique. Le Chapitre 1 examine les théories concernant ce que c’est une œuvre musicale d’un point de vue ontologique, à savoir l’Idéalisme, le Nominalisme et le Platonisme en défendant l’idée qu’aucune de ces théories n’est entièrement satisfaisante. Cela conduit dans le Chapitre 2 à une discussion sur la méthodologie adéquate à l’enquête ontologique et à une analyse metamétaphysique de l’ontologie de l’art. Je considère quatre objections contre l’ontologie de l’art: l’eliminativisme, l’esthétisme, l’historicisme et le sémantisme. La deuxième partie est dédiée à une étude de l’art performatif et de la restauration. Dans le Chapitre 3, j’étudie le concept d’œuvre en général, en soutenant que ce n’est pas nécessaire de classer tout l’art sous ce notion : il faut faire une distinction entre œuvres et d’autres phénomènes artistiques pour donner sens aux pratiques artistiques non traditionnelles. Dans le Chapitre 4, je considère la notion de performance d’une perspective historique et philosophique: les performances peuvent être comprises à travers la comparaison avec jeux et expériences scientifiques. Enfin, j’examine pourquoi l’art performatif défie notre compréhension standard de l’appréciation artistique en introduisant les notions d’immersion et d’interaction. Dans le Chapitre 5, j’étudie le concept d’authenticité par rapport à la restauration. Je me réfère à l’œuvre de Cesare Brandi pour aborder les questions ontologiques que la restauration nous présente
I investigate the nature of the relationships between art and metaphysics in the tradition of classical music, performance art, and art restoration. The first part of the thesis is dedicated to musical ontology. I begin in Chapter 1 by analyzing theories of what a classical musical work is ontologically. I focus on Idealism, Nominalism and Platonism. I defend the view that none of these proposals is satisfactory nor able to resist objections. This leads in Chapter 2 to a discussion of the appropriate methodology for doing musical ontology. I thus propose a metametaphysical account of the ontology of art. I examine four objections against art ontology: Eliminativism, Aestheticism, Historicism and Semanticism. The second part of the thesis is devoted to the study of the cases of performance art and restoration. In Chapter 3 I investigate the concept of a work of art in general, arguing that there is no need to subsume all art under the work-concept. I claim that drawing a distinction between artworks and other art-phenomena is important to make sense of nontraditional contemporary art. In Chapter 4, I consider the notion of performance art both historically and philosophically. I contend that performances can be understood in the comparison with experiments and games. I examine the way in which performance art challenges our common understanding of art appreciation by introducing the contrasting notions of immersion and interaction. In Chapter 5, I consider the topic of art authenticity with regard to restoration. I refer to the work of Cesare Brandi to address some of the ontological problems that a philosophical analysis of restoration presents us with
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Scott, Hugh R. R. « Multiresolution techniques for audio signal restoration ». Thesis, University of Warwick, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307347.

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Moon, Joshua D. « Progress, Restoration, and the Life of Rock After Alternative ». Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1426865642.

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Rigney, Ranelle. « The hymn-book controversy of 1882 ». Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Hills, Robert Allen. « A comparison of the harmful effects of secular rock music to the Christian alternative ». Theological Research Exchange Network (TREN) Access this title online, 1985. http://dx.doi.org/10.2986/tren.031-0082.

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Dexter, Keri John. « The provision of choral music at St George's Chapel, Windsor Castle, and Eton College c.1640-1733 ». Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312094.

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Mayer, Peter. « Transformation, restoration and migration : illusions in the perception of speech, music and other complex sounds ». Thesis, City University London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339696.

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Drysdale, John Duncan. « Louis Veron and the finances of the Academie Royale de Musique 1827 to 1835 ». Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323796.

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Harbor, Catherine. « The birth of the music business : public commercial concerts in London 1660-1750 ». Thesis, Royal Holloway, University of London, 2012. http://digirep.rhul.ac.uk/items/646996db-a880-7e0c-bd3b-13dcd85b0196/1/.

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As a case study in cultural production and consumption and of the commodification of culture in late seventeenth- and eighteenth-century England, this study examines how musicians in London began to emerge from their dependence on the patronage of court, aristocracy and church into a more public sphere, moving from positions as salaried employees to a more freelance existence where they contributed to their income by putting on public commercial concerts. Taking as its starting point the almost 50,000 references to music recorded in the Register of Music in London Newspapers 1660–1750, a database has been built to record detailed information extracted from over 12,000 advertisements, puffs and news items related to commercial concert giving in London between 1660 and 1750. Concert advertisements and other material may thus be studied longitudinally in relation to each other, providing a valuable source of data for the growth of concert giving in London over a long and important period of its development. Public commercial concerts emerged in London in the period following the restoration of Charles II in 1660, developing from private music meetings dominated by amateur performers and informal public performances by professionals in taverns via John Banister's first advertised concerts in 1672. By 1750, public commercial concerts in London may not have achieved their final form or the heights of popularity that accompanied the ‘rage for music' of the 1790s, but they were promoted regularly and with a clear sense of programme planning, laying the foundations for later expansion. The possibility for musicians to make a living as freelance professionals without having to rely solely on patronage, their development of commercial skills, their emerging links with music publishers, all this is witness to the birth of music as a business in London in the period between 1660 and 1750.
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Livres sur le sujet "Music restoration"

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Spink, Ian. Restoration cathedral music, 1660-1714. Oxford : Clarendon Press, 1995.

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Music, painting, and restoration or the unbearable lightness of humanism. Oslo : [s.n.], 2008.

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Murray, Lisa. The Capitol Theatre restoration. Sydney : Council of the City of Sydney, 2003.

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Cox, Geoffrey. Organ music in restoration England : A study of sources, styles, and influences. New York : Garland, 1989.

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Cloutman, E. W. English & Scottish musical clocks : Contemporary scores to aid dating and restoration. Wadhurst : Antiquarian Horological Society, 2000.

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Cloutman, E. W. English & Scottish musical clocks : Contemporary scores to aid dating and restoration. Ticehurst : Antiquarian Horological Society, 2000.

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Cloutman, E. W. English & Scottish musical clocks : Contemporary scores to aid dating and restoration. Ticehurst, Sussex : Antiquarian Horological Society, 2000.

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Mark, Roosa, et Gottlieb Jane 1954-, dir. Knowing the score : Preserving collections of music. Canton, Mass : Music Library Association, 1994.

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Cox, Geoffrey. Organ music in Restoration England : A study of sources, styles and influences. New York : Garland, 1989.

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"To fill, forebear, or adorne" : The organ accompaniment of Restoration sacred music. Aldershot, Hants : Ashgate, 2005.

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Chapitres de livres sur le sujet "Music restoration"

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Gilman, Todd S. « London Theatre Music, 1660-1719 ». Dans A Companion to Restoration Drama, 243–73. Carlton, Victoria, Australia : Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118663400.ch15.

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Martin, David. « Fifth Commentary On the Return of the Liturgical in Modernist Music and Poetry and the Reconciliation Achieved by Liturgical Poetry and Music ». Dans Ruin and Restoration, 81–98. Burlington : Ashgate, 2016. : Routledge, 2018. http://dx.doi.org/10.4324/9781315607108-7.

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Lachmann, Frank M. « Music as narrative ». Dans The Self-Restorative Power of Music, 39–57. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003220954-4.

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Lachmann, Frank M. « Thrills and goose bumps in music ». Dans The Self-Restorative Power of Music, 29–38. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003220954-3.

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Lachmann, Frank M. « Words and melodies, psychology and music ». Dans The Self-Restorative Power of Music, 13–28. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003220954-2.

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Lachmann, Frank M. « Richard Wagner ». Dans The Self-Restorative Power of Music, 58–74. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003220954-5.

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Lachmann, Frank M. « Finale ». Dans The Self-Restorative Power of Music, 105–9. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003220954-8.

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Lachmann, Frank M. « Overture ». Dans The Self-Restorative Power of Music, 1–12. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003220954-1.

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Lachmann, Frank M. « Richard Strauss ». Dans The Self-Restorative Power of Music, 75–89. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003220954-6.

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Lachmann, Frank M. « Cole Porter ». Dans The Self-Restorative Power of Music, 90–104. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003220954-7.

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Actes de conférences sur le sujet "Music restoration"

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Medentzidou, Paschalina, et Constantine Kotropoulos. « Restoration of missing data in Greek folk music by interpolation techniques ». Dans 2016 Digital Media Industry & Academic Forum (DMIAF). IEEE, 2016. http://dx.doi.org/10.1109/dmiaf.2016.7574912.

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Dufera, Bisrat Derebssa, Eneyew Adugna, Koen Eneman et Toon van Waterschoot. « Restoration of Click Degraded Speech and Music Based on High Order Sparse Linear Prediction ». Dans 2019 IEEE AFRICON. IEEE, 2019. http://dx.doi.org/10.1109/africon46755.2019.9133792.

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Hibbeln, Joseph. « Omega-3 fats as pivotal elements integrating neural, immune and sympathetic nervous systems in aggression, depression and consciousness ». Dans 2022 AOCS Annual Meeting & Expo. American Oil Chemists' Society (AOCS), 2022. http://dx.doi.org/10.21748/ksaz2558.

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Consciousness emerges from the harmonics of neronal networks in a manner analogous to music emerging from symphony orchestras.  Neurons integrate electrochemical signals as long axons fire in pulsing rhythms like instrument strings. Many brain regions communicate in harmonies or dissonance, like orchestra sections. Critically, both neurons and musical instruments depend on their physical composition to stay in tune. For neurons, essential fatty acid compositions determine membrane biophysics of synapses, axons and immune responses, thus dietary fats can either optimize or degrade neuronal harmonics and thus emotional experiences. New experiences cannot be learned without the growth of new synaptic connections and rhythms encoded by Hebbian conditioning.  Inadequate seafood consumption, the primary source of omega-3 fats, is associated with 30 and 50-fold increased risks for major depression and homicide deaths in cross- national epidemiology. Multiple randomized controlled trials report large clinical effects of omega-3 fats in reducing aggression and depression in meta-analyses. Harmful aggressive and depressive behaviors in part result from excessive immunological, stress axis and sympathetic nervous systems responses to provocations. Omega-3 fats downregulate, or detune, these excessive immune and sympathetic nervous system responses to stresses, also contributing to cardiovascular disease protection. Modern diets have excessive omega-6 fats. Restoration of neurons, immune and neuroendocrine systems with omega-3 fats is analogous to restoring musical instruments to play beautiful and healthy emotional music once again. This presentation will include experiences reducing aggression and depression in clinical practice which is the critical test to see if epidemiological, mechanistic and randomized control trial data can actually be translated into practical real-world applications.
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Labelle, Paul. « A Theatre of Catches – Dialogue, Theatre and Ritual in the Restoration Catch ». Dans Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.122.

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Giménez-Rodríguez, Francisco J. « Music Tales of the Alhambra (1832-1855) : Revolutions and Restorations in Spanish Salons ». Dans Međunarodni i interdisciplinarni simpozij Glazba, umjetnosti i politika : revolucije i restau- racije u Europi i Hrvatskoj 1815.-1860. (14 ; 2019 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, 2021. http://dx.doi.org/10.21857/y26kec43r9.

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Kozáry, Andrea. « Conflict Resolution, Mediation, Restorative Justice and the Policing of Ethnic Minorities in Germany, Austria and Hungary (COREPOL) ». Dans MultiScience - XXIX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2015. http://dx.doi.org/10.26649/musci.2015.100.

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Mukai, Hibiki. « An Interactive and Digital Puppeteering Interface for new musical expression (IDPI) ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.

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Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
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