Articoli di riviste: "Humanities -> music -> classical"

1

Bull, Anna, e Christina Scharff. "Classical music as genre: Hierarchies of value within freelance classical musicians’ discourses". European Journal of Cultural Studies 24, n. 3 (28 aprile 2021): 673–89. http://dx.doi.org/10.1177/13675494211006094.

Testo completo

Abstract (sommario):

In music studies, genre theory has primarily been used to study popular music rather than classical music. This article demonstrates how genre theory can be applied to studying classical music production in order to understand how its value is negotiated and reproduced. Drawing on data from interviews with early-career female classical musicians in London, it explores discourses of classical music as a genre in order to understand how genre shapes working lives. We identify three themes within the data: first, genre hierarchies contribute to the (re-)production of divisions of labour, in ways that reaffirm gendered hierarchies. Second, many research participants actively portrayed themselves as being interested in different musical genres, both as listeners and as performers, but identified other classical musicians as having pejorative attitudes towards non-classical genres or practices such as playing in a band. Third, genre hierarchies were (re-)produced in institutional settings, in musicians’ working practices and in social interactions. Overall, analysing classical music as a genre through examining the perspectives of freelance musicians shows that subgenres within classical music, as well as classical music itself, are understood relationally to other genres in a hierarchy of value that reaffirms existing inequalities in the cultural labour market.

Gli stili APA, Harvard, Vancouver, ISO e altri

2

Dobrota, Snježana, e Ina Reić Ercegovac. "Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia". British Journal of Music Education 34, n. 1 (25 ottobre 2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.

Testo completo

Abstract (sommario):

The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relationship between music preferences and secondary school music education was not found, but those participants who attended music school preferred some music styles more than did those participants who did not attend music school. There was a significant correlation found between the frequency of attending classical music concerts and preferences for classical music, jazz and world music. Finally, the results indicated that people who frequently attend musical theatre productions have significantly higher preferences for jazz and world music. The authors pointed to the problem of unattractiveness of music lessons in secondary schools and suggest possible solutions to the problem.

Gli stili APA, Harvard, Vancouver, ISO e altri

3

G., E., e Bonnie C. Wade. "Music in India: The Classical Traditions". Journal of the American Oriental Society 110, n. 1 (gennaio 1990): 178. http://dx.doi.org/10.2307/604000.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

4

López de Aguileta, Ane, Marifa Salceda, Sandra Girbés-Peco, Juan Carlos Peña-Axt e Marta Soler-Gallart. "Democratizing Taste on Classical Music for All". Qualitative Research in Education 12, n. 3 (28 ottobre 2023): 236–51. http://dx.doi.org/10.17583/qre.13395.

Testo completo

Abstract (sommario):

The right of every citizen to access cultural heritage, such as classical music, has been widely pointed out by international organizations. However, there are certain barriers that impede members of vulnerable groups from enjoying the benefits of this type of music, namely cultural elitism. Some authors have stated that the taste for classical music depends on the social class. Nevertheless, our research has found evidence that demonstrates that it is not so in nine different contexts. We present here results of Dialogic Music Gatherings (DMG), that demonstrate that everyone can enjoy classical music. Thus, the purpose of this article is to analyze the impact the DMG have had on widening participants’ access to classical music and increasing the taste towards this music from very diverse age and socioeconomic groups. To that end, a survey study was conducted among nine education centers from elementary to adult education. Data has been analyzed through the Communicative Methodology by defining the transformative and exclusionary elements in relation to the access and taste towards the classical music. Results suggest these participants have accessed classical music and increased the taste towards this music after participating in the DMGs, regardless of their social and cultural background.

Gli stili APA, Harvard, Vancouver, ISO e altri

5

Li, Ang. "Historical Evolution of the Popularization of Classical Music and the Development of the Fusion of Multiple Musical Styles". Herança 7, n. 1 (21 dicembre 2023): 113–25. http://dx.doi.org/10.52152/heranca.v7i1.810.

Testo completo

Abstract (sommario):

The historical evolution of classical music and its fusion with different musical genres is an important phenomenon in the field of music. The aim of this thesis is to explore the historical evolution of the popularization of classical music and its fusion with a variety of musical genres. First, we define the characteristics of classical and popular music. Then, we examine the development of classical music in the history of popular music, including its relationship to blues, jazz, and American country music. Next, we summarize the history of the fusion of classical and popular music and analyze contemporary examples. Finally, we discuss the impact and future trends of the popularization of classical music. By examining this topic, we can better understand trends in musical preferences and the role of classical music in music culture.

Gli stili APA, Harvard, Vancouver, ISO e altri

6

Vernia Carrasco, Ana Mercedes. "INTERVIEW ROIT FELDENKREIS". ARTSEDUCA 29, n. 29 (12 maggio 2021): 107–10. http://dx.doi.org/10.6035/artseduca.2021.29.8.

Testo completo

Abstract (sommario):

Roit Feldenkreis started in the arena of classical music in the “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists.

Gli stili APA, Harvard, Vancouver, ISO e altri

7

Casali, Giovanna. "Ancient tragedy, yet modern music: musical compositions in the classical performances (1921–39)". Classical Receptions Journal 16, n. 1 (1 gennaio 2024): 73–90. http://dx.doi.org/10.1093/crj/clad027.

Testo completo

Abstract (sommario):

Abstract This contribution aims to analyse the role of music in the revival of Greek theatre that characterized twentieth-century Italy. In particular, it explores and compares the music composed for INDA productions between 1921 and 1939. From the beginning of the festival, music occupied a crucial role, thanks to Ettore Romagnoli’s emphasis on the musical component in reviving ancient Greek drama. The years from 1921 to 1927 were characterized by the collaboration between Romagnoli and Giuseppe Mulè, who attempted to revive ancient Greek music according to modern criteria. By 1930, the festival, run by an entirely Fascist committee, had taken on a nationalistic character, and music was integral to this. Indeed, during these years (1930–39), music acquired a pivotal role in emphasizing the heroic instances of ancient drama that had become functional to the Regime’s policy. Moreover, it was considered indispensable for this increasingly mass-oriented type of performance.

Gli stili APA, Harvard, Vancouver, ISO e altri

8

Shylnikova, Iryna. "Classical Crossover and Its Russian and Ukrainian Interpretations". Pamiętnik Teatralny 72, n. 2 (9 giugno 2023): 115–29. http://dx.doi.org/10.36744/pt.1287.

Testo completo

Abstract (sommario):

This article aims to explore the phenomenon of “classical crossover,” a contemporary music trend that blends “high” and “low” elements. In addition to analyzing the genre’s main features and cultural preconditions for its emergence, the article will examine its historical origins and development. The second part of the article focuses on examples of classical crossover in Russian and Ukrainian music, with an analysis of several artists who have ventured into this new type of production, including the Terem Quartet, Anna Netrebko, Olga Chubareva, and Arina Domski. By applying historical and cultural methodology, the article suggests that classical crossover has a broad audience in Russia and Ukraine, allowing musicians to introduce elite classical music to the masses. Although some may view the genre as a dilution of classical music’s distinctive qualities in order to cater to popular tastes, it also provides musicians with the opportunity to create original pieces that merge tradition with innovation. Considering all of the above, the author of this article aims to explore the cultural significance and impact of classical crossover in the music industry.

Gli stili APA, Harvard, Vancouver, ISO e altri

9

Salamone, Frank A. "Jazz and Its Impact on European Classical Music". Journal of Popular Culture 38, n. 4 (maggio 2005): 732–43. http://dx.doi.org/10.1111/j.0022-3840.2005.00138.x.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

10

Barratt-Peacock, Ruth. "Aspirational cosmopolitanism in classical music anime: Adapting Romantic legacies in Forest of Piano". East Asian Journal of Popular Culture 8, n. 1 (1 aprile 2022): 9–26. http://dx.doi.org/10.1386/eapc_00060_1.

Testo completo

Abstract (sommario):

This article argues that anime about musicians specializing in western classical music offers a vehicle for questioning normative narratives that tend to exclude East Asian musicians from classical music culture beyond tertiary education. This article explores how the series Forest of Piano, the 2018 anime adaptation of Makoto Isshiki’s manga, utilizes competing Romantic models of genius to negotiate the protagonists’ positions as East Asian musicians on the global stage. In the series, the idea that the spirit of a piece is bound to the composer’s relationship to a specific place competes with the idea of a Romantic genius that channels the transcendent universal music of the world-soul from Nature.

Gli stili APA, Harvard, Vancouver, ISO e altri

11

Nagel, Julie Jaffee. "Memory Slip: Stage Fright and Performing Musicians". Journal of the American Psychoanalytic Association 66, n. 4 (agosto 2018): 679–700. http://dx.doi.org/10.1177/0003065118795432.

Testo completo

Abstract (sommario):

This paper discusses stage fright as seen primarily in classical music performers. A confluence of narcissistic sensitivities, developmental issues, shame dynamics, physical injury and pain, and terrors pertaining to both psychic and bodily disintegration can fuel anxiety reactions in many people but hold particular relevance for the performing musician. Two classical music performers who struggled with stage fright are discussed: one was in treatment with the author; the other is the author herself, reflecting on her own performance anxiety as revealed through her analysis and her countertransference to her patient.

Gli stili APA, Harvard, Vancouver, ISO e altri

12

Scott, E. K. Ellington, e Jonas Braasch. "Computational aspects of real-time auralizations of jazz venues". Journal of the Acoustical Society of America 154, n. 4_supplement (1 ottobre 2023): A280. http://dx.doi.org/10.1121/10.0023524.

Testo completo

Abstract (sommario):

Historically, architectural acoustics has focused on concert halls for European Classical music, even though other genres, including rock, blues, and Jazz, have large groups of followers as well. Additionally, the acoustic requirements for European Classical music differ fundamentally from Jazz and other music. For example, Jazz venues are typically smaller and dryer than a traditional European Classical concert hall. A recent survey showed that reverberation in these venues plays a secondary role to parameters that describe the affordance of a space to allow communication between improvising musicians. This presentation focuses on the unique computational auralization aspects of Jazz venues, including wave-based approaches for smaller enclosures, low-latency requirements, intelligent accompanying systems that can adapt ad-hoc to jazz soloists, and the use of anechoic jazz recordings as source material. The adequacies of different reproduction systems, from higher-order ambisonics and wave-field synthesis to headphone-based systems, will also be discussed. [Work supported by James West Fellowship, Leo and Gabriella Beranek Scholarship, and NSF HCC-1909229.]

Gli stili APA, Harvard, Vancouver, ISO e altri

13

DEMİRTAŞ, YAVUZ. "İSMAİL DEDE EFENDİ VE HOCA ZEKAİ DEDE ÜZERİNE BİR DEĞERLENDİRME". Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 103 (20 settembre 2022): 157–70. http://dx.doi.org/10.34189/hbv.103.007.

Testo completo

Abstract (sommario):

İsmail Dede and Zekāi Dede are two great musicians who have contributed to the enrichment of the Classical Turkish Music Repertoire with their many works in many genres. They have been at the forefront of the main sources from which this repertoire has survived to the present day. Although there are many people with the title of “Dede” in Classical Turkish Music, the only person known as “Dede Efendi” is İsmail Dede who left his mark on the first half of the 19th century; Zekāi Dede, on the other hand, left his mark on the second half of the century as one of the few people known as “Hodja” (Hoca). In addition to their current talents, the musical understanding of the Mawlawī sect, to which they are deeply attached, played an important role in the success of both Dedes in the art of music. İsmail Dede and Zekāi Dede’s existence in the 19th century, was the occasion for the Ottoman Empire, which was on the verge of collapse in almost every respect, to achieve a magnificent victory in the field of music in this century. Our study includes information on the lives, mystical aspects and musicianships of İsmail Dede and Zekāi Dede, who made great contributions to the development and spread of Turkish Music with the works they composed, the students they trained, the classical repertoire they conveyed together with their styles and their evaluations.

Gli stili APA, Harvard, Vancouver, ISO e altri

14

Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)". Africa 64, n. 4 (ottobre 1994): 533–43. http://dx.doi.org/10.2307/1161372.

Testo completo

Abstract (sommario):

The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.

Gli stili APA, Harvard, Vancouver, ISO e altri

15

Robertson, David. "Listening to the Now". Daedalus 142, n. 4 (ottobre 2013): 38–44. http://dx.doi.org/10.1162/daed_a_00241.

Testo completo

Abstract (sommario):

The future of classical music is almost universally thought bleak. Attendance figures are dropping, and some even question whether it is possible to write new classical music that concertgoers will be able to appreciate. This essay locates the origins of such doomsday prophecy in unquestioned assumptions and seeks to establish just the opposite: that classical music is alive and vibrant, that new creative horizons are constantly opening up, and that audiences will actually enjoy many contemporary classical compositions. The key is to present these unfamiliar works as they are understood by their composers: in a context that allows listeners to make connections between the familiar and unfamiliar, opening their minds to a wealth of new human experience.

Gli stili APA, Harvard, Vancouver, ISO e altri

16

Yamada, Masashi. "Continuous features of emotion in classical, popular, and game music". Journal of the Acoustical Society of America 133, n. 5 (maggio 2013): 3616. http://dx.doi.org/10.1121/1.4806750.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

17

Dance, Stephen, e Eric Ballestero. "Feasibility study for the hearing assessment of classical music student using Otoacoustic Emissions". Journal of the Acoustical Society of America 151, n. 4 (aprile 2022): A256. http://dx.doi.org/10.1121/10.0011242.

Testo completo

Abstract (sommario):

Since the introduction and enforcement of the Control of Noise at Work Regulations in 2008 continuing research has been undertaken on five thousand students of the Royal Academy of Music to understand their hearing acuity. Standard audiometric screening methods were employed for both entry and exit testing. It was established that the music students obtained results that in over 50% of cases presented negative hearing losses as compared against the Health and Safety Executive categories. This presented an interesting problem which has now been addressed in an attempt to understand the hearing acuity of classical musicians using an otoacoustic emission based methodology. A feasibility study was undertaken in July 2021 of 120 musicians using Hearing Coach software for the analysis and Path Medical OAE instrument to undertake the measurements. The results presented show similar trends and thus provide reassurance that OAE can be used to assess the hearing of music students.

Gli stili APA, Harvard, Vancouver, ISO e altri

18

Isaksen, Leif, Elton Barker, Eric C. Kansa e Kate Byrne. "GAP: A NeoGeo Approach to Classical Resources". Leonardo 45, n. 1 (febbraio 2012): 82–83. http://dx.doi.org/10.1162/leon_a_00343.

Testo completo

Abstract (sommario):

Google Ancient Places (GAP) is a Google Digital Humanities Award recipient that will mine the Google Books corpus for classical material that has a strong geographic and historical basis. GAP will allow scholars, students, and enthusiasts world-wide to query the Google Books corpus to ask for books related to a geographic location or to ask for the locations referred to in a classical text. The traditional difficulty of identifying place names will be overcome by using a combination of URI-based gazetteers and an identification algorithm that associates the linear clustering of places within narrative texts with the geographic clustering of locations in the real world.

Gli stili APA, Harvard, Vancouver, ISO e altri

19

Teniswood-Harvey, Arabella. "Presence, absence, distance and intimacy: How do virtual classical music concerts rate against the wonders of the musical metaverse?" Virtual Creativity 13, n. 1 (1 aprile 2023): 29–47. http://dx.doi.org/10.1386/vcr_00073_1.

Testo completo

Abstract (sommario):

Disruptions to live performance caused by the recent pandemic have fuelled a surge in virtual concerts, impacting both classical and popular music. This article explores ways in which audio-visual media have been used during the pandemic to maintain the live performance of classical music, through comparison with recent examples of virtual creativity in popular music (including performances by virtual artists in virtual spaces, Vocaloid and holographic concerts). Insights into audience experience are revealed: the benefits of engaging with music performance through online platforms include opportunities for social interaction, agency and an enhanced sense of community. Yet this participatory approach challenges the attentive listening mode embedded in the long-held conceptualization of classical music, and the new modes of performance and communication challenge established beliefs about the superiority of live performance over recording. Opportunities for creativity and audience experience and development are found in the notions of distributed creativity, distributed listening and the democratization of culture that are embedded in many of the practices of virtual music concerts. Analysing scholarly literature, music criticism, commentary and selected case studies, the article explores these ideas and opportunities through four episodes entitled to capture prominent themes: presence, absence and distance, intimacy and wonder.

Gli stili APA, Harvard, Vancouver, ISO e altri

20

Park, Yongsung, Peter Gerstoft e Jeung-Hoon Lee. "Difference-frequency MUSIC for beamforming". Journal of the Acoustical Society of America 153, n. 3_supplement (1 marzo 2023): A56. http://dx.doi.org/10.1121/10.0018148.

Testo completo

Abstract (sommario):

A beamforming method is derived to estimate direction-of-arrivals (DOAs) for high-frequency sources. The algorithm uses multiple frequencies and their difference frequencies (DFs). Due to the DFs below the aliasing frequency, the method mitigates spatial aliasing. DF-processing has been applied previously to the conventional beamforming [Abadi et al., J.Acoust. Soc. Am., 132(5):3018–3029, 2012]. The proposed method uses a classical beamformer, MUSIC, which is a subspace method. The MUSIC shows sharp peaks in the beamforming spectrum and high-resolution. The DF-MUSIC integrates data samples into a sample covariance matrix and estimates DOAs. We propose three ways to treat multiple time and DF samples. The time-DF-MUSIC obtains MUSIC spectra at each DF and averages the spectra over time to get final DOAs. The frequency-DF-MUSIC obtains MUSIC spectra at each time snapshot and averages the spectra over frequency to get final DOAs. The time-frequency-DF-MUSIC considers all time and frequency jointly and improves the DOA estimation.

Gli stili APA, Harvard, Vancouver, ISO e altri

21

Prasad, M. G., V. K. Raman e Rama Jagadishan. "Various acoustical aspects of an Asian (South) Indian classical music concert". Journal of the Acoustical Society of America 120, n. 5 (novembre 2006): 3237. http://dx.doi.org/10.1121/1.4788248.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

22

Bulut, Mustafa Hilmi, Chi-Keung Victor Fung, Lisa J. Lehmberg, Yeliz Kindap Tepe, Patrick Hernly, Yusuf Özgül, Esmira Mehdiyev e Zekeriya Kaptan. "Varied Musical Experiences and Openness of University Students in Turkey and the United States". SAGE Open 12, n. 4 (ottobre 2022): 215824402211394. http://dx.doi.org/10.1177/21582440221139468.

Testo completo

Abstract (sommario):

The personality trait of openness has been shown to contribute to a person’s ability to function effectively. Additionally, scholars have suggested that openness to experience and foreign language experience were related to music preference. Extending from earlier scholarship, this study examined the relationship between openness to experience and the various types of musical and language experiences reported by undergraduate music majors in Turkey and the United States. Participants ( N = 380) were surveyed using the Openness to Experience domain of the NEO-PI-R and an author-designed survey with questions about participants’ musical backgrounds and interests, foreign language abilities, age, and sex. Results showed that U.S. students rated significantly higher in four of the five dimensions of the Openness domain than their Turkish counterparts (Wilks’λ = .57; F(5, 374) = 55.37, p < .001). Factor analysis results showed that (a) experiences in foreign languages, (b) listening to Turkish traditional, pop, and folk music, and (c) listening to American (pop and folk) and Western classical music cumulatively explained 68.49% of the variance in openness. Correlation analyses suggested that listening to Western classical, American folk, and American pop music was associated with higher openness scores, and listening to Turkish traditional, folk, and pop music was associated with lower openness scores. Additionally, the number of foreign languages participants studied correlated with four of the dimensions. Results suggest that both groups could benefit from increased, broader, and deeper exposure to different musical genres from diverse cultures.

Gli stili APA, Harvard, Vancouver, ISO e altri

23

Basu, Medha, SHANKHA SANYAL, Archi Banerjee, Kumardeb Banerjee e Dipak Ghosh. "Does musical training affect neuro-cognition of emotions? An EEG study with instrumental Indian classical music". Journal of the Acoustical Society of America 151, n. 4 (aprile 2022): A60. http://dx.doi.org/10.1121/10.0010655.

Testo completo

Abstract (sommario):

Music across all genres evokes a variety of emotions, irrespective of its timbre and tempo. Indian classical music (ICM) is no exception. Although being biased towards vocal musical styles, instrumental music forms one broad section of ICM. In this study, we have tried to compare the neural responses of music practitioners and non-musicians towards different emotions using audio clips from two popular plucked string instruments used in ICM, Sitar and Sarod. From pre-recorded performances of two eminent maestros, 20 clips of approximately 30 s duration were selected from the Alaap sections (initial introductory section without any rhythmic accompaniment) of different Raagas played in the two instruments. From an audience response assessment of 100 participants, a total of eight clips having maximum arousal for happy and sad emotions were identified from the 20 clips, using which EEG (Electroencephalography) recordings were collected from five musicians and five non-musicians. Robust nonlinear Multifractal Detrended Fluctuation Analysis technique (MFDFA) was applied to quantitatively measure the brain-state changes in different lobes for both categories of participants. In essence, this study attempts to encapsulate if and how prior musical training influences the brain responses towards two basic musical emotions in ICM using two instruments of same family.

Gli stili APA, Harvard, Vancouver, ISO e altri

24

Poulos, Panagiotis. "Rethinking Orality in Turkish Classical Music: A Genealogy of Contemporary Musical Assemblages". Middle East Journal of Culture and Communication 4, n. 2 (2011): 164–83. http://dx.doi.org/10.1163/187398611x571337.

Testo completo

Abstract (sommario):

AbstractThis article examines the tensions surrounding the status of the Ottoman musical heritage in the context of Turkey's modernizing program, through the study of the transformation of the oral transmission process of music, from the late Ottoman through the Republican period. Employing the concept of mediation, this study aims to underline the complexities of the contemporary creative process in Turkish classical music, as a means of challenging simplistic readings of the relation between Turkish modernity and music, based on binary oppositions such as orality-literacy. Instead, this article situates this process in the 'in-between' spaces produced by Turkish modernity, tracing the continuities of the Ottoman musical tradition within Republican Turkey.

Gli stili APA, Harvard, Vancouver, ISO e altri

25

Rodríguez-Bailón, Rosa, Josefa Ruiz e Miguel Moya. "The Impact of Music on Automatically Activated Attitudes: Flamenco and Gypsy People". Group Processes & Intergroup Relations 12, n. 3 (17 aprile 2009): 381–96. http://dx.doi.org/10.1177/1368430209102849.

Testo completo

Abstract (sommario):

The two studies reported in this article agree in demonstrating that activating a positive side of the stereotype of a traditionally prejudiced group could be a useful strategy to improve the implicit attitude toward that group. The goal of the current research was to explore whether activating the present association between Flamenco music and Gypsy people would decrease the negative view of this group in Spain, using the IAT measure. In the first study, when a stereotype-consistent but positive feature of Gypsies (i.e. Flamenco music) was used as a positively valued attribute in the IAT measure, the IAT effect was lower than when a different positive stimulus was used (classical music clips). The findings of Study 2 showed that for the North African community—another highly discriminated group in Spain—the use of Flamenco or classical music clips did not have any effect on the implicit attitudes of participants toward them. The implications for attitudes toward discriminated groups and the use of music to improve intergroup relationships are discussed.

Gli stili APA, Harvard, Vancouver, ISO e altri

26

ARNOLD-FORSTER, TOM. "Dr. Billy Taylor, “America's Classical Music,” and the Role of the Jazz Ambassador". Journal of American Studies 51, n. 1 (26 febbraio 2016): 117–39. http://dx.doi.org/10.1017/s0021875815002662.

Testo completo

Abstract (sommario):

The idea of jazz as “America's classical music” has become a powerful way of defining the music, asserting its national and artistic value, and shaping its scholarly study. The present article provides a history of this idea through a close analysis of its primary theorist and most visible spokesperson, Dr. Billy Taylor. It argues that the idea was not a neoclassical and conservative product of the 1980s, but had important roots in the Black Arts imperatives of the later 1960s and early 1970s. It suggests that Taylor initially made the idea work inventively and productively in a variety of contexts, especially through his community arts project Jazzmobile, but that these contexts diverged as his public profile was stretched thin across and beyond the United States. The idea's disintegration into clichéd ubiquity in the mid-1980s then provides a critical perspective on the idea of the “jazz renaissance,” and an opportunity to consider the role of the jazz ambassador in the context of debates about African American intellectuals.

Gli stili APA, Harvard, Vancouver, ISO e altri

27

Chowdhuri, Sauhaarda. "PhonoNet: Multi-stage deep learning for raga preservation in hindustani classical music". Journal of the Acoustical Society of America 146, n. 4 (ottobre 2019): 2947. http://dx.doi.org/10.1121/1.5137236.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

28

Sanyal, Shankha, Archi Banerjee, Dipak Ghosh e Samir Karmakar. "Emotions from musical notes? A psycho-acoustic exploration with Indian classical music". Journal of the Acoustical Society of America 148, n. 4 (ottobre 2020): 2700. http://dx.doi.org/10.1121/1.5147479.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

29

Chapman, Janice. "Priorities in developing the young adult classical singer at music college". Logopedics Phoniatrics Vocology 36, n. 1 (12 novembre 2010): 28–31. http://dx.doi.org/10.3109/14015439.2010.530987.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

30

Zepidou, Georgia, Stephen Dance e Salvador Morant. "Noise induced hearing loss amongst classical music students ‐ An audiometry study of students of the Royal Academy of Music". Journal of the Acoustical Society of America 123, n. 5 (maggio 2008): 3795. http://dx.doi.org/10.1121/1.2935472.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

31

Gularnupong, Karn, e Ampai Buranaprapuk. "Influences of Béla Bartók’s Piano Compositions on Alberto Ginastera’s Piano Music". MANUSYA: Journal of Humanities 25, n. 1 (9 giugno 2022): 41–62. http://dx.doi.org/10.1163/26659077-25010003.

Testo completo

Abstract (sommario):

Abstract This study seeks to reveal the musical relationship between Bartók’s and Ginastera’s piano compositions, showing stylistic conceptualizations of twentieth-century Western art music which held many interesting musical aspects, specifically in the classical piano repertoire. This musicological research employs stylistic analysis and theoretical analysis to shed some light on Bartók’s and Ginastera’s piano music vocabulary. Following this methodology, it is revealed that Ginastera’s compositional language was very much influenced by the highly unique characteristics of Bartók’s. Such characteristics include the axial system, Bulgarian peasant rhythmic dance, bi-modality, intervallic cell (Z-cell, 0167), hexachordal sets of octatonic collections, the symmetrical old Hungarian pentatonic scale, polychord, quartal chords, hammering-percussive piano style, secundal chords based on ostinato, and many others. In light of this, one may propose that Ginastera’s compositional strategies in piano music were heavily influenced by Bartók’s rhythmic and harmonic idioms, which contributed to the creation of an innovative musical craft.

Gli stili APA, Harvard, Vancouver, ISO e altri

32

Schicker, Juliane. "The Concert Hall as Agonistic Public Space: The Gewandhaus in Leipzig". New German Critique 49, n. 2 (1 agosto 2022): 77–106. http://dx.doi.org/10.1215/0094033x-9734819.

Testo completo

Abstract (sommario):

This article deals with questions of the sociopolitical involvement of classical music performance spaces. During the last twenty years of the German Democratic Republic (GDR), the Gewandhaus in Leipzig provided opportunities for its users to emancipate themselves from Socialist Unity Party oppression. Through its architecture, music, and visual art, the Gewandhaus symbolized an agonistic space that aided in disrupting its sociopolitical surroundings, because it made visible what real-existing socialism was lacking: unity, openness, transparency, and internationality. Examining how the Gewandhaus interacted with its sociopolitical surroundings sheds light on its ability to engage with public discourse within the restricted society of the GDR.

Gli stili APA, Harvard, Vancouver, ISO e altri

33

Edidin, Aron. "Playing Bach His Way: Historical Authenticity, Personal Authenticity, and the Performance of Classical Music". Journal of Aesthetic Education 32, n. 4 (1998): 79. http://dx.doi.org/10.2307/3333387.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

34

Weidman, Amanda. "Gender and the Politics of Voice: Colonial Modernity and Classical Music in South India". Cultural Anthropology 18, n. 2 (maggio 2003): 194–232. http://dx.doi.org/10.1525/can.2003.18.2.194.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

35

Bain, Paula Clarke. "A melodic interlude: key notes for indexing books about music". Indexer 42, n. 1 (marzo 2024): 5–18. http://dx.doi.org/10.3828/index.2023.53.

Testo completo

Abstract (sommario):

There is much to enjoy about composing indexes to books on music, but they can present a suite of different challenges. In this article, based on her presentation to the 2023 conference of the Indexing Society of Canada/Société canadienne d’indexation (ISC/SCI), Paula Clarke Bain shares her experience and tips on indexing several types of musical books, including scholarly works on classical music, and trade biographies/memoirs of contemporary pop/rock stars, offering insight into how to fine-tune your practice when indexing such materials.

Gli stili APA, Harvard, Vancouver, ISO e altri

36

Miura, Masanobu, Norio Emura e Masuzo Yanagida. "An integrated system for learning musical theories from western classical and popular music". Journal of the Acoustical Society of America 120, n. 5 (novembre 2006): 3071–72. http://dx.doi.org/10.1121/1.4787373.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

37

Echternach, Matthias, Fabian Burk, Jonas Kirsch, Louisa Traser, Peter Birkholz, Michael Burdumy e Bernhard Richter. "Articulatory and acoustic differences between lyric and dramatic singing in Western classical music". Journal of the Acoustical Society of America 155, n. 4 (1 aprile 2024): 2659–69. http://dx.doi.org/10.1121/10.0025751.

Testo completo

Abstract (sommario):

Within the realm of voice classification, singers could be sub-categorized by the weight of their repertoire, the so-called “singer's Fach.” However, the opposite pole terms “lyric” and “dramatic” singing are not yet well defined by their acoustic and articulatory characteristics. Nine professional singers of different singers' Fach were asked to sing a diatonic scale on the vowel /a/, first in what the singers considered as lyric and second in what they considered as dramatic. Image recording was performed using real time magnetic resonance imaging (MRI) with 25 frames/s, and the audio signal was recorded via an optical microphone system. Analysis was performed with regard to sound pressure level (SPL), vibrato amplitude, and frequency and resonance frequencies as well as articulatory settings of the vocal tract. The analysis revealed three primary differences between dramatic and lyric singing: Dramatic singing was associated with greater SPL and greater vibrato amplitude and frequency as well as lower resonance frequencies. The higher SPL is an indication of voice source changes, and the lower resonance frequencies are probably caused by the lower larynx position. However, all these strategies showed a considerable individual variability. The singers' Fach might contribute to perceptual differences even for the same singer with regard to the respective repertoire.

Gli stili APA, Harvard, Vancouver, ISO e altri

38

Turvey, Malcolm. "Introduction: A Return to Classical Film Theory?" October 148 (maggio 2014): 3–4. http://dx.doi.org/10.1162/octo_e_00180.

Testo completo

Abstract (sommario):

When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called “classical” film theories—by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic film theorizing in the late ′60s—were either ignored or rejected as naive and outmoded. Due to the influence of the Left on the first generation of film academics, some were even dismissed as “idealist” or in other ways politically compromised. There were, of course, some exceptions. The work of pre-WWII left-wing thinkers and filmmakers such as Benjamin, Kracauer, the Russian Formalists, Bakhtin, Vertov, and Eisenstein continued to be translated and debated, and, due principally to the efforts of Dudley Andrew, André Bazin's film theory remained central to the discipline, if only, for many, as something to be overcome rather than built upon. Translations of texts by Jean Epstein appeared in October and elsewhere in the late 1970s and early 1980s, and Richard Abel's two-volume anthology, French Film Theory and Criticism 1907–1939 (1988), generated interest in French film theory before Bazin. But on the whole, classical film theory was rejected as a foundation for contemporary film theorizing, even by film theorists like Noël Carroll with no allegiance to semiotics and psychoanalysis.

Gli stili APA, Harvard, Vancouver, ISO e altri

39

Markham, Benjamin E., e Jonah Sacks. "Recital halls for K-12, higher education, and community music education: A trio of case studies". Journal of the Acoustical Society of America 151, n. 4 (aprile 2022): A236. http://dx.doi.org/10.1121/10.0011176.

Testo completo

Abstract (sommario):

The recital halls at Deerfield Academy, UMass Boston, and the Brattleboro Music Center each play a critical role at the center of the music education programs at these institutions. Deerfield's 160-seat Elizabeth Wachsman Concert Hall, at the independent high school's Hess Center for the Arts, is both intimate and warmly resonant, and features adjustable curtains at the stage to suit varying repertoire for rehearsal and performance, particularly of Deerfield's student music ensembles. The 150-seat recital hall at UMass Boston's University Hall serves an even wider array of ensembles, from classical choral to jazz, in a building that not only serves the Performing Arts Department but also Chemistry and other general-purpose classrooms; the adjustable curtains there surround the audience on all sides. In Brattleboro, a 331-seat recital hall is the crown jewel of a new community music center that also serves as the home to a Chamber Music Series and a range of ensembles including Juno Orchestra, a concert choir, chorale, and camerata, and the music center's “Educate. Open. Strengthen.” Program. These three rooms all serve critical pedagogical missions, but each with a different focus and a different set of needs and constraints that impact budget, architecture, and acoustical design considerations.

Gli stili APA, Harvard, Vancouver, ISO e altri

40

Ahn, Si-hyeon. "A Study of the State of Applied Musicology Research －Focusing on Domestic Doctoral Thesis－". Korean Society of Human and Nature 5, n. 1 (30 giugno 2024): 331–63. http://dx.doi.org/10.54913/hn.2024.5.1.331.

Testo completo

Abstract (sommario):

This thesis aims to establish foundational data for the field of applied musicology, with a focus on research conducted on practical music in Korea. To accomplish this, an analysis was conducted on the current status of doctoral dissertations related to practical music, categorizing them into practical and popular music. The Department of Applied Music in Korean universities was established in 1988. Although a doctoral program was introduced in 2003, research papers on applied music were not prevalent. There are over 1,500 theses and dissertations related to applied music stored in the National Assembly Library, and individual papers are published in various academic journals. However, due to the difficulty in synthesizing these sources comprehensively, the significance lies in examining the current state of research on applied music, focusing on doctoral dissertations, to establish foundational data for the field of applied musicology. The concept of applied music encompasses a wide range of musical cultures, including popular music, jazz, Eastern traditional music, Western classical music, and others, as defined by the educational objectives of universities. It aims to create “music of the 21st century” by integrating various musical genres. In terms of categorization, an examination of university curricula in South Korea reveals over 100 courses classified under this category. The current status of doctoral dissertations on applied music and popular music reveals that there have been 94 papers (from 1992 to 2024) on applied music, conducted at 23 different institutions. Notably, Kyung Hee University and Sangmyung University have produced the highest number of dissertations in this field. As for popular music, there have been 65 papers (from 1994 to 2023), researched at 33 institutions. Kyung Hee University leads in the number of dissertations, followed by Sangmyung University and Sejong University. These papers were categorized and analyzed based on their content, with 35 focusing on historical aspects, 64 on typology, 41 on effects, and 19 on applications, totaling 159 papers. The nature of these papers covers various topics such as the overall history of popular music, expected outcomes through program development, emotional and therapeutic uses of popular music, as well as papers exploring humanities-related subjects like philosophy and aesthetics. However, there is a scarcity of papers specifically focused on aesthetics and art studies.

Gli stili APA, Harvard, Vancouver, ISO e altri

41

Greenspan, Charlotte. "Hollywood as Music Museum & Patron: Bringing Various Musical Styles to a Wide Audience". Daedalus 142, n. 4 (ottobre 2013): 73–81. http://dx.doi.org/10.1162/daed_a_00235.

Testo completo

Abstract (sommario):

The role of Hollywood films in holding up a mirror–albeit sometimes a distorted one–to the American public is indisputable. Less discussed is their role in bringing a wide range of music–popular, classical, jazz, avant-garde, ethnic–to an unsuspecting audience. Whether the music is in the foreground, as in biographical movies about composers, for example, or in the background supporting the narrative, watching a movie educates the viewers' ears. Indeed, the role of movies in widening the public's aural palate has parallels with the role of art museums in broadening the public's visual taste. To supply the music needed for movies, Hollywood studios have employed a large number of composers of the most varied backgrounds, taking on a significant function as patron of contemporary music. This essay briefly examines some of the varied interactions of movies, music, and the public.

Gli stili APA, Harvard, Vancouver, ISO e altri

42

Repp, Bruno H. "Further tests of “composers' pulses” in computer performances of piano music from the classical period". Journal of the Acoustical Society of America 85, S1 (maggio 1989): S66. http://dx.doi.org/10.1121/1.2027088.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

43

Sacks, Jonah, e Benjamin E. Markham. "Modifying a recital hall to extend its range of use: A case study". Journal of the Acoustical Society of America 151, n. 4 (aprile 2022): A236. http://dx.doi.org/10.1121/10.0011177.

Testo completo

Abstract (sommario):

Rosen Concert Hall, in the Broyhill Music Center at the Appalachian State University Hayes School of Music, is a beloved 400-seat recital hall designed in the 1980s by architect Dennis Yates and acoustician Rein Pirn (Acentech/BBN) and was featured in the 1990 ASA publication “Acoustical Design of Music Education Facilities.” The hall was designed for pipe organ, vocal chorus, and smaller classical instrumental ensembles, with significant variable absorption in the form of curtains. Since then, the school’s program has broadened, and the hall is now used also for jazz band, large wind ensemble, and some amplified forms. A 2017 study included acoustical measurements in the hall, listening sessions with eight different ensembles in the hall, and discussions with faculty and staff. These resulted in detailed recommendations for acoustical improvements and new audiovisual equipment. The school has completed two recommended acoustical improvements, with positive results: hinged absorptive wall panels surrounding the platform, and extended reflective canopy. Users report improved on-platform clarity for louder ensembles, and better self-hearing and presence of sound for downstage performance locations.

Gli stili APA, Harvard, Vancouver, ISO e altri

44

Omojola, 'Bode. "Style in modern Nigerian Art music: the pioneering works of Fela Sowande". Africa 68, n. 4 (ottobre 1998): 455–83. http://dx.doi.org/10.2307/1161162.

Testo completo

Abstract (sommario):

The Nigerian musical landscape changed significantly following the advent of Christian missionary activity and British colonial administration in the later nineteenth century. New idioms of musical practice which have evolved as a result of this historical process include a new tradition of religious, Christian, music, urban syncretic popular styles, new operatic forms and European-derived art/ classical music. This article focuses on one of these emerging styles, Nigerian art music, as reflected in the life and works of its most notable pioneer, Fela Sowande. After a brief historical background, the article discusses the circumstances of Sowande's life and the beliefs which shaped his composing career and his compositional style. In discussing elements of style in Sowande's works, it examines the nature of the interaction between African and European elements, a stylistic feature which constantly recurs in his works. The article ends by discussing the need to consolidate the growth of this new idiom by putting in place institutional structures within which it can develop.

Gli stili APA, Harvard, Vancouver, ISO e altri

45

Mehl, Margaret. "From Classical to National Scholarship: Konakamura Kiyonori’s History of Music in Japan (1888) and Its Foreign-Language Prefaces". History of Humanities 8, n. 1 (1 marzo 2023): 99–120. http://dx.doi.org/10.1086/723948.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

46

Naqvi, Erum. "Reinventing Ruhowzi". Middle East Journal of Culture and Communication 13, n. 1 (13 maggio 2020): 28–48. http://dx.doi.org/10.1163/18739865-01301002.

Testo completo

Abstract (sommario):

Abstract In the last few years, Tehran’s arts culture has seen the re-emergence of a thriving theater scene, including experimentation with various performance practices that were restricted in public forums for several years. In this article, I address a 2017 production called Gonbadgah which is a choreographed regional ethnic dance interwoven with classical music and staged as a story inspired by ruhowzi, the erstwhile cabaret theater of early twentieth-century Iran. Offering a genealogy of ruhowzi that traces its artists from from elite performers with royal patronage to low-brow urban entertainers in Pahlavi-era Iran, in this article I situate Gonbadgah as a production that aims to revisit the art form (one that much of today’s youth culture considers dated), and reframe it, leveraging the canon of ‘high’ classical music. As such, the production aims to cut across established musical hierarchies to offer a more egalitarian view of traditional arts for contemporary audiences.

Gli stili APA, Harvard, Vancouver, ISO e altri

47

Russell, J. R. "Parsi Zoroastrian Garbās and Monājāts". Journal of the Royal Asiatic Society of Great Britain & Ireland 121, n. 1 (gennaio 1989): 51–63. http://dx.doi.org/10.1017/s0035869x00167863.

Testo completo

Abstract (sommario):

It is a strange circumstance, yet one immediately observable, that the Parsi community in India, so innovative and so energetically creative in many other respects, has failed to distinguish itself in the sphere of indigenous arts. In the acquisition of tastes and skills in European or hybrid pseudo-Persian architecture, in European-style portraiture, and in Classical music, the Parsis have been diligent, even as they long ago became eloquent masters of the English tongue. What of their arts can properly be called Zoroastrian?

Gli stili APA, Harvard, Vancouver, ISO e altri

48

Barbar, Steve, e Anthony Nittoli. "When a rehearsal space becomes something more—The DiMenna Center for Classical Music, New York, NY". Journal of the Acoustical Society of America 146, n. 4 (ottobre 2019): 2853. http://dx.doi.org/10.1121/1.5136898.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

49

Tigse Diaz, Edison Fabian, Paulo David Herrera Latorre, Lenin Miguel Garces Viteri e Liliana Elizabeth Laica Tasinchana. "Impact of a chamber orchestra in the university environment: analysis of the development of artistic and cultural skills". Sapienza: International Journal of Interdisciplinary Studies 5, n. 2 (15 aprile 2024): e24028. http://dx.doi.org/10.51798/sijis.v5i2.755.

Testo completo

Abstract (sommario):

The objective of this research was to explain the importance of the creation of the chamber orchestra established in the Faculty of Human Education Sciences and Technologies, the career of Pedagogy in Arts and Humanities of the National University of Chimborazo in the year 2023, through the review of scientific data and theoretical foundation, in order to demonstrate the musical and cultural artistic development. The research had a qualitative approach by virtue of the fact that a more personal interaction was required, and the level of research was analytical-synthetic, inductive - deductive, which helped to form the theoretical considerations of the chamber orchestra and its purpose in the university environment. Applying the technique of interviewing students and art professionals with trajectory and transcendental characteristics for the research. As results were obtained that the creation of the chamber orchestra has substantial benefits for university students, demonstrating improvement in discipline, development of skills, attitudes, and abilities, achieving academic, social-cultural benefits, encouraging teamwork and collaboration through practice and group performance in addition to gaining stage experience, which is crucial for the student of music and other fields related to the arts. The chamber orchestra, considered a jewel in the world of classical music, promotes the cultural and social diversity of the university community.

Gli stili APA, Harvard, Vancouver, ISO e altri

50

Lenz, Richard L. "Adjustable acoustics for imperfect rooms". Journal of the Acoustical Society of America 152, n. 4 (ottobre 2022): A21. http://dx.doi.org/10.1121/10.0015407.

Testo completo

Abstract (sommario):

Very often, acousticians are faced with room dimensions that are fixed and cannot be adjusted. This dilemma is exascerbated when the room is to be used for purposes of music performance. It is further complicated when the goal of the room is to present a broad spectrum of music types from classical symphony to modern jazz or rock. An example will be presented of an essentially square room space that was designed and treated to be adaptable to meet the requirements of all types of performances. Tabor College in Hillsboro, KS had space on its campus to build one concert that had to serve all of its performance needs. The physical space available, in order to maximize the size of the hall, also turned out to be a nearly perfect square in the audience area. Tom Ryan of The Hallani Group, working with the author and RealAcoustix, designed an acoustical system that allows the room to perform well for all types of music performances while being easy to change and architecturally beautiful. The design criteria, auralizations, and other information will be presented showing how this was accomplished.

Gli stili APA, Harvard, Vancouver, ISO e altri

Articoli di riviste sul tema "Humanities -> music -> classical"

Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili