Bibliografie tematiche / Iris (Musical group)

Letteratura scientifica selezionata sul tema "Iris (Musical group)"

Autore: Grafiati
Pubblicato: 26 luglio 2024

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Articoli di riviste sul tema "Iris (Musical group)"

1

Latessa, Lauren, e Jiyoung Oh. "Different media, same relationships: What the Iris Piano Trio learned from the COVID-19 pandemic". Journal of Applied Arts & Health 12, n. 3 (1 dicembre 2021): 383–92. http://dx.doi.org/10.1386/jaah_00083_1.

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Abstract (sommario):
The Iris Music Project is a non-profit dedicated to reimagining residential and healthcare communities as spaces of creative exchange. By February 2020, our chamber music group, the Iris Piano Trio, had developed a model for music programming at Charles E. Smith Life Communities (CESLC) in Rockville, Maryland (United States), that emphasized collaborative relationships between professional musicians and community members. The COVID-19 pandemic severely disrupted the Trio’s work and tested its model. In this article, we describe how the Trio remained connected and relevant to CESLC residents by experimenting with virtual programmes that adapted our model to a digital setting. We argue that our prior relationships with residents and staff enabled us to impact their lives throughout the pandemic despite the isolation created by COVID-19 closures. The pandemic strained, but did not fundamentally change, the Trio’s ensemble-in-residence model, suggesting its potential as a generalized model in the field of music and health.
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Libri sul tema "Iris (Musical group)"

1

Merrick, Joe. London Irish punk life & music...: Shane MacGowan. London: Omnibus Press,c2001., 2001.

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2

Huston, Jenny. In bloom: Irish bands now. Blackrock, County Dublin: Currach Press, 2009.

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3

Kirwan, Larry. Green suede shoes: An Irish odyssey. Dingle, Co. Kerry: Brandon, 2005.

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4

Kirwan, Larry. Green suede shoes: An Irish-American odyssey. New York: Thunder's Mouth Press, 2005.

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5

Lydon, John. Rotten: No Irish, no Blacks, no dogs. New York: Picador USA, 1995.

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6

Smyth, Gerry. Space and the Irish cultural imagination. Houndmills, Basingstoke, Hampshire: Palgrave, 2001.

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7

O'Donnell, Mary Louise. Ireland's harp: The shaping of Irish identity, c. 1770-1880. Dublin: University College Dublin Press, 2014.

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8

Lydon, John. Rotten: No Irish, no blacks, no dogs : the authorised autobiography, Johnny Rotten of the Sex Pistols. London: Hodder & Stoughton, 1994.

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9

Lydon, John. Rotten: No Irish, no Blacks, no dogs : the authorized autobiography, Johnny Rotten of the Sex Pistols. New York: St. Martin's Press, 1994.

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10

Lydon, John. Rotten: No Irish, no blacks, no dogs : the authorised autobiography, Johnny Rotten of the Sex Pistols. London: Hodder & Stoughton, 1994.

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Più fonti

Capitoli di libri sul tema "Iris (Musical group)"

1

Cichy, Andrew. "Catholic Music". In The Oxford History of British and Irish Catholicism, Volume II, 245–56. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198843436.003.0014.

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Abstract (sommario):
Abstract The essential contingency of British Catholic music on the vagaries of contemporary government and politics remained a key feature of its development into the eighteenth century. This chapter explores the protected musical culture of music in the chapels of Henrietta Maria and Catherine of Braganza in England (the products of marriage treaties), as well as those of the short-lived and later exiled Jacobite Chapel Royal. Developments among English Catholic institutions on the Continent are also considered for this later period, for which convent chronicles identify and name a significant number of nun musicians. The evidence for domestic music is also considered, alongside the interactions between British Catholic households and Continental Europe. In a field and group of repertoires that remain on the whole underexplored, a number of avenues for future research are suggested. Comparative neglect of Catholic liturgical repertoires of this period (including the absence of scholarly editions) is considered in terms of early-twentieth-century liturgical-aesthetic concerns, and the musical reforms of Pius X, with their emphasis on ‘Classical polyphony’ of the Palestrina style.
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2

White, Harry. "W. B. Yeats and the Music of Poetry". In Music and the Irish Literary Imagination, 79–109. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199547326.003.0003.

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Abstract Two years before his death, W. B. Yeats broadcast a series of programmes on the BBC in which his poems were recited and sung. In his prefatory remarks to the first of these broadcasts, Yeats was careful to distinguish clearly for his audience what he meant by ‘singing’: Both the folk singers and the speaker of verse must keep within the range of the speaking voice and the range of the speaking voice is small. Perhaps the folk singer may go a little beyond it here and there but if he goes far he becomes a bird or a musical instrument, and his proper place is the concert platform. Why not fill up the space between poem and poem with musical notes and so enable the mind to free itself from one group of ideas, while preparing for another group, and yet keep it receptive and dreaming? Furthermore to rest and vary the attention I have suggested that certain parts of poems should be sung. There is, however, one point on which I have been emphatic.
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3

Craft, Elizabeth T. "The Irish American". In Yankee Doodle Dandy, 111–47. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197550403.003.0005.

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Abstract Early in his career, George M. Cohan cast himself as a paragon of mainstream America, but in the mid-1910s, he became more outwardly invested in Irish American politics and culture in his personal life and wrote a series of musicals brimming with Irish American pride: The Voice of McConnell (1918), Little Nellie Kelly (1922), The Rise of Rosie O’Reilly (1923), and The Merry Malones (1927). This chapter examines how these shows worked through contemporary issues facing Irish Americans in the United States and advocated for them, frequently at the expense of other groups whom he depicted more negatively. As he had already defined and—for many—embodied what it meant to be a patriotic American, Cohan was particularly well positioned to write the Irish more fully into that definition.
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4

Hunt, Una. "The Politicization of the Harp through Moore’s Irish Melodies". In The Oxford Handbook of Irish Song, 1100-1850, C20.P1—C20.N61. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.20.

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Abstract (sommario):
Abstract This chapter examines the richly varied representation of the harp within Thomas Moore’s drawing-room songs, the Irish Melodies, focusing, in particular, on the instrument’s increasing politicization throughout the cycle. Moore was one of the most famous Irishmen of his day and through his celebrated cycle of songs, he propagated the harp music of Ireland to a new and much larger audience and increased interest in the ancient art of harping as well as adding to the instrument’s already-established symbolic significance. By the time of Moore, the harp had become deeply politicized through the symbolism of political groups such as the Volunteers and the United Irishmen; both movements recognized music in general, and the harp in particular, as important conduits for their ideology. The impact of these groups is examined along with the contribution of figures such as the philosopher Jean-Jacques Rousseau and the writer and harpist Sydney Owenson. By elevating the harp to the status of a living entity, Moore imbued it with eloquence, potency, and magical qualities, thereby setting it apart from other cultural tropes. The harp embodies Ireland itself, acting as a touchstone for tradition at a pivotal point in history when the ancient art of harping was dying out. Moore continuously celebrates this extraordinary legacy by linking harps, harpers, and harp music in a chronicle of extinction and rebirth. Thus, his songs are multi-layered and complex in their recognition of the harp’s rich symbolism—musical, cultural, and political.
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5

Manning, Jane. "GRÁINNE MULVEY (b. 1966)Eternity Is Now (2008)". In Vocal Repertoire for the Twenty-First Century, Volume 2, 160–62. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0050.

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Abstract (sommario):
This chapter studies Irish composer Gráinne Mulvey’s Eternity Is Now (2008). The performer of this brief piece will need to show considerable accomplishment, in both technique and musicianship, and there are plenty of opportunities to display virtuosity. Control and pacing are of crucial importance, and a feeling of onward momentum must be maintained. Pauses are given timings in seconds to ensure a disciplined reading. Swift, wide-spanning grace notes precede some long-held pitches. Notation includes features that are now familiar practice in contemporary music, notably the ‘beams’ over note groups that thicken or thin out to indicate speeding up and slowing down, so that the music can move freely, unfettered by specific note-values. The composer’s choice of text is a happy one: the words are spare, yet rich and vibrant with meaning, and the recurring ‘-ing’ syllables give sonic unity, as well as contributing bounce and impetus to decorative figures.
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6

Marin, Reva. "Don Asher’s Fictional-Real Jazz World". In Outside and Inside, 122–48. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829979.003.0005.

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Abstract (sommario):
This chapter examines the life and writings of Don Asher, who studied with pianist Jaki Byard before embarking on a career as a New England society band and honkytonk pianist and later as a nightclub pianist in San Francisco, including a long stint at the famed hungry i. Asher was also a novelist, short-story writer, essayist, and collaborator, and analysis of selected works of his fiction and nonfiction uncovers his enduring and sometimes transgressive fascination with African American music and culture. While Asher’s work appears to illustrate “the problem with white hipness” (Ingrid Monson) or “love and theft” (Eric Lott), his ethnic satire was aimed not only at African Americans but also at other groups—Italians, Irish, Jews—as well as at himself and his fictional counterparts. This chapter considers the rich stew of literary and performance traditions in which Asher found models for his satirical, comedic impulses.
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