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Letteratura scientifica selezionata sul tema "Music competitions"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 agosto 2024

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Articoli di riviste sul tema "Music competitions"

1

Rucsanda, Mădălina Dana, Ana-Maria Cazan, and Camelia Truța. "Musical performance and emotions in children: The case of musical competitions." Psychology of Music 48, no. 4 (November 19, 2018): 480–94. http://dx.doi.org/10.1177/0305735618810791.

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Emotion is a condition that facilitates or inhibits music performance. Our research aimed to explore emotions of young musicians performing in music competitions. We tried to highlight the possible differences in terms of emotions between young singers who obtained prizes in musical competitions and those who did not. Another aim of the study was to explore the relationship between pre-competition emotions and music performance, focusing on the mediating role of singing experience. The sample consisted of 146 participants in international music competitions for young musicians. A nonverbal pictorial assessment technique measuring the valence, arousal and dominance dimensions of emotions was administered just before and immediately after each participant’s performance in the competition. Our study revealed that negative emotions were associated with lower performance quality while positive emotions, low arousal and increased dominance were associated with higher performance quality. Experienced young singers reported more positive emotions, low arousal and high dominance. Our results also revealed that experience in music competitions could mediate the associations between emotions and music performance in competition. The implications of the results support the inclusion of psychological/emotional training in music education of young singers.

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2

Berehova, Olena. "Ukrainian piano competitions in the space of global intercultural dialogue." Culturology Ideas, no. 20 (2'2021) (2021): 78–89. http://dx.doi.org/10.37627/2311-9489-20-2021-2.78-89.

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The article clarifies the influence of globalization on the musical culture of Ukraine, in particular, on international piano competitions. It emphases the role of global music organizations, which play an important integrative role in the processes of international artistic exchange and at the same time are a communication field for the demonstration of the best national artistic creative practices. In the field of international music competitions, the most influential organizations, in particular, are the World Federation of International Music Competitions, European Union of Music Competitions for Youth, Alink-Argerich Foundation, etc. The study of information materials of Ukrainian international piano competitions, which are the members of these prestigious international organizations, revealed global trends in the development of the competition and festival movement. Specific examples of international music festivals and other art projects initiated by the organizing committees of Ukrainian piano competitions have shown that they contribute to the development and promotion of Ukraine's cultural identity globally, help spread the best national traditions of musical performance in the world and are one of the best forms of cultural diplomacy.

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3

EVREN, Gül Fahriye, and Özgül GÖK. "Leyla Gencer Şan Yarışması Üzerine Sistematik Bir Değerlendirme." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 12, no. 3 (September 27, 2023): 2030–55. http://dx.doi.org/10.15869/itobiad.1311952.

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Several prestigious classical music competitions are organized in the national and international fields. These competitions, organized in the field such as performance and composition, motivate many young artists and allow them to achieve significant successes. The Leyla Gencer Voice Competition is an international and worldwide-known voice competition, which is the oldest and most important competition held in Turkey in the opera genre. Leyla Gencer, known as La Diva Turca and entitled as State Artist by the Turkish Republic, is one of our world-renowned artists, and with her pioneering character of music, she has made significant contributions to the promotion of the art of opera to our country and the announcement of Turkish opera singers to the world. Leyla Gencer Voice Competition has been organized with different frequencies starting from 1995 until 2018. This competition has been also held in the years after her death and it has maintained its prestige until today. From the past to the present, numerous great performers started their careers with prestigious music competitions such as Leyla Gencer Voice Competition. They achieved important career positions with their success of the competitions and now they are worldwide known artists. In this study, information about the life of Leyla Gencer, who made great contributions to the development of Turkish Opera art, was given; and the findings of the voice contest organized in her name were tabulated and interpreted by using document analysis methodology. The findings were created by systematical analysis of the information on the official website of the Leyla Gencer Voice Competition and the one in the archive of the Istanbul Foundation for Culture and Arts. Data regarding terms and conditions of the competition, audition processes, winners, awards, jury members for the preliminary auditions and finals, winners by country, Turkish award winners, number of awards received by Turkish award winners, distribution of award winners by voice type, distribution of award winners by gender, organizing institutions and gala concerts were evaluated and presented by classifying them according to years. As a result, the importance of the increase in prestigious competitions in our country, the increase in the motivation of young soloists, the creation of an archive of the competitions, and most importantly the establishment of a national federation of music competitions were emphasized.

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4

McCormick, Lisa. "Pogorelich at the Chopin: Towards a sociology of competition scandals." Chopin Review, no. 1 (April 27, 2023): 52–77. http://dx.doi.org/10.56693/cr.103.

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Controversies are a regular feature on the international classical music competition circuit, and some of these explode into scandals that are remembered long afterward. This essay draws from the sociology of scandal to identify the conditions that predispose classical music competitions to moral disruption and to examine the cultural process through which a scandal attains legendary status. The case considered in depth is the International Fryderyk Chopin Piano Competition and the controversy surrounding Ivo Pogorelich’s elimination from the 10th Competition in 1980. Through an analysis of media coverage in Polish and English, I show how the scandal was discursively constructed through two interpretive frameworks: the collective memory of previous controversies at the Chopin Competition, and a generational divide. I also trace the legacy of the scandal over the decades that followed. Following Durkheim, I argue that controversies at classical music competitions should not be taken as an indication of their decline. Rather, scandals – especially legendary ones – can have positive effects for competition organisations and the wider social world of classical music, as long as they do not become chronic.

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5

Ako, Mashino. "Competition as a New Context for the Performance of Balinese Gender Wayang." Yearbook for Traditional Music 41 (2009): 111–37. http://dx.doi.org/10.1017/s0740155800004161.

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A musical competition is a social event as well as a musical one, raising great interest in the community. Its particularly exciting atmosphere, the enthusiasm of both participants and observers, and the social honour bestowed upon the winners encourage the musicians to polish and elaborate their competence and performance styles, and sometimes to create new performance tactics. Previous studies of musical competitions suggest that rivalry and competition in the performing arts—which are deeply rooted in their social settings and carry the creative impulse to transform performing styles—can be found around the world, although their cultural, social, and historical contexts, as well as the changes that result from the competitions, are widely divergent (see Gunderson and Barz 2000; Gunderson 2003). Competitions have also had a significant impact on the development of music in Indonesia, especially in conjunction with official cultural policy. In President Suharto's New Order (Orde Baru) Indonesia, various levels of government held competitions to preserve (melestarikan) and develop (perkembangkan) the traditional performing arts, in accordance with the national cultural policy (Sutton 1991, 1995; Lindsay 1995; Yampolsky 1995; Bakan 1999; Tenzer 2000; Williams 1999,2003; Harnish 2007). This focus on the arts has continued into the period of political reformation (reformasi) since 1998. Competition has been an effective vehicle of cultural ideology through its potential to transform performing style and to change aesthetic value. However, the results of the competition do not always conform to the intentions of the government. A competition involves people with a wide range of purposes and viewpoints, who interpret the event and react to it differently according to their positions, whether as participants, teachers, judges, organizers, or audience members. As R. Anderson Sutton reported regarding the Pekan Kebudayaan Sulawesi Selatan (South Sulawesi Cultural Week) in 1993, festivals or competitions “have contrasting, even conflicting meanings for the different people involved” (Sutton 1995:687). In reality, these various interpretations of the event intertwine to create a tense but influential context for the performing arts.

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Morton, Melissa. "‘Where Did That Voice Come From?’." MUSIC.OLOGY.ECA 1 (September 11, 2020): 8–25. http://dx.doi.org/10.2218/music.2020.5695.

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For the last two decades, the viewers of televised talent competitions have witnessed an intriguing phenomenon—singers with voices that fail to ‘match’ their bodies. With a particular focus on female child singers, this article explores the phenomenon of the ‘mismatched girl’. Combining theories from voice studies and musicology, the article examines the depiction of the relationship between voice and body within the talent competitions. Ultimately, mismatched girls prompt journalists, fans, and musicians alike to consider fundamental questions concerning the human voice—where do voices come from and what do they mean?

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Jones, Peter Blundell. "Reflections on the competition for National Centre for Popular Music, Sheffield." Architectural Research Quarterly 1, no. 4 (1996): 16–27. http://dx.doi.org/10.1017/s1359135500003043.

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For many years, architects in the United Kingdom have looked enviously at the competition system in the German speaking countries and Scandinavia. Now, with the introduction of a major public buildings programme partially funded by the new National Lottery, competitions are becoming more common in Britain. This paper opens with some reflections on the advantages and disadvantages of competitions. It then describes the conduct and outcome of a single Lottery-funded competition for the design of a building for which there were no precedents and in which issues of content and image were major preoccupations for both designers and assessors.

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Untung, Rachel Mediana. "Investigating the Indonesia Folk Song Arrangement in Six Choir Competition, 2019." Resital: Jurnal Seni Pertunjukan 21, no. 2 (June 1, 2021): 85–98. http://dx.doi.org/10.24821/resital.v21i2.4357.

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This study is aimed at investigating the trend of folk song arrangement in six Choir Competitions Folklore Category, 2019. It is specifically focused on investigating three things: the trend of arrangers’ names, title of, origin of folk songs performed in the competitions, the characteristic of the arrangement and relationship between the arrangers and the national choir competitions committee. The reason of choosing the topic is because such a folk song arrangement is seen to be one of the key factors in conducting a choir competition, folklore category. As for the research method, it is more on music behaviour in a relational teritory. Therefore, it used a document study and qualitative research design. In this case, the researcher observed in six choir competitions and interviewed the arrangers, choir leaders, and musicians taking apart in the competitions. The findings revealed that the most frequently used arrangement was Ken Steven’s “Cikala Le Pong Pong”, the most popular arranger was Budi Susanto Yohanes, and Java and Madura were the two origins from which most of the folk songs were performed in choir competitions. The characteristic of the most popular one due to its unique arrangement in the form of vibrant music rhythm and body percussion. It revealed that an arranger is the first key agent in a systemic social-organization mechanism like in a choir competition.

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McDow, George H., and Daniel L. Stiffler. "Statewide Public School Music Competitions/Festivals in Kansas and Oklahoma: The Beginnings of the School Music Contest Movement in the United States." Journal of Historical Research in Music Education 41, no. 2 (November 19, 2018): 132–55. http://dx.doi.org/10.1177/1536600618810783.

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Music competitions have an ancient history dating back some two thousand years. In the United States, early music contests mimicked the German Saengerfests and Welsh Eistoddfods; however, some of the earliest continuously running music competitions held in America are the state contests for secondary school students. This article identifies for the first time Kansas and Oklahoma as holding the two earliest state school music competitions and corrects some long-standing erroneous information. It studies these two state events through historical analysis of primary sources and triangulates the data with secondary sources. Frank Beach at Kansas State Normal School in Emporia and Fredrik Holmberg at the University of Oklahoma were found to be the two initiators. These two state music contests were influenced by several things including the state track and field meets, previous music contests, the western pioneering spirit, European music systems, and the music specialties of the founders. In the end both contests were seen as promoting the cause of public school music by increasing both the quality and numbers of music education programs and as leading to the exponential growth of state music competitions throughout the United States.

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GILMAN, LISA, and JOHN FENN. "Dance, gender, and popular music in Malawi: the case of rap and ragga." Popular Music 25, no. 3 (September 11, 2006): 369–81. http://dx.doi.org/10.1017/s026114300600095x.

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Rap and ragga musics have found a place on the musical landscape of Malawi over the last decade, exemplified in a nation-wide scene characterised by competitions. Recordings and associated materials of rap and ragga that inform Malawian youth interpretations tend to emphasise male participation and masculine symbols. Competitions are male-dominated in their organisational structure and participatory roles. Though the articulated focus of these events is the musical component, movement practices are at the core of the scene, comprising part of contestants' performances and the more informal activities of spectators. Female involvement as dancers is much greater than as music-makers, making attention to dance crucial for understanding gender dynamics. Our exploration of intersections between dance, music, gender and class provides insight into the reasons for and implications of male dominance in this popular music/dance scene.

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Più fonti

Tesi sul tema "Music competitions"

1

Michalak, Filip. "Piano Competitions : Preparation and Purpose." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2854.

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2

Hurst, Craig Willmore. "A Nationwide Investigation of High School Band Directors' Reasons for Participating in Music Competitions." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277760/.

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The purpose of this study was to assess on a national level, high school band directors' reasons for their bands' participation in six different types of competitive music activities, identify important reasons for participation in competitive music activities, and examine if statistically significant differences existed between the magnitudes of importance reasons for participation when subjects' responses were grouped by type of competitive activity, frequency of participation in a competitive activity, and by groupings of U. S. states similar in terms of general participation in competitive music activities, emphasis upon ratings or rankings as an indication of a high school band directors' success, and emphasis upon participation in competitive music activities.

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3

McKerrell, Simon Alasdair. "Scottish competition bagpipe performance : sound, mode and aesthetics." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/4809.

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This study is an ethnomusicological analysis of Scottish competition bagpiping, examining three fundamental aspects of performance: sound aesthetics, performance aesthetics and the modal complex of the core repertoire. Through a mixture of discussions, modal analysis and reflections upon performance, it deconstructs the music of the 2/4 competition pipe march and the aesthetics surrounding competition performance. Focussing on a small number of the world's leading Highland bagpipers, this research demonstrates how overall sound combined with the individual choices about repertoire and how to play it, results in the maintenance of individual identity. In chapter three, analysis of the ‘modal complex', comprising pitch sets, hierarchies, phrasing-structure, the double-tonic, structural tones, melodic motifs and rhythm-contour motifs reveal the characteristics of various modes in the 2/4 competition pipe march. As an insider of this music-culture, I offer a definition of mode based upon motivic content rather than pitch set. The modal complex is framed by an understanding of how pipers themselves think about their competitive tradition. Understanding the concepts presented in this thesis provides an original and holistic picture of how Scottish bagpipe competition performance sounds the way it does.

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4

Theron, Susara Margaretha. "Die perserverance kersfeesorkes as verteenwoordigende voorbeeld van gemeenskasmusiek in die Wes-Kaap." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5134.

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Thesis (MMus (Music))--University of Stellenbosch, 2010.<br>AFRIKAANSE OPSOMMING: Die Kersfeesorkeste is ‟n Christelike tradisie binne die Kleurling-gemeenskap van die Wes-Kaap wat dissipline en goeie waardes by lede van hierdie gemeenskap inboesem en musiek in voorheen benadeelde en minderbevoorregte sektore van die samelewing bevorder. Die geskiedenis en agtergrond van die Kersfeesorkeste is soortgelyk aan dié van die Kaapse Klopse en die Maleierkore, wat veral prominent na vore kom tydens die Kersfees- en Nuwejaarsfeestelikhede in die Kaap. Alhoewel hierdie drie groepe ‟n nou verbintenis tot mekaar het en dikwels deur die publiek saamgroepeer word, funksioneer hulle onafhanklik van mekaar en is daar beduidende verskille in kultuur, repertoire, kleredrag, organisatoriese struktuur en samestelling. Hierdie studie fokus op die Perseverance Kersfeesorkes en ondersoek dié orkes in sy vele fasette binne die raamwerk van wat in die musiekwetenskap deesdae “gemeenskapsmusiek” genoem word. Die kenmerke van die begrip “gemeenskapsmusiek”, soos dit in die laaste 15 jaar in ander lande geformuleer is, word aan die hand van die Perseverance Kersfeesorkes getoets om uit te vind of die Perseverance Kersfeesorkes as ‟n voorbeeld van gemeenskapsmusiek beskou kan word en, omgekeerd, of die begrip “gemeenskapsmusiek” aan die hand van hierdie geval in alle opsigte gepas is of dalk aangepas moet word.<br>ENGLISH ABSTRACT: Christmas Bands are a Christian tradition within the Coloured community of the Western Cape that instils discipline and values amongst members of this community and promotes music within previously disadvantaged and under-privileged sectors of society. The history and background of the Christmas Bands is similar to that of the Cape Minstrels and Malay Choirs, who are very prominent during the Christmas and New Year festivities in the Cape. Although these three groups have a close connection they function independently of each other. There are significant differences amongst these groups in respect of culture, repertoire, uniform, organisational structure and composition. This study focuses on the Perseverance Christmas Band and examines this band in all its different facets within the framework of what, in current musicological terminology, is called “community music”. The characteristics of the concept of community music, as they have been formulated in other countries over the last 15 years, are tested against the Perseverance Christmas Band to determine whether the Perseverance Christmas Band should be understood as a example of community music and, vice versa, whether the concept of community music itself is valid when measured against the Perseverance Christmas Band or whether it needs adjustment or expansion.

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Goodman, Kimberlee Ruthe. "The commissioned works of the National Flute Association for the Young Artist and High School Soloist Competitions." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196186122.

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Laufer, Gil, and Alexander Åblad. "Spirit in the Screen : The effect of CuePilot on the viewer's experience in live broadcasted music competitions." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279486.

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The use of media technology to pre-program the camera work of performances (with tools such as CuePilot) became a state-of-theart solution in live broadcasted music competitions and events, allowing to create technologically advanced and more appealing live performances. In this paper we study how the use of such solutions affect the viewer’s experience, assuming that preprogrammed camera work results in a more unified experience compared to manual camera work. The paper also investigates whether pre-programmed camera work is noticeable by the viewers. To study these effects an experiment was conducted. The material used was a set of four entries from the Latvian music competition Supernova available in two versions: one produced manually without CuePilot and one pre-programmed with CuePilot. Each participant watched two of the entries without CuePilot and two with, and provided quantitative input according to GEMS (Geneva Emotional Music Scale), an instrument developed in order to measure musically evoked emotions, as well as qualitative input, as each participant had to determine which two of the performances watched were directed with CuePilot and asked to explain their choices. An analysis of the data using statistical tools and significance tests showed that pre-programmed camera work can result in a more unified experience compared to manual camera work, up to some degree. The ability to decrease the variance depends on the creativity value of the Creative Space of the specific production. Pre-programmed camera work is not directly noticeable but can be identified more easily with the presence of video effects, quick cuts or explicit interaction of the artist with the camera.<br>Användningen av medieteknik för att förprogrammerad kameraarbetet för framträdanden (med verktyg såsom CuePilot) har blivit en lösning i teknologisk framkant inom direktsända musiktävlingar och event vilket möjliggjort tekniskt avancerade och mer attraktiva liveframföranden. I denna uppsats undersöks hur användningen av sådana lösningar påverkar tittarens upplevelse under antagande att förprogrammerat kameraarbete resulterar i en mer enad upplevelse i jämförelse med manuellt kameraarbete. Vidare undersöker uppsatsen om förprogrammerat kameraarbete är märkbart hos tittaren. För att undersöka denna inverkan utfördes ett experiment. Materialet som användes var fyra bidrag från den lettiska musiktävlingen Supernova tillgängliga i två versioner: en producerad manuellt utan CuePilot och en förprogrammerad med CuePilot. Varje deltagare tittade på två av bidragen utan CuePilot och två med och bidrog med kvantitativ input enligt GEMS (Geneva Emotional Music Scale), ett verktyg framtaget för att mäta musikaliskt framkallade känslor, tillsammans med kvalitativ input då deltagarna också blev ombedda att gissa vilka av de sedda bidragen som producerats med CuePilot tillsammans med en motivering av valet. Med statistiska verktyg och signifikanstest visade en analys av datan att förprogrammerat kameraarbete till viss del kan resultera i en mindre varians av upplevelser. Möjligheten att minska variansen beror på kreativitetsvärdet av den kreativa rymden (Creative Space) för en specifik produktion. Förprogrammerat kameraarbete är inte direkt noterbart men kan lättare bli identifierat om videoeffekter, snabba klippningar och tydlig interaktion mellan artist och kamera är närvarande.

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Allgeier, Anthony Joseph III. "The Works for Clarinet Commissioned by the Concours International d'Exécution Musicale de Genève: A Critical Survey and Performance Guide." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31524/.

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Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.

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Rottcher, Janette. "Die bydrae van Unisa se Oorsese Musiekstudiebeurs vir Voordraers tot die ontwikkeling van musiek in Suid-Afrika." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/30716.

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In hierdie studie word die invloed van Unisa se Oorsese Musiekstudiebeurs vir Voordraers op musiekontwikkeling in Suid-Afrika ondersoek. Ten einde hierdie doel te bereik, is twee navorsingsmetodes gevolg. Eerstens is ’n literatuurstudie gedoen. Daardeur is die loopbane van gevestigde en aspirerende uitvoerende kunstenaars ondersoek, die term ‘professionele musikus’ omskryf, die invloed van formele en informele musiekonderrig op jong musiekstudente bestudeer en ook die verhouding tussen ’n onderwys- en uitvoerende loopbaan bloot gelê. Tweedens is ’n vraelys aan al die beskikbare Unisa Oorsese Musiekstudiebeurswenners tussen 1970 en 2000 gestuur. Die doel van die vraelys was hoofsaaklik om inligting oor die persoonlike ervaring wat die persone in die steekproefgroep gedurende hul opleiding in die buiteland en daaropvolgende loopbane opgedoen het, in te win. Beide kwantitatiewe en kwalitatiewe data is deur die navorsingsmetodes bekom. Hoewel die responskoers redelik laag was, is waardevolle inligting ingewin oor die invloed wat Unisa se Oorsese Musiekstudiebeurs op die beurswenners gehad het. Die data het die hoedanighede van die beurswenners se loopbane asook die bydraes wat hulle in uitvoerende en onderwys kapasiteit lewer, aangedui. Die resultate het getoon dat die meerderheid beurswenners wel in Suid-Afrika gevestig is, terwyl die meeste van dié wat oorsee is, Suid-Afrika steeds besoek op ’n professionele basis. Die feit dat die meeste beurswenners suksesvolle musiekloopbane volg en ook meestal hoogs gekwalifiseer is, dui daarop dat Unisa se Oorsese Musiekstudiebeurs ’n integrale deel vorm van die ontwikkeling van Suid-Afrika se musiekbedryf. ENGLISH : This study examines the influence of Unisa’s Overseas Music Scholarship for Performers on the music development of South Africa. Two research methods were used to achieve this. Firstly, a literature study was conducted. This was done to obtain existing information regarding the careers of performing artists, define the term ‘professional musician’, study the influence of formal and informal music education on young music students as well as to uncover the relationship between teaching and performing careers. Secondly, a quesionnaire was sent to all available Unisa Overseas Music Scholarship winners between 1970 and 2000. The aim of the quesionnaire was to gain information regarding the winners’ personal experience of their education and careers. Quantitative and qualitative data was gained through this research method. Although the respons rate was low, valuable information was gathered regarding the influence that the Unisa Overseas Music Scholarship had on the scholarship winners. The data showed the capacity of the scholarship winners’ careers as well as the contribution they make in the performing and teaching environment. The results showed that more scholarship winners settled in South Africa, while many of those who settled overseas, still visit South Africa on a professional basis. The fact that most of the scholarship winners lead sucsessful music careers and are mostly highly qualified, indicates that Unisa’s Overseas Music Scholarship forms an integral part in the development of South Africa’s music industry.<br>Dissertation (MMus)--University of Pretoria, 2011.<br>Music<br>Unrestricted

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Du, Toit-Pearce Minette. "Eisteddfod in Suid-Afrika met spesifieke verwysing na die Paarl Vallei Eisteddfod." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2945.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.<br>The purpose of this thesis is twofold. In the first instance, it is to document the origins and history of the eisteddfod in general, and more specifically, in South Africa. In the second instance, this thesis will attempt to describe the meaning and role of the eisteddfod in South Africa. This will be achieved with the help of a case study, which will require that a local eisteddfod be researched and discussed. As a result of involvement with eisteddfods over a period of twenty-five years (first as a participant and later as a teacher and a member of the judging panel), the writer has, over time, become increasingly fascinated with the phenomenon of the eisteddfod. Some of the questions that have arisen include: Why do eisteddfods still take palce in South Africa? What role do they play in the present-day cultural education of learners? Do they still bear relevance in current musical (specifically vocal) practice? This thesis is aimed at determining why such high value is attached to eisteddfods in certain communities. Why did this centuries-old tradition, brought from the northern hemisphere to South Africa, survive for so long? And why is it so important for some teachers, parents and children that they must participate? There is a large volume of literature concerning the international history of the eisteddfod. As this general history is already comprehensively described, it will only be presented in this thesis as a broad historical framework for the more specific history of the eisteddfod in South Africa. The local history of the eisteddfod is, however, poorly covered by published information. The literature in existence is often incomplete, and in most cases covers only up to the 1960‟s. News and magazine archives can only really help to identify the location and date of various eisteddfods, and to highlight some interesting aspects thereof. The latest academic literature was published as far back as 1994. The hypothesis of the current study relates to the suspicion that significant change has taken place in the last thirteen years (since 1994) regarding the meaning and vi function of the eisteddfod in South Africa. As the literature relating to this period is so sparse, this hypothesis will be empirically tested in a case study. To place the eisteddfod in South Africa in a historical context it is important to first investigate its origins. Its origin in Wales and subsequent development will be examined. This background study will assist in determining how eisteddfods in South Africa compare with those in other countries. To describe the development of the eisteddfod in South Africa is more complicated, due to the lack of an accurately described history. The defined scope of this thesis does not, however, include the production of an accurate history. Rather, a partial history is compiled using contemporary sources such as newspapers and magazines, as well as secondary sources. The most important and possibly the most challenging aspect of this thesis concerns an in-depth investigation of the Paarl-Valley Eisteddfod. The purpose of this investigation was an empirical study to collect information regarding a specific eisteddfod as well as the community that participate and support it. This information was used to form interpretations as to whether an institution like the eisteddfod is still relevant, and if it still adds value to the development of children, learners and musicians. It also helped to direct speculation about the meaning and function of the eisteddfod to participants, parents and teachers.

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Remy, Jeannine Irene. "A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short"." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185401.

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This document is directed toward those who have little knowledge about Trinidad, its people, the Carnival activities, and the Panorama competition. This research work should help summarize the evolution of steel drums while providing a transcription of a Panorama score for further scholarly study. The first part of this lecture document includes a brief history and evolution of Trinidad, its people, and musical developments through Carnival. The second portion reports and discusses field research with the Trintoc Invaders in preparation for the 1989 and 1990 Panorama competitions. The third part is a detailed analysis of Ray Holman's Panorama arrangement of "Life's Too Short" for the Trintoc Invaders using theme and variation as the formal structure. Information for this lecture recital document was gathered from written sources in Trinidadian libraries and field work in the Trintoc Invader's pan yard. The source materials: newspaper articles, magazine articles, and books were gathered from the University of the West Indies in St. Augustine and from the West Indian Collection of the Central Library in Belmont. In addition to these materials, interviews were conducted with some older panmen who participated in the very first steel bands. Documents, such as lists of steel bands in Trinidad and Tobago, Panorama results, and judging procedures were obtained from the Pan Trinbago headquarters in Port-of-Spain. Musical information was gathered by rehearsing and playing tenor pan with the Invaders Steel Band Orchestra located in Woodbrook and working closely with their arranger and composer, Ray Holman. Permission was granted to notate his arrangement for analysis and all rights are reserved.

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Più fonti

Libri sul tema "Music competitions"

1

Dumortier, Georges. Une petite musique de Reine: D'Eugène Ysaye à la rélévision, la chronique du Concours Reine Élisabeth de Belgique 1924-1991. Bruxelles: Didier Hatier :RTBF éditions, 1991.

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Philippon, Charles. Douze lauréats pour un concerto: La vie du Concours Reine Elisabeth. Bruxelles: Éditions G carré, 1985.

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3

Horowitz, Joseph. The ivory trade: Piano competitions and the business of music. Boston: Northeastern University Press, 1991.

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Arts Council of Great Britain. Music competitions awards and scholarships list 1988. London: Arts Council, 1988.

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5

Grum-Grzhimaĭlo, T. N. Konkurs Chaĭkovskogo: Istorii͡a︡, lit͡s︡a, sobytii͡a︡. Moskva: Grantʺ, 1998.

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Judith, Richard, and Concert Artists Guild, eds. Concert Artists Guild's guide to competitions. 6th ed. New York: The Guild, 1992.

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Franz Schubert and the Music of Modernity (Competition) (6th 2006 Universität für Musik und Darstellende Kunst Graz). Franz Schubert und die Musik der Moderne: Dokumentation : 6. Internationaler Wettbewerb, 15.-24.2.2006 = Franz Schubert and the music of modern times : documentation : 6th international competition, 15.-24.02.2006. Graz: Universität für Musik und darstellende Kunst, 2007.

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Paolo Borciani International String Quartet Competition (1st 1987 Teatro municipale Romolo Valli, Reggio Emilia, Italy). 1⁰ concorso internazionale per quartetto d'archi Paolo Borciani: 15-21 giugno 1987, Reggio Emilia, Italia, Teatro municipale Romolo Valli = 1e Internationaler Streichquartett Wettbewerb Paolo Borciani = 1st International String Quartet Competition Paolo Borciani. [Reggio Emilia: Il Concorso, 1986.

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Concorso internazionale di canto corale "C.A. Seghizzi" (38th 1999 Gorizia, Italy). 38o concorso internazionale di canto corale "C.A. Seghizzi": Gorizia, Abbazia di Rosazzo, Udine : 7, 8, 9, 10, 11 Luglio 1999. [Gorizia?]: Associazione corale goriziana C.A. Seghizzi, 1999.

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International Tadeusz Wroński Solo Violin Competition (4th 1997 Warsaw, Poland). Międzynarodowy Konkurs Tadeusza Wrońskiego na Skrzypce Solo: Warszawa, 13-20 Kwietnia 1997. Warszawa: Akademia Muzyczna im. Fryderyka Chopina, 1996.

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Capitoli di libri sul tema "Music competitions"

1

Golding, Rosemary. "L. C. Venables, ‘Choral Competitions’." In Music in Nineteenth-Century Britain, 352–58. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003885-37.

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Golding, Rosemary. "A.M. Wakefield, ‘Foundation Stones of English Music: Music Competitions’." In Music in Nineteenth-Century Britain, 339–51. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003885-36.

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Peery, Irene Weiss, Dale Nyboer, and J. Craig Peery. "The Virtue and Vice of Musical Performance Competitions for Children." In Music and Child Development, 225–36. New York, NY: Springer New York, 1987. http://dx.doi.org/10.1007/978-1-4613-8698-8_13.

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Cheng, Ya-Hui. "“Chinese Got Talent”: Popular Music Singing Competitions in Taiwan and China." In Popular Music Studies Today, 61–65. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_6.

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Sosnowska, Honorata. "Comparison of Voting Methods Used in Some Classical Music Competitions." In Transactions on Computational Collective Intelligence XXVII, 108–17. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-70647-4_8.

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Fornés, Alicia, Anjan Dutta, Albert Gordo, and Josep Lladós. "The 2012 Music Scores Competitions: Staff Removal and Writer Identification." In Graphics Recognition. New Trends and Challenges, 173–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36824-0_17.

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Arditi, David. "On Competition in Music." In Getting Signed, 119–48. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44587-4_5.

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Okorie, Chijioke Ifeoma. "Competition law infractions." In Multi-sided Music Platforms and the Law, 129–67. Abingdon, Oxon ; New York, NY : Informa Law from Routledge, 2019. | Based on author’s thesis (doctoral - University of Cape Town, 2018) issued under title: Open and freemium music business models in Africa : copyright and competition consequences.: Informa Law from Routledge, 2019. http://dx.doi.org/10.4324/9780429028380-5.

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Kanellopoulou, Evgenia. "Business models for the music industries." In Competition Policy and the Music Industries, 1–22. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281419-1.

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Lin, Xiuqin. "Music Individual Licensing Models and Competition Law." In MPI Studies on Intellectual Property and Competition Law, 189–205. Berlin, Heidelberg: Springer Berlin Heidelberg, 2017. http://dx.doi.org/10.1007/978-3-662-53809-8_11.

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Atti di convegni sul tema "Music competitions"

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Melnychuk, Ekaterina Alexandrovna. "Effect of music competitions on pieces of music interpretation by students." In IX International Research-to-practice Conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-112729.

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TUĞLUK, Mehmet Emin. "A COMPETITION TO FIND AN EQUAL TO THE TWELVE FOREIGN WORDS ORGANIZED BY THE ŞEHBÂL MAGAZINE (1909-1914)." In 3. International Congress of Language and Literature. Rimar Academy, 2021. http://dx.doi.org/10.47832/lan.con3-4.

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One of the important magazines of the Second Constitutional period was the magazine Şehbâl, which was published between 14 March 1909 and 14 July 1914. Political events and comments in Şehbâl magazine; culture, literature, music; painting, sculpture, architecture; health,sport; inventions and inventions, discoveries, accounting, humor, fashion, make-up, embroidery, housework; articles on many subjects such as information about new publications and selections from English, French, German and American magazines have been published. Another important feature of Şehbâl magazine is that it organizes competitions on various subjects. One of these competitions organized by the Magazine is The Competition to Find an Equal to The Twelve Foreign Words In this competition, it was requested to find the equivalents of the words bibliographie, boycottage, caprice, caricature, clup, conference, concert, decor, monologue, paradoxe, surprise, taximetre. Various words were suggested to this competition by 517 people. However, none of the suggested words are used in standard Turkey Turkish instead of the desired word. However, this competition is important in terms of showing the influence of foreign languages on Turkish and the awareness and resistance shown against this influence. Key words: Şehbâl Magazine, Competition, Second Constitutional, Foreign Languages, Turkish Equivalent.

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Nicoara, Adrian, Silvia Teodorescu, and Constanta Urzeala. "A COMPUTERIZED SYSTEM FOR JUDGING DANCESPORT COMPETITIONS - AN INNOVATIVE APPLICATION." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-199.

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Dancesport involves a variety of body movements performed to the rhythm of a song that is materialized in a choreography piece where the two partners try to convey emotions in a unique and personal way, which leads us to assert that dance has no boundaries, no barriers, it is simply felt and expressed. Dancesport provides the necessary framework to transmit a compositional message, trigger emotions, present an artistic creation, generate a show, that is why assessing the dancers’ performance often has a subjective character as regards technical execution, artistic mastery, plasticity and beauty of movement, shortly, the quality of dance. In this research, we developed and used an evaluation/ judging system which included five criteria: movement to music, posture and coordination, quality of movement and balance, partnered relationship and leading, choreography and presentation, and a larger or smaller number of sub-criteria. The aim was to prove the efficiency of a computerized system intended to reduce subjectivity in the evaluation of dancers’ competitive performance. Transposition of the evaluation/judging system to a computerized application using Web-based technology with extension for tablet ensures effectiveness for the judging panel, reducing the time needed to establish rankings, facilitating the work of the competition Secretariat and removing the possible human errors. The application summarized information on organized competitions, users, couples of dancers, dances, classes, age categories, to which each judge can login to access scoring sheets/per criterion/dance and check each sub-criterion for each component, male and female counterparts. The major difference between the two evaluation systems (one used by the DanceSport Federation, the other developed by us) could be noted in the hierarchy of couples in the mid-ranking, where the value level of dancers was close and their order in the ranking was decided by a few tenths or hundredths of a point.

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Visaniy, Muriel, V. C. Kieu, Alicia Fornes, and Nicholas Journet. "ICDAR 2013 Music Scores Competition: Staff Removal." In 2013 12th International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2013. http://dx.doi.org/10.1109/icdar.2013.284.

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Casini, Luca, and Bob L. T. Sturm. "Tradformer: A Transformer Model of Traditional Music Transcriptions." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/681.

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We explore the transformer neural network architecture for modeling music, specifically Irish and Swedish traditional dance music. Given the repetitive structures of these kinds of music, the transformer should be as successful with fewer parameters and complexity as the hitherto most successful model, a vanilla long short-term memory network. We find that achieving good performance with the transformer is not straightforward, and careful consideration is needed for the sampling strategy, evaluating intermediate outputs in relation to engineering choices, and finally analyzing what the model learns. We discuss these points with several illustrations, providing reusable insights for engineering other music generation systems. We also report the high performance of our final transformer model in a competition of music generation systems focused on a type of Swedish dance.

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Zhang, Min, and Tingting Lyu. "Multi-parameter Estimation Based on Improved MUSIC Algorithm for Polarization Sensitive Array." In 2019 International Workshop on Electromagnetics: Applications and Student Innovation Competition (iWEM). IEEE, 2019. http://dx.doi.org/10.1109/iwem.2019.8887887.

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Fornes, Alicia, Anjan Dutta, Albert Gordo, and Josep Llados. "The ICDAR 2011 Music Scores Competition: Staff Removal and Writer Identification." In 2011 International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2011. http://dx.doi.org/10.1109/icdar.2011.300.

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Monnazzi, João, and Regis Faria. "Body Building Music: The Kinase Instalation." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10458.

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Thinking on the congruencies between music and sports, we propose with this art installation some novel paths and connections for music production in a little explored field, in the interdisciplinarity with sports. Some similarities in the acting of musicians and athletes, such as the need of technical domain through discipline and practice. A musician who wants to develop her/his technical skills needs to follow a hard routine of practical studies, focusing in improving motor abilities with the proposing to play the piece in the better way possible. This process has a close proximity with the athlete’s during their preparation. Hours of intense practice to improve some motor skills that can enable them to improve their performance. The disciplines can be interpolated in a way that we can argue: there is always something physical on a music interpretation, as well as there is always something artistic in a sport competition. In the inner area between art/music and sports some modalities are easier to verify this symbiosis, as in the choreographic sports. These modalities are evaluated by both physical and artistic parameters. Our work focus in a particular sport modality that has a part of scoring which is evaluated through a choreographic routine: The Bodybuilding.

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McBride, Molly. "HDV Meets HDCam “In the Heart of Music” Documenting the 2005 Van Cliburn Piano Competition." In SMPTE Technical Conference. IEEE, 2005. http://dx.doi.org/10.5594/m00388.

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Deisinger, Marko. "Fortschrittliche Technologie im Dienste eines Antimodernisten. Heinrich Schenker und der österreichische Rundfunk." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.52.

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The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At first, this opposition applied to new technologies as well. Despite his skepticism, he purchased a radio shortly after the Austrian Broadcasting Corporation (RAVAG) started broadcasting in October 1924 and soon became an avid radio listener. Schenker quickly grasped the advantages of this new transmission medium and used it to further his own interests, aided by personal contacts with the RAVAG. In 1928, his associate Otto Erich Deutsch delivered a radio lecture co-authored with Schenker about the goals of the “Archive for Photograms of Musical Master Manuscripts” which was founded at Schenker’s instigation. In 1934, the RAVAG sponsored a competition, awarding the best text to a song fragment by Franz Schubert which in turn was discovered by Deutsch. Since the textless fragment lacks the final measures, Schenker had previously composed an ending for the song which was also performed on the radio.

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