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Final Appendices
Bibliography ADORNO, THEODOR W (1941). ‘On Popular Music’. On Record: Rock, Pop and the Written Word (ed. S Frith & A Goodwin, 1990): 301-314. London: Routledge (1publ. in Philosophy of Social Sci- ence, 9. 1941, New York: Institute of Social Research: 17-48). —— (1970). Om musikens fetischkaraktär och lyssnandets regression. Göteborg: Musikvetenskapliga in- stitutionen [On the fetish character of music and the regression of listening]. —— (1971). Sociologie de la musique. Musique en jeu, 02: 5-13. —— (1976a). Introduction to the Sociology of Music. New York: Seabury. —— (1976b) Musiksociologi – 12 teoretiska föreläsningar (tr. H Apitzsch). Kristianstad: Cavefors [The Sociology of Music – 12 theoretical lectures]. —— (1977). Letters to Walter Benjamin: ‘Reconciliation under Duress’ and ‘Commitment’. Aesthetics and Politics (ed. E Bloch et al.): 110-133. London: New Left Books. ADVIS, LUIS; GONZÁLEZ, JUAN PABLO (eds., 1994). Clásicos de la Música Popular Chilena 1900-1960. Santiago: Sociedad Chilena del Derecho de Autor. ADVIS, LUIS; CÁCERES, EDUARDO; GARCÍA, FERNANDO; GONZÁLEZ, JUAN PABLO (eds., 1997). Clásicos de la música popular chilena, volumen II, 1960-1973: raíz folclórica - segunda edición. Santia- go: Ediciones Universidad Católica de Chile. AHARONIÁN, CORIúN (1969a). Boom-Tac, Boom-Tac. Marcha, 1969-05-30. —— (1969b) Mesomúsica y educación musical. Educación artística para niños y adolescentes (ed. Tomeo). 1969, Montevideo: Tauro (pp. 81-89). —— (1985) ‘A Latin-American Approach in a Pioneering Essay’. Popular Music Perspectives (ed. D Horn). Göteborg & Exeter: IASPM (pp. 52-65). —— (1992a) ‘Music, Revolution and Dependency in Latin America’. 1789-1989. Musique, Histoire, Dé- mocratie. Colloque international organisé par Vibrations et l’IASPM, Paris 17-20 juillet (ed. A Hennion. -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
U.S. Sheet Music Collection
U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 3, SUB-SERIES A (INSTRUMENTAL) Consists of instrumental sheet music published between 1826 and 1860. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 12 Abbot, John M. La Coralie polka schottisch. Composed for and respectfully dedicated to Miss Kate E. Stoutenburg. For solo piano. New York: J. E. Gould and Co., 1851. Abbot, John M. La reve d’amour. For solo piano. New York: William Hall & Son, 1858. 3 copies. L’Aboyar. La coquetterie polka facile. For solo piano. Boston: Oliver Ditson, 1853. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. New York: James L. Hewitt & Co., [s.d.]. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. Boston: C. Bradlee, [s.d.].. Adam, A. Hungarian flag dance. Danced by forty-eight Danseuses Viennoises at the principal theatres in Europe and the United States. For solo piano. Arranged by Edward L. White. Boston: Stephen W. Marsh, 1847. Adams, A.M. La petite surprise! For solo piano. New York: W. Dubois, [s.d.]. Adams, G. Molly put the kettle on. For solo piano. Boston: Oliver Ditson, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss. R. Brown on the harp at the Boston Concerts. For solo piano or harp. New York: William Hall & Son, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss R. Brown on the harp at the Boston Concerts. For solo piano or harp. -
C:\My Documents II\09Th Conference Winternitz\Abstract Booklet\01Title
THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY and THE METROPOLITAN MUSEUM OF ART Music in Art: Iconography as a Source for Music History THE NINTH CONFERENCE OF THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY, COMMEMORATING THE 20TH ANNIVERSARY OF DEATH OF EMANUEL WINTERNITZ (1898–1983) New York City 5–8 November 2003 Cosponsored by AUSTRIAN CULTURAL FORUM NEW YORK http://web.gc.cuny.edu/rcmi CONTENTS Introduction 1 Program of the conference 4 Concerts Iberian Piano Music and Its Influences 12 An Evening of Victorian Parlour Music 16 Abstracts of papers 23 Participants 41 Research Center for Music Iconography 45 Guidelines for authors 46 CONFERENCE VENUES Baisley Powell Elebash Recital Hall & Conference Room 9.204 The City University of New York, The Graduate Center, 365 Fifth Avenue Uris Auditorium The Metropolitan Museum of Art, 1000 Fifth Avenue Austrian Cultural Forum 11 East 52nd Street Proceedings of the conference will be published in forthcoming issues of the journal Music in Art. ********************************************************************************* Program edited and conference organized by ZDRAVKO BLAŽEKOVIĆ THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY The Barry S. Brook Center for Music Research and Documentation The City University of New York, The Graduate Center 365 Fifth Avenue New York, NY 10016-4309 Tel. 212-817-1992 Fax 212-817-1569 eMail [email protected] © The Research Center for Music Iconography 2003 The contents was closed on 21 September 2003 MUSIC IN ART: ICONOGRAPHY AS A SOURCE FOR MUSIC HISTORY After its founding in 1972, the Research Center for Music Iconography used to annually organize conferences on music iconography. The discipline was still young, and on the programs of these meetings – cosponsored by the Répertoire International d’Iconographie Musicale and held several times under the auspices of the Greater New York Chapter of the American Musicological Society – there were never more than a dozen papers. -
2017 CMS INTERNATIONAL CONFERENCE July 9–13, 2017 Sydney, Australia
2017 CMS INTERNATIONAL CONFERENCE July 9–13, 2017 Sydney, Australia ABSTRACTS & PROGRAM NOTES updated June 19, 2017 Adams, Daniel C. Composition: Congruent Verses The Latin origin of congruent is “congruere,” to fit together. In modern usage the term means in a general context “to be in agreement” and in a geometrical context figures that coincide exactly when superimposed, even if they exist at different angles The “verses” in this solo refer to groupings of short irregular phrase-like structures with no apparent antecedent or consequent relationships. They are “congruent” however, in both contexts of the term. First, they are unified by a common basis of continually varied thematic materials. Second, most of the melodic passages are based on similar or identical structures, continually shifting and placed in contrasting orientations such as different part of a measure, different rhythmic subdivisions, and different times signatures. Congruent Verses is held together by a succession of asymmetrical but interrelated musical statements. The piece begins with a slow, contemplative section, which is interrupted midway by a very brief and rapid passage that is later developed in a subsequent section. A more rhythmically active section follows, as short motives are repeated with slight variation. Tongue slaps and key clicks are introduced as the piece builds to a climax. A contrasting slow section played in the highest register follows, and includes harmonics. The piece closes with a rapid coda based on materials from the first fast section. Albonetti, Viara S. Paper: Instrument of Song – Klezmer in Australia Klezmer, kle (instrument), and zemer (song), Instrument of Song, a musical heritage of the Ashkenazi Jews of Eastern Europe, has a history of more than four centuries. -
I Muse and Method in the Songs of Hamilton Harty
Muse and Method in the Songs of Hamilton Harty: Three Early Works, 1895–1913 Judith Carpenter A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music The University of Sydney 2017 Sydney, Australia i This thesis is dedicated to the memory of my mother. To an Athlete Dying Young A. E. HOUSMAN The time you won your town the race We chaired you through the market-place; Man and boy stood cheering by, And home we brought you shoulder-high. Today, the road all runners come, Shoulder-high we bring you home, And set you at your threshold down, Townsman of a stiller town. Smart lad, to slip betimes away From fields where glory does not stay, And early though the laurel grows It withers quicker than the rose. Eyes the shady night has shut Cannot see the record cut, And silence sounds no worse than cheers After earth has stopped the ears. Now you will not swell the rout Of lads that wore their honours out, Runners whom renown outran And the name died before the man. So set, before its echoes fade, The fleet foot on the sill of shade, And hold to the low lintel up The still-defended challenge-cup. And round that early-laurelled head Will flock to gaze the strengthless dead, And find unwithered on its curls The garland briefer than a girl’s. ii iii Contents Preface........................................................................................................................... vi Abstract ......................................................................................................................... -
Complete Works for Violin Solo Eliot Alexander Lawson Walton
Universidade de Evora´ - Instituto de Investiga¸c˜aoe Forma¸c˜aoAvan¸cada Programa de Doutoramento em M´usica e Musicologia Area´ de especializa¸c˜ao Interpreta¸c˜ao | Tese de Doutoramento L´eon Souroujon: Complete works for violin solo Eliot Alexander Lawson Walton Orientador(es) Benoˆıt Gibson | Evora´ 2020 Universidade de Evora´ - Instituto de Investiga¸c˜aoe Forma¸c˜aoAvan¸cada Programa de Doutoramento em M´usica e Musicologia Area´ de especializa¸c˜ao Interpreta¸c˜ao | Tese de Doutoramento L´eon Souroujon: Complete works for violin solo Eliot Alexander Lawson Walton Orientador(es) Benoˆıt Gibson | Evora´ 2020 Otesededoutoramentofoiobjetodeaprecia¸c˜aoediscuss˜aop´ublicapeloseguintej´urinomeado pelo Diretor do Instituto de Investiga¸c˜ao e Forma¸c˜ao Avan¸cada: Presidente Eduardo Jos´eMonserrate Tavares Lopes (Universidade de Evora)´ | Vogais Carlos Damas (Universidade de Evora)´ | Iskrena Yordanova () Javier S´aenz de Santamar´ıa y Morales (Hospital Universitario de Badajoz - Universidad de Extremadura) Lidia L´opez Gom´ez (Universidad Autonoma Barcelona) Evora´ 2020 ii The more talented a violinist is, the more practice is needed to serve the cause. Leon Souroujon iii Abstract Leon Souroujon (1913–2007) was a well-known Bulgarian violinist and pedagogue, however, his importance as a composer is yet to be recognised. One of the objectives of this dissertation is to present Souroujon as a composer who has a unique style and whose contribution to the unaccompanied solo violin genre is noteworthy. Another objective is to introduce and categorize his collection of published and unpublished compositions and to create a new complete edition of all his compositions. Adopting a qualitative approach, extensive research has been conducted in order to comprehend the historical setting of Souroujon’s life and career. -
Australian Chamber Music with Piano
Australian Chamber Music with Piano Australian Chamber Music with Piano Larry Sitsky THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/ National Library of Australia Cataloguing-in-Publication entry Author: Sitsky, Larry, 1934- Title: Australian chamber music with piano / Larry Sitsky. ISBN: 9781921862403 (pbk.) 9781921862410 (ebook) Notes: Includes bibliographical references. Subjects: Chamber music--Australia--History and criticism. Dewey Number: 785.700924 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU E Press Cover image: ANU E Press Printed by Griffin Press This edition © 2011 ANU E Press Contents Acknowledgments . vii Preface . ix Part 1: The First Generation 1 . Composers of Their Time: Early modernists and neo-classicists . 3 2 . Composers Looking Back: Late romantics and the nineteenth-century legacy . 21 3 . Phyllis Campbell (1891–1974) . 45 Fiona Fraser Part 2: The Second Generation 4 . Post–1945 Modernism Arrives in Australia . 55 5 . Retrospective Composers . 101 6 . Pluralism . 123 7 . Sitsky’s Chamber Music . 137 Edward Neeman Part 3: The Third Generation 8 . The Next Wave of Modernism . 161 9 . Maximalism . 183 10 . Pluralism . 187 Part 4: The Fourth Generation 11 . The Fourth Generation . 225 Concluding Remarks . 251 Appendix . 255 v Acknowledgments Many thanks are due to the following. -
Perception and Response in the Documentation of Aboriginal Music in Nineteenth Century Austra1ia
"Music - If So it May be Called:" Perception and Response in the Documentation of Aboriginal Music in Nineteenth Century Austra1ia Nicole Saintilan Completed in partial fulfIllment for the degree of Master of Music Department of Music The University of New South Wales August 1993 Statement of Sources Apart from acknowledged borrowings from other sources, the work in this th,~sis, to my knowledge, is original. No part of this thesis has been submitted to any other institution for academic credit Nicole Saintilan Abstract In 1901 Sir Walter Baldwin Spencer was amongst the first to make rec10rdings of Aboriginal music with his documentation of central Australian speech and song. Since this time a substantial body of recordings has accrued providing a resource for an understanding of Aboriginal music in the twentieth century. But what is known of Aboriginal music in the time between white settlement and Federation? For years, historians have held up a few nineteenth century notations of Aboriginal music as monuments of historical importance. Names such as Lesueur, Field, Lumholtz, Lhotsky, Nathan, and Ton-ance, 3l·e familiar to anyone who has read accounts of early music making in Australia, but the import3l1Ce of their work has not yet been cl3l·ified. This thesis explores the significance of these early notations and addresses questions of how they could be viewed in light of nineteenth century Aboriginal music and the attitudes of the societies that produced them. 'Perception and response' refer to how coupled societies deal with cultural difference. Through notations, we see one society's perceptions of difference and the way they choose to express them. -
14914986.Pdf
Theory and Analysis of Classic Heavy Metal Harmony Publications of the Finnish Music Library Association Heikki Poroila, General Editor Volume 136 Advanced Musicology Jaakko Tuohiniemi, General Editor Volume 1 Theory and Analysis of Classic Heavy Metal Harmony Esa Lilja IAML Finland Helsinki 2009 Published by IAML Finland (The Finnish Music Library Association) PO Box 148, 01301 Vantaa, Finland http://www.kaapeli.fi/~musakir/ © Esa Lilja and IAML Finland 2009 First published in 2009 Layout Paul Forsell Set in Century Schoolbook Printed in Estonia at Greif, Tartumaa, September 2009 Cataloguing-in-Publication Data Lilja, Esa, 1973– Theory and analysis of classic heavy metal harmony / Esa Lilja. – Helsinki : IAML Finland, 2009 (Tartumaa, Estonia : Greif, 2009). – 229 p. cm. – (Publications of the Finnish Music Library Association, ISSN 0784-0322 ; 136). – (Advanced musicology, ISSN 1798-3754 ; 1) Thesis (Ph.D.)—University of Helsinki, 2009. Includes bibliogaphical references (p. ) ISBN 978-952-5363-35-7 (hb) 1. Heavy metal (Music)—Analysis, appreciation. 2. Harmonic analysis (Music). I. Series. II. Series. 63–rilm. 39–rilm MT146 .L54 2009 ISBN 978-952-5363-35-7 ISSN 0784-0322 ISSN 1798-3754 Acknowledgments The number of people to whom I am indebted is infinite, so I can name here only a few of those who have had the most direct influence on the completion of this thesis. First of all, I want to thank my supervisors, Professor Eero Tarasti for his influential and non-prejudicial support, and Ph.D., docent Alfonso Padilla for his detailed comments and endless faith in this project. I also want to mention some members of administrative personnel, as well as colleagues and friends at the University of Helsinki who have helped me in various ways during this project: Irma Vierimaa, Kirsti Nymark, Kristiina Norlamo, Erja Hannula, Merja Hottinen, Kai Lassfolk, Susanna Välimäki, Anna-Liisa Vappula, Helka Niemi, and especially Mikko Ojanen for his friendship and endurance. -
2009 Faber Catalog.Pdf
BRITISH PRINTED MUSIC PUBLISHER OF THE YEAR 2004, 2005, 2006, 2007 & 2008 About Us Faber Music Inc was founded in 1965, for the also includes a wealth of high-quality publications principal purpose of publishing the music of meeting the needs of musicians in professional, Benjamin Britten. It now enjoys a world-wide teaching and recreational environments. reputation as one of the leading independent British publishers of classical, contemporary, Faber Music’s rapidly growing media division educational, media and popular music. represents outstanding composers of music for film and television, and through its subsidiary Alongside repertory works by Vaughan Williams, Rights Worldwide Ltd offers a specialist service Holst, Britten and Arnold, its performance catalog of copyright administration to media composers features one of the most notable and envied lists and production companies. of “house” composers including Oliver Knussen, Jonathan Harvey, George Benjamin and Thomas In 2005, Faber Music bought International Music Adès. Faber Music handles the concert works Publications (the European arm of Warner Bros. of Paul McCartney, the Christmas classic ‘The Publications) and has added a large roster of Snowman’ by Howard Blake, important music names to its popular music list. In Europe, Faber theatre works such as Andrew Lloyd Webber’s represents such groups as Arctic Monkeys, Cats, and Carl Davis’s renowned scores for great Queen, Nirvana, Aerosmith and Radiohead, films of the silent era. It has also developed, and solo artists such as George Michael, Amy with a strategy founded on quality, integrity and Winehouse, Michael Buble, Kate Bush and James creativity, a superb educational music programme Blunt. -
''Music in the Home in Britain, 1900 to 1925''
”Music in the home in Britain, 1900 to 1925” John Mullen To cite this version: John Mullen. ”Music in the home in Britain, 1900 to 1925”. From Parlour Sing-songs to Iplayers: Experiencing culture in the 20th and 21st century homes, University of Lincoln, 2014, Lincoln, United Kingdom. hal-02561889 HAL Id: hal-02561889 https://hal-normandie-univ.archives-ouvertes.fr/hal-02561889 Submitted on 4 May 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Music in the home in Britain, 1900 to 1925: initial pointers for research. Dr. John Mullen, Université Paris-Est Contribution to Expert Workshop From Parlour Sing-songs to Iplayers: Experiencing culture in the 20th and 21st century homes, University of Lincoln, 22-23 May 2014 Introduction “Experiencing culture in the home” seems to be me to be a very strong choice of research theme, and a little explored area; I hope this project will go further. My own specialist subject – popular music in the first quarter of the twentieth century and particularly in the war years- offers particular challenges which I would like to sketch out in this paper.