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European Voices IV presents new perspectives on two basic performance styles of traditional music of Europe: 1) Solo playing on single instruments with the possibility for multipart texture, for instance different bagpipes and bowed instruments. 2) Practices of playing in small ensembles with a leading role of the violin and later of wind instruments, widespread in Central and Eastern Europe. 14 renowned ethnomusicologists from eleven countries offer new insights on style, repertoire, ways of musical thinking and performance behaviour. Their studies are based on historical sources as well as of a vivid exchange with local musicians during in-depth ethnographic fieldwork.
Music --- Performance. --- Musical performance --- Performance of music
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An engaging window into a century of musical life, as seen in the history of the Pro Arte String Quartet, first organized in 1912 and still performing today.
Musical groups. --- Pro Arte Quartet. --- Ensembles (Musical performance groups) --- Groups, Musical performance --- Musical performance ensembles --- Musical performance groups --- Quatuor Pro Arte --- belgium. --- cello. --- composition. --- ensemble. --- history of music. --- music. --- musicians. --- strings. --- twentieth century. --- university of wisconsin. --- viola. --- violin.
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Performance practice (Music) --- Musical performance practice --- Performing practice (Music) --- Music --- Performance --- Music Literature
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Organisational theorists have become increasingly interested in the creative industries, where practices that are commonplace are of particular interest to organisations in other sectors as they look for new ways to enhance performance. Focusing on the music industry, this book sets up a unique dialogue between leading organisational theorists and music professionals. Part I explores links between organisation theory and the creative industries literature, concentrating on practices of organising and knowledge mobilisation, followed by an in-depth discussion of key theoretical concepts by subject experts. Part II provides a diverse range of 'tales from the field', including examples from classical orchestras, folk, indie and punk. The concluding chapter examines the shared dialogue to reveal what practice in the musical field can learn from organisational theory, and vice versa. This innovative book will interest graduate students and researchers in the fields of organisation studies, music management and the creative industries.
Music --- Organization. --- Management. --- Administration --- Industrial relations --- Organization --- Organisation --- Management --- Musical performance --- Performance of music --- Performance.
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In der musikalischen Aufführungspraxis ist es normalerweise der Mensch, der das Tempo erzeugt. Innerlich ein Tempo zu etablieren und es an das der mitmusizierenden Personen anzugleichen, ist eine grundlegende musikalische Fähigkeit. Was bedeutet es also, wenn das Tempo von einem technischen System vorgegeben wird? Philippe Kocher unterzieht diese besondere Art der Mensch-Maschine-Interaktion einer musikgeschichtlichen, technikgeschichtlichen und medienarchäologischen Betrachtung. Darüber hinaus entwickelt er innerhalb seiner wissenschaftlich-künstlerischen Studie ein eigenes System zur technikgestützten Tempovermittlung und beschreibt dessen Einsatz in der Praxis.
Performance practice (Music) --- Musical performance practice --- Performing practice (Music) --- Music --- Performance
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This accessible guide for students, teachers and performers at all levels unravels the complexities of musical performance and focuses on key aspects of learning, playing and responding to music. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching, development, practice and memorisation. The next section considers the 'translation' from score to sound, physical projection, ensemble playing and performance anxiety. The final section addresses the act of listening, the legacy of recordings, music criticism and 'performers on performance'.
Music --- Theatrical science --- Musical performance --- Performance of music --- Performance --- Musique --- Performance. --- Exécution --- Music - Performance. --- 78.50 --- 517 --- Uitvoeringspraktijk --- uitvoeringspraktijk --- muziek --- 21e eeuw --- Engeland
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Agricola published Introduction to the Art of Singing in Germany, in 1757, consisting of the 1723 treatise of the Italian singing teacher and castrato, Tosi, to which Agricola added his own running commentary. The Introduction was recognized as invaluable not only for teachers and their pupils but also for advanced singers and professionals. This present edition, translated with introduction and annotations by the celebrated singer Julianne Baird, makes Agricola's work available in English. Tosi's work was the first basic treatise on singing; Agricola, a pupil of J. S. Bach at the court of Frederick the Great, brought Tosi's work 'up to date'. His commentaries are so extensive that the Introduction stands on its own as an important document in the history of performance practice.
Singing. --- Performance practice (Music) --- 78.41.2 --- Music --- Musical performance practice --- Performing practice (Music) --- Beatboxing --- Throat singing --- Singing and voice culture --- Vocal culture --- Performance
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Music --- Performance --- Performance. --- Musical performance --- Performance of music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Arts and Humanities --- Literature
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Composers --- Virtuosity in music --- Violin music --- Compositeurs --- Virtuosité --- Violon, Musique de --- History --- Congresses --- History and criticism --- Histoire --- Congrès --- Histoire et critique --- Wieniawski, Henri, --- Wieniawski, Henryk --- Virtuosity in musical performance --- Virtuosité --- Congresses. --- Congrès
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The twelve essays in this volume reflect the most important trends in the study of musical performance. Three areas are investigated: the psychology of performance, the semantics of performance, and the relation between performance and analysis. The first section broaches fundamental issues such as text, expression, musical motion and the role of practice in the acquisition of expertise. The next four chapters address the shaping of structure and the projection of meaning in performance, while the last four consider performance as analytical paradigm, as dramatic narrative, as act of criticism, as temporal process. Among the distinguished international authorship are many accomplished performers whose practical experience ensures that the book contains vital and stimulating insights into the interpretation of music, and that it will speak to a wide musical audience.
Music --- -Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Performance --- Exécution --- Musique --- Performance. --- Exécution --- 78.50 --- Musical performance --- Performance of music --- -Performance
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