Showing papers in "Notes in 1993"
210 citations
152 citations
TL;DR: HENOCH and HIPPLE as mentioned in this paper discussed the relationship between music education and social psychology, and highlighted the need for more research in the field of music education to understand the social and psychological aspects of music learners.
Abstract: SECTION ONE: ISSUES AND RESEARCH 1. Policy Frameworks, Research and K-12 Schooling 2. MENC: A Case in Point 3. Recent Trends and Issue in Policy-making 4. Law Research and Music Education INTRODUCTION: TOWARD AN UNDERSTANDING OF THE 'AIMS OF MUSIC EDUCATION' 1. Contemporary Curriculum Practices and Their Theoretical Bases 2. Theory, Research, and the Improvement of Music Education 3. A Comparative Review of Human Ability Theory: Context, Structure, and Development 4. Critical Thinking 5. Improvisation 6. Improvisation and Curriculum Reform 7. Adult Education 8. Music and Early Childhood Education 9. Systematic Research in Studio Instruction in Music 10. Philosophical Issues in Curriculum 11. Educating Musically 12. Distance Learning and Collaboration in Music Education SECTION THREE: MUSICAL DEVELOPMENT AND LEARNING Introduction: Issues in Perception, Cognition, and Development 1. Learning Theories as Roots of Current Musical Practice and Research 2. Systematic Instruction 3. Behavioural Research on Direct Music Instruction 4. Self-Regulation of Musical Learning: A Social Cognitive Perspective 5. Motivation and Achievement 6. Developmental Characteristics of Music Learners 7. Creative Research in Music, Visual Arts, Theater, and Dance 8. Computer-based Technology and Music Teaching and Learning SECTION FOUR: MUSICAL COGNITION 1. The Neurobiology of Music Cognition and Learning 2. Cognitive Constraints on Music Listening 3. The Development of Musical Abilities 4. Making Music and Making Sense of Music: Expressive Performance and Communication 5. Taking an Acquired Skills Perspective on Music Performance SECTION FIVE: SOCIAL AND CULTURAL CONTEXTS 1. The Sociology of Education and Connections to Music Education Research 2. Sociology of Music 3. Social Psychology and Music Education 4. Music, Culture, Curriculum and Instruction 5. Feminism, Feminist Research and Gender Research in Music Education 6. The Social Construction of Music Teacher Identity in Undergraduate Music Education Majors 7. Transforming Research in Music Education History 8. Music Transmission and Learning: A Conspectus of Ethnographic Research in Ethnomusicology and Music Education 9. Community Music: Toward an International Overview SECTION SIX: TEACHER EDUCATION Introduction: Fuzzy Teacher Education 1. Reform-minded Music Teachers: A More Comprehensive Image of Teaching for Music Teacher Education 2. Teaching as a Profession: Two Variations on a Theme 3. Changing Concepts of Teacher Education 4. Strengthening the Teaching of Music Educators in Higher Education 5. Research by Teachers on Teacher Education 6. Research in Music Student Teaching 7. Professional Development SECTION SEVEN: MUSIC EDUCATION CONNECTIONS Introduction: The Growing Impact of Partnerships: A Reason for Research 1. Policy Issues Connecting Music Education and Arts Education 2. The Evaluation of Arts Partnerships and Learning Through the Arts 3. The 'Use and Abuse' of Arts Advocacy and its Consequences for Music Education 4. Research in Visual Arts Education: Implications for Music Education 5. A Review of Research in Theater, Dance, and Other Performing Arts Education: Implications for Music SECTION EIGHT: NEUROSCIENCE, MEDICINE, AND MUSIC 1. Music and Neuroscience 2. Performing arts Medicine 3. Musicians' Health MIRIAM HENOCH, AND JOHN HIPPLE SECTION NINE: INSTRUMENTAL OUTCOMES 1. Nonmusical Outcomes of Music Education: Historical Considerations 2. Teaching Other Subjects Through Music 3. Research: A Foundation for Arts Education Advocacy SECTION TEN: RESEARCH DESIGN, CRITICISM, AND ASSESSMENT IN MUSIC EDUCATION 1. Philosophical Perspectives on Research 2. Maintaining Quality in Research and Reporting 3. Trends in Data Acquisition and Knowledge Development 4. Assessment's Potential in Music Education 5. Contemporary Issues in Qualitative Research and Music Education
132 citations
100 citations
TL;DR: In this paper, the authors discuss personal style and the individuality of single works "Ingenium" and "Witz" the symphonic style issues in sonata form theme and character the "underlying idea" form as idea the new path" "Fidelio" church music and the religion of art subthematicism late works.
Abstract: Life and work personal style and the individuality of single works "Ingenium" and "Witz" the symphonic style issues in sonata form theme and character the "underlying idea" form as idea the "new path" "Fidelio" church music and the religion of art subthematicism late works.
63 citations
TL;DR: In this article, Lendvai proposed a model of hierarchical structure based on the axis system for classical music, including the first steps toward a theory fundamentals - source sets, harmonic function, privileged pattern and context.
Abstract: Part 1 Theory: first steps toward a theory fundamentals - source sets, harmonic function, privileged pattern and context a model of hierarchical structure. Part 2 Analyses: the sonata for piano the third string quartet the fifth string quartet, II and IV the sonata for two pianos and percussion I and II the concerto for orchestra I. Appendix: Erno Lendvai and the axis system.
50 citations
TL;DR: The English Musical Renaissance as mentioned in this paper explores the relationship between music and national identity in the early part of this century and relates the "renaissance" to its true cultural and intellectual context.
Abstract: What are the relations between "music" and "nation", and why are some composers celebrated while others remain neglected? Music as "high" culture has become a high-profile commodity and yet it still lays claims to a unique spiritual sanctity. In "The English Musical Renaissance", Rob Stradling and Meirion Hughes argue that research into the cultural history of music can significantly help our understanding of the evolution of English national identity. Controversial in both its interpretation and methodology, their book challenges the intellectual and social assumptions which surrounded English music in the early part of this century, and relates the "renaissance" to its true cultural and intellectual context.
44 citations
TL;DR: This is a list of places in the United States that have had their names changed since World War Two, and some of the names have changed significantly since then.
Abstract: Contents: Introduction List of Sources List of Books Cited Subject Index Index of Names and Places Corrections.
44 citations
43 citations
TL;DR: In this paper, women in the world of music have been studied in three approaches: introduction, introduction, Robert Whitneey Templeman women and music around the Mediterranean, L. JaFran Jones women in music - Latin America, Robert Whitney Templeman American women in blues and jazz, Michael J. Budds.
Abstract: Feminist aesthetics - recovering jouissance - feminist aesthetics and music, Rene Cox Lorraine. Ancient and medieval music - women and music in Greece and Rome, Ann N. Michelini women in music to ca. 1450, J. Michele Edwards. The 15th through the 18th centuries: musical women in early modern Europe, Karin Pendle musical women of the 17th and 18th centuries, Barbara Garvey Jackson. The 19th century and the Great War: European composers and musicians, ca. 1800-1890, Nancy B. Reich European composers and musicians, 1880-1918, Marcia Citron women in American music, 1800-1918 , Adrienne Fried Block Nancy Stewart. Modern music around the globe: contemporary British composers, Catherine Roma composers of modern Europe, the near East, Australia, and New Zealand, Karin Pendle, Robert Zieroff North America since ca. 1920, J. Michele Edwards, Leslie Lassetter American popular music in the 20th century, S. Kay Hoke. Women in the world of music - three approaches: introduction, Robert Whitneey Templeman women and music around the Mediterranean, L. JaFran Jones women in the world of music - Latin America, Robert Whitney Templeman American women in blues and jazz, Michael J. Budds. The special role of women: women's support and encouragement of music and musicians, Linda Whitesitt.
TL;DR: A survey of early music can be found in this paper, where the authors present their views and analyse the outstanding issues concerning music before 1600, including the main problems in its performance, where do we look for answers, and what help can we find in the figurative arts, manuscripts, and modern performance techniques.
Abstract: BL An up to date survey of all aspects of early music Forty-five eminent writers and performers present their views and analyse the outstanding issues concerning music before 1600. How do we judge it? What are the main problems in its performance and appreciation? Where do we look for answers, and what help can we find in the figurative arts, manuscripts, and modern performance techniques? This book is intended for students of early music, university music departments, performers of early music.
TL;DR: The Mastering Piano Technique A Guide For Students Teachers And Performers as discussed by the authors is a guide for students teachers and students to learn to play the piano, which can be read on any device.
Abstract: Rather than enjoying a fine book taking into consideration a cup of coffee in the afternoon, otherwise they juggled later than some harmful virus inside their computer. Mastering Piano Technique A Guide For Students Teachers And Performers is simple in our digital library an online admission to it is set as public correspondingly you can download it instantly. Our digital library saves in multiple countries, allowing you to get the most less latency era to download any of our books once this one. Merely said, the Mastering Piano Technique A Guide For Students Teachers And Performers is universally compatible following any devices to read.
TL;DR: The movements in rondo and ternary forms and the movement in binary form: Op. 27/ii Part III.
TL;DR: The "Companion to Baroque Music" as mentioned in this paper is an illuminating survey of musical life in Europe and the New World from 1600 to 1750, with informative essays on the social, national, geographical, and cultural contexts of the music and musicians of the period.
Abstract: The "Companion to Baroque Music" is an illuminating survey of musical life in Europe and the New World from 1600 to 1750. With informative essays on the social, national, geographical, and cultural contexts of the music and musicians of the period by such internationally known scholars as Peter Holman, Louise Stein, Michael Talbot, Julie Anne Sadie, Stanley Sadie, and David Fuller, the "Companion" offers a fresh perspective on the musical styles and performance practices of the Baroque era.
TL;DR: The music of Winterreise as discussed by the authors is a collection of Wander-Lieder written by the poet and the composer of the poem "The Music of Winter Reise".
Abstract: PrefacePart I. The Poet and the Composer1. Genesis and Sources 2. The Texts of Winterreise 3. The Music of WinterreisePart II. The Songs1. Gute Nacht 2. Die Wetterfahne 3. Gefror'ne Tranen 4. Erstarrung 5. Der Lindenbaum 6. Wasserflut 7. Auf dem Flusse 8. Ruckblick 9. [Das] Irrlicht 10. Rast 11. Fruhlingstraum 12. Einsamkeit 13. Die Post 14. Der greise Kopf 15. Die Krahe 16. Letzte Hoffnung 17. Im Dorfe 18. Der sturmische Morgen 19. Tauschung 20. Der Wegweiser 21. Das Wirtshaus 22. Mut 23. Die Nebensonnen 24. Der LeiermannPostludeAppendix. Ludwig Uhland's Wander-LiederSelected Bibliography Index -- Cornell University Press
TL;DR: Mendelssohn-Bartholdy as mentioned in this paper is a collection of previously unpublished essays by historians and musicologists, including reflections on the composer written by his contemporaries, the composer's own letters, and early critical reviews of his music.
Abstract: During the 1830s and 1840s the remarkably versatile composer-pianist-organist-conductor Felix Mendelssohn-Bartholdy stood at the forefront of German and English musical life Bringing together previously unpublished essays by historians and musicologists, reflections on Mendelssohn written by his contemporaries, the composer's own letters, and early critical reviews of his music, this volume explores various facets of Mendelssohn's music, his social and intellectual circles, and his career The essays in Part I cover the nature of a Jewish identity in Mendelssohn's music (Leon Botstein); his relationship to the Berlin Singakademie (William A Little); the role of his sister Fanny Hensel, herself a child prodigy and accomplished composer (Nancy Reich); Mendelssohn's compositional craft in the Italian Symphony and selected concert overtures (Claudio Spies); his oratorio Elijah (Martin Staehelin); his incidental music to Sophocles' Antigone (Michael P Steinberg); his anthem "Why, O Lord, delay forever?" (David Brodbeck); and an unfinished piano sonata (R Larry Todd) Part II presents little-known memoirs by such contemporaries as J C Lobe, A B Marx, Julius Schubring, C E Horsley, Max Mller, and Betty Pistor Mendelssohn's letters are represented in Part III by his correspondence with Wilhelm von Boguslawski and Aloys Fuchs, here translated for the first time Part IV contains late nineteenth-century critical reviews by Heinrich Heine, Franz Brendel, Friedrich Niecks, Otto Jahn, and Hans von Blow
TL;DR: The authors re-examine Anne Birrell's 1988 introduction to the Han lyrics conventionally known as yueh-fu Wft and examine issues that affect traditionalists in particular.
Abstract: Now that Anne Birrell's 1988 introduction to the Han lyrics conventionally known as yueh-fu Wft has proven its staying power by appearing in paperback, it is worth re-examining partly for its own sake, and partly because its strengths and drawbacks have much to tell us about Western scholars' knowledge of and attitudes toward older Chinese poetry and other sinological fields. Recent discussions of those attitudes have focused on the debate over traditional vs. avantgarde scholarly approaches, a debate which has made little progress so far, because few scholars on either side seem willing to adopt each others' approaches or even meet in the middle. It might be more practical, here, to stay within the framework of the traditional approach, and examine issues that affect traditionalists in particular. By \"traditional approach,\" I mean the assumption that ancient texts can reveal truths about their times, and that if we try hard, we not only can understand those texts, but can translate and describe them accurately enough that a reader of our translations will learn almost as much from them as we learned from the originals. Those of us who take that traditional approach have probably considered some of these questions:
TL;DR: A reference book containing information about Beethoven's life and times is presented in this paper, which includes a chronology of Beethemes life and works, a list of works with commentaries, a who's who of contemporaries, historical and musical background and accounts of daily life from diaries and documents.
Abstract: A reference book containing information about Beethoven's life and times. Features include a chronology of Beethoven's life and works, a list of works with commentaries, a who's who of contemporaries, historical and musical background and accounts of daily life from diaries and documents.
TL;DR: Duggan as mentioned in this paper presents a detailed bibliography of Italian music incunabula, including books containing either printed music or blank spaces for the insertion of manuscript music, and identifies, classifies, and examines thirty-eight specific types.
Abstract: Musical notation presented unusual challenges to the new craft of printing in the fifteenth century. Its demands were so difficult that the first impression of music from metal type was not made until a full twenty years after the first printed alphabetic texts. By the end of the century dozens of such fonts had appeared throughout Europe. The books that resulted were often impressive volumes of folio or large-folio size, printed in two colors, with woodcut illustrations. Mary Kay Duggan focuses on the technological processes developed in Italy to print music books. She begins by tracing the history and analyzing the techniques of casting and setting type and staves. She then identifies, classifies, and examines thirty-eight specific types. Finally, the author has compiled a descriptive bibliography of Italian music incunabula, including books containing either printed music or blank spaces for the insertion of manuscript music. "Italian Music Incunabula" marks a major advance in the study of the paleotypography of music. It greatly enhances our understanding of the impact of the printing press on music and the importance of music books in the work of early printers. Its meticulous bibliography of over 150 incunabula, concordances, and indices will make it the standard reference work for many years to come.