Sheet Music Iconography and Music in the History of Transatlantic Minstrelsy

2009 ◽  
Vol 70 (1) ◽  
pp. 147-161 ◽  
Author(s):  
D. H. Foster
Keyword(s):  
Sheet Music ◽  
History Of ◽  
Music Iconography

scholarly journals «Al aire» del to barroc

2018 ◽  
Vol 11 (11) ◽  
pp. 159
Author(s):  
Lola Josa
Keyword(s):  
Seventeenth Century ◽  
Musical Language ◽  
Sheet Music ◽  
Xvii Century ◽  
History Of ◽  
The Subject ◽  
Musical Evolution ◽  
Interdisciplinary Study ◽  
As If ◽  
Poetry And Music

Resum: El paisatge bucòlic es va convertir en una espècie de partitura i de joc metalíric en els tons barrocs de tal manera que sembla com si els intèrprets i les veus que els canten només tinguessin que seguir les indicacions que els tòpics poètics dicten des del text per a que la sonoritat, l’harmonia i la música fossin possibles. Resulta molt curiós també que, tan tardanament, fos a propòsit de l’amor bucolicopastoral el pretext amb què l’incipient art del to es mostrés més experimental. Només aquest motiu musical podria justificar, que, a principis del segle XVII, proliferessin les composicions de tons de temàtica bucòlica i d’aquells altres que estan centrats en una Natura, si bé no idealitzada, no advertida pel més tardà panteisme egocèntric. En aquest treball ens centrarem, per tant, en les causes d’aquest esforç d’originalitat musical i de llurs èxits, així com la repercussió que va tenir en la poesia musicada. També seguirem l’evolució poeticomusical del to bucolicopastoral de la mà dels millors compositors peninsulars (alguns encara desconeguts) per a terminar oferint les característiques més significatives que permeten fixar-lo com una de les importants tipologies de la història de la música peninsular del segle XVII.. Paraules clau: to barroc, poesia i música del segle XVII, bucolisme líric, estudi interdisciplinar, llenguatge poeticomusical.   Abstract: The bucolic landscape became a kind of sheet music and metalyrical game in baroque tonos in such a way that it seems as if the performers and the voices that sing them have only to follow the indications that the poetic topics dictate from the text so that the sonority, harmony and music were possible. It is very curious also that, so belatedly, it was on the subject of pastoral-bucolic love the pretext with which the incipient art of the tono was more experimental. Only this musical motif could justify, that, at the beginning of the XVII century, the compositions of bucolic tonos proliferated and of those others that are centered in a Nature, although not idealized, not noticed by the later egocentric pantheism. In this work we will focus, therefore, on the causes of this effort of musical originality and its achievements, as well as the repercussion that it had on musicalized poetry. We will also follow the poetic-musical evolution of the bucolic-pastoral tono along with the best peninsular composers (some still unknown) to end up offering the most significant characteristics that allow us to fix it as one of the important typologies of the history of the peninsular music of the XVII century. Keywords: Baroque tono; Poetry and music of the seventeenth century; Lyric bucolicism; Interdisciplinary study; Poetic-musical language.  

Greek Music Piano Rolls in the United States

2018 ◽  
pp. 301-311
Author(s):  
Meletios Pouliopoulos
Keyword(s):  
United States ◽  
The United States ◽  
Sheet Music ◽  
History Of ◽  
Late Nineteenth ◽  
The U.S

In “Greek Piano Rolls in the U.S.,” collector Meletios Pouliopoulos presents ground-breaking research on Greek piano roll recordings of the 1920s and 1930s. Player pianos were popular in the late nineteenth and early twentieth centuries, and piano roll companies, like record distributers, issued significant quantities of Greek piano rolls to target the ethnic market. Pouliopoulos conducted interviews and explored existing catalogs to unearth the forgotten history of ethnic, and particularly Greek, music produced on piano rolls by the QRS Company of Buffalo, NY and Alector. He also correlates the production of rolls to both sheet music publications and phonograph recordings of the time, as well as to the production of music by particular artists or in some genres rarely heard today.

The Music of Max Reger in Russia: About Paradoxes of Reception’s History

10.34690/27 ◽  
2019 ◽  
pp. 190-204
Author(s):  
М.Г. Раку
Keyword(s):  
Characteristic Feature ◽  
20Th Century ◽  
Circumstantial Evidence ◽  
Sheet Music ◽  
The Real ◽  
Harmonic Language ◽  
History Of ◽  
Concert Life ◽  
Library Collections

Статья посвящена одному из кратких, но ярких эпизодов истории рецепции немецкой музыки в предреволюционной России - бурному увлечению столичной публики и музыкантов сочинениями Макса Регера, которое стало характерной приметой петербургской концертной жизни первого десятилетия ХХ века. Такие показатели успеха, как количество премьер и отзывов в прессе, на которые традиционно ориентируется рецептивная история, дополняются сведениями о приватных исполнениях сочинений композитора и другими косвенными свидетельствами о распространении его музыки, включая число изданий в библиотечных собраниях Москвы и Санкт-Петербурга. Сравнение последних показывает, что петербургский «культ» Регера музыкальная Москва не разделила. В этом можно усмотреть причину того, что договоренность Александра Зилоти с Регером о будущих московских гастролях после громадного успеха петербургских не была воплощена. Несмотря на исключительный интерес к творчеству Регера российской композиторской молодежи, более десятка талантливых представителей которой стали его учениками в Германии, стилистическое воздействие его музыки в России оказалось минимальным. Действительным результатом этого увлечения можно считать более свободное отношение к гармоническому языку, которое, однако, привело воспитанников русской композиторской школы к самостоятельным решениям. На примере российской рецепции музыки Регера можно говорить о разнообразных и порой не прямых и не очевидных по своему результату формах, в которых проявляет себя творческое влияние. The article is dedicated to one of the brief but vivid episodes of the history of the reception of German music in pre-revolutionary Russia to the turbulent fascination of the capitals public and musicians with the compositions of Max Reger, which became a characteristic feature of the St. Petersburg concert life of the first decade of the 20th century. Indicators of this success, such as the number of premiers and press reviews traditionally oriented to the receptions story, are supplemented by information about private perfomances and other circumstantial evidence of the distribution of his music, including the number of sheet music in the main library collections of both capitals. The comparison of the latter shows that musical Moscow did not share the kult of Reger in Petersburg. In this we can see the reason that the agreement between A. Siloti and Reger on future tours in Moscow after the huge success of Petersburg was not realized. Despite the exeptional interest in the work of Reger russian composer youth, more than a dozen talented representatives of which became his students in Germany, the stylistic influence of his music in Russia was minimal. The real result of its influence can be considered a more free attitude to the harmonic language, which however led the pupils of the Russian composer school to independent results. On the example of the Russian reception of Regers music, we can thus talk about various and sometimes not direct and and not obvious in its result forms in which the creative influence manifest itself.

scholarly journals A Case Study Of The Music Industry

2011 ◽  
Vol 4 (3) ◽  
pp. 79
Author(s):  
Kenneth A. Hunt ◽  
Andrew Mellicker
Keyword(s):  
Basic Principle ◽  
New Products ◽  
Music Industry ◽  
Digital Music ◽  
Sheet Music ◽  
Future Directions ◽  
The World ◽  
History Of ◽  
Better Than

Every industry in the world is affected by technological advancements. As new products and methods are invented, old products and methods become obsolete. Perhaps no industry illustrates this basic principle better than the music industry. From the invention of sheet music to the digital music files known today, the music industry has remade itself time after time. With the development of the latest technology, old products have repeatedly been abandoned. This case will explore the history of the music industry by highlighting the various technologies that changed the industry. In addition, a discussion will be offered to explore possible future directions of the industry.

Broadway to Main Street

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Popular Music ◽  
Cultural Discourse ◽  
The Internet ◽  
Sheet Music ◽  
Main Street ◽  
History Of ◽  
American Popular Music ◽  
Frank Sinatra

The crossroads where the music of Broadway met popular culture was an expansive and pervasive juncture throughout most of the twentieth century and continues to influence the cultural discourse of today. Broadway to Main Street: How Show Music Enchanted America details how Americans heard the music from Broadway on every Main Street across the country over the last 125 years, from sheet music, radio, and recordings to television and the Internet. The original Broadway cast album—from the 78 rpm recording of Oklahoma! to the digital download of Hamilton—is one of the most successful, yet undervalued, genres in the history of popular recording. The phenomenon of how show tunes penetrated the American consciousness came not only from the original cast albums but from interpreters such as Frank Sinatra and Barbra Streisand, impresarios such as Rudy Vallee and Ed Sullivan, and record producers such as Johnny Mercer and Goddard Lieberson. The history of Broadway music is also the history of American popular music; the technological, commercial, and marketing forces of communications and media over the last century were inextricably bound up in the enterprise of bringing the musical gems of New York’s Theater District to millions of listeners from Trenton to Tacoma, and from Tallahassee to Toronto.

“Watch Out For The Sharks”: Gender, Technology, and Commerce in the American Song-Poem Industry

2013 ◽  
Vol 7 (3) ◽  
pp. 295-315
Author(s):  
FRANCESCA INGLESE
Keyword(s):  
Production Process ◽  
Media Coverage ◽  
Popular Media ◽  
American Industry ◽  
Sheet Music ◽  
History Of

AbstractSince the early 1900s, song-poem entrepreneurs, often referred to as “song sharks,” have fueled a diffuse and largely hidden American industry that produces music to accompany the poems and lyrics of amateur writers. These entrepreneurs have long been demonized in the popular media for preying on the naiveté of their clientele. Yet despite charges of exploitation, this musical equivalent of the vanity press has survived for over a century. Although the vast majority of song-poets and their song-poems have remained in obscurity, in the 1990s, song-poems developed a cult following among record collectors; as “anonymous collaborations,” these recordings highlighted tensions between poignant personal expression and impersonal commercial rendering that appealed to listeners with a penchant for the obscure. This article draws on advertisements, sheet music, media coverage, and personal interviews to piece together a history of the song-poem industry, with particular focus on the gendered dimensions of the practice, the role of technology in the production process, and the multiplicity of meanings embedded in song-poems for both song-poets and collectors.

MusicXML

2012 ◽  
pp. 187-192 ◽  
Author(s):  
Michael D. Good
Keyword(s):  
Popular Music ◽  
17Th Century ◽  
Western Music ◽  
Music Notation ◽  
Design And Development ◽  
Sheet Music ◽  
History Of

MusicXML is a universal interchange and distribution format for common Western music notation. MusicXML’s design and development began in 2000, with the purpose to be the MP3 equivalent for digital sheet music. MusicXML was developed by Recordare and can represent music from the 17th century onwards, including guitar tablature and other music notations used to notate or transcribe contemporary popular music. MusicXML is supported by over 160 applications. The development and history of MusicXML is described in this chapter.

Chinatown, Whose Chinatown? Defining America's Borders with Musical Orientalism

2004 ◽  
Vol 57 (1) ◽  
pp. 119-174 ◽  
Author(s):  
Charles Hiroshi Garrett
Keyword(s):  
Cultural History ◽  
Large Body ◽  
Turn Of The Century ◽  
Immigrant Community ◽  
Jewish American ◽  
Sheet Music ◽  
Tin Pan Alley ◽  
Racial Relations ◽  
History Of ◽  
Entertainment Products

The music of Tin Pan Alley has proven an extremely rich source for investigations of race, ethnicity, and identity in America, most clearly with respect to Jewish American identity-making and the cultural history of black/white racial relations. The existence of a large body of Asian-themed Tin Pan Alley songs suggests, however, that other important trajectories involving the construction of ethnic and racial identity have been overlooked. To illuminate the role of music in molding ideas of Asia and Asian America, this essay focuses on the song "Chinatown, My Chinatown" by lyricist William Jerome and composer Jean Schwartz, offering detailed accounts of its origin, its 1910 Broadway debut, its presentation as sheet music, and its extensive performance history. By caricaturing local Chinatowns as foreign, opium-infested districts within U.S. borders, the song exemplifies turn-of-the-century musical orientalism as it was directed toward a local immigrant community. Yet the popular standard continues to resonate today in performance, recordings, film, television, cartoons, advertising, and the latest entertainment products. To account for the song's enduring cultural impact, this essay traces its history across diverse performance contexts over the last century.

scholarly journals Nieznane ilustracje Brunona Schulza do zeszytów z nutami

Schulz/Forum ◽  
2018 ◽  
Author(s):  
Aleksandra Skrzypczyk
Keyword(s):  
The Other ◽  
Sheet Music ◽  
History Of ◽  
Music Books ◽  
Bruno Schulz

In the paper, the author presents the results of her research on the origins of two illustrations credited to Bruno Schulz. Illustrations decorate the covers of two different tango sheet music books from the 1930s – „Dziewczę me, wspomnij noc. Tango” („Oh Girl, Remember the Night. Tango”) and „Biały motyl” („White Butterfly”). One of the covers was found on a vintage auction, while the other remains only in the memory of the last owner and inheritor of the songwriter. The author interviews the last owner of the books, reconstructing the story of Schulz’s friendship with musicians and the history of lost illustrations.

Unbinding Gentility

2021 ◽  
Author(s):  
Candace Bailey
Keyword(s):  
Point Of View ◽  
Us South ◽  
Sheet Music ◽  
Southern Culture ◽  
Black And White ◽  
Enslaved Women ◽  
Wide Range ◽  
The Us ◽  
Musical Practices ◽  
History Of

This book is a history of women in the US South told through the medium of music, focusing on music’s social and cultural uses, and mapping the cultural geography across space and time. The subjects represent a wide range of circumstances: enslaved women of color, white plantation daughters, both black and white daughters of middle-class families, women born on small farms, the daughters of mechanics. By recasting southern musical practices from the point of view of women’s history, it recovers silent voices and positions them within the social world of which they were so much a part. Significantly, it also introduces the existence and influence of professional women. The concentration here is music read from notation. Spending the time and money to learn to read music implies a tangible appreciation for its undertaking, and it indicates that those who paid for the education saw a benefit in doing so. It conferred value, in this case cultural capital, on those musicking in all its facets. This value, in turn, served in the performance of gentility in the mid-nineteenth century. The source materials include binder’s volumes (bound volumes of sheet music or manuscripts), letters, diaries, the contents of newspapers, images, and other types of documentation. As an ethnographic reading of archival sources, this study crafts new and vital interpretations of music in southern culture.

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