Geoffrey Webber · 1996
Abstract Details concerning the size and nature of the musical forces employed in seventeenth-century North German church music survive either in the form of original documents or in nineteenth- and early twentieth-century musicological studies of sources that were lost in the Second World War. The archival studies by Lisette Krilger on Hamburg and by Hermann Rauschning on Danzig are particularly interesting as they contain transcriptions of several documents that provide information going far beyond a mere listing of numbers of musicians available.
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The SAGE International Encyclopedia of Music and Culture · 2019
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Paul Hillier · 2007
Abstract This chapter is addressed primarily to performers of Part’s music, though as I subscribe to the view that the most profound commentary on or analysis of any piece of music ultimately resides in a good performance of it, its raison d’etre is hardly a minor one. But of course the kind of language in which we seek to discuss the nuances of performance is even more hopelessly inexact than that employed for the more theoretical aspects of music. Accordingly, the chapter is a short one, and I have allowed myself a greater licence for what is, inevitably, personal opinion rather than verifiable fact.
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2025
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Stephen Slottow · 2018
Very broadly speaking, there are three styles of Japanese Zen Buddhist chanting. The first two are shōmyō and dokkyō. Shōmyō is elaborate, sophisticated, melodic, melismatic, and rhythmically varied. Dokkyō (sutra chanting) is syllabic, more or less monotonal, and chanted “in a constant, fixed rhythm, with one character of the text per beat” (Nelson 2008, 37). In dokkyō, a steady rhythm is usually kept by the beat of the mokugyo. A third category consists of chants that more closely resemble dokkyō than shōmyō, but do not have a steady beat and are often recited rather than intoned. Chanting in North American Zen Centers belongs overwhelmingly to the last two categories, although (as will be discussed later) there have been occasional innovations that don't fit into any of these categories.
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Indiana University Press eBooks · 2023
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Donald Vroon · Rowman & Littlefield Publishers eBooks · 2014
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2017
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Oddey, A · Nottingham Trent University's Institutional Repository (Nottingham Trent Repository) · 1991
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Neal Zaslaw · 1991
Abstract It has been argued that, as modern listeners can never hear with eighteenth-century cars, attempts at historical reconstruction (or so-called ‘authentic’ performance) are preordained to failure. This argument maintains that, even if we could fully re create eighteenth-century sounds, their effect on us would not be what it was on listeners two hundred years ago. Hence ‘authentic’ performance, if sought at all, ought to be concerned with modern sounds that have an effect on us analogous to the effect which the eighteenth-century sounds had upon eighteenth-century listeners. But even though this argument is based on a sound premiss, it reaches questionable conclusions. A brief discussion of this vexed topic may therefore usefully serve as preface to an examination of the orchestral practices of Mozart’s time.
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Performance Practice Review · 2024
Alexander Scriabin's Piano Concerto in F-sharp Minor, Op. 20 (1897), has a rather peculiar history.Its inception and early performances were beset by problems.The initial versions of the score, as well as first public performances, were met with harsh criticisms.Then, in 1899, the critics' and the public's reaction suddenly went from disparaging to admiring.Subsequently, Scriabin's own performances of the Concerto continued to consistently gather highest accolades throughout Russia, Western Europe, and the US.After the composer's death in 1915, however, the Concerto has gradually faded into virtual obscurity.This article will examine circumstances surrounding the history of the Concerto, Scriabin's interpretive approach to his published scores, and a recent endeavor by Mikhail Pletnev to revise and revive the Concerto in accordance with Scriabin's performance practice principles. The inauspicious beginningsScriabin first mentioned that he had begun working on the Concerto in his letter of 15 [27] October 1896 1 to Mitrofan Belyaev, his publisher at the time. 2 Apparently, Scriabin was working so precipitously that, within five days, he had already started the third movement.Less than a month later, on 12 [24
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Noah C.G. Johnson · 2023
In this chapter, the ritual activities of a particular group of karate practitioners who live in the Midwestern United States of America, are described and considered in order to better understand why a foreign cultural practice, transplanted into their local community and enmeshed now in their everyday lives, retains “traditional” or ritualistic elements despite an avowed emphasis on practicality and effectiveness. Rather than ritual being a vestigial feature or misguided mimicry, it is shown that the pageantry of ritual activity is a key mechanism for personal reinvention, making a practitioner’s enculturation legible and accessible to modification. Ultimately, the author argues that these karate practitioners use the performance of ritual and other symbolic signals in order to reflect upon and transform the culturally shaped ideas that they have about themselves and their capabilities.
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Siobhan Murphy · 2013
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Matt Pardo · Journal of Dance Education · 2018
My research on the choreographic combination of jazz dance movement vocabularies with minimalist choreographic constructs has led to many pedagogical advances in my undergraduate-level jazz dance c...
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Hans-Joachim Hinrichsen · Encyclopedia of Early Modern History Online · 2020
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Sarah Hopfinger · 2015
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Tamar R. van Raalten (376516), Nick F. Ramsey (137091), Jeff Duyn (376517) et al. · Figshare · 2015
<p>a. reaction time (top) and b. error rate (bottom). Measures were tested over all runs (1st row) and between novel task (NT) and each practice run (PT), across one-letter (MS1) and five-letter (MS5) memory set trials (1st column) and for MS1 trials vs. MS5 trials (2nd column). Significant results are displayed in bold.</p>
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Robert Vale, Margaret Lawton, Fraser Morgan · 2015
recognition and awards for its use of techniques such as triple-bottom-line reporting in its annual report, in an attempt to make sustainability issues more mainstream. When the organisation needed to build a new building for about 90 staff, the decision was made to make the building as sustainable as possible without exceeding the budget for a conventional building. This aim was complicated by the fact that the required building comprised four components: research laboratories; offices; archival collections of insect and fungal specimens and climate-controlled greenhouses The paper describes the outcomes of the design and decision-making processes in terms of the planning of the building on the site and the choice of systems (structural, mechanical, water, etc.) within it. These systems range from the relatively simple – high-mass insulated construction; to the relatively complex – heat recovery from laboratory fume cabinets; and from the conventional – high-efficiency lighting; to the highly unusual – waterless toilets. One of the intentions was that the building would be monitored over time to see if its environmental performance measured up to the designers ’ intentions. In the paper, operational measurements of the building are provided to demonstrate what has been achieved, and how the building’s performance compares with national and international performance
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Christopher Seaman · Boydell and Brewer eBooks · 2013
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University of Wisconsin Press eBooks · 2003
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