1857 research outputs found
Sort by
Per uno studio degli strumenti a corde nella Toscana del XVIII secolo [Towards a study of string instruments in Tuscany in the 18th century]
No full text
Edition review: Bach: Vier Zeugnisse für Präfekten des Thomanerchores (1743–1749): Faksimile und Transkription, ed. Andreas Glöckner
No full textBook review: the Cambridge Mozart encyclopaedia, edited by Cliff Eisen and Simon P. Keefe
No full textBook review: 'Ways into music: making every child's music matter' ed. Helen Coll and John Finney
No full textCatalyst for change: review of 'The triumph of music: composers, musicians and their audiences, 1700 to the present' by Tim Blanning
No full textLa datation par la dendrochronologie des instruments à cordes de la collection Cherubini, Florence/Dendrochronological dating of the Cherubini stringed instruments collection, Florence
No full textEn 2009, le catalogue général de la collection du Conservatoire Cherubini a été édité. 49 instruments à cordes de la collection, représentant le corpus le plus important des écoles de lutherie florentine et toscane ont été soumis à des examens de dendrochronologie afin d’obtenir des informations sur les dates de fabrication des instruments et leur attribution. L’échantillonnage a été analysé en utilisant un appareil de mesure des cernes du bois, équipé d’une camera digitale à haute résolution. 37 instruments à cordes ont été datés. Les valeurs de corrélation des tests statistiques effectués pour les comparaisons de dates étaient généralement très élevées. En plus de la datation, les analyses dendrochronologiques indiquent les instruments fabriqués avec des bois de même provenance et dans certains cas avec le même tronc d’arbre. Le ruban chronologique construit sur les séries d’instruments de musique est de 558 années et les dates s’échelonnent de 1396 à 1953. La chronologie de référence est bien concordante sur toute sa longueur et la datation croisée correspond également à toutes les autres chronologies de l’épicéa alpin de Norvège, et aux courbes de référence de nombreuses autres espèces.*******In 2009, the general catalogue of the Conservatory Cherubini Collection was produced. 49 stringed instruments of the collection, the most important nucleus of the Florentine and Tuscan violin-makers’ school, were submitted to a dendrochronological investigation to obtain information regarding the instruments’ construction dates and attribution. Sampling was carried out using a portable tree-ring measuring device, equipped with a high resolution digital camera. 37 stringed instruments were dated. The correlation values of the statistical cross-dating tests were generally very high. Apart from dating the instruments, the dendrochronological analyses permitted to determine which instruments had been made from wood of the same provenance and, in some cases, from the same tree trunk. The mean chronology built on the musical instrument series is 558 years long and dates from 1396 to 1953 AD. The master chronology is well replicated along its entire length and cross-dates well with all the other alpine Norway spruce chronologies and with the master curves of numerous other species
BBC Radio 3 record review: building a library: Schoenberg: Pelleas und Melisande
No full textWilliam Mival reviews recordings of Schoenberg's symphonic poem Pelleas und Melisande in this programme broadcast on 23 May 2009
Tuning in and dropping out: the disturbance of the Dutch premiere of Stockhausen's Stimmung
No full textThe disruption of the Dutch premiere of Stockhausen's Stimmung in June 1969 has become an often-told aspect of the piece's early history, but existing accounts—including Stockhausen's own—significantly misrepresent the event. The performance was interrupted, not (as Stockhausen later claimed) by young, politically engaged composers such as Peter Schat and Louis Andriessen, but by a group of composition students who wished to ‘participate’ in the piece. In an impromptu debate following the aborted performance, Schat and Andriessen defended Stockhausen's right to have his music heard in silence. I interpret this clash of young Dutch musicians in terms of the sharp schism that emerged in 1969 between Amsterdam's thriving hippie counterculture, whose communal ‘happenings’ encouraged the dismantling of the performer–audience distinction, and the city's student movement, whose emphasis on political action found reflection in Schat's and Andriessen's growing interest in communism. It is clear, however, that Schat's and Andriessen's stance was also motivated by commitments to musical professionalism and to the ideology of musical progress, commitments that sat as uneasily with the musical preferences of the student movement as they did with the hippie counterculture