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Showing 1 to 7 of 7 for “"Musical Representation"”.

  1. A correspondence theory of musical representation

    This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an …

    uiuc Repository record for A correspondence theory of musical representation (opens in a new tab)

  2. Power in Madness : a critical investigation into the musical representation of female madness in the mad scenes of Donizetti’s ‘Lucia’ from Lucia di Lammermoor (1835) and Thomas’s ‘Ophélie’ from Hamlet (1868)

    … (Ashley 2002). This research explores the representation of female madness as power in the mad scenes of two famously mad opera characters: Lucia from Gaetano Donizetti’s Lucia di Lammermoor (1835) and Ophélie from Ambroise Thomas’s Hamlet (1868). The objective is to investigate the …

    pretoria Repository record for Power in Madness : a critical investigation into the musical representation of female madness in the mad scenes of Donizetti’s ‘Lucia’ from Lucia di Lammermoor (1835) and Thomas’s ‘Ophélie’ from Hamlet (1868) (opens in a new tab)

  3. South African film music: representation of racial, cultural and national identities, 1931-1969

    … of music in South African film pertaining to representation of identity of South African peoples and cultures, from the country's earliest sound films until the industry expansion of the 1970s. Chapter 1 contextualizes the study in relation to South African film and music, mainstream …

    cape-town Repository record for South African film music: representation of racial, cultural and national identities, 1931-1969 (opens in a new tab)

  4. Representing children in opera

    … and tantrums are discussed. Chapter 3 treats the musical representation of the notions of innocence and experience in children's roles. Chapter 4 offers the author's recent opera, I'm the King of the Castle. as a case study in its use of many of the notions explored in the preceding chapters.

    city-london Repository record for Representing children in opera (opens in a new tab)

  5. A musical souvenir: London in 1829

    … involves a 'thick description' of music and musical representation in a single year: 1829. The context for the study is London, although the city has been approached less as a metropolitan than as a cosmopolitan centre, a global capital with global significance. This is a cultural history of …

    cambridge Repository record for A musical souvenir: London in 1829 (opens in a new tab)

  6. Literature, interarts, and multimodality in the narrative of Seán Virgo: a transmedial inquiry into pictorial, architectural, theatrical, musical, and iconotextual tranfers

    … iconotexts, from a rich history of canon and representation since Horace, Timanthes and Etruscan models of art; (2.3) the anamorphic potential of the picturebook plate on adult revision. This latter pursuit will lead the inquiry into a lavish tradition of anamorphism -i.e. from Zeuxis, …

    dialnet Repository record for Literature, interarts, and multimodality in the narrative of Seán Virgo: a transmedial inquiry into pictorial, architectural, theatrical, musical, and iconotextual tranfers (opens in a new tab)

  7. Digital Pianoforte Tutor: A Computer based evaluator for Piano Playing

    … file from the PDF sheet music. In the FE module, musical feature extraction from the MusicXML file and MIDI or WAVE audio file will take place making use of one of the selected audio FE plugins and modules (e.g. Java jMusic API, MatLab MIRtoolbox). Once sufficient music features have been obtained …

    westminster