Results 71 to 80 of about 39,718 (250)

Monothematism in the works of Pietro Metastasio, Ludwig van Beethoven and Mihai Eminescu

open access: yesStudiul Artelor şi Culturologie: Istorie, Teorie, Practică
The ideas of humanism and the ideal of praise, which appeared in works of art in Antiquity, found their development in the work o the humanists of the Renaissance.
Natalia Sviridenco
semanticscholar   +1 more source

Muir String Quartet, November 13, 2002 [PDF]

open access: yes, 2002
This is the concert program of the Muir String Quartet performance on Wednesday, November 13, 2002 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Quartet in D Major, Op. 18 No.
School of Music, Boston University
core  

Consequentialism, Welfarism, and Meaning in Life

open access: yesPacific Philosophical Quarterly, Volume 105, Issue 4, Page 583-604, December 2024.
Abstract What, if anything, makes a life meaningful? Consequentialist theories about meaning in life maintain that the consequences of that life confer meaning upon it. This article advances one such theory: welfarism about meaning in life. According to this view, a life is conferred meaning if, and only if, and then only insofar as, it promotes or ...
Chad Mason Stevenson
wiley   +1 more source

Chamber Music Highlights Concert, December 11, 1992 [PDF]

open access: yes, 1992
This is the concert program of the Chamber Music Highlights Concert on Friday, December 11, 1992 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were String Quartet, Op. 18 No. 1 by Ludwig van Beethoven, Brass Quintet N. 2, Op.
School of Music, Boston University
core  

Chamber Music Concert, April 7, 1983 [PDF]

open access: yes, 1983
This is the concert program of Chamber Music Concert on Thursday, April 7, 1983 at 1:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were String Quartet in C major, Op. 59 No.
School of Music, Boston University
core  

EDITORIAL ACTIVITIES BY ALEXANDER GOLDENWEISER THROUGH THE EXAMPLE OF THE SONATA NO. 21 OP. 53 BY LUDWIG VAN BEETHOVEN

open access: yesMusic Journal of Northern Europe
В настоящей статье рассматривается редакция сонаты № 21 ор. 53 Л. Бетховена, выполненная А. Б. Гольденвейзером. Cравнение с уртекстом, а также с редакциями этого сочинения, принадлежащими Г. Бюлову и А.
Ю.В. Бунтова
semanticscholar   +1 more source

Corpus Studies and ‘Close Listening’

open access: yesMusic Analysis, Volume 43, Issue 2, Page 191-246, July 2024.
ABSTRACT This article provides a detailed response to Markus Neuwirth and Martin Rohrmeier's article ‘Wie wissenschaftlich muss Musiktheorie sein?’, published in the Zeitschrift der Gesellschaft für Musiktheorie in 2016. I undertake to nuance their call for the wholesale adoption of machine‐assisted corpus‐based methods in music theory through a ...
NATHAN JOHN MARTIN
wiley   +1 more source

Kompozicije Ludwiga van Beethovna na koncertnih sporedih in v arhivu muzikalij ljubljanske Filharmonične družbe

open access: yesMuzikološki Zbornik, 2012
V prispevku je predstavljena frekvenca kompozicij Ludwiga van Beethovna na koncertih Filharmonične družbe do leta 1872. Pregled izvedb je dopolnjen s pregledom kompozicij, navedenih v družbinih katalogih in stanjem dejanskega ohranjenega gradiva v ...
Sara Železnik
doaj   +1 more source

Student Chamber Music, April 14, 1992 [PDF]

open access: yes, 1992
This is the concert program of the Student Chamber Music performance on Tuesday, April 14, 1992 at 6:30 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Laudes by Jan Bach, III.
School of Music, Boston University
core  

The Origin of the Dominant: Schoenberg's ‘Strong Progression’ and the Realisation of Implied Virtual Pitches

open access: yesMusic Analysis, Volume 43, Issue 2, Page 247-301, July 2024.
ABSTRACT In major‐minor tonality, V implies I, and rising fourths, falling thirds and rising seconds between successive chord roots are more common than falling fourths, rising thirds and falling seconds respectively. Possible explanations involve history (in two‐part medieval counterpoint, harmonic major sixths resolved to octaves – maintained in V–I);
RICHARD PARNCUTT
wiley   +1 more source

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