Results 61 to 70 of about 83,140 (224)
Cognitive Theories of Galant Music at the Margins of Experience
Music Analysis, Volume 44, Issue 3, Page 293-339, October 2025.ABSTRACT Leading cognitive studies of galant music treat schematism as both a device and an ethos. The devices – whether called pre‐fabs, tiles or schemata – undergird a mechanistic and passive ethos of inventiveness. In vision and practice, this constellation of approaches directs inquiry away from a musical depth that one contemplates and towards a ...
Edmund J. Goehring
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L’émergence de la notion de classique dans la musique chez Amadeus Wendt (1783-1836)
Cahiers d’Études Germaniques, 2013 According to the romantic writers (Tieck, Wackenroder, Hoffmann), the three masters of Viennese classicism, Haydn, Mozart and Beethoven, developed instrumental music in such a way that music went to full autonomy.
Alexandre Chèvremont
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Chamber Music Concert, March 24, 1983 [PDF]
, 1983 This is the concert program of Chamber Music Concert on Thursday, March 24, 1983 at 1:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Four Miniatures by Louis Moyse, Divertimento No. 3 in B-flat by Wolfgang Amadeus Mozart, and
School of Music, Boston University
core
Honour and humiliation: Emotional economies of war and defeat
Nations and Nationalism, Volume 31, Issue 4, Page 809-820, October 2025.Abstract The article looks at nationalism, war and defeat from a history of emotions perspective. It frames nationalism as a political programme and mindset that enlists emotions of belonging and solidarity, but also fear, anger, hatred and contempt.
Ute Frevert
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Frontiers in Neuroscience, 2018 Schizophrenia is a syndrome that is typically accompanied by delusions and hallucinations that might be associated with insular pathology. Music intervention, as a complementary therapy, is commonly used to improve psychiatric symptoms in the maintenance
Hui He +11 more
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The Empire Brass Quintet, April 21, 1993 [PDF]
, 1993 This is the concert program of the Empire Brass Quintet performance on Wednesday, April 21, 1993 at 8:00 p.m., at the Morse Auditorium, 602 Commonwealth Avenue.
School of Music, Boston University
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Places as refrains: A non‐constructive alternative to assemblage thinking
Transactions of the Institute of British Geographers, Volume 50, Issue 3, September 2025.Abstract Over the past 20 to 30 years, relational, post‐humanist, processual, and non‐representational approaches to space and place have gained an increasing purchase within anglophone human geography, whether underpinned by academic engagements with Western philosophy, anthropology, or indigenous thinking and praxis.
Peter Merriman
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An Appreciation of the First Movement of Mozart’s Piano Sonata in D Major, KV.576 [PDF]
SHS Web of ConferencesThe most outstanding and influential composer of the Viennese classical school is Mozart, and the Piano Sonata in D Major (KV.576) is Mozart's last sonata, written in 1789.
Wang Le
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Boston University Symphonic Chorus and Chamber Orchestra, Sunday, January 31, 1999 [PDF]
, 1999 This is the concert program of the Boston University Symphonic Chorus and Chamber Orchestra performance on Sunday, January 31, 1999 at 3:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts.
School of Music, Boston University
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A Quantitative Study of Chromaticism: Changes Observed in Historical Eras and Individual Composers
Empirical Musicology Review, 2007 Music historians have observed informally that Western music became increasingly chromatic between roughly 1600 and 1900. This view is tested formally, and the results are shown to be consistent with the standard view.
Daniel Perttu
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