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Preparing a class on Diaghilev for my students in history's classical music, I'm wondering about the impact and the meaning of the russian ballets in Paris since 1913.
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I agree with both. orientalism brought some thing "new", something "exotic" and at the same time with a modern languageor like a modern language.
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I'm doing a research about classical music in the cartoons of Disney ("Fantasy", "Fantasy 2000") and Soviet cartoons ("Nutcracker" 1973, "Firebird" 1984, "Night on Bald Mountain" 1998). Where can I find any information about it?
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There are many papers about the music in Fantasia, such as:
  • Willis, S.. (1987). Fantasia: Walt Disney's Los Angeles Suite. Diacritics, 17(2), 83–96. http://doi.org/10.2307/464748
  • McN.. (1941). Disney's 'Fantasia'. The Musical Times, 82(1183), 349–349. Retrieved from http://www.jstor.org/sta
  • Clague, M.. (2004). Playing in 'Toon: Walt Disney's "Fantasia" (1940) and the Imagineering of Classical Music. American Music, 22(1), 91–109. http://doi.org/10.2307/3592969
  • Granata, Charles L. (2002) “Disney, Stokowski, and the Genius of Fantasia” a Goldmark i Taylor (eds.) The Cartoon Music Book. Chicago: A Cappella Books. p. 73-91.
  • Bellano, Marco (2015). “Painted orchestras. Orchestration and musical adaptaion in Fantasia  and Fantasia 2000” a T. Fraile y E. Viñuela (eds.) Relaciones música e imagen en los medios audiovisuales. Oviedo: ediciones de la Universidad de Oviedo, p. 277-287.
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I'm doing a research about classical music in Disney cartoons. So, I need as much information as possible. Where can I find it?
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I cover this topic briefly in courses where discussion of the history of the film business occurs - or when talking about sound design. Check out these references:
Clague, M. (2004). Playing in'Toon: Walt Disney's" Fantasia"(1940) and the Imagineering of Classical Music. American Music, 22(1), 91-109.
Cook, N. (2000). Analysing musical multimedia. p. 251-268. UK: Oxford University Press.
Culhane, J. (1983). Walt Disney's Fantasia. Harry N. Abrams, Inc..
Marks, M. M. (1997). Music and the silent film: Contexts and case studies, 1895-1924. Oxford University Press, USA.
Donnelly, K. (2001). Film music: critical approaches. Edinburgh University Press; Continuum.
Giroux, H. A. (1994). Animating youth: The Disneyfication of children's culture. SOCIALIST REVIEW-SAN FRANCISCO-, 24, 23-23.
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I've looked everywhere. I suspect that since this work was done before we started using the internet for this sort of thing (storing music scores online), no one ever got around to it, the principals having gone on to something else.
There were a number of performance decisions1 that I would dearly love to know Adrian Shepherd's thinking.
Karl
1. The performance in question: Thomas Augustine Arne Symphonie 1 - 4, LP later a CD on Chandos.
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Shepherd? Ask the Scottish Music Centre first. They're at City Halls, Glasgow.  Or try the Performing Rights Society, but I'd check with local connections first.
Arne? UK music libraries have the Encore website, for orchestral and choral sets in libraries.  Sometimes you can arrange a direct loan with the library holding a particular set, but other times you need to go to your local public library (or the university where you study), request an inter library loan, and let them handle the transaction for you.  http://www.iaml.info/iaml-uk-irl/projects/encore.html
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The "will test in music" is available as volitional test for German speaking music students. This test should be provided in different language versions. In a first step, I would like to make an introductory paper available that has been published as German-language article in the Journal "Üben & Musizieren" in 2013. The next steps are to develop different language versions of the test. I'm seeking for international colleagues who want to help me with these steps.
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Dear Joerg,
Sorry for complicating things.  My "motivation" is to get the test just right!
The most informative title is difficult to determine without seeing the contents of the test.  Perhaps knowing the purpose will help.  Do you want to find out to what extent a music student practices and plays according to his personal motivation?  For example, "I practice the .... all the time because I love it and I enjoy playing in a group with others."  As opposed to "I don't practice very often; I don't like it very much but my parents make me do it."
So far I like "Personal Motivation Test for Musicians and Music Students"
I've since thought of the word "ambition" which would be close to your original will and volition.
Possible title:  "Test of Personal Ambition to Determine Motivation in Musicians and Music Students"
Or (this gets long but it may clearly express what the purpose of the test is--if this is indeed the purpose, I'm only guessing): 
"Test of Personal Ambition to Determine Degree of Motivation in Music Students"
Thanks to the ease of editing in Word any changes will be easy.  We can continue to hash this out while I continue to polish the Introduction.
Warm regards,
John
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I have been examining the relationship between the poet-playwright Garcia Lorca and composer Falla, using motivic analysis recommended by Juan David Garcia Bacca. I would like to know of similar studies of other writers and composers.
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Dear Professor Nelson Orringer,
Nowadays, its difficult to relate literature and music due to film industry. But if we look back, we can say before inception of art, literature, music and dance were inter-related and was treated as single activity.
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Does anyone know whether Maurice Ravel´s music has had an impact on European music after his death in 1937? How much impact, where, and on whom?
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Nelson, what a refreshing question. I had classical piano training for 11 years when I was a child/teen. My Mom played all kinds of music at home, from Bach to Bacharach.
In preparation for writing this note, I enjoyed Ravel's Pavane for a Dead Princess: https://www.youtube.com/watch?v=GKkeDqJBlK8
Really, Ravel and his contemporaries reflected the romanticism of literature, art, and, yes, music. When you play or listen to Ravel, you just have to feel something, and this deep emotion used to be thought of (in the Victorian era) as unhealthy, but we contemporary folks don't think that way. Bolero was an early orchestra performance ... excellent. 
Anthony, I disagree .... IMHO this does not make you a "low culture" person! Nelson, thanks for asking and best wishes.
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I would like  to know if serious concerts can exist without the benefit of grants.  Many  happenings are organised with subsidies of the city, consequently the tickets are  for free or rather cheap.
 Can financial support not restrict the freedom of expression.
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Good question. Please allow me to extemporize a bit.
My performing career in classical music spans over three decades. This includes experiences in the academy as a student, in the symphonic world (including ballet and opera) Broadway type musicals, church performances,and casual dance "gigs." If one looks at the historical growth of Western art music (often considered "serious" music) patronage has always played a significant role in the creation and performance of music. 
The early Christian church (a.k.a. Catholic church) played a significant role in the development of notation and the establishment of the modes to allow the singing of chants to have the same intervallic relationships between notes regardless of the starting pitch or the "tonic." Composers began to develop new styles such as organum which introduced polyphony and the rhythmic modes. Not to go into too much theory or medieval history, if  composers were not supported by the church, the development of Western art music would likely have suffered.
Other early patrons include nobility and the merchant class, particularly in the city-states of Italy. F. J. Haydn enjoyed a lengthy tenure as court composer/conductor/performer with the Esterhazy family. His patron so admired Haydn that he was provided an opportunity to travel to London on two occasions and to solicit/receive commissions for several symphonies.
Serious music performances were largely associated with worship or the court until the development of opera which although early on was sustained by the wealthy became one of the first large-scale publicly attended art events. By the 17th and 18th  centuries composers were seeking commissions and were beginning to establish themselves as independent from the patronage system as it had existed previously.
In today's world patronage still exists and the philanthropic endeavors of arts presenting organizations is highly developed. Organizations have developed support groups such as guilds, societies, memberships, etc. to supplement the income brought in through ticket sales and subscriptions as well as selling advertising in the concert program. Corporations, foundations, and individuals are sought to sponsor a season or a particular performance (or series). For corporations and foundations, this serves as a public relations or marketing outlet. Private individuals have a variety of personal motivations to support the arts.
The costs incurred with presenting serious music are considerable. Professional musicians, conductors and soloists demand to be paid unless it is a benefit concert in which the individuals have agreed to perform gratis. Their remuneration covers rehearsals and performances. Rental of the rehearsal space, performance space, and frequently music is an expense that some audience members do not readily consider. The same is true for marketing, advertising, and the publication of printed materials such as tickets, posters, and programs. Additionally the ticket staff, ushers and concessionaires will need to be paid. Some upscale performance also provide valet parking as a perk for the most expensive seats.
The actual percentage of the overall production costs that ticket and advertising revenue generates is roughly 20-35% depending on a host of factors surrounding the production. A single ticket for the New York Philharmonic in March 2015 can cost from close to $150 to over $400. Certainly serious music can demand "serious cash"...and that is with corporate, foundation, and individual contributions as well as selling advertising and other "soft goods."
All of this is just on the cost side of the equation. Other factors to consider include the impact of popular culture in the development of taste. This may be somewhat geographically influenced similar to the argument of "nature versus nurture." However with the widespread availability for the electronic playback of music regardless of the genre or style most listeners are now consumers of music who often choose to listen to anything but serious music. Arts presenting organizations generally have public outreach concerts that are free in public parks and schools to acquaint potential audiences with their artistic product. These are supported through donations, grants, gifts and the general operating budget of the organization. However these are only momentary interactions with the arts and unless the artistic exposure is frequent, sustained, or regularly available, the popular culture seems to win out.
In addition to my performing career, I've been a college professor for 25 years. In teaching courses from music appreciation to more advance music history and literature during this time my music major students more often listen to popular music even if they desire to be a professional performing musician in an orchestra. Peer pressure and culture prevail, it seems.
Thanks for bearing with my rambling, but I did want to share some of my insights.
Regards,
Jim
 
 
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Probably because of Baroque opera's heavy reliance on classical mythology there are several examples of allegorical characters personifying ideas -- from the muses to emotions (like love, discord, folly, etc.). Here, though, I'm looking for people who symbolize cities, countries, regions, continents, etc.
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You'll find several examples in late seventeenth-century London: Ariane, ou le mariage de Bachus, performed at the King's Theatre Drury Lane in 1674 by a French troupe, featured three nymphs, Thames, Tiber and Seine. They float on the waves in a great shell.
In Calisto, performed at court in 1675, the part of the river Thames was sung by the actress Moll Davies (in the prologue).
In Albion & Albanius, performed in 1685 at the Dorset Garden Theatre, we find Thamesis and Augusta (London) lying on couches, attended by rivers and cities (Act I).
In Brutus of Alba, 1696, also in the Dorset Garden Theatre, we'll find the same groups again. Recycling was normal practice in order to survive financially.
In the finale of the Purcell-Dryden semi-opera King Arthur (1691, Dorset Garden) Britain is symbolized by the figure of Britannia, rising from the sea on an island.
As to Dido: it is most likely that the only documented performance in Chelsea in 1689, was not the first one, and that it was produced at court at an earlier time during the 1680's. William III was not yet in the picture, let alone Queen Anne.
An example from France is Ercole Amante (1662) at the Salle des machines in Paris: Fourteen rivers lying around on the rocks, during the prologue. Their costumes may have given the audience a clue as to which rivers they represented.
I hope this helps, even though it is late. However, it is my first day on Researchgate.
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Does humor belong in music? In the West, the three B´s, Bach, Beethoven, and Brahms, dominate classical music and are mostly serious. What is your view? Can you provide examples of humorous music from your country if you have any? Youtubes are welcome. Also, since the West does not own a monopoly on humor in music, contributions from non-Westerners are more than welcome.
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Dear Nelson,
I what to offer to your attention the Russian Musical Film "Anton Ivanovich angry" (was created in 1941) http://www.youtube.com/watch?v=vVgYJQ-OXXQ .
"Conservatory professor gives his daughter classical musical education expecting that she will continue the family traditions. However, Simochka is fascinated by the “light” music. She makes a brilliant debut in an operetta and finds her vocation in this genre."
"Old Conservatory professor Anton Ivanovich Voronov, . recognized only major classical music, . was forced to change their attitude to the "light genre" after, . I saw a brilliant performance in the operetta of his daughter Simochka."
"Anton Ivanovich played only Bach, but his daughter is studying at the conservatory. After her walks a young composer (Kadochnikov), writing an operetta, which Anton Ivanovich for the music did not think - because of this he became so angry that even quarreled with one another.It took the intervention of the great Johann Sebastian and daughter debut (Tselikovskaya) to severe orthodox melted and approved light music and ... love. Wonderful, charming musical comedy, and time is on her favor, as good wine. A lot of hilarious vignettes, and almost caricatured characters.Film studios restored to them. Gorky in 1988, Vladimir Berenstein. Lyrics Vsevolod Rozhdestvensky. (M.Smith) "
In my opinion, this film is the best Youtube on your topic. Please, just see this film and you will get huge pleasure. This film contains humor and classical music.