scholarly journals ICMC | SMC 2014 Concert Reviews

2020 ◽  
pp. 25-32
Author(s):  
Danielle Sofer ◽  
Juan Parra ◽  
Alyssa Aska
Keyword(s):  
Author(s):  
Antonina Wiatr

The article discusses concerts organised by the inhabitants of the Łódź Ghetto and their cultural context. My research focuses on concerts conducted by Teodor Ryder, with preserved posters and programmes used as my sources. The surviving concert reviews written in the ghetto contribute to a better understanding of these events. Analysis of source materials provides me with an opportunity to describe the musical life in the ghetto and discuss the role of music in the lives of its inhabitants.


Author(s):  
Tomasz Florczyk

Metal-morphoses On the language of metal journalism in the monthly ”Rock’N’Roll” in 1990-1991 This article is an attempt at analyzing the language of journalists dealing with different types of metal music in the “Rock’N’Roll” magazine, which appeared in 1990-1991. The period after the transformation of the system in Poland is particularly interesting because of the development of music journalism, and the ”Rock’N’Roll” seems to be the bravest music magazine of that time. Cycles of articles, concert reviews, disc reviews, analysis of the phenomenon – all of them constitute a very intriguing picture of this period in the development of musical awareness of Polish heavy metal audience.


Popular Music ◽  
2006 ◽  
Vol 26 (1) ◽  
pp. 157-186
Author(s):  
ROB FORD

This selective listing concentrates on Paul Oliver's writings on music – therefore, references to books and articles on architecture have been omitted. For reasons of space, Paul's numerous record, book and concert reviews, published in journals such as Jazz Monthly, Audio & Record Review, Melody Maker, and Blues Unlimited, have not been included. For similar reasons, I have chosen not to include the many entries Paul contributed to the following encyclopedias: Jazz on Record: A Critical Guide to the First 50 Years, 1917–1967, ed. A. McCarthy, A. Morgan, M. Harrison and P. Oliver (London, Hanover, 1968); The New Grove Dictionary of Music and Musicians, ed. S. Sadie (London, Macmillan, 1980); and The New Grove Dictionary of Jazz, ed. B. Kernfeld (London, Macmillan, 1994). However, I have included entries from The Continuum Encyclopedia of Popular Music of the World, as examples of Paul's more recent writing. Also omitted are details of the radio programmes made for the BBC from the mid 1950s to the late 1990s.Thank you to Paul for his help with this bibliography.


2020 ◽  
pp. 33-39
Author(s):  
Jason Fick ◽  
Jorge Variego
Keyword(s):  

Author(s):  
Antonina Wiatr

Concerts of the Jewish Orchestra in the Łódź Ghetto During the Second World War The article discusses concerts organised by the prisoners of the Łódź Ghetto and presents them within the cultural context. The research focuses on concerts conducted by Teodor Ryder, with preserved posters and programmes used as sources. The preserved concert reviews written in the ghetto contribute to the better understanding of the events. The analysis of the discussed materials provides an opportunity to demonstrate the musical life in the ghetto and to answer the question about the role of music in the life of its citizens.


2021 ◽  
Vol 2 (39) ◽  
pp. 65-71
Author(s):  
Ulyana MOLCHKO ◽  
Svitlana KLESOVETS
Keyword(s):  

2020 ◽  
Author(s):  
Thomas Synofzik

80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.


Sign in / Sign up

Export Citation Format

Share Document