Beethoven’s Influence on Modern Musical Thought

Ludwig van Beethoven is undoubtedly one of the most important and influential composers of Western art music. From a young age, he exhibited considerable talent, independence, and willful nonconformity. Over the course of his life, these themes came through both in his compositions, and in his attitude towards social norms regarding music. Composing symphonies, sonatas, string quartets, concertos, and one opera, Beethoven shattered musical boundaries and set the stage for how musicians and listeners would think about music for the next 200 years, up to modern day. This afternoon I will explore various ways in which Beethoven’s conception of music continues to influence our thinking about music, even rock, through analysis of The Beatles’ “A Day in the Life,” off their 1967 album Sgt. Pepper’s Lonely Hearts Club Band.

De la musique et de la peinture : de leurs effets sur les hommes en général et de leur influence sur les moeurs /

Mode of access: Internet.

The Power of music : in which is shown, by a variety of pleasing and instructive anecdotes, the effects it has on man and animals.

Includes index.

A discourse on the moral influence of sounds : delivered before the Chester County Cabinet of Natural Science, January 18th, 1839 /

Mode of access: Internet.

Essays on the nature and immutability of truth, in opposition to sophistry and scepticism; on poetry and music, as they affect the mind; on laughter, and ludicrous composition; on the utility of classical learning.

Mode of access: Internet.

Influência da música no estado de ânimo e no desempenho em exercícios

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Essays: on the nature and immutability of truth, in opposition to sophistry and scepticism; on poetry and musick, as they affect the mind; on laughter, and ludicrous composition; on the utility of classical learning.

Mode of access: Internet.

Elementos de la música folclórica como material musical en la composición: unión de la tradición y la academia en la composición contemporánea

La música folclórica más apegada a sus raíces es de tradición oral; la combinación de esta tradición con la música académica permite preservar, mediante el uso de las partituras, las músicas tradicionales de diferentes culturas del mundo -- En la música académica, se cuenta con referentes del uso de la música tradicional como una herramienta que brinda material que puede ser rítmico, melódico, armónico o tímbrico, entre otros -- La aproximación sonora al timbre de instrumentos tradicionales como el shehnai de la India, el morin jur de Mongolia, el Koto de Japón y el tiple de Colombia realizada con instrumentos acústicos occidentales de uso académico, es uno de los ejes de esta investigación; como producto de la misma se busca usar los elementos y el lenguaje propios de la tradición para la creación de ideas musicales, combinados con lenguajes de composición de los siglos XX y XXI que, a su vez, pueden ser o no fieles al carácter folclórico de cada cultura

Tracing the influence of non-narrative film and expanded cinema sound on experimental music

This study surveys and interrogates key conceptual frameworks and artistic practises that flow through the distinct but interconnected traditions of non-narrative film and experimental music, and examines how these are articulated in my own creative sound practise.

Influence of music on the growth of koi carp, Cyprinus carpio (Pisces: Cyprindae)

An experiment was carried out to investigate the influence of music on the growth of Koi Carp (Cyprinus carpio) by subjecting the fish to music. Weekly growth in weight was recorded and used to calculate the growth rate and specific growth rate. The difference in growth between the control and experiment groups of fishes was statistically tested for significance. It was observed that the growth of fish subjected to music was significantly higher.

Righteous sounds and reproductive justice : the influence of Ani DiFranco's music for reproductive rights activists

In this thesis, I explore how the folk-rock music of Ani DiFranco has influenced the activist commitments, sensibilities, and activities of reproductive rights activists. My interest in the relation of popular music to social movements is informed by the work of Simon Frith (1987, 1996a, 1996b), Rob Rosenthal (2001), and Ann Savage (2003). Frith argues that popular music is an important contributor to personal identity and the ways that listeners see the world. Savage (2003) writes that fans develop a unique relationship with feminist/political music, and Rosenthal (2001) argues that popular music can be an important factor in building social movements. I use these arguments to ask what the influence of Ani DiFranco's music has been for reproductive rights activists who are her fans. I conducted in-depth interviews with ten reproductive rights activists who are fans of Ani DiFranco's music. All ten are women in their twenties and thirties living in Ontario or New York. Each has been listening to DiFranco's music for between two and fifteen years, and has considered herself a reproductive rights activist for between eighteen months and twenty years. I examine these women's narratives of their relationships with Ani DiFranco's music and their activist experience through the interconnected lenses of identity, consciousness, and practice. Listening to Ani DiFranco's music affects the fluid ways these women understand their identities as women, as feminists, and in solidarity with others. I draw on Freire's (1970) understanding of conscientization to consider the role that Ani's music has played in heightening women's awareness about reproductive rights issues. The feeling of solidarity with other (both real and perceived) activist fans gives them more confidence that they can make a difference in overcoming social injustice. They believe that Ani's music encourages productive anger, which in turn fuels their passion to take action to make change. Women use Ani's music deliberately for energy and encouragement in their continued activism, and find that it continues to resonate with their evolving identities as women, feminists, and activists. My study builds on those of Rosenthal (2001) and Savage (2003) by focusing on one artist and activists in one social movement. The characteristics of Ani DiFranco, her fan base, and the reproductive rights movement allow new understanding of the ways that female fans who are members of a female-dominated feminist movement interact with the music of a popular independent female artist.

Who influence the music tastes of adolescents? A study on interpersonal influence in social networks

Research on music information behavior demonstrates that people rely primarily on others to discover new music. This paper reports on a qualitative study aiming at exploring more in-depth how music information circulates within the social networks of late adolescents and the role the different people involved in the process play. In-depth interviews were conducted with 19 adolescents (15-17 years old). The analysis revealed that music opinion leaders showed eagerness to share music information, tended to seek music information on an ongoing basis, and were perceived as being more knowledgeable than others in music. It was found that the ties that connected participants to opinion leaders were predominantly strong ties, which suggests that trustworthiness is an important component of credibility. These findings could potentially help identify new avenues for the improvement of music recommender systems.

Boundaries and Bridges: the influence of James Cooksey Culwick on the development of the teaching and learning of music in nineteenth century Ireland

James Cooksey Culwick (1845-1907) was born in England. Trained as chorister and organist in Lichfield Cathedral, he moved to Ireland at twenty- one and remained until his death in 1907. Although his reputation as scholar, musician and teacher was acknowledged widely during his lifetime - he received an honorary doctorate from University of Dublin (1893) - little is known about the contribution he made to music education. This paper addresses this gap in the literature and argues that it was Culwick's singular achievement to pay attention to music pedagogy at secondary level, by recognizing that music could be seen as a serious career option for girls, and by providing resources for teachers which emphasised the development of an 'art-feeling' in pupils of all abilities. In addition, he considered Irish music as an art which had significance as music first, and Irish music second, and advocated a 'laudable tolerance' for opposing views on matters of cultural identity to Ireland at the end of the nineteenth century.

The power and influence of music considered from a psycho-physiological point of view /

Includes bibliographical references.

Music as the Source of Information Influence and Soul Education

Unlike other works of art (painting, sculpture, etc.) a musical composition should be performed, it should sound to become accessible. Therefore, the role of the musical masterly performance is extremely important. But presently it has increased in importance when music through mass communication media i.e. radio, television, sound recording becomes in the full sense of the word the property of millions. Art in all its genres as a means of information helps to recreate a picture of one or other epoch as a whole. Moreover, art has a profound impact on education: it can be positive or negative, creative or destructive. Let us dwell on such aspect of music as means of information and the value of musical mastery activity for brining information to hearers of the alternating generations. Unlike other works of art (painting, sculpture etc.) a musical composition should be performed, it should sound to become intelligible. Therefore, the role of the musical masterly performance is extremely important. But presently it becomes particularly great in the XXI century when music becomes a true property of the masses due to mass media – radio, television, sound recording.