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A History of Music at the Cathedrals of the Church of Ireland (Belfast: Institute of Irish Studies, Queen's University of Belfast, 1989). Hast, Dorothea & Scott, Stanley: Music in Ireland. Experiencing Music, Expressing Culture (New York: Oxford University Press, 2004). Hogan, Ita M.: Anglo-Irish Music, 1780–1830 (Cork: Cork University Press ...
This romantic tragedy is Wagner's most radical work and one of the most revolutionary pieces in music history. The "Tristan chord" began the breakdown of traditional tonality. [111] 1866 Mignon (Ambroise Thomas). A lyrical work inspired by Goethe's novel Wilhelm Meister's Apprenticeship, this was Thomas's most successful opera along with Hamlet ...
Each volume focused on a certain genre of orchestral or choral music (for example, Volumes I and II were devoted to Symphonies; Volume III to Concertos), with many of the works discussed with the help of music examples. In 1944, a posthumous seventh volume appeared on chamber music. In 1989, a new version was published with some essays omitted ...
The music of ancient Rome borrowed heavily from the music of the cultures that were conquered by the empire, including music of Greece, Egypt, and Persia. Music accompanied many areas of Roman life; including the military, entertainment in the Roman theater, religious ceremonies and practices, and almost all public/civic occasions.
Over the years, a number of bands have performed "crossover" music, that is, Irish rebel lyrics and instrumentation mixed with other, more pop styles. Damien Dempsey is known for his pop-influenced rebel ballads and bands like Beltaine's Fire and Kneecap combine Rebel music with Political hip hop and other genres. [citation needed]
The most famous example of this is the BACH motif, which has been used by over 400 composers [1] in tribute to Johann Sebastian Bach (Bach himself used it more than once in his own works). Other examples include: Ravel's Menuet sur le nom d'Haydn; Arnold Bax's Variations on the name Gabriel Fauré for harp and strings
Finlandia, Op. 26, is a tone poem by the Finnish composer Jean Sibelius.It was written in 1899 and revised in 1900. The piece was composed for the Press Celebrations of 1899, a covert protest against increasing censorship from the Russian Empire, and was the last of seven pieces performed as an accompaniment to a tableau depicting episodes from Finnish history. [6]
Musical quotation is to be distinguished from variation, where a composer takes a theme (their own or another's) and writes variations on it.In that case, the origin of the theme is usually acknowledged in the title (e.g., Johannes Brahms's Variations on a Theme by Haydn).