- Minerva Elements Records
Minerva Elements Records
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ItemMask, Word, Body and Metaphysics in the Performance of Greek TragedyMONAGHAN, P ( 2008)
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ItemUniting the work of community musicians and music therapists through the health-care continuum: A grounded theory analysisO'GRADY, L ; MCFERRAN-SKEWES, K ( 2007)
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ItemResponse to Tia Nora (Evidence and Effectiveness in Music Therapy)WIGRAM, A ( 2007)
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Item"A Ping, Qualified by a Thud": Music Criticism in Manhattan and the Case of Cage (1943-58)Robinson, S (CAMBRIDGE UNIV PRESS, 2007-02)This article surveys the reception of concert performances in Manhattan of music by John Cage, from his arrival in 1942 until his gala retrospective held in Town Hall in 1958, in particular comparing responses from composer-critics such as Virgil Thomson, stabled at theNew YorkHeraldTribune, with that of music journalists based at theNew York Timesand other local dailies. Close reading of reviews and of an array of archival sources suggests that Cage's personal and professional relationships with composer-critics ensured that the reception of his music was uniquely well informed, and that his prepared piano works and early experiments with chance were treated with a remarkable degree of affirmation. Much of Cage's critical identity can be attributed to the aegis of Thomson, who, if he denied acting as “hired plugger” for Cage, nonetheless sympathetically construed him as Americanist, Francophile, post-Schoenbergian, and ultramodernist. Thomson's resignation from theTribunein 1954 coincided with a pronounced deterioration in Manhattan critics' appreciation of Cage. I argue that the reasons for this lie as much with the demise of the composer-critic—and a reversal of Cage's own attitude to criticism—as with conservative disaffection with new forms of experimentalism.
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ItemInterpretive subgroup analysis extends modified grounded theory research findings in oncologic music therapyO'Callaghan, C ; Hiscock, R (OXFORD UNIV PRESS INC, 2007)Following an investigation into oncologic patients' experiences of the helpfulness of music therapy (O'Callaghan & McDermott, 2004), it was considered that examining relationships between specific patient characteristics and their responses could yield further interesting understandings. "Interpretative subgroup analysis" is introduced, which adapts principles of subgroup analysis in quantitative research to textual data analysis. Anonymous written responses from 128 oncologic patients were analyzed to compare responses from (a) those that had one music therapy session with those who had more than one session, (b) males and females, and (c) middle and older aged respondents. The number of music therapy sessions had scant effect on reported music therapy experiences, and males were much more likely to return questionnaires but much less likely to participate. Unlike some females, males always described positive affective responses when experiencing both sad and positive memories. Variations in the middle and older aged subgroups were evident in type of affective response, and emphases in descriptions of memories and music therapy's effect. Implications of these findings for music therapy practice are considered. Interpretive subgroup analysis is recommended for extending understanding of subjective within group experiences in music therapy research incorporating a grounded theory approach and large enough samples.
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ItemTheatre and Philosophy: the Lies in Plato's ClosetMONAGHAN, P ( 2007)
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ItemTerra Incognita: Surrealism and the Pacific RegionWHITE, A ( 2007)
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ItemGraeme Doyle, The Cunningham Dax Collection and Surrealist DiscourseWHITE, A ( 2007)
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ItemDiscourse analysis reframes oncologic music therapy research findingsO'Callaghan, C ; McDermott, F (PERGAMON-ELSEVIER SCIENCE LTD, 2007)