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Comments for Performers as Patrons of New Music
<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" > <channel> <title> Comments for Performers as Patrons of New Music </title> <atom:link href="https://ppnm.hypotheses.org/comments/feed" rel="self" type="application/rss+xml" /> <link>https://ppnm.hypotheses.org</link> <description>Conditions - Collaborations - Impacts</description> <lastBuildDate>Tue, 20 Aug 2024 13:53:48 +0000</lastBuildDate> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <generator>https://wordpress.org?v=6.7.2</generator> <item> <title> Comment on A Trip to Bavaria and Piano Music for One Hand Only | by E. Reisinger by A Connection Between Wittgenstein and Goodman: Paul Hindemith | Performers as Patrons of New Music </title> <link>https://ppnm.hypotheses.org/664#comment-9</link> <dc:creator><![CDATA[A Connection Between Wittgenstein and Goodman: Paul Hindemith | Performers as Patrons of New Music]]></dc:creator> <pubDate>Wed, 15 Jun 2022 08:20:23 +0000</pubDate> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=664#comment-9</guid> <description><![CDATA[[…] in late 1922 or early 1923 with a request for a composition. It was one of the first commissions Wittgenstein granted and would be followed by numerous others. Hindemith completed his Klaviermusik, op. 29, in […]]]></description> <content:encoded><![CDATA[<p>[…] in late 1922 or early 1923 with a request for a composition. It was one of the first commissions Wittgenstein granted and would be followed by numerous others. Hindemith completed his Klaviermusik, op. 29, in […]</p> ]]></content:encoded> </item> <item> <title> Comment on Chimes on the Rhine | by E. Reisinger by International Conference of the German Society for Musicology (GfM) | Performers as Patrons of New Music </title> <link>https://ppnm.hypotheses.org/500#comment-5</link> <dc:creator><![CDATA[International Conference of the German Society for Musicology (GfM) | Performers as Patrons of New Music]]></dc:creator> <pubDate>Sun, 03 Oct 2021 17:03:38 +0000</pubDate> <guid isPermaLink="false">http://ppnm.hypotheses.org/?p=500#comment-5</guid> <description><![CDATA[[…] my research stay in Basel, I was finally able to attend a conference in a physical location again (and not just online):聽 […]]]></description> <content:encoded><![CDATA[<p>[…] my research stay in Basel, I was finally able to attend a conference in a physical location again (and not just online):聽 […]</p> ]]></content:encoded> </item> <item> <title> Comment on Tracking Sources Along the US East Coast | by E. Reisinger by How the “King of Swing” Became my Pilot Study for Commissioning Classical Music | Performers as Patrons of New Music </title> <link>https://ppnm.hypotheses.org/66#comment-3</link> <dc:creator><![CDATA[How the “King of Swing” Became my Pilot Study for Commissioning Classical Music | Performers as Patrons of New Music]]></dc:creator> <pubDate>Tue, 29 Sep 2020 09:11:00 +0000</pubDate> <guid isPermaLink="false">http://ppnm.hypotheses.org/?p=66#comment-3</guid> <description><![CDATA[[…] ← Introducing Performer Patronage as Research Field Tracking Sources Along the US East Coast → […]]]></description> <content:encoded><![CDATA[<p>[…] ← Introducing Performer Patronage as Research Field Tracking Sources Along the US East Coast → […]</p> ]]></content:encoded> </item> <item> <title> Comment on How the “King of Swing” Became my Pilot Study for Commissioning Classical Music | by E. Reisinger by Tracking Sources Along the US East Coast | Performers as Patrons of New Music </title> <link>https://ppnm.hypotheses.org/64#comment-2</link> <dc:creator><![CDATA[Tracking Sources Along the US East Coast | Performers as Patrons of New Music]]></dc:creator> <pubDate>Tue, 29 Sep 2020 09:08:14 +0000</pubDate> <guid isPermaLink="false">http://ppnm.hypotheses.org/?p=64#comment-2</guid> <description><![CDATA[[…] after the expiration of Goodman鈥檚 exclusive performance rights to the piece. As described in a recent blog post, the commission for Contrasts was a joint initiative by Goodman and the Hungarian violinist Joseph […]]]></description> <content:encoded><![CDATA[<p>[…] after the expiration of Goodman鈥檚 exclusive performance rights to the piece. As described in a recent blog post, the commission for Contrasts was a joint initiative by Goodman and the Hungarian violinist Joseph […]</p> ]]></content:encoded> </item> </channel> </rss>