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Journal of the Royal Musical Association was established.
Johnson’s claim that audiences of the nineteenth century began to listen more intently provoked extensive comment in reviews and sparked debate elsewhere.
At the outset it had been agreed that the project would not focus on listening experiences that were written in order to influence public opinion, such as those published by critics or music theorists, or on sources gathered from questionnaires.
Instead, the focus was to be primarily on private, personal and unsolicited sources, such as diaries and correspondence, notwithstanding the fact that some of these sources have been written with posterity in mind.
A number of basic assumptions underpinned the design of the database.
These included: the ability to record accounts from any historical period, any culture and any musical genre, and to capture ‘fuzzy’ (imprecise) data; the intention that the data resulting from this process should be openly accessible under a Creative Commons (CC) licence; and the ability to accommodate varying levels of contributor expertise, so that the database would not be an exclusive, academic domain. 18);" class="ledfootnote"It is a truism that a database is only as useful as the data it contains, and in the initial stages of the project it was important to define the nature of the evidence to be included.
This form of hearing is presented as a logical activity – and a strenuous one at that, which requires the full concentration of the listener.