Academic literature on the topic 'Generi musicali'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Generi musicali.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Generi musicali"
1
Di Paoli Paulovich, David. "Musica e canti d’espressione popolare di area latino-veneta in Istria e a Zara. Generi vocali e bibliografia." Histria : the Istrian Historical Society review 2, no. 2 (2012): 173–203. http://dx.doi.org/10.32728/h2012.07.
Full textAbstract:
Il presente contributo traccia un quadro delle ricerche e degli studi compiuti negli ultimi due secoli sul canto popolare di matrice istro-veneta, diffuso sulla costa adriatica orientale (Istria e Zara), evidenziando i principali studiosi e i maggiori risultati conseguiti. Propone quindi una distinzione dei generi o forme vocali in cui tale repertorio si manifesta (villotte, bassi, bitinade, arie notturne o da nuòto, stornelli, inni corali, canti a contenuto politico, canti dell’esodo, canti religiosi) cogliendo lo stato attuale delle ricerche e degli aspetti esecutivi di tale canto nei vari contesti di riferimento. Degli studi e delle ricerche inerenti al canto popolare istro-veneto si propone, infine, anche una bibliografia aggiornata. La costa adriatica orientale denota una vivacità musicale ricca e diversificata, che, partendo dagli albori aquileiesi tocca profondamente gli aspetti folclorici popolari, riunisce un repertorio dai tratti originali e che, soprattutto, riferendomi agli aspetti musicali sacri (canto patriarchino) e profani (canto popolare), ha consentito il formarsi nei secoli di una sensibilità musicale ad ogni livello, tale da contribuire essa stessa al sentimento d’appartenenza ad una civiltà peculiare ed unica: nelle sue componenti istriana, quarnerina, fiumana e dalmata. Compito, certamente arduo, di una musicologia istriana dovrebbe essere oggi anche quello di trarre in salvo le ultime testimonianze della musica vocale popolare di derivazione istro-veneta e non soltanto quelle di derivazione croata o slovena, essendo tale musica vocale l’anima fondante dell’essenza istriana insieme con le altre anime etno-musicali della nostra penisola.
2
Ercoles, Marco. "Tra lyra e aulos. Tradizioni musicali e generi poetici, edited by Bravi, L., Lomiento, L., Meriani, A., Pace, G." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 383–90. http://dx.doi.org/10.1163/22129758-12341329.
Full text
3
Plemenitaš, Katja. "Songs as Elements in the Generic Structure of Film Musicals." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (June 20, 2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.
Full textAbstract:
The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of film musicals are then illustrated with an analysis of the use of songs in the TV musical High School Musical 2.
4
James, Clara E., Sascha Zuber, Elise Dupuis-Lozeron, Laura Abdili, Diane Gervaise, and Matthias Kliegel. "How Musicality, Cognition and Sensorimotor Skills Relate in Musically Untrained Children." Swiss Journal of Psychology 79, no. 3-4 (December 2020): 101–12. http://dx.doi.org/10.1024/1421-0185/a000238.
Full textAbstract:
Abstract. Whereas a growing corpus of research has investigated the impact of music practice on several domains of cognition, studies on the relationships between musicality and other abilities and skills in musically untrained children are scarce. The present study examined the associations between musicality, cognition, and sensorimotor skills in 69 musically untrained primary school children of around 10 years of age, using a test battery of musical, cognitive, and sensorimotor abilities. We analyzed the results using nonparametric correlations and an exploratory factor analysis. It was our anticipation that basic cognitive resources (short-term and working memory, attention, processing speed) would relate to both higher-order cognition and musicality. Results indicated that, in musically untrained children, the interconnections between musical and cognitive abilities restrain to auditory short-term and working memory. Direct associations between musicality and higher-order cognitive processes did not occur. An interesting secondary finding comprised associations between sensorimotor function, as measured by the Purdue Pegboard test, and higher-order cognition. Specifically, we found an association between bimanual coordination of fine finger dexterity and matrix reasoning. This outcome suggests that higher-order cognitive function benefits from an efficient mastering of procedural aspects of sensorimotor skills.
5
Marcoux-Gendron, Caroline. "« Panel sur la critique musicale », dans le cadre du colloque international Qu’en est-il du goût musical dans le monde au XXIe siècle ?, 28 février 2013, Faculté de musique, Université de Montréal, salle Serge-Garant." Revue musicale OICRM 3, no. 1 (June 6, 2019): 137–46. http://dx.doi.org/10.7202/1060125ar.
Full textAbstract:
Dans le cadre du colloque Qu’en est-il du goût musical dans le monde au XXIe siècle ? présenté à la Faculté de musique de l’Université de Montréal du 28 février au 2 mars 2013, un panel a réuni les critiques musicaux Renaud Machart (France), Anne Midgette (É.-U.) et André Péloquin (Québec, Canada) autour de la question « En quoi l’exercice de la critique musicale participe-t-il à l’édification du goût musical des lecteurs-auditeurs ? ». Une série d’enjeux a été abordée au cours de cet échange, dont les objectifs de la critique musicale, son influence sur les lecteurs-auditeurs, mais aussi les obligations éthiques du critique et l’avenir de cette pratique. Les points de vue des trois participants se sont révélés différents à bien des égards, à l’image de la diversité des genres musicaux dont ils traitent, de leurs parcours professionnels respectifs ainsi que des contextes géographiques au sein desquels ils œuvrent.
6
Sounac, Frédéric. "L’idéalité musicale du roman : dissolution ou renaissance ?" III. Arts, no. 125-126 (November 12, 2021): 215–30. http://dx.doi.org/10.7202/1083873ar.
Full textAbstract:
L’idée d’une tension des formes romanesques vers les structures musicales, étroitement dépendante du projet romantique de « poésie universelle progressive », s’impose progressivement, accompagnant le mouvement d’absolutisation de la musique instrumentale, à partir de la toute fin du xviiie siècle. Cet article se consacre dans un premier temps au rappel des principaux attributs de ce dispositif utopique, appelé méloforme, pour observer ensuite ce que l’on peut appeler sa sécularisation : coupé de la foi romantique en la suprématie de l’art et privé de ses racines ontologiques, le roman « musical » a tendance, après la Seconde Guerre mondiale, à adopter une attitude plus pragmatique, s’incarnant notamment en des récits moins totalisants, souvent isomorphiques d’opus musicaux singuliers. Dans la période récente, avec des romans tels que Le temps où nous chantions de Richard Powers, Apologie de la fuite de Léonid Guirchovitch, Confiteor de Jaume Cabré ou encore Central Europe de William T. Vollmann, il semble que l’on assiste à une « renaissance » de fictions complexes et ambitieuses, polyphoniques et réflexives, renouant, sans pour autant revenir à l’ensemble de la doctrine romantique, avec l’idée d’une idéalité musicale du texte littéraire.
7
Lobach, O., and V. Pomohaibo. "GENETIC FOUNDATIONS OF THE INDIVIDUAL’S MUSICAL ABILITIES DEVELOPMENT." Aesthetics and Ethics of Pedagogical Action, no. 24 (December 26, 2021): 67–78. http://dx.doi.org/10.33989/2226-4051.2021.24.255898.
Full textAbstract:
The article presents an overview of available foreign publications on the genetics of musicality, which is a new direction of modern science (see list of references). It is emphasized that national psychologists define the following components of musicality structure: emotional response to music as its center; the sense of rhythm; the sense of mode, and musical auditory perceptions. At the same time, foreign scholars consider musical pitch, the sense of rhythm, and the ability to experience the pleasure of music as the criteria of musicality. Foreign researchers have linked 36 genes and 7 chromosome regions with those traits. Thus, the genes AVPR1, GALM, GATA2, PCDH7, SLC6A4, and chromosome regions 4q22, 4q23, and 8q13-21 with still unidentified genes correlate most closely with musicality (Szyfter & Witt, 2020). Among the above-mentioned genes, genes GATA2 and PCDH7 are involved in the auditory system development and functioning. Genes SLC6A4, and AVPR1 are responsible for getting pleasure from music, and GALM conducts carbohydrate metabolism. According to Tan, McPherson, Peretz, Berkovic & Wilson, the standard expression of TRPA1 (8q21.11) provides absolute pitch and a sense of rhythm (2014). However, absolute pitch is typical only for 1-2% of professional musicians, which gives reason to doubt it is necessary to achieve a musical career (Jobling, 2014).
The authors suggest that further research on the genetics of musicality should be based on the technology of broad genome associations research. Its value is not determined by the genes involved in musicality identification but by distinguishing the minor structural variations in the DNA molecule. These variations can alter the functioning of relevant genes in a wide range and, thus, vary the level of general musicality or special musical abilities. The identified set of genetic variations will serve as a marker for early diagnosis of musically-gifted children to ensure their successful education, upbringing, and development in the process of mandatory and regular musical and practical activities.
8
Heisbourg, Emmanuel. "Le lien entre préférences musicales et attitudes politiques au Québec." Articles non thématiques 40, no. 3 (October 28, 2021): 197–236. http://dx.doi.org/10.7202/1083029ar.
Full textAbstract:
Nous avons mesuré à l’aide d’un sondage sur un échantillon étudiant le lien entre les préférences musicales et les attitudes politiques, une première dans le contexte québécois. Nous observons que le lien entre les préférences musicales et les attitudes politiques est faible. Néanmoins nos résultats indiquent qu’une appréciation pour des genres musicaux « plus politiques » (rock, métal, hip-hop, folk) est associée à l’évaluation par les participants de certains partis fédéraux/provinciaux et à certaines attitudes politiques (intérêt politique, idéologie et conservatisme économique). La force de cette relation n’est pas affectée par l’implication musicale des participants. Nous observons également que la nature de cette relation est semblable aux États-Unis et au Québec.
9
Colombo, Barbara, Giuseppe Passalacqua, Chiara Di Nuzzo, and Guglielmo Puglisi. "Il cervello visuomusicale: uno studio pilota sul rapporto tra corteccia visiva primaria, visualizzazione mentale ed esperienze sinestetiche." RICERCHE DI PSICOLOGIA, no. 3 (February 2013): 361–86. http://dx.doi.org/10.3280/rip2011-003003.
Full textAbstract:
Questo studio pilota si propone di indagare il rapporto tra sinestesia e immaginazione mentale nell'ascolto musicale, partendo dall'ipotesi che il legame tra musica e immagini possa essere spiegato dai processi intermodali che coinvolgono aree diverse del cervello, in particolare l'area uditiva e quella visiva. Con l'utilizzo della tDCS (stimolazione elettrica transcranica a correnti dirette), e stata inibita la corteccia visiva primaria (V1), in un campione di musicisti e di non musicisti, per indagare il ruolo che puo assumere durante l'ascolto di brani musicali, valutando contemporaneamente la tendenza alla visualizzazione e la capacita sinestesica. Infine, e stato usato l'Eye Tracker per registrare gli indici comportamentali di esplorazione visiva, che possono essere ricondotti alla visualizzazione mentale durante la fruizione degli stimoli musicali. I risultati hanno mostrato che l'expertise musicale e l'inibizione di V1 incidono sull'esperienza sinestesica e di visualizzazione mentale durante la fruizione di stimoli musicali complessi. Inoltre, le analisi hanno permesso di evidenziare il ruolo di specifiche differenze individuali (in particolare la tendenza all'uso spontaneo delle immagini mentali e il tratto di personalita legato all'immaginazione) durante l'elaborazione cognitiva e sinestetica di stimoli musicali complessi.
10
Ezquerro Esteban, Antonio. "El músico barcelonés Rafael Guardia, «del comercio». (Relaciones familiares, empresariales y profesionales en la edición musical desde la exposición universal de 1888 hasta comienzos del siglo XX)." Cuadernos de Investigación Musical, no. 9 (February 27, 2020): 106–56. http://dx.doi.org/10.18239/invesmusic.v0i9.2224.
Full textAbstract:
El músico, almacenista de música (propietario de una tienda floreciente) y editor musical Rafael Guardia, generó un tipo de negocio especializado en la venta de partituras e instrumentos musicales que iba a gozar de gran éxito durante más de un siglo. Ubicado en las Ramblas barcelonesas, no muy lejos del Teatro del Liceo y el homónimo conservatorio, compartió escenario ―entre los últimos años del siglo XIX y comienzos del XX― con otros muchos comercios competidores (Juan Ayné, Musical Emporium, Vidal y Roger, Juan Bautista Pujol, Dessy, Astort y Miralles, etc.), que hubieron de idear nuevas técnicas de mercado para hacerse un hueco entre una creciente clientela, que se debatía entre la adquisición de nuevos medios de reproducción musical mecánica (fonógrafos, gramófonos, pianolas...), el alquiler o la compra directa de instrumentos musicales para “hacer” música en vivo y en directo, y la circulación de partituras impresas que, entre orquestinas de baile, bandas y grupos de cámara, así como un consumo doméstico “de salón”, conformaban poco a poco un repertorio reclamado por una sociedad civil que abarcaba desde la burguesía bien estante hasta unas nuevas y crecientes clases medias, que pugnaban por prosperar. Un comercio, el de Rafael Guardia, que ―aunque a duras penas debido en buena parte al desafío de Internet y los nuevos modos de consumo musical― todavía subsiste en la actualidad como “Casa Beethoven”.
Dissertations / Theses on the topic "Generi musicali"
1
Luckow, Fabiane Behling. "Chanteuses e cabarés : a performance musical como mediadora dos discursos de gênero na Porto Alegre do início do século XX." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/31987.
Full textAbstract:
Neste estudo, busco compreender como as performances musicais das cantoras/chanteuses dos clubes noturnos de Porto Alegre nas primeiras décadas do século XX podem mediar as relações de gênero dentro e fora destes espaços de sociabilidade moderna. O termo chanteuse é largamente difundido na imprensa e nas crônicas brasileiras de início de século, posto que uma parcela considerável de artistas-cantoras eram enviadas da Europa para o mercado sul-americano e o termo francês conferia-lhes status sobretudo em relação às cantoras nacionais que também disputavam espaço neste cenário artístico-musical. Através de uma etnografia histórica, procuro recompor esse cenário, para compreender como a música, através do repertório e da performance, contribui na construção social da figura dessas mulheres nas urbes modernas. Apesar da associação, via senso comum, dessas artistas à prostituição, observo que a profissionalização artística lhes proporcionava uma alternativa ao meretrício, garantindo sua sobrevivência sem necessariamente vender seu sexo. Entretanto, a prática musical feminina aparece estreitamente relacionada ao corpo, à sensualidade, o que é fortemente expresso nas imagens e crônicas jornalísticas, colocando-o em evidência. A partir dos estudos de gênero e na literatura musicológica, trato de examinar a trajetória musical dessas mulheres através do fenômeno social dos cabarés na modernidade urbana do Brasil.This study aims to understand how the musical performance of the singers/chanteuses of the night clubs in Porto Alegre, in the early decades of the twentieth century, could mediate the gender relationships either inside or outside these spaces of modern sociability. The term chanteuse is widely spread and used by the press and in the Brazilian chronicles of the early century, once a considerable amount of artists-singers would be sent from Europe to South America, and the French term would give them a superior status in relation to the national singers that were also competing for a place in this artistic-musical scenario. Through a historical ethnography, I have sought to rebuild this scenario in order to learn how music, through repertoire and performance, contributes to the social construction of these women in modern cities. Despite the association of the figure of these artists with prostitution, I observe that the fact of women turning into professionals of arts provided them an alternative of not being involved with prostitution, ensuring their survival without the need of selling sex. However, the female musical performance happens to be closely related to the body, sensuality and this fact is strongly expressed in the pictures and in the newspaper chronicles. From the studies of gender and musicological literature, I examine the musical journey of these women through the social phenomenon of cabarets in the modern cities in Brazil.
2
McLaughlin, Adria Ryan. "Navigating Gender Inequality in Musical Subgenres." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2600.
Full textAbstract:
This study looks at female musicians performing in subcultural rock genres commonly considered non-gender-conforming, such as punk rock, heavy metal, noise, and experimental. Twenty-four interviews were conducted with female musicians who reflected on their experiences as musicians. Themes emerged on women’s patterns of entry into music, barriers they negotiated while playing, and forces that may push them out of the music scene. Once women gained a musician identity, their gender functioned as a master status. They negotiated sexism when people questioned their abilities, assumed men played better, expected them to fail, held them to conventional gender roles, and sexually objectified them. Normative expectations of women as primary caregivers for children, internalization of criticism, and high personal expectations are considered as factors that contribute to women’s exit from musical careers. This research closes with suggestions for how more women and girls can be socialized into rock music.
3
Hinojosa, Gisel. "Identidad visual y difusión del General Rock." Bachelor's thesis, Universidad Nacional de Cuyo. Facultad de Artes y Diseño, 2014. http://bdigital.uncu.edu.ar/6166.
Full textAbstract:
El presente trabajo pretende crear un sistema de comunicación integral que represente el festival de rock General Rock del Departamento de San Martín, provincia de Mendoza, a través de la creación de una identidad visual y diversas piezas gráficas para su difusión y promoción. También se plantea una propuesta de señalética ante la ausencia de elementos orientadores dentro del Teatro Griego ubicado en el Parque Agnesi de San Martín.Fil: Hinojosa, Gisel. Universidad Nacional de Cuyo. Facultad de Artes y Diseño.
4
Garnett, Elizabeth Ann. "Constructions of gender and musical style, 1790-1830." Thesis, University of Southampton, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296997.
Full text
5
Charles, Brigitte. "Gender and musical composition in the primary school." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/10020420/.
Full text
6
Cambouropoulos, Emilios. "Towards a general computational theory of musical structure." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/21676.
Full textAbstract:
The General Computational Theory of Musical Structure (GCTMS) is a theory that may be employed to obtain a structural description (or set of descriptions) of a musical surface. This theory is independent of any specific musical style of idiom, and can be applied to any musical surface. The musical work is presented to GCTMS as a sequence of discrete symbolically represented musical events (e.g. notes) without higher-level structural elements (e.g. articulation marks, time-signature etc.) - although such information may be used constructively to guide the analytic process. The aim of the application of the theory is to reach a structural description of the musical work that may be considered as 'plausible' or 'permissible' by a human music analyst. As style-dependent knowledge is not embodied in the general theory, highly sophisticated analyses (similar to those an expert analyst may provide) are not expected. The theory gives, however, higher rating to descriptions that may be considered more reasonable or acceptable by human analysts and lower to descriptions that are less plausible. As GCTMS is based on general cognitive and logical principles the analytic descriptions it provides have cognitive relevance at least as far as the output is concerned; this is not necessarily the case for the exact process by which the output is calculated. In this sense the analytic outcome may be said to relate to and may be compared to the intuitive 'understanding' a listener has when repeatedly exposed to a specific musical work. The proposed theory comprises two distinct but closely related stages of development: a) the development of a number of individual components that focus on specialised musical analytical tasks, and b) the development of an elaborate account of how these components relate to and interact with each other so that plausible structural descriptions of a given musical surface may be arrived at.
7
Harrison, Anna C. "Gender-knowledge and gender-typed preferences for musical instruments in middle childhood." Thesis, Keele University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325825.
Full text
8
Humphries, Carl. "Musical expression and performance." Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192757/.
Full textAbstract:
This study examines the philosophical question of how it is possible to appreciate music aesthetically as an expressive art form. First it examines a number of general theories that seek to make sense of expressiveness as a characteristic of music that can be considered relevant to our aesthetic appreciation of the latter. These include accounts that focus on resemblances between music and human behaviour or human feelings, on music's powers of emotional arousal, and on various ways in which music may be imaginatively construed by listeners. It argues that none of these are entirely satisfactory. Then it proposes an alternative account, focusing on what is involved when our appreciation of music as an expressive art is informed by our awareness of it as something that is expressively interpreted in performance. It is claimed that this offers the basis for a better understanding of at least some aspects of expressiveness in music and its relevance to aesthetic appreciation.
9
Valiquette, Nina. "Musical judgement: aesthetics and jurisprudence in Plato." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116937.
Full textAbstract:
This dissertation turns to Plato's writings on music and the law in order to delimit the relationship between the aesthetic and juridical dimensions of political order, and in particular, to show how these dimensions are manifested in citizens and are constitutive of political judgment. The central claim of my thesis is that for Plato, justice requires an affective attachment that, in turn, requires it be coextensive with a kind of musical beauty. In order for the conditions of justice to obtain, we must not only define justice, we must also desire it as we do the beautiful; this affective requirement is fulfilled by the musical dimension of the law. The ancients understood law and music to share in the same intrinsic properties of order, establishment and restoration; the ambiguity of the word nomos, which could mean both song and law, underscores this worldview according to which ethics and aesthetics are governed by the same principles. In Plato, musical desire works within this framework: music engenders in the soul a pre-rational cognitive recognition of the intrinsic order that constitutes its beauty; musical inspiration, in turn, provides the motive force for active juridical citizenship. Surprisingly little scholarly attention has been paid to Plato's treatment of music and few scholars treat Plato as committed to the rule of law. I show that Plato's attention to both music and law throughout the dialogues underscores the political importance of an aesthetic education that is also juridical; the pedagogical function of the law is to cultivate a civic ethos in which citizens are passionately engaged with, inspired by, and take ultimate pleasure in, the principles of justice.Dans cette dissertation je m'appuie sur les écrits de Platon sur la musique et le droit pour déterminer la relation entre les dimensions esthétique et juridique de l'ordre politique et, plus particulièrement, pour montrer comment ces dimensions se manifestent chez les citoyens et entrent dans le jugement politique. Le postulat central de ma thèse est que, pour Platon, la justice requiert un attachement affectif qui, à son tour, exige qu'elle soit coextensive à une sorte de beauté musicale. Pour que les conditions de justice soient réunies, nous devons non seulement définir la justice mais la désirer, tout comme nous désirons la beauté; la dimension musicale du droit satisfait à cette exigence affective. Pour les anciens, le droit et la musique avaient les mêmes propriétés intrinsèques d'ordre, d'établissement, et de restauration; l'ambiguïté du terme nomos, voulant dire tant chanson que droit, souligne cette vision du monde selon laquelle l'éthique et l'esthétique sont régies par les mêmes principes. Chez Platon, le désir musical agit dans ce cadre: la musique engendre dans l'âme une reconnaissance cognitive pré-rationnelle de l'ordre intrinsèque qui en constitue la beauté; l'inspiration musicale, à son tour, est le moteur de la citoyenneté juridique active. Il est étonnant de constater le peu d'attention consacré dans les travaux d'érudition au traitement de la musique chez Platon et seul un petit nombre d'auteurs voient Platon comme étant engagé à l'égard de la règle de droit. Je montre que l'attention qu'accorde Platon à la musique et à la règle de droit tout au long des dialogues souligne l'importance sur le plan politique d'une éducation à la fois esthétique et juridique; la fonction pédagogique du droit est de promouvoir un éthos civique dans lequel les principes de justice sont pour les citoyens une source d'engagement passionné, d'inspiration et, ultérieurement, de plaisir.
10
Cox, Bethany G. "The Effects of Musical Instrument Gender on Spoken Word Recognition." Cleveland State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=csu1624382611571213.
Full textBooks on the topic "Generi musicali"
1
Merli, Francesca Romana. Hardcore è un genere musicale: Romanzo. [Italy]: Transeuropa, 1998.
Find full text
2
Gregorat, Claudio. L' anima degli strumenti musicali: Genesi e morfologia. Torino: Centro scientifico editore, 1994.
Find full text
5
Rizzuti, Marida. Il musical di Kurt Weill (1940-1950): Prospettive, generi e tradizioni. Roma: Studio 12, 2006.
Find full text
6
Terrence, McNally, ed. The full monty: The complete book and lyrics of the hit Broadway musical. New York: Applause Theatre & Cinema Books, 2002.
Find full text
7
Nudi di canzone: Navigando tra i generi della canzone italiana attraverso il valore musical-letterario. Civitella in Val di Chiana, Arezzo: Zona, 2010.
Find full text
8
Everett, William A. The A to Z of the Broadway Musical. Lanham: Rowman & Littlefield Pub. Group, 2009.
Find full textBook chapters on the topic "Generi musicali"
1
Phon-Amnuaisuk, Somnuk, Andrew Tuson, and Geraint Wiggins. "Evolving Musical Harmonisation." In Artificial Neural Nets and Genetic Algorithms, 229–34. Vienna: Springer Vienna, 1999. http://dx.doi.org/10.1007/978-3-7091-6384-9_39.
Full text
2
Giuffre, Liz. "The Musical in Australia." In Australian Genre Film, 109–21. Title: Australian genre film / edited by Kelly McWilliam and Mark David Ryan.Description: New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429469121-7.
Full text
3
Vélez, Daniel Villegas. "Musical Affects, Gender, and Ethopoiesis." In The Routledge Companion to Gender and Affect, 299–309. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003045007-32.
Full text
4
Hall, Clare. "Capitalising on Musical Mothering." In Palgrave Studies in Gender and Education, 67–92. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-50255-1_5.
Full text
5
Cornelius, Steven, and Mary Natvig. "Music and Gender and Sexuality." In MusicA Social Experience, 103–30. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003155812-8.
Full text
6
Jan, Steven. "3 Music-Cultural Evolution in the Light of Memetics." In Music in Evolution and Evolution in Music, 165–290. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0301.03.
Full textAbstract:
Chapter 3: revisits memetics (theorised in my The Memetics of Music: A Neo-Darwinian View of Musical Structure and Culture (Aldershot: Ashgate, 2007)) and its antecedent theories in order to explore further how biological and cultural Darwinism relate to each other and how they can illuminate our understanding of musicality and music. The discussion covers, among other issues, the question of taxonomy (how approaches to biological classification discussed in Chapter 1 (particularly cladism) can be applied to musico-cultural types) and the possible co-evolutionary effect of musical memes, or ‘musemes’, on human genetic evolution (what Susan Blackmore terms ‘memetic drive’). The structural correspondences between music and language discussed in Chapter 2 are used as the basis of an exploration of the syntactic and semantic homologies between the two substrates, developing the work of Peter Carruthers.
7
Godøy, Rolf Inge. "Chunking Sound for Musical Analysis." In Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music, 67–80. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02518-1_4.
Full text
8
Ramalho, Joana Rita. "Gender Politics in a High-Camp, Lowbrow Musical." In The Palgrave Handbook of Contemporary Gothic, 745–63. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33136-8_44.
Full text
9
Wallengren, Ann-Kristin. "Powered by Music: Contemporary Film Musicals, Nordic Style." In Nordic Genre Film, 173–86. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0013.
Full textAbstract:
When thinking about Nordic cinema, the musical is not the first genre to come to mind. This holds true for the global audiences as well as for Nordic ones, nowadays and in retrospect. The film musical, in some kind of down-to-earth classical generic sense, is for a Western audience most probably associated with Hollywood films from the 1930s and onwards, with an obvious decline after the successful productions Mary Poppins (1964) and The Sound of Music (1965). Some European musicals are probably also well-known to the nonspecialist public, such as Jacques Demy’s Les Parapluies de Cherbourg (The Umbrellas of Cherbourg, 1964) and Les Demoiselles de Rochefort (The Young Girls of Rochefort, 1967). Since then musicals have changed or transformed. Even if some characteristics usually connected with the genre are still in use, they are now often utilised in an excessive or transformed way (Altman 1987; Grant 2012).
10
Baumgartner, Michael. "Referencing Music-Specific Genres and Genre-Specific Music." In Metafilm Music in Jean-Luc Godard's Cinema, 219–65. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190497156.003.0007.
Full textAbstract:
Abstract This chapter interprets metafilm music within a specific subcategory of quotation: musical referencing. Through referencing music-specific genres and genre-specific music, Godard explored in several of his 1960s films the music of the two popular Hollywood genres: musical comedy and film noir. In Une femme est une femme, he critically reflects on the Hollywood musical comedy by contradicting common Hollywood musical procedures. By alienating the familiar trope of Hollywood musical songs and dances, Godard accentuates the self-conscious artificiality of song-and-dance performances in musicals. He loosely follows the formulaic narrative strategy in classical Hollywood musicals, such as the self-reflexive model of the backstage musical, the love triangle, and the dual-focus narrative, as described by Rick Altman. A second investigation is devoted to the sci-fi noir thriller Alphaville, in which Godard converted Paul Misraki’s suspense score into a musical pastiche of film noir music. He requested from Misraki music that expressed the general mood of Alphaville at the expense of writing individual cues linked to specific narrative moments. By means of his somewhat unorthodox working method, Godard self-reflexively repurposed Misraki’s music for his sci-fi film noir reflection as a pastiched film noir score. He foregrounded the clichéd characteristics of Misraki’s paraphrasis of quintessential noir music as an ironic and imaginative reinterpretation of archetypical 1940s and 1950s noir B-movie music.
Conference papers on the topic "Generi musicali"
1
Silva, Diego Furtado, Angelo Cesar Mendes da Silva, Luís Felipe Ortolan, and Ricardo Marcondes Marcacini. "On Generalist and Domain-Specific Music Classification Models and Their Impacts on Brazilian Music Genre Recognition." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19427.
Full textAbstract:
Deep learning has become the standard procedure to deal with Music Information Retrieval problems. This category of machine learning algorithms has achieved state-of-the-art results in several tasks, such as classification and auto-tagging. However, obtaining a good-performing model requires a significant amount of data. At the same time, most of the music datasets available lack cultural diversity. Therefore, the performance of the currently most used pre-trained models on underrepresented music genres is unknown. If music models follow the same direction that language models in Natural Language Processing, they should have poorer performance on music styles that are not present in the data used to train them. To verify this assumption, we use a well-known music model designed for auto-tagging in the task of genre recognition. We trained this model from scratch using a large general-domain dataset and two subsets specifying different domains. We empirically show that models trained on specific-domain data perform better than generalist models to classify music in the same domain, even trained with a smaller dataset. This outcome is distinctly observed in the subset that mainly contains Brazilian music, including several usually underrepresented genres.
2
Magalhães, Tairone N., and Mauricio A. Loureiro. "Training a convolutional neural network for note onset detection on the clarinet." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19426.
Full textAbstract:
Although computational models for note onset detection have improved drastically in the last decade, mainly due to the advances brought by the field of Deep Learning, such models have not been perfected yet. When dealing with specific data, like clarinet recordings, those models still produce a significant number of false positives and negatives. In this paper, we evaluate pre-trained onset detection models from the library madmom on a dataset composed of solo clarinet recordings, in particular, to investigate their performance on this kind of data. Moreover, we use the clarinet dataset to train the same neural network (CNN) employed in one of those models, to investigate whether training the model on this specific data leads to an improvement when dealing with clarinet recordings. The results obtained from the model trained strictly on clarinet data are considerably better than those from models trained on generic data.
3
Musil, Ondřej. "Filmová hudba jako prostředek popularizace národních hudebních tradic." In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-5.
Full textAbstract:
In general, the paper focuses on the potential of film music to transmit and preserve the typical features and character of national musical traditions in their authentic and stylized form. Specifically, the text introduces the musical peculiarities of selected cultures and nations, which we encounter in mainstream audiovisual works in the form of location links. The use of archival (non-original) music in some film genres is also viewed marginally. The aim of the paper is to point out the basic procedures used in film music to express the local or historical character of the narrative, musical traditions of the displayed countries and cultures, as well as the possibilities of their popularization and use in music education.
4
E Silva, Gabriel, and Clayton Mamedes. "Reflection and practice on generative music structuring: the formal problem of ergodicity." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10428.
Full textAbstract:
This article approaches the subject of musical form from the standpoint of an algorithmic composition practice. It introduces the problem of ergodicity in music, a formal situation at which music development is perceived as static. The concepts of General Periodicity by Henri Pousseur and Temporal Gestalt by James Tenney gave support to a reflection on the nature of the problem, as well as to formulate a twofold structuring procedure based on ideas of continuity and segmentation of the musical course. The devised method was implemented as a computer program to produce entire pieces of music.
5
Guatimosim, Júlio, José Henrique Padovani, and Carlos Guatimosim. "Concatenative Sound Synthesis as a Technomorphic Model in Computer-Aided Composition." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19431.
Full textAbstract:
The text presents a process aimed at computer-aided composition for percussion instruments based on Concatenative Sound Synthesis (CSS). After the introduction, we address the concept of ”technomorphism” and the influence of electroacoustic techniques in instrumental composition. The third section covers processes of instrumental sound synthesis and its development in the context of Computer-Aided Composition (CAC) and Computer-Aided Music Orchestration (CAMO). Then, we describe the general principles of Concatenative Sound Synthesis (CSS). The fifth section covers our adaptation of CSS as a technomorphic model for Computer-Aided Composition/Orchestration, employing a corpus of percussion sounds/instruments. In the final section, we discuss future developments and the mains characteristics of our implementation and strategy.
6
Costalonga, Leandro, Daniel Coura, Marcus Vinícius Das Neves, Fabiano Costa, and Helder Rocha. "NESCoM Research Report (2019)." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10437.
Full textAbstract:
The NESCoM is a multidisciplinary research center formed by musicians, engineers and computer scientists. The main research interest lies with sonology, audiotacticle musical analysis, ubiquitous music, interactive multimedia installations, and the design of computer music technology in general. Overall, the common ground for the NESCoM projects lies with the human-aspects, both cognitive and motor, behind a musical activity. This can come, for instance, in the shape of an audiotactile analysis of musical interaction applied to a new digital musical interface designed to overcome human physical constraints or the composition of a cinema soundtrack based on perceptual models of the audience. In this paper, it is reported a short description of the ongoing projects of the NESCoM and the future works.
7
Silva, Angelo Cesar Mendes da, Paulo Ricardo Viviurka do Carmo, Ricardo Marcondes Marcacini, and Diego Furtado Silva. "Instance Selection for Music Genre Classification using Heterogeneous Networks." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19419.
Full textAbstract:
In scenarios involving musical data, there are usually high-dimensional data and different modalities, such as audio and text, that cost more in machine learning tasks. Instance selection is a promising approach as pre-processing step to reduce these challenges. With the intent to explore the multimodality in music information, we introduce musical data instance selection into heterogeneous network models. We propose and evaluate ten different heterogeneous networks to identify more representative relationships with various musical features related, including songs, artists, genres, and melspectrogram. The results obtained allow us to define which network structure is more appropriate considering the volume of available data and the type of information that the features have. Finally, we analyze the relevance of the musical features, and the relationship does not contribute for instance selection.
8
Manzolli, Jônatas, and Edelson Henrique Constantino. "grainBirds: Evolutionary granular synthesisers distributed in Fog Computing." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19432.
Full textAbstract:
The article presents the grainBIRD concept inspired by a distributed fog of grain sounds metaphor. Shortly, granular synthesizers are distributed in a mobile devices network. Applying Interactive Genetic Algorithm (IGA) and exchanging Open Sound Control (OSC) messages in a Virtual Private Network, grainBIRDs generate sound grains in standalone and network configurations. The grainBIRDs concept dialogues with the Internet of Things (IoT) paradigm since it was inspired by Cloud and Fog computing architectures. In this sense, this article presents the grainBIRD and grainBIRD Orchestra concepts, followed by a review on Computer Music and Network technologies related to the project. The article also discusses the computer implementation of the grainBIRD application using the Pure Data programming environment and concludes with performance tests of the network communication feasibility and the system sound generation capacities.
9
Cornelissen, Willy, and Maurício Loureiro. "Automatic onset detection using convolutional neural networks." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10446.
Full textAbstract:
A very significant task for music research is to estimate instants when meaningful events begin (onset) and when they end (offset). Onset detection is widely applied in many fields: electrocardiograms, seismographic data, stock market results and many Music Information Research(MIR) tasks, such as Automatic Music Transcription, Rhythm Detection, Speech Recognition, etc. Automatic Onset Detection(AOD) received, recently, a huge contribution coming from Artificial Intelligence (AI) methods, mainly Machine Learning and Deep Learning. In this work, the use of Convolutional Neural Networks (CNN) is explored by adapting its original architecture in order to apply the approach to automatic onset detection on audio musical signals. We used a CNN network for onset detection on a very general dataset, well acknowledged by the MIR community, and examined the accuracy of the method by comparison to ground truth data published by the dataset. The results are promising and outperform another methods of musical onset detection.
10
Oliveira, Vinicius César, and José Henrique Padovani. "Mapping, Triggering, Scoring, and Procedural Paradigms of Machine Listening Application in Live-Electronics Compositions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19445.
Full textAbstract:
Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this context, this article discusses the creative use of Machine Listening and Musical Information Retrieval techniques applied in the composition of live-electronics works. By pointing out some practical applications and creative approaches, we aim to circumscribe, in a general way, the strategies for employing Machine Listening and Music Information Retrieval techniques observed in a set of live-electronics pieces, categorizing four compositional approaches: namely, mapping, triggering, scoring, and procedural paradigms of application of machine listening techniques in the context of live-electronics music compositions.
Reports on the topic "Generi musicali"
1
Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.
Full textAbstract:
The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
2
Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
Full textAbstract:
We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
3
Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai, and Xin Yu. Music intervention affects the quality of life on Alzheimer’s disease: a meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, December 2021. http://dx.doi.org/10.37766/inplasy2021.12.0055.
Full textAbstract:
Review question / Objective: Inclusion criteria: population: 1) A randomized controlled study on the impact of music intervention on the QOL of patients with AD; 2) The participants in this study is patients with AD; 3) There is no significant difference among age, gender and education background in sorted groups before analysis which make these groups comparable; intervention: 1)Intervention Modality Music-based intervention; comparison: 1) All data were sorted into two groups: the music intervention group and the control group without any music intervention; outcome: 1) The indicators evaluated in the literature included the score of QOL-AD or WHOQOL-BERF scale, at least one of the two scales summarized in selected publications; language: 1) Only articles published in English and Chinese were considered. Exclusion criteria: 1) The participants were not diagnosed with AD; 2) Non-musical intervention;3) Non-RCTs; 4) No specific values for outcome variables; 5) Articles lacking original data; 6) Repeat published reports; 7) Full text could not be obtained.
4
Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.
Full textAbstract:
This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
5
Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
Full textAbstract:
Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
6
Conxuntura estatística do ámbito cultural. Maio de 2022. Consello da Cultura Galega, May 2022. http://dx.doi.org/10.17075/ceacm.2022.
Full textAbstract:
Este informe constitúe a quinta conxuntura estatística do ámbito cultural en Galicia que realiza o Consello da Cultura Galega e ten como obxectivo dar continuidade a unha serie de informes publicados a partir do primeiro semestre de 2020 para dar conta da situación pola que atravesaba o sector cultural galego a raíz da crise da COVID-19. Nesta conxuntura de maio de 2022, ademais de actualizar os datos anteriores como os de creación de empresas, emprego cultural, gasto público en cultura, comercio exterior, IPC, confianza dos consumidores, contabilidade trimestral e gasto das familias, tamén se incorporaron datos novos das distintas fontes estatísticas de cultura que se foron actualizando este ano. Descríbense os datos referentes a museos e coleccións museográficas e aos bens de interese cultural. Tamén se dá información sobre artes escénicas e musicais procedente do Instituto Nacional de las Artes Escénicas y de la Música (INAEM) e dos anuarios da Sociedad General de Autores y Editores (SGAE).Por último, incluíronse datos sobre turismo cultural.