Academic literature on the topic 'Televisioni 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 'Televisioni 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 "Televisioni musicali"
1
Brown, Julie. "Ally McBeal's Postmodern Soundtrack." Journal of the Royal Musical Association 126, no. 2 (2001): 275–303. http://dx.doi.org/10.1093/jrma/126.2.275.
Full textAbstract:
Television's Ally McBeal revels in soundtrack games, playing as it does with the conventions of several types of musical multimedia while elevating music, especially a particular type of pop music, to the role of central plot and series metaphor–above all in relation to Ally's character. As musically saturated television, Ally McBeal not only provides a window onto music's role in television (and hence a central expression of postmodern culture), it also engages some of pop music's broader social functions dramatically. Drawing on both film and media theory, I examine Ally McBeal's soundtrack from formal and dramatic perspectives. I then go on to situate the features discussed within wider postmodernist discourses and draw out music's contribution to the show's controversial representations of contemporary gender politics.
2
Ocaña-Fernández, Almudena, and María-Luisa Reyes-López. "The sonic imagination of children in Andalusia: A musical analysis of the TV programme «The Band»." Comunicar 18, no. 35 (2010): 193–200. http://dx.doi.org/10.3916/c35-2010-03-13.
Full textAbstract:
In this article we present a descriptive study of the soundtrack of children’s television programmes on the Andalusian public television network. This study is part of an international research project based on Latin America which seeks to address the need to understand the sonic context in which children live and study the way in which this shapes their sonic imagination. The use of music on television may be a response to commercial needs and, therefore, it is necessary to understand its influence in an educational context. Through analysis of the permanent sections, advertising and the cartoons included in the TV programme called «The Band» which is broadcast on the Andalusian public television network we can observe the televisual and sonic environment of Andalusian children. We use a descriptive methodology which, through the creation of a listening worksheet, highlights the most significant elements in the sample. After the analysis, we concluded that the predominant musical elements in the programme analyzed were from techno-pop and cinema soundtracks and this produced certain homogeneity in musical terms which in turn led to an impoverishment of listening habits which made it difficult to understand more complex musical elements. Therefore, we stress the need for schools to accept their responsibility in the task of educating children in critical listening skills. En este artículo se presenta un estudio descriptivo de la banda sonora de la programación infantil y juvenil de la televisión pública andaluza. Este trabajo se encuentra inmerso en un proyecto de investigación internacional de ámbito latinoameriano que atiende a la necesidad de comprender el contexto auditivo en el que vive la población infantil y estudiar el modo en el que se configura su imaginario sonoro. El uso de la música en la televisión puede responder a intereses comerciales por lo que es necesario comprender su alcance desde el punto de vista educativo. A través del análisis de las secciones fijas, la publicidad y las series de dibujos animados del programa «La Banda» de la televisión pública de Andalucía se muestra el entorno sonoro televisivo de los niños y niñas andaluces. Se utiliza una metodología descriptiva que, a través de la creación de una plantilla de escucha, pone de relieve los elementos más significativos de la muestra. Tras el análisis se concluye que los elementos predominantes en la programación analizada provienen de la música tecno-pop y de la música cinematográfica produciéndose una homogeneización del entorno sonoro que contribuye al empobrecimiento de los hábitos de escucha dificultando la comprensión de elementos musicales complejos. Por esta razón, se señala la necesidad de que la escuela adquiera la responsabilidad que le corresponde en el proceso de educación de la escucha crítica.
3
Guerrero Pérez, Enrique, and Patricia Diego. "La producción de programas musicales en la televisión pública española (1990-2010)." Estudios sobre el Mensaje Periodístico 26, no. 2 (2020): 597–609. http://dx.doi.org/10.5209/esmp.67935.
Full textAbstract:
Este artículo tiene como objeto ofrecer un recorrido por la historia de la producción de los programas musicales en la televisión pública española durante el periodo 1990-2010. Con esta finalidad, se ha consultado el archivo histórico digital de Radio Televisión Española como fuente primaria. A continuación, se ha completado la información con el análisis de fuentes secundarias como las secciones televisivas de la prensa nacional, publicaciones especializadas en televisión y bases de datos online como IMDb. Siguiendo un método de investigación inductivo, las conclusiones derivadas del estudio cronológico de los datos confirman las hipótesis planteadas. Primero, que el género musical ha sufrido un proceso de transformación al hibridarse con otros tipos de contenidos como las variedades, el concurso o la telerrealidad, dando como resultado el talent show contemporáneo. Y segundo, que la oferta de musicales de la televisión pública española no difiere en gran medida de la programada por los principales operadores privados, especialmente en la franja de máxima audiencia, dado su carácter comercial. La apuesta de TVE por el talent show musical ha sido determinante en la evolución del género musical en la televisión española.
4
Lorenzo-Quiles, Oswaldo, and Lucía Herrera. "Análisis educativo-musical del medio televisión." Comunicar 8, no. 15 (2000): 169–74. http://dx.doi.org/10.3916/c15-2000-26.
Full textAbstract:
Se ofrece en esta colaboración el resultado de un trabajo de investigación que estudia el tipo de educación musical no formal que lleva a cabo la televisión en nuestra sociedad. Este medio de comunicación capitaliza lo que conocemos por escuela paralela, suponiendo un innegable vehículo de transmisión educativa y realizando una labor de divulgación sonora que, aun sin pretenderlo, determina y conforma desde la imagen la cultura musical de la población.
5
Knapp, Raymond, and Zelda Knapp. "Musicals and the envoicing of mental illness and madness: From Lady in the Dark to Man of La Mancha (and beyond)." Journal of Interdisciplinary Voice Studies 4, no. 2 (2019): 209–23. http://dx.doi.org/10.1386/jivs_00006_1.
Full textAbstract:
Abstract Because musicals routinely position musical expression as an enabling form of madness, they can have a difficult time when they try to consider mental illness in thoughtful ways. This essay considers four prominent musicals that deal overtly with mental illness and/or madness to delineate these difficulties and show how musicals try to surmount them. The relatively few musical numbers in Lady in the Dark (1941) allow its protagonist Liza Elliott to both confront her mental block and give voice to her emancipation. In Anyone Can Whistle (1964), Hapgood's ambiguous mental status allows him to swing from absurdities to rebellion to the touchingly human, each phase differently opposing the insanities of the world. Quixote, in Man of La Mancha (1965), defies reality in favour of impossible dreams. And the songs of next to normal (2008) provide a panoply of escapes from the painful realities of the dysfunctional Goodman family, none of whom quite finds a way to a desired 'normal'. As these shows exemplify, mentally unstable women and men generally have different options in musicals: women (at least, Liza and Diana Goodman) are obliged to chart paths to mental wholeness, with decidedly mixed results, whereas men (at least, Hapgood and Quixote) are allowed to indulge their flights from reality as forms of romanticized idealism, becoming heroes and liberators in the process. next to normal exemplifies a renewed determination to take mental illness seriously in musicals, further advanced in the four-season television series Crazy Ex-Girlfriend.
6
Porta-Navarro, Amparo. "The Musical Offers of Children’s Programming on «Televisión Española» as its Hearing Universe." Comunicar 19, no. 37 (2011): 177–85. http://dx.doi.org/10.3916/c37-2011-03-10.
Full textAbstract:
The music that children are exposed to in their everyday lives plays an important role in shaping the way they interpret the world around them, and television soundtracks are, together with their direct experience of reality, one of the most significant sources of such input. This work is part of a broader research project that looks at what kind of music children listen to in a sample of Latin American and Spanish TV programmes. More specifically, this study focuses on children’s programmes in Spain, and was addressed using a semiotic theoretical framework with a quantitative and musical approach. The programme «Los Lunnis» was chosen as the subject of a preliminary study, which consisted in applying 90 templates and then analysing them in terms of the musical content. The results show that the programme uses music both as the leading figure and as a background element. The most common texture is the accompanied monody and the use of voice, and there is a predominance of electronic instrumental sounds, binary stress and major modes with modulations. Musical pieces are sometimes truncated and rhythmically the music is quite poor; the style used is predominantly that of foreign popular music, with a few allusions to the classical style and to incidental music. The data reveal the presence of music in cultural and patrimonial aspects, as well as in cognitive construction, which were not taken into account in studies on the influence of TV in Spain. Such aspects do emerge, however, when they are reviewed from the perspective of semiotics, musical representation, formal analysis and restructuring theories.La música de la vida cotidiana del niño tiene uno de sus referentes, junto a su experiencia real, en la banda sonora de la televisión, configurando una parte de su interpretación de la realidad. Este trabajo forma parte de una investigación más amplia sobre la escucha televisiva infantil en una muestra iberoamericana. El objetivo, conocer qué escuchan los niños en la programación infantil de «Televisión Española», ha sido estudiado desde un marco teórico semiótico con un enfoque cuantitativo y musical. El artículo presenta un resumen de los resultados obtenidos en un primer análisis del programa «Los Lunnis» mediante la aplicación de noventa plantillas y sus análisis musicales correspondientes. Estos resultados indican que el programa utiliza la música como fondo y figura, textura de monodía acompañada y utilización de la voz, predominio del sonido electrónico instrumental, acento binario y modo mayor con modulaciones. Aparecen piezas musicales cortadas y cierta pobreza rítmica, su opción estilística es la música popular no propia, con algunos guiños al estilo clásico y a la música incidental. Los datos muestran la presencia de la música en aspectos culturales, patrimoniales y de construcción cognitiva no considerados en los estudios sobre la influencia de la TV en España, pero que emergen cuando son revisados desde la semiótica, la representación musical, el análisis formal y las teorías de la reestructuración.
7
Ocasio-Russe, Lizbette. "Purpose and Innovation in Family Guy’s Musical Numbers." English Language Teaching and Linguistics Studies 1, no. 1 (2019): 30. http://dx.doi.org/10.22158/eltls.v1n1p30.
Full textAbstract:
<em>Seth MacFarlane is well known for his groundbreaking animated series Family Guy (Fox, 1999-), a trademark of which is the inclusion musical numbers that reflect MacFarlane’s knowledge of the film musical. While many criticize the controversial approach and seeming arbitrary nature of not just the show’s jokes, but also its musical numbers, the way MacFarlane integrates them into his animated series allows todays cynical audience to enjoy a taste of the rather dormant genre. MacFarlane does so by employing elements of the Warner Brothers/Berkeley musical, the integrated and aggregate musical forms, the myth of integration, The Great American Songbook, the folk musical, the backstage musical, the MGM musical, and studio-era-style choreography. Through the analysis of some of Family Guy’s most impressive musical numbers, I propose to show that Family Guy boasts the most musically informed and detailed numbers in an animated television series today. MacFarlane employs these numbers for either one, two, or all three of the following purposes: to create a sense of community among the characters of the narrative and in the show’s audience, to simultaneously pay homage to and satirize the traditional film musical genre, and to facilitate controversial sociopolitical commentary.</em>
8
Fandos-Igado, Manuel. "El vídeo-clip musical." Comunicar 1, no. 1 (1993): 96–99. http://dx.doi.org/10.3916/c01-1993-13.
Full textAbstract:
Chicos y chicas de hoy pasan muchas horas a lo largo de la semana delante de la televisión consumiendo imágenes de todo tipo. Los videoclips son, sin duda, uno de los géneros audiovisuales con mayor impacto en los jóvenes. Se propone en este artículo su uso en el aula, desde uan vertiente crítica, de motivación y de investigación como género de expresión y comunicación.
9
Frith, Simon. "Look! Hear! The uneasy relationship of music and television." Popular Music 21, no. 3 (2002): 277–90. http://dx.doi.org/10.1017/s0261143002002180.
Full textAbstract:
Television is an essential part of the star-making machinery of the music business and music accompanies nearly all television programmes, and yet the relationship between the two is uneasy. Television does not seem to be an essential part of musical culture and adds little to music aesthetically. Music has had little impact on the form or aesthetics of television. And yet television has certainly had an impact on music and particularly on the mediation of rock and the formation of the modern pop/rock aesthetic. Here it is not music in television that is important but television in music. The 1950s was a significant turning point in popular music history not so much because of the musical revolution of rock ‘n’ roll but because of the impact of television.
10
Rodman. "Television Genre / Musical Genre / Expressive Genre." American Music 37, no. 4 (2019): 435. http://dx.doi.org/10.5406/americanmusic.37.4.0435.
Full textDissertations / Theses on the topic "Televisioni musicali"
1
Pozzobon, Patrizia. "L’industria musicale e la musica classica nello scenario dei media digitali." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23558/.
Full textAbstract:
La musica classica ha sempre fatto parte del mondo dell’intrattenimento fino ai giorni nostri. In epoca contemporanea però, con l’evoluzione tecnologica, questa ha perso sempre più popolarità fino a essere considerata di nicchia o adatta solo a un certo tipo di persone, con un alto livello di cultura o sofisticate. Questa viene anche percepita difficile l’attenzione richiesta e la complessità considerata non accessibile a tutti. Le industrie culturali oggi devono affrontare problemi di monetizzazione del proprio mercato molto più che in precedenza, a causa delle nuove piattaforme digitali, dei nuovi media e del cambiamento della fruizione del prodotto culturale. La volatilità del prodotto e il cambiamento delle pratiche sociali hanno portato a nuove strategie per ottenere un ritorno degli investimenti e degli sforzi di produzione. L’aumento pervasivo dell’utilizzo di internet e dei social media richiede nuove tecniche per contrastare la pirateria digitale, la percezione delle persone e con il loro coinvolgimento. Dopo una panoramica sul funzionamento e le problematiche dell'industria musicale, viene analizzato l'ambito della musica classica come genere di nicchia, con le sue caratteristiche e pratiche peculiari, con uno sguardo all’Italia. Dopo un confronto, viene esaminato cosa è cambiato nell’era digitale e se la musica classica è riuscita a utilizzare nuove strategie, ad adattarsi alle novità del settore e del pubblico, osservando alcune realtà internazionali rilevanti. Nell’ultima parte si prende in considerazione il periodo della pandemia di covid-10 iniziata nel 2020 e si osserva quali problematiche sono emerse e come ha reagito il settore, concentrandosi soprattutto sull’ambito della musica dal vivo e sul contesto italiano. Si conclude quindi con delle considerazioni sull’efficacia delle strategie adottate e sull’impatto positivo che hanno avuto i media digitali per promuovere la musica classica dovuto alla spinta tecnologica causata dalla pandemia.
2
Mathias-Baker, Ian. "The musical object in consumer culture." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327584.
Full text
3
Phillips, Dara L. "Dancing Through Film Musicals : Narratives in Motion /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
Full text
4
Bochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
5
Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.
Full textAbstract:
A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of musical film history, then illustrate the information with a performed example.
6
Alves, Rafael Paiva [UNESP]. "O som livre na TV Cultura: o programa A Fábrica do Som na difusão da música jovem, 1983-1984." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150677.
Full textAbstract:
Submitted by RAFAEL PAIVA ALVES null (rafael_paiva_alves@hotmail.com) on 2017-05-17T03:40:33Z
No. of bitstreams: 1
DISSERTAÇÃO RAFAEL PAIVA ALVES - 16.05.2017.pdf: 6778986 bytes, checksum: 58a12b64489794068959eeb723d28e71 (MD5)<br>Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-05-17T12:56:36Z (GMT) No. of bitstreams: 1
alves_rp_me_assis.pdf: 6778986 bytes, checksum: 58a12b64489794068959eeb723d28e71 (MD5)<br>Made available in DSpace on 2017-05-17T12:56:36Z (GMT). No. of bitstreams: 1
alves_rp_me_assis.pdf: 6778986 bytes, checksum: 58a12b64489794068959eeb723d28e71 (MD5)
Previous issue date: 2017-02-27<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Essa dissertação tem por objetivo central analisar historicamente as interseções entre as indústrias fonográfica e televisiva, bem como, as possibilidades de abertura e manutenção de espaços na TV para a música mais alternativa as lógicas do mercado, tendo como eixo-central as relações sociais que tornaram possível a criação do programa musical televisivo A Fábrica do Som. Esta pesquisa buscou comprovar a hipótese de que A Fábrica do Som foi uma experiência televisiva contracultural e experimental que contribuiu para a difusão da música fora do mainstream, que só foi possível, devido ao contexto político cultural da época, bem como, por ter sido um projeto realizado entre duas instituições culturais sem interferências do mercado: a TV Cultura e o SESC. Contracultural, no sentido em deu espaço na TV Cultura às manifestações contra culturais, sejam elas através dos músicos, do público nas gravações ou mesmo da produção por levarem o produto ao ar, bem como se posicionarem, em diversas vezes, através de seu apresentador Tadeu Jungle, de maneira crítica frente à cultura dominante e aos valores de mercado nas artes e mídia predominantes do período. Experimental, na medida em que o musical iria romper com os valores de ordem estética na televisão propondo uma linguagem altamente criativa. O contexto político contribuiu ao musical uma vez que o processo de abertura trouxe esperanças democráticas às manifestações artísticas e midiáticas, e no âmbito cultural, conseguiu captar parte da produção musical alternativa e efetivar o projeto, via emissora pública com expertise nas produções musicais, sem incorrer às pressões comerciais de índices de audiência, e de formato televisivo, além do apoio da unidade do SESC Fábrica da Pompéia, que buscava legitimar-se, neste período, em São Paulo, enquanto instituição fomentadora de projetos alternativos. Nesta direção, esta pesquisa reflete sobre o campo televisivo brasileiro no início dos anos 80. Historia o gênero musical na história da televisão, quer em emissora pública, quer privada. Analisa as relações da TV Cultura tanto com o SESC Fábrica da Pompéia, com a Fundação Padre Anchieta, bem como com as gestões estaduais, enfatizando as continuidades e diferenças durante os governos escolhidos por eleição indireta segundo normas da ditadura militar, e o governo de Franco Montoro, eleito pelo voto direto em decorrência de medidas oficiais consonantes ao processo de abertura do regime militar. Aborda aspectos tanto da produção como do contexto social da recepção do musical. E por fim, objetiva analisar o material audiovisual propriamente dito do musical.<br>This dissertation aims to analyze historically the intersections between the phonographic and television industries, as well as the possibilities of opening and maintaining spaces in the TV for music more alternative to the logics of the market, having as central axis the social relations that have made possible to create the television program A Fábrica do Som. This research sought to prove the hypothesis that A Fábrica do Som was a countercultural and experimental television experience that contributed to the diffusion of music outside the mainstream, which was only possible due to the context cultural politics of the time, as well as being a project carried out between two cultural institutions without market interference: TV Cultura and SESC. Contracultural, in the sense in gave space in the TV Cultura to the manifestations against cultural, be they through the musicians, the public in the recordings or even of the production for taking the product to the air, as well as position themselves, in several times, through its presenter Tadeu Jungle, critically in the face of the dominant culture and market values in the prevailing arts and media of the period. Experimental, insofar as the musical would break with the values of aesthetic order on television proposing a highly creative language. The political context contributed to the musical since the process of openness brought democratic hopes to the artistic and mediatic manifestations, and in the cultural scope, managed to capture part of the alternative musical production and to effect the project, via public broadcaster with expertise in musical productions, without incurring commercial pressures of audience ratings and television format, as well as the support of the SESC Fábrica da Pompéia unit, which sought to legitimize, in this period, in São Paulo, as an institution that promotes alternative projects. In this direction, this research reflects on the Brazilian television field in the early 80's. History the musical genre in the history of television, whether in public or private broadcasters. It analyzes TV Cultura's relations with SESC Fábrica da Pompéia, with the Fundação Padre Anchieta, as well as with the state administrations, emphasizing the continuities and differences during the governments chosen by indirect election according to norms of the military dictatorship, and the government of Franco Montoro, elected by direct vote as a result of official measures consonant with the process of opening the military regime. It addresses aspects of both the production and the social context of the reception of the musical. And finally, it aims to analyze the audiovisual material proper of the musical.
7
Croatto, Leonardo Ivan <1959>. "Musica, Cinema e identità nel Río de la Plata." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/8723/1/Croatto_Leonardo_tesi.pdf.
Full textAbstract:
La costruzione dell’identità culturale come problema centrale in contesti geografici periferici, vista dalla prospettiva che emerge dalla zona d’incrocio tra musica e produzione cinematografica nella regione del Río de la Plata, delimitata dalle due città capitali dell’Argentina e l’Uruguay.
Verranno analizzate tre situazioni particolari: l’inserzione del tango nel cinema, in quanto elemento locale fortemente identitario, focalizzata sulla produzione di uno dei più noti compositori argentini del XX secolo, Astor Piazzolla, artefice del rinnovamento linguistico del tango e autore di numerose colonne sonore. A partire dal contesto culturale nel quale si inserisce la sua biografia musicale, si analizzeranno due film emblematici nella storia dell’Argentina, realizzati nell’importante momento storico della transizione dall’ultima dittatura all’attuale democrazia: TangosEl exilio de Gardel e Sur (Fernando Solanas, 1985, 1988).
L’arrivo del rock come genere musicale straniero nel contesto del Rio de la Plata negli anni Sessanta, le trasformazioni culturali che esso comportò viste attraverso la sua presenza cinematografica e la nascita del “giovanile” in quanto nuovo soggetto, centrale nello sviluppo della cultura di massa alle origini della globalizzazione. Il rapporto locale/globale nella costruzione di un “Rock Nacional” con caratteristiche identitarie proprie, in bilico tra produzione artistica e industria culturale. Si analizzeranno due film rappresentativi di questa svolta, che rendono conto di vari elementi chiave in questo processo: Nacidos para cantar (Emilio Gomez Muriel, 1965), El extraño de pelo largo (Julio Porter, 1969).
L'interazione tra musica e cinema nel contesto della cinematografia nazionale nell’Uruguay (dallo sviluppo relativamente tardivo), le sue caratteristiche particolari e la sua funzione culturale nell’ambito di un paese condizionato dalle sue piccole dimensioni, peculiarità identitarie e limitazioni economiche, che nonostante questo configurano un particolare profilo culturale che incide sul contesto rioplatense e latinoamericano. A tal proposito, verrà analizzato un film di genere documentario incentrato sulla canzone d’autore uruguaiana: Hit (Claudia Abend, Adriana Loeff, 2009).<br>Cultural identity as a central problem in peripheral geographic contexts, from the perspective that emerges at the intersection of music and film production in the Río de la Plata region, bounded by the two capital cities of Argentina and Uruguay.
Three specific situations will be considered: the usage of tango in cinema, as a strongly identifying local element, focusing on the production of Argentinian musician Astor Piazzolla, author of the linguistic renewal of tango, and composer of numerous soundtracks. Starting from the cultural context in which his musical biography is inserted, two emblematic films will be analyzed, regarding the historical transition from the last dictatorship to the current democracy in Argentina: TangosEl exilio de Gardel and Sur (Fernando Solanas, 1985, 1988).
The arrival of rock as a foreign musical genre in the context of Rio de la Plata in the sixties, the cultural transformations that it involved seen through its cinematographic presence, and the birth of "the young" as a new subject, central in the development of mass culture in the origins of globalization. The local/global relationship in the construction of a "Rock Nacional" with its own identity characteristics, poised between artistic production and cultural industry. We will analyze two films representative of this shifting point, which account for several key elements in this process: Nacidos para cantar (Emilio Gomez Muriel, 1965), El extraño de pelo largo (Julio Porter, 1969).
The interaction between music and cinema in the context of national cinematography in Uruguay, its particular characteristics and its cultural function within a country conditioned by its small size, identity peculiarities and economic limitations which, despite this, form a particular cultural profile that affects the rioplatense and Latinamerican contexts. In this regard, a documentary film based on Uruguay's author song will be analyzed: Hit (Claudia Abend, Adriana Loeff, 2009).
8
Foroni, Andrea. "L'influenza del videoclip nel linguaggio cinematografico degli anni Ottanta." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
Find full textAbstract:
La mia tesi analizza l'influenza del videoclip nel linguaggio del cinema hollywoodiano degli anni Ottanta. Si parte dal rapporto tra musica popolare e immagini filmate nel corso del Novecento fino ad arrivare al rock 'n' roll e ai primi esempi di video musicali, per poi parlare dell'utilizzo della musica pop nel cinema della New Hollywood. L'argomento principale sarà poi l'analisi dei cambiamenti economici e produttivi nell'industria dell'intrattenimento negli anni Ottanta e le caratteristiche linguistiche del cinema americano coevo. Si analizza il rapporto con il musical, il recupero del concetto di attrazione e il confronto con le teorie di Ejzenstejn. Infine si analizzano alcuni esempi per esplorare le possibilità espressive del videoclip all'interno di un film cinematografico. Si farà molta attenzione al montaggio e al modo in cui la musica pop può agire sulla struttura narrativa del film, evidenziando differenze e punti in comune con la tradizionale narratività del cinema hollywoodiano "classico".
9
Nichols, Donald Nealson. "Investigating percussion through television news : an analysis of the Breaking news program /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307167.
Full textAbstract:
Thesis (D.M.A.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed July 7, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 104-105.
10
Álvarez, Vaquero Alicia. "Cuando la música desapareció de televisión. Historia, evolución y análisis narrativo del periodismo musical en TVE y TV3." Doctoral thesis, Universitat Ramon Llull, 2017. http://hdl.handle.net/10803/404735.
Full textAbstract:
La tesi que aquí es presenta està basada en una recerca sobre l'evolució en la narrativa audiovisual dels programes musicals periodístics en televisió per la qual hem aplicat una plantilla d'anàlisi narrativa que ens oferís una visió cronològica dels canvis i transformacions per les quals ha passat el format en les televisions públiques espanyola i catalana.
Abans de dur a terme aquesta anàlisi s'ha construït un marc teòric que abasta dos terrenys fonamentals per parlar del periodisme musical en televisió: d'una banda, la història de la música popular urbana (internacional, nacional i catalana) des de l'arribada del mitjà i, per un altre, les relacions entre música i imatge. En aquesta segona part de la teoria no només hem volgut parlar de la importància de la televisió en la divulgació de la música popular urbana sinó també en la influència que han tingut altres mitjans i formats (tals com els fanzines, la ràdio, el videoclip o el cinema) en la història dels programes musicals de televisió; una història que hem escrit pràcticament des de zero (lloc que no existeix cap llibre o recerca prèvia que s'ocupi d'això més enllà d'alguna etapa de la història) aportant una classificació o tipologia d'aquests programes. D'aquesta forma hem dividit els programes musicals en televisió en diverses categories englobades en dos grans grups: programes periodístics i programes no periodístics, establint en aquest últim grup diferents subcategories que van dels xous de varietats als programes dedicats íntegrament a l'emissió de videoclips, la retransmissió de concerts i una sèrie de “inclassificables” que hem estimat suficientment rellevants quant a la relació de la música popular urbana i la televisió.<br>La tesis que aquí se presenta está basada en una investigación sobre la evolución en la narrativa audiovisual de los programas musicales periodísticos en televisión para la cual hemos aplicado una plantilla de análisis narrativa que nos ofreciera una visión cronológica de los cambios y transformaciones por las que ha pasado el formato en las televisiones públicas española y catalana.
Antes de llevar a cabo dicho análisis se ha construido un marco teórico que abarca dos terrenos fundamentales para hablar del periodismo musical en televisión: por un lado, la historia de la música popular urbana (internacional, nacional y catalana) desde la llegada del medio y, por otro, las relaciones entre música e imagen. En esta segunda parte de la teoría no sólo hemos querido hablar de la importancia de la televisión en la divulgación de la música popular urbana sino también en la influencia que han tenido otros medios y formatos (tales como los fanzines, la radio, el videoclip o el cine) en la historia de los programas musicales de televisión; una historia que hemos escrito prácticamente desde cero (puesto que no existe ningún libro o investigación previa que se ocupe de ello más allá de alguna etapa de la historia) aportando una clasificación o tipología de dichos programas. De esta forma hemos dividido los programas musicales en televisión en diversas categorías englobadas en dos grandes grupos: programas periodísticos y programas no periodísticos, estableciendo en este último grupo diferentes subcategorías que van de los shows de variedades a los programas dedicados íntegramente a la emisión de videoclips, la retransmisión de conciertos y una serie de “inclasificables” que hemos estimado suficientemente relevantes en cuanto a la relación de la música popular urbana y la televisión.<br>This PhD dissertation is a research about the evolution in the audiovisual narrative of television musical programs. We have applied a template of narrative analysis that offers us a chronological view of the changes and transformations the format has experimented. Our study is limited to Catalan and Spanish public television.
Before carrying out this analysis, we constructed a theoretical framework that covers two fundamental areas for talking about musical journalism on television: on the one hand, the history of urban popular music (international, national and Catalan) since the arrival of the medium. On the other hand, the relations between music and image. In this second part of the theory, we do not only talk about the importance of television in the popular urban music, but also in the influence of other media (such as fanzines, radio, music videos or cinema) in the history of television. Much of this research has been written from scratch -since there is no book or previous research that deals with it beyond some stage of history- by providing a classification or typology of such programs. In this way we have divided the musical programs in television in diverse categories encompassed in two great groups: journalistic programs and non-journalistic programs, establishing in this last group different subcategories that go of the shows of varieties to the programs dedicated entirely to the emission of music videos. It also includes the retransmission of concerts and a series of "unclassifiable" that we have considered sufficiently relevant in relation to urban popular music and television.
Books on the topic "Televisioni musicali"
1
Kenrick, John. Musicals 101.com: The cyber encyclopedia of musical theatre, TV, and film. J. Kenrick, 1996.
Find full text
2
Hischak, Thomas S. The Oxford companion to the American musical: Theatre, film, and television. Oxford University Press, 2008.
Find full text
3
1937-, Deutsch Didier C., ed. VideoHound's soundtracks: Music from the movies, Broadway, and television. Visible Ink Press, 1998.
Find full text
4
Lynch, Richard Chigley. TV and studio cast musicals on record: A discography of television musicals and studio recordings of stage and film musicals. Greenwood Press, 1990.
Find full text
5
Broadway, movie, TV, and studio cast musicals on record: A discography of recordings, 1985-1995. Greenwood Press, 1996.
Find full text
7
Thomas, Scott. All in This Together: The Unofficial Story of High School Musical. ECW Press, 2007.
Find full text
8
Television musicals: Plots, critiques, casts, and credits for 222 shows written for and presented on television, 1944-1996. McFarland, 1997.
Find full text
9
Koeppel, Ruth. Hannah Montana: Fabulous friends : storybook & musical microphone. Reader's Digest Children's Books, 2008.
Find full text
10
Karim, Haryati Abdul. Malaysian adolescents and MTV: A search for identity. Penerbit UMS, 2007.
Find full textBook chapters on the topic "Televisioni musicali"
1
Driver, Emma, and Sarah Attfield. "Sketching Out Portlandia’s Musical Layers." In Music in Comedy Television. Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-11.
Full text
2
Mora-Rioja, Arturo. "Musical Paratexts: Song Lyrics in Television Series." In Television Series as Literature. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-4720-1_14.
Full text
3
Ostrofsky, Kathryn A. "Sesame Street as a Musical Comedy-Variety Show." In Music in Comedy Television. Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-2.
Full text
4
Stokes, Jane. "Having a Ball in your Hall: Television in the Musical." In On Screen Rivals. Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27796-4_4.
Full text
5
Bunch, Ryan. "“You Can’t Stop the Tweet”: Social Media and Networks of Participation in the Live Television Musical." In iBroadway. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64876-7_8.
Full text
6
Ibrahim, Nihad. "Nelly: The Eternal Pyramid of Acting, Film, Theater and Television Musicals in Egypt and the Middle East." In Female Pioneers from Ancient Egypt and the Middle East. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1413-2_6.
Full text
7
Kessler, Kelly. "Primetime Goes Hammerstein." In Broadway in the Box. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190674014.003.0006.
Full textAbstract:
This chapter explores shifts in television’s industrial landscape, examining how stylistic, technical, and viewer-based shifts opened up new spaces that encouraged the production of one-off musical episodes in otherwise straight fictional television series. A look across performance platforms illustrates how simultaneous changes that occurred in story types and methods of storytelling in stage and screen musicals of the1990s and the first decade of the 2000s dovetailed with emergent norms within the struggling post-network television landscape. Increasingly porous acting pools, the cross-platform entrenchment of self-aware stories and narrative styles, and a drive toward niche audiences helped create a late-millennium perfect storm that ushered in a new formally complex marriage of the musical and television. This chapter concludes with a close analysis of Grey’s Anatomy’s season seven musical episode, “The Song Beneath the Song,” highlighting its embodiment of television’s embrace of emergent cross-platform norms of musical performance, post-network narrative style, and contemporary target marketing.
8
Feuer, Jane. "Musical Television." In The Oxford Handbook of the Hollywood Musical. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197503423.013.31.
Full textAbstract:
Abstract This essay traces shifting definitions of theatricality through the genre of quality drama, a genre that is also televisual and cinematic. It offers readings of Smash and makes reference to Glee and the Judy Garland Show in an attempt to show the relationships between the stage and screen models of the musical. The film musicals of the 1930s used vaudeville and Broadway revues as intertexts; later musicals had earlier film musicals as the internal show. Glee had a 1963 television show within a 2011 television show. Yet the live theatrical internal show continued to thrive in theater and in cinema. The compelling nature of live performance persisted as an intertext for film and television long after theater had ceased to be a dominant medium in popular culture. Considering this long history of texts about “Show Business” and” “Show People,” it is not surprising to find a backstage musical being made in 2012. What is surprising is that a backstage musical about the production of a Broadway show should be made for US network television at this late date. Theatricality structured the genre of quality drama but Smash was something even more than the theatrical: it was theater at every level.
9
Kessler, Kelly. "Sequins and Songs on the Small Screen." In Broadway in the Box. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190674014.003.0004.
Full textAbstract:
By the late sixties, television was America’s medium and, just as it had with stage and film musicals in the decades prior, it embraced the increasingly legitimized musical style of Vegas. Whether through Mitzi Gaynor’s string of television specials; the repackaging of Sonny and Cher’s Vegas shtick, glitz, and musical tributes; or The Carol Burnett Show’s Bob Mackie–clad musical extravaganzas, Vegas/Broadway hybrids filled the small screen. This fusion of old-school and, to a lesser degree, contemporary musicals with the popularized pizzazz and glamour of Vegas brought the television musical comfortably in line with the cheeky sexiness of 1970s network programming. Highlighting the ongoing symbiosis among various musical platforms, this chapter explores the rise of a hybridized Broadway-Vegas style on television, or what the author terms “BroadVegas,” in the context of changing generic norms across stages and screens, heightened inter-network competition and branding, and emergent visual, generic, and promotional styles.
10
Harrison, Jack. "The Television Musical." In Time in Television Narrative. University Press of Mississippi, 2012. http://dx.doi.org/10.14325/mississippi/9781617032936.003.0019.
Full textConference papers on the topic "Televisioni musicali"
1
Chen, Oscal T. C., Jhen Jhan Gu, Chih-Chang Chen, and Ping-Tsung Lu. "Affective perception of Musical Television." In 2012 4th International Conference on Awareness Science and Technology (iCAST). IEEE, 2012. http://dx.doi.org/10.1109/icawst.2012.6469597.
Full text
2
Golubovskaya, S. P., and E. S. Sherstneva. "The speech portrait of the main character of the American musical television series «Empire» (phonetic aspect)." In XXV REGIONAL SCIENTIFIC CONFERENCE STUDENTS, APPLICANTS AND YOUNG RESEARCHERS. Знание-М, 2020. http://dx.doi.org/10.38006/907345-63-8.2020.95.102.
Full textAbstract:
This article deals with the problem of recreating the speech portrait of the main character in a cinematic context. The main components of the phonetic feature and lexical, as well as grammatical characteristics of the speech of the studied character are determined. Conclusions are deduced about the relationship between linguistic and extralinguistic factors that mediate the speech behavior of a particular language personality.
3
Jedidi, Anis, Faiez Gargouri, Fahmi Bellalouna, and Mika Luimula. "VR-App for a Virtual Perception of Memory Impairment in Alzheimer’s Patients." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002088.
Full textAbstract:
Augmented, Virtual and Mixed Reality Technology (AR / VR / MR) - also known as xR technology - is one of the key technologies of digital transformation. Thanks to the existing powerful immersive hardware systems, complex technical and natural systems can be digitally represented in a realistic virtual environment. This enables users to completely immerse in the virtual environment and to observe and interact with the systems and objects contained therein without major restrictions, or to augment real products and systems with digital data in runtime. This creates new opportunities to present the behaviour and functionalities of complex systems in a tangible and understandable way. Therefore, the xR technology can revolutionize learning and training methods, especially in the qualification of specialists and experts. This paper will introduce the international project “International Cooperation on VR/AR Projects” (IC xR-P). The target of “IC xR-P” is the implementation of a practice-oriented xR training applications in the areas of medical training, rescue and Knowledge transfer in schools and universities and their testing and evaluation with selected experts. “IC xR-P” is an international cooperation between the University of Applied Sciences Karlsruhe from Germany, University of Applied Sciences Turku from Finland and the Higher Institute of Computer Science and Multimedia Sfax from Tunisia. Among the learning projects in the ICxRP, we focus in this paper on the implementation of VR training apps for medical training in this paper, we centred on the Perception of Memory Impairment in Alzheimer’s Patients. Patients with early Alzheimer’s disease may have spatial and time-oriented disorders. The objective is to use immersion in a virtual environment. This allows the user to experience a multisensory experience during which the user can feel and interact naturally and intuitively in real time via sensory interfaces. VR offers different levels of interaction, from the minimum level where the subject remains passive, looking at the environment, to more interactive levels where the subject is active, controlling its movement to the first person in the virtual environment via various interaction tools immersive.Within this project a VR-Training App will be designed and implemented, which fulfill the following functions with different virtual games facilitating the communication of the patient with the virtual environment. This application can develop the creating immersion and feeling of presence in patients. Also, we propose Family/Entourage Show service, it’s a memory stimulation exercise by integrating the family photos. We propose in addition a VR creation of patients’ usual living environment (home, hallway, bedroom…). We improve the valuing specific objects and places in the house to facilitate the orientation and the exploration of the environment. Finally, we propose à musical Training service: it offers a question-answer game that aims to stimulate the patient’s memory. From here, player can choose which exercise they want to play or focused on. We propose the orientation exercise, the memory exercise with the card-game, the recognizing game, and the exercise of leisure activities. These last exercises will also stimulate their memory by singing along to some songs, guessing animals, and making a tasty hamburger following the right steps. For most of the game, there will always be an evaluation of the player’s performance at the end. It will either displays on the television screen or a screen will pop out to show the results.