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Journal articles on the topic 'Trumpet concerto'
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Horez, Iulian. "16. Trumpet and Orchestra Concert in D Major by Georg Philipp Telemann in Interpretation Vision of Wynton Marsalis and Rafael Méndez." Review of Artistic Education 19, no. 1 (April 1, 2020): 134–39. http://dx.doi.org/10.2478/rae-2020-0016.
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AbstractLike most baroque concerts, the Concerto for trumpet and orchestra in D major by Georg Philipp Telemann raises particular problems of interpretation. It is a concert written in the head register of the trumpet, with frequent references in the acute register. I should mention that the head register of a trumpet depends on its size. At a normal trumpet in and flat (and not piccolo), the acute register is from do (and flat from the first octave) to the next do ascendant. The head register continues from do2 to do3. In the trumpets in do, re, mi flat, fa, sol, the principle remains the same, with a variability depending on the size of the trumpet, except that in the acute record the other notes correspond to that of the flat, but the upper limit is generally the same.
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Thomas, Gavin, Heinrich Schiff, Heinz Holliger, Hakan Hardenberger, SWF SO Baden-Baden, Michael Gielen, Saschko Gawriloff, Siegfried Palm, Alfons, and Aloys Kontarsky. "Cello Concerto, Oboe Concerto, Trumpet Concerto, Canto di speranza." Musical Times 135, no. 1812 (February 1994): 108. http://dx.doi.org/10.2307/1002990.
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Horez, Iulian. "16. Sinfonia Avanti Il Barcheggio by Alessandro Stradella in Interpretations of the Trumpeters Iulian Horez and Miroslav Kejmar." Review of Artistic Education 21, no. 1 (June 1, 2021): 133–38. http://dx.doi.org/10.2478/rae-2021-0016.
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Abstract Alessandro Stradella is a lesser-known composer in trumpet works. However, the Sinfonia avanti il Barcheggio is of great beauty and is written perfectly trumpet. The original is composed for trumpet in C, but the key of D major in which the concerto played with trumpet in C is written poses the biggest tuning problems. For this reason, I recommend for this concert a trumpet in A. The tuning will be much better, it will be played in F major, the natural notes of the trumpet will be used a lot (C, E, G).
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Mottershead, Tim. "Manchester, Bridgewater Hall: Concertos by Hakola and Broström." Tempo 67, no. 265 (July 2013): 75–77. http://dx.doi.org/10.1017/s0040298213000508.
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Given that the BBC Philharmonic had taken the courageous step to perform not one but two substantial premières on 1 February, one might have expected enticing potboilers to make up the rest of the menu. However, the remainder of the programme was devoted to Stravinsky's Petrushka (admittedly his most colourful ballet) along with his austere Symphonies of Wind Instruments. The concert was given a novel twist in that the first half (Symphonies of Wind Instruments and Hakola Violin Concerto) was directed by visiting guest conductor Håkan Hardenberger with John Storgårds as soloist; whilst in the second half (Broström Trumpet Concerto and Petrushka) Storgårds donned his more familiar guise as Principal Guest Conductor, with Hardenberger in his better-known role as trumpet soloist.
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Carnovale, Norbert, Gunther Schuller, and Robert Waddell. "Concerto for Trumpet and Chamber Orchestra." Notes 43, no. 3 (March 1987): 679. http://dx.doi.org/10.2307/898222.
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Conway, Paul. "Civic Hall, Stratford-Upon-Avon: John McCabe's Trumpet Concerto ‘La Primavera’." Tempo 67, no. 263 (January 2013): 89–91. http://dx.doi.org/10.1017/s0040298212001489.
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Although John McCabe's Rainforest II, of 1987, is in effect a chamber concerto for trumpet and 11 strings, his extensive body of concertante works has lacked an official trumpet concerto. La Primavera, which had its première on 15 June 2012, now happily fills that gap. The subtitle derives from McCabe's consideration of two aspects of the approach of Spring: the vitality of burgeoning growth and the flowering of the new or refreshed life as it expands.
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Carnovale, Norbert, and Ellen Taaffe Zwilich. "Concerto for Trumpet and Five Players, 1984." Notes 44, no. 4 (June 1988): 832. http://dx.doi.org/10.2307/941062.
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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (June 16, 2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.
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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.
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Springer, D. Gregory, and Brian A. Silvey. "The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance." Journal of Research in Music Education 66, no. 1 (February 21, 2018): 92–110. http://dx.doi.org/10.1177/0022429418761044.
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The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.
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Silvey, Brian A., and D. Gregory Springer. "The Role of Accompaniment Quality in Band Directors’ Evaluations of Solo Instrumental Performance." Journal of Research in Music Education 67, no. 4 (October 9, 2019): 481–93. http://dx.doi.org/10.1177/0022429419878148.
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The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Participants ( N = 58) listened to six excerpts of Haydn’s Concerto for Trumpet, which we created by pairing different recordings of solo trumpet performance (good or bad) with piano accompaniment (good, bad, or none). Participants evaluated the accuracy and expressivity of the soloist in each excerpt. Similar to the previous study, results indicated that participants discriminated between good and bad solo performances successfully, but a significant three-way interaction among solo, accompaniment, and order indicated that these differences were further influenced by the quality/presence of accompaniment and order. Most participants (72.4%) believed that their evaluations of the soloist were not influenced by the piano accompaniment, primarily because they were able to focus on the soloist or because they followed the instructions provided.
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Bonus, Alexander. "Johann Nepomuk Hummel, Trumpet Concerto in E major, piano reduction and parts, edited by Michael Kube (Munich: G. Henle Verlag, 2009), viii+68pp. - Johann Nepomuk Hummel, Concerto for Trumpet and Orchestra in E major (Partitur Nr. 15119), and Version in E flat Major (Partitur 15118), edited by Michael Kube (Wiesbaden: Breitkopf & Härtel, 2010), iv+48pp." Nineteenth-Century Music Review 9, no. 2 (December 2012): 379–87. http://dx.doi.org/10.1017/s1479409812000407.
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Power, Ian. "FOR/WITH New York City, 15–16 November 2019 THE STORY OF ONE OF MY FOLLIES New York City, 16 November 2019." Tempo 74, no. 292 (March 6, 2020): 83–85. http://dx.doi.org/10.1017/s0040298219001293.
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In two nights in New York, I saw three world premieres and four other recent pieces at two very different concerts. Friday, 15 November at Issue Project Room in Brooklyn was the concert FOR, the first of two nights called FOR/WITH curated by the trumpeter Nate Wooley. The venue was celebrating the life of its late founder, the artist Suzanne Fiol, and her work was displayed around the hall with an appropriate sense of reverence and intensity. Wooley featured a composer I admire, Eva-Maria Houben of the Wandelweiser collective, and an uncharacteristic solo trumpet piece that she wrote for him called chanting ballads. Like most of Houben's work it was stark, simple and repetitive, and seemed to place the performer in a battle with himself, its briefly sustained tones becoming daunting events, spaced as far apart from each other as they were. Unlike most of Houben's work, it took advantage of the trumpet's entire range of pitch and dynamic, which at first seems to be entirely out of place with the atmosphere of the work, but, as it goes on, one of course realizes that this is the point and there is so much in these bare, somewhat awkward trumpet sounds to listen for. Every extraneous sound – both from the trumpet and from the hall – becomes part of the piece. My mind moves to curation: does Houben's music demand more control over a concert? No phones maybe? I feel for the performer: while the work does what I love most about solo works, which is to take us out of the regular ‘concert’ feeling and give us the sense that we're witnessing a ritual with a strange tool, I then end up focusing on the performer's unintentional ornamentation. A few clammed notes: are they supposed to illustrate the fragility of the instrument, its tone and its user, or are they also intended as part of any tool's thorough exploration? I've played Houben: it's hard. I get it. But I do think the point is to be charitable as a listener and enjoy every sound equally, in an attempt to divorce oneself from preconceived notions of ‘successful’ playing. What at first seemed like quite an awkward undertaking became an empowering experience for me, and, one hopes, for Wooley as well.
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Martynova, Valeriya. "Concerting oboe: timbre, technique, traditional and latest methods of playing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 149–65. http://dx.doi.org/10.34064/khnum1-50.11.
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Background. Oboe as a concert instrument has passed a rather long path of evolution, on which it has been improved according the parameters of its design, the technique of virtuoso play and the requests of composer writing. The concentrate of universal capabilities of the soloing (concerting) oboe is the concerto genre, in which all these parameters are combined in an integral entire. The objective of this article is to sequentially consider the components of the concerting oboe “image”, such as timbre and articulation-and-stroke technique, including typical and latestmethods of writing and playing. The methodology of researching based on the set of such approaches to the phenomenon under study as historical-and-genetic, deductive, system-and-structural. Results. Based on the consideration of the concerting principle in its historical and stylistic dynamics, the article reveals the specifications of timbre-and-technical means characterized the oboe in various genre forms of the concert. The data on the specifics of the oboe effects found in the concert music for this instrument are also systematized. The latest methods of playing are characterized, and a refined classification of multiphonics used in modern oboe practice is proposed. It is noted that the concept of concerting style first appeared in the Baroque era, when instruments and voices in the new homophonic practice began to reach the level of soloing. At the same time, the principles of concerting manner as a dialogue in various forms of its implementation were formed, among which the form of group or collective concerting represented by the genre of concerto grosso was primary in instrumental music. Within this form, the concerting oboe stands out, and for a long time it participated in a trio of soloists who performed in this genre as concertino opposing to grosso – the mass of the rest of the orchestra. The article identifies the main specific features of the timbre and technique associated with the oboe design (double reed) and the performer’s breathing (gradual exhalation). Particular attention is paid to the oboe effects technique, as well as a set of means for sound-producing and sound-leading characterized this instrument in its comparison with others belonging to the same family (wood winds) or to others (bowed string, brass instruments). On this basis, a description of the performing means of expressiveness of the oboe is proposed, including not only the specific (timbre-and-acoustic), but also the universal components that the oboe takes over from others instruments playing with him in an ensemble or an orchestra. In particular, among such there is the vibrato technique, which came to the oboe practice from the string instruments, as well as the two main groups of effects – connected (legato and its types), divided (staccato, spiccato, martele) and the special methods of playing adapted “for the oboe”, in particular, pizzicato and “slap”. (For an oboe, the “slap” is a sharp tongue strike on the reed with a simultaneous key strike or without it, as well as a key strike without blowing air in). Among the techniques that have the specific forms of reproduction on the oboe, the article discusses tremolo of different interval volumes, to which a special fingering is adjusted; frullato (the “oral” kind with using of the “r” sound like in a trumpet, and “overtone” kind producing by a performer’s throat); glissando, existing on the oboe in two versions, labial and finger. As examples of the latest methods of playing specified to the concerting oboe practice, those are discussed that contribute to the timbre re-coloring of the same sound or the sound set that significantly expands the sound-and-color capabilities of the instrument, and promotes to the process of its further universalization. These, for example, are bisbigliando, the technique that came from the harp practice, when an oboist gets the same sound in different ways; variety kinds of multiphonics; smorzato (a slow fluctuation of sound volume), oscillato (a similar change in pitch). Also the technique of doubletone is mentioned, when the oboist sings along with playing, which allows to produce consonances (intervals and even chords) on the instrument. Conclusions. The results of the research confirm the fact that the solo concerting oboe was formed in the process of a long historical and stylistic evolution, which is reflected in the genre of concerto for oboe, where the timbre-and-technical capabilities of the instrument are most complete. The complex of technique effects as the component of musical expressiveness was especially importance in formation of the cumulative sound image of the “universal” oboe. Thus, the concerting oboe was formed in line with the general processes of the development of musical thinking, which was connected with the practice of concert style, the principle of concerting as a musical and aesthetic category. Reflecting in different genre forms the development of the concert music, collective and solo, the oboe “sound image” has acquired by now the quality of genuine universalism, while retaining its specificity, connected with the features of its performing factor. The prospects for further study of the stated topic are seen, firstly, in the concretization of the stylistics of the concert oboe on examples of works of the concert genre; it will be necessary to build a certain logic of selection of material, which should not only illustrate the historical process, but also contain characteristics of individual creative embodiments of the “image” of the oboe by composers and performers. Secondly, they may be connected with the possibilities of projection in the proposed research methodology onto the concert music for others instruments.
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Rickards, Guy. "SKALKOTTAS: 36 Greek Dances (with alternative versions of Nos. II/8–9 & III/6); The Return of Ulysses. BBC Symphony Orchestra c. Nikos Christodoulou. BIS-CD-1333/1334. SKALKOTTAS: Concerto for 2 violins1–3; Quartet for oboe, trumpet, bassoon & piano2,4–6; Concertino for oboe & piano2,4; Concertino for trumpet & piano2,5; Tango and Fox-trot for oboe, trumpet, bassoon & piano2,4–6; Sonata Concertante for bassoon & piano2,6. 1Eiichi Chijiiwa, Nina Zymbalist (vlns), 2Nikolaos Samaltanos (pno), 3Christophe Sirodeau (pno), 4Alexeï Ogrintchouk (ob), 5Eric Aubier (tpt), 6Marc Trenel (bsn). BIS-CD-1244." Tempo 58, no. 227 (January 2004): 78–80. http://dx.doi.org/10.1017/s0040298204300069.
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TALBOT, MICHAEL. "WILLIAM BATES AND HIS CONCERTOS IN TEN PARTS, OP. 2: AN ENTERPRISING EIGHTEENTH-CENTURY COMPOSER AND AN UNRECOGNIZED ORCHESTRAL SUBGENRE EMPLOYING HORNS." Eighteenth Century Music 14, no. 2 (August 30, 2017): 235–63. http://dx.doi.org/10.1017/s1478570617000069.
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ABSTRACTWilliam Bates, who died in 1778, was a prolific and, in his day, successful composer of stage music and concert songs performed in London in the 1760s and 1770s; but a scarcity of biographical information and uncertainties over his position vis-à-vis the new style introduced in the early 1760s by J. C. Bach and others have tended to disadvantage him in modern commentary. New facts about his life and background together with a recently discovered sale catalogue reveal him to have been a cultivated man of wide interests, with a sympathy for the ‘ancient’ style. His most substantial musical contribution, as regards its potential for modern revival, is a remarkable set of six concertos for strings with oboes, bassoons and horns (plus, in two concertos, trumpets and timpani) published in 1762. These concertos, related in style to contemporary overtures to stage works but making much greater use of concertante writing, form a high point in a peculiarly British tradition of concertos employing French horns. The cult of the horn in Georgian Britain that nourished this tradition is the subject of extended discussion.
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HARLEY, MARIA ANNA. "Spatiality of sound and stream segregation in twentieth century instrumental music." Organised Sound 3, no. 2 (August 1998): 147–66. http://dx.doi.org/10.1017/s1355771898002088.
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Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trumpet player (standing on the stage) of a sequence of four quarter-notes, with the pitches of B[flat ]3–A3–C4–B3. The listener chooses to ignore the immediate physical surroundings and hears one of the following: (i) four trumpet sounds equally spaced in time, (ii) a sequence of intervals – minor second, minor third, minor second, (iii) an instance of set 4-1, (iv) a motive referring to the name of BACH. The `web of interpretants' (term from Nattiez 1987/1990) surrounding a simple musical fact is already quite dense, even though we have only considered its aspects relating to pitch, pitch class and pitch notation (representation by letters). What if the performer's gestures, the facial expressions, the direction of the bell of the instrument became important? Might one say, then, that the music has become theatre?
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Conway, Paul. "Manchester, Cosmo Rodewald Concert Hall: Gordon Crosse's L'enfant sauvage." Tempo 67, no. 266 (October 2013): 76–78. http://dx.doi.org/10.1017/s0040298213000910.
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Contemporary music ensemble Psappha gave three world premières in a concert at the University of Manchester's Cosmo Rodewald Hall on 8 March 2013. Their programme began with first performances of brief works by two young composers connected with the University. I Lost My Way in Dixieland, by Thomas Jarvis (b.1991), was a deftly realized deconstruction and reinvention of a popular jazz style, with a throwaway ending that made an apt parting gesture for a witty and enjoyable pastiche. And Sempadan, by Sayyid Shafiee (b.1987), made effective use of offstage trumpet and trombone interacting with on-stage clarinet, percussion and double bass, to suggest the concept of two different but complementary cultures.
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IVANITSKYY, Oleg. "Technical and artistic means of expression in concerts for trumpet by E. Williams." Humanities science current issues 2, no. 35 (2021): 33–38. http://dx.doi.org/10.24919/2308-4863/35-2-5.
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Gąsiorowska, Małgorzata. "Grażyna Bacewicz – The Polish Sappho." Musicology Today 16, no. 1 (December 31, 2019): 65–102. http://dx.doi.org/10.2478/muso-2019-0003.
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Abstract The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads from lessons with her father, the Lithuanian Vincas Bacevičius, to studies at the Łódź and Warsaw Conservatories (violin with Józef Jarzębski, composition with Kazimierz Sikorski), and later with Nadia Boulanger at the École Normale de la Musique, as well as violin lessons with André Tourret. Her oeuvre has for many years been linked with neoclassicism, and folkloric inspirations are evident in many of her works. Her crowning achievement in the neoclassical style is the Concerto for String Orchestra of 1948, while influences from folklore can distinctly be heard in many concert pieces and small forms. The breakthrough came around 1958, under the influence of avant-garde trends present in West European music, which came to be adapted in Poland thanks to the political transformations and the rejection of socialist realism. In such pieces as Music for Strings, Trumpets and Percussion of 1958, Bacewicz transforms her previously fundamental musical components (melody, rhythm, harmony) into a qualitatively new type of sound structures, mainly focused on the coloristic aspects. Grażyna Bacewicz also applied the twelve-note technique, albeit to a limited extent, as in String Quartet No. 6 (1960). Her last work was the unfinished ballet Desire to a libretto by Mieczysław Bibrowski after Pablo Picasso’s play Le désir attrapé par la queue.
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Bodemer, Klaus. "Un paso adelante, dos pasos hacia atrás. Las relaciones de Estados Unidos con Cuba bajo los presidentes Obama y Trump." Agenda Internacional 27, no. 38 (October 16, 2020): 49–79. http://dx.doi.org/10.18800/agenda.202001.003.
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Desde el triunfo de Fidel Castro en Cuba en 1959, las relaciones de Estados Unios con la isla caribeña fueron caracterizadas durante más de medio siglo por una alta hostilidad y conflictividad. Eso cambió durante el segundo mandato de Barak Obama con una serie de medidas que parecieron señalar el despegue de una nueva época de cooperación entre ambos países. Esa estrategia de descongelamiento de las relaciones bilaterales terminó, sin embargo, con lavictoria electoral de Donald Trump y su estrategia favorita América first, que instrumentalizó de manera extrema la política externa para fines de la política interna. Para satisfacer a sus adherentes, entre ellos los cubanoamericanos en el Estado de Florida, Trump revertió paso por paso una gran parte de la política de apertura de su antecesor con efectos económicos negativos tanto para los cubanos como, aunque menos, para empresas y ciudadanos estadounidensesy empeoró sustancialmente la imagen de Estados Unidos y de su gobierno tanto en la región como en Europa. Un cambio generacional en la comunidad cubana en Miami, protestas de la Unión Europea y de ciertos sectores económicos en Estados Unidos despiertan por otra parte dudas si la política rígida de sanciones de la administración Trump sobreviva realmente a las próximas elecciones en Estados Unidos en 2020. Como conceptos analíticos nos sirven el neorealismo, el socialconstructivismo y el concepto intermestic polictics.
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Anderson, Julian. "MESSIAEN AND THE NOTION OF INFLUENCE." Tempo 63, no. 247 (January 2009): 2–18. http://dx.doi.org/10.1017/s0040298209000011.
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In 1989, I bought a CD in Paris of the early piano music of André Jolivet. Like many non-French musicians, I had read the name of Jolivet but heard little of his music. Jolivet's reputation as Varèse's leading pupil and the extreme avant-gardist of the pre-World War II group La Jeune France seemed completely at odds with his conventional post-War music occasionally broadcast on Radio 3, such as the Concertos for Trumpet, Piano or Ondes Martenot–music which suggested not fully assimilated influences of Honegger or Hindemith, with little obviously adventurous about it in its rhythmically conservative phrasing and standard formal shapes.
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Heaton, Roger. "Klangforum Wien, Wien Modern, Wiener Konzerthaus, 13 November 2019." Tempo 74, no. 292 (March 6, 2020): 82–83. http://dx.doi.org/10.1017/s0040298219001281.
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The thirty-second Wien Modern was an extraordinary month-long festival of concerts and events with almost 90 world and Austrian premieres. The excellent Klangforum Wien programme at the Wiener Konzerthaus, conducted by Bas Wiegers, was well attended by an enthusiastic and mostly young-ish audience, where the focus was two first performances for large ensemble: Klaus Lang's linea mundi and Mirela Ivičević's Sweet Dreams. The evening was, in fact, billed as being ‘in honour’ of Ivičević who had won the Erste Bank Composition Prize 2019 with this piece. Ivičević is a Croatian composer now living in Vienna and her work shows an involvement with big themes: politics, diversity and violence, among others. Apart from concert pieces she works with different media and takes by-products of popular trash culture often as a starting point for her work. In interviews she has talked about the ‘subversive potency of sound’, and said that her work is ‘raw, imperfect, unpolished’, which this piece, and other recent examples you can hear on YouTube, demonstrate, despite her quite rigorous musical education in Zagreb and Vienna. Sweet Dreams is a lively, noisy, busy piece about the rapid change between sleep and waking states. The large ensemble, including harmonium, electric guitar and harp, opens with monumental repeated sections, dramatic but with a sense of direction toward slow, strong, pedal entries. Rough punctuation from alto saxophone, bass clarinet and trumpet adds to the ‘rawness’ but the writing is assured with a particular, individual imagination and sense of colour that bodes well for future work.
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Goad, Pamela J., and Douglas H. Keefe. "Timbre Discrimination of Musical Instruments in a Concert Hall." Music Perception 10, no. 1 (1992): 43–62. http://dx.doi.org/10.2307/40285537.
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The effects of musical context and musical instrument characteristics on timbre discrimination in a concert hall were examined. Isolated tones and six-tone melodies were recorded in two different locations of a concert hall using five musical instruments. Each trial consisted of either a pair of tones, or a pair of melodies, which had been recorded simultaneously at the two locations on the same instrument. No significant differences were found between responses for isolated tones and responses for melodies. Musical instrument characteristics did prove to be significant, with listeners best able to discriminate flute tones, followed in order by clarinet, trumpet, viola, and marimba. In a follow-up analysis, five physical attributes of each instrument were tested for their contribution to the predictability of the discrimination scores. Variance with respect to the mean power level of the sustained portion of a tone was found to be the dominant contributor of the total variance of subjective responses, and this implicates differences in the early reflection sequence of the room impulse response as a contributor to timbral discrimination.
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Talbot, Michael. "Concerti musicali, Opus 6, and: Sinfonia in D (G. 21) for 1/2 Trumpet(s), Strings & Continuo (review)." Notes 60, no. 2 (2003): 534–38. http://dx.doi.org/10.1353/not.2003.0172.
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KLEPPINGER, STANLEY V. "The Structure and Genesis of Copland'sQuiet City." Twentieth-Century Music 7, no. 1 (March 2010): 29–59. http://dx.doi.org/10.1017/s1478572211000041.
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AbstractAaron Copland'sQuiet City(1940), a one-movement work for trumpet, cor anglais, and strings, derives from incidental music the composer wrote for an unsuccessful and now forgotten Irwin Shaw play. This essay explores in detail the pitch structure of the concert work, suggesting dramatic parallels between the music and Shaw's play.The opening of the piece hinges on an anhemitonic pentatonic collection, which becomes the source of significant pitch centres for the whole composition, in that the most prominent pitch classes of each section, when taken together, replicate the collection governing the music's first and last bars. Both this principle and the exceptions to it suggest a correspondence to the internal struggles of Shaw's protagonist, Gabriel Mellon.In addition,Quiet Cityoffers a distinctive opportunity to observe the composer's assembly of a unified tonal structure. Sketch study makes it possible to observe the composer altering his original material in ways that reinforce tonal connections across the span of the piece.
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Jonutytė, Jurga. "Negalios sąvoka: ontologinės ir epistemologinės prielaidos." Deeds and Days 74 (2020): 139–56. http://dx.doi.org/10.7220/2335-8769.74.7.
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Straipsnio tikslas – pristatyti šiuolaikinės negalios filosofijos problematiką, susitelkiant prie ontologinių ir epistemologinių eiblistinės kultūros prielaidų. Negalia straipsnyje suprantama ir aiškinama kaip kultūrinis fenomenas, o ne kaip natūrali biologinė duotis (tai būdinga visai negalios filosofijos krypčiai, iš kurios čia daugiausia remiamasi Billo Hugheso, Lennardo Daviso, Margrit Shildrick tekstais). Pirmiausia straipsnyje trumpai aptariama žmogiško kūno normos problematika (pasak Daviso, Michelio Foucault, George’o Canguilhemo), aiškiamasi, kiek ir kaip atskirose kultūrose įsigalinčios normos lemia negalios sąvoką, pagal kurią savo ruožtu konstruojamos kūnus kategorizuojančios sistemos (Jackie Leach Scully). Aiškinant ontologines negalios sąvokos prielaidas analizuojama Hugheso pasiūlyta ontologinio nugalinimo sąvoka ir kaip vienas iš nugalinimo būdų minimas perteklinio kūniškumo fenomenas. Ontologinis nugalinimas susiejamas su radikaliais, žmogaus prigimtį hierarchizuojančiais dvasiniais ir politiniais judėjimais (remiantis Roberto Esposito, Sergejumi Prozorovu). Epistemologinės negalios sąvokos prielaidos pateikiamos pristatant atsieto nuo materialaus kūno epistemologinio subjekto kritiką, plėtojamą Catherine Malabou ir Tomo Sparrow plastiškumo filosofijoje, epizodiškai lyginant ją su Luce Irigaray ir Alfredo Schutzo teorijomis. Išvadose susiejamos ontologinė ir epistemologinė negalios sąvoką grindžiančios plotmės ir nužymimas galimas kelias link šios sąvokos ištirpimo pakitusiose socialinėse praktikose.
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Jamison, Kaline Girão. "A retórica de Trump apoiada pela metáfora da moralidade." Revista Eletrônica de Estudos Integrados em Discurso e Argumentação, no. 13 (July 19, 2017): 86. http://dx.doi.org/10.17648/eidea-13-1367.
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<p class="EIDA-caputresumo">Neste trabalho, objetivamos analisar o discurso de Donald Trump na ocasião do lançamento de sua candidatura à presidência dos E.U.A. e apontar elementos linguístico-cognitivos que ajudaram a elaborar sua credibilidade e identificar quais as metáforas de moralidade que estavam subjacentes à linguagem utilizada e que favoreceram sua campanha política. Baseamo-nos no Sistema da Metáfora Moral (LAKOFF; JOHNSON, 1999) para detectar elementos metafóricos que ajudaram na construção de argumentos favoráveis a Trump. Concluímos que o Sistema da Metáfora Moral, que define parte dos conceitos morais dos ocidentais, permeia a linguagem política e subjaz aos principais argumentos utilizados por Trump em seu discurso. </p>
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Lukić-Krstanović, Miroslava. "The Festival Order – Music Stages of Power and Pleasure." Issues in Ethnology and Anthropology 3, no. 3 (December 1, 2008): 129–43. http://dx.doi.org/10.21301/eap.v3i3.7.
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Music festivals consist of a complex of interactions and social and cultural experiences. This paper analyzes music festivals in SE Europe in their function as a planetary prouction, combining regional cross-cultural perspectives and local politics. At the beginning of the 1990s music events in SE Europe (concerts, festivals, cultural happenings) were either a part of political conflict, antagonisms and economic crises, or they were included in the music world through the cultural contacts of global achievements – the music net and industry. Music festivals become the arena and scene of a contradictory reality in these places, being made up of individual, group interests, needs, establishment strategy and politics. To illustrate this phenomenon the paper presents the biggest festivals and spectacles in Serbia and SE Europe: EXIT festival (Novi Sad) attracted thousands of techno and rock lovers with the participation of many famous bands; and the folk trumpet playing festival (Guča), which each summer for several decades has been attracting thousands of lovers of ethno sound to a fair-carnival atmosphere. This ethnological research stresses complex property divisions – lifestyle, music genres, political strategies, scene movements and economic interests.
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Dall'Agnol, Gustavo Fornari. "Barack Obama e Donald Trump: uma análise dos determinantes domésticos da política externa estadunidense em relação ao Irã (2009-2018)." Estudos Internacionais: revista de relações internacionais da PUC Minas 7, no. 3 (November 25, 2019): 7–27. http://dx.doi.org/10.5752/p.2317-773x.2019v7n3p7-27.
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Resumo: O presente artigo visa a analisar e explicar as diferenças na condução da política externa estadunidense para com o Irã dos governos de Barack Obama e Donald Trump. Para tal, recorrer-se-á a análise empírica da política externa dos dois governos. Ademais, conceitos uteis da disciplina de Análise de Política Externa e da Ciência Política serão utilizados. Ver-se-á que as limitações impostas à política externa de Obama, advêm da pressão política exercida por grupos de interesse domésticos. Elites importantes, principalmente aquelas ligadas a vertente neoconservadora da política estadunidense, ao mesmo tempo em que restringiram a atuação de Obama no cenário internacional, são base de apoio para a política externa de Donald Trump e de seu partido, o Partido Republicano. A ruptura na política externa feita por Trump, pode ser compreendida através da análise desses grupos, o que fica evidenciado no caso do Irã.
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Magnotta, Fernanda, and Victor Grinberg. "Trump: mídia, opinião pública e a espiral do silêncio." Esboços: histórias em contextos globais 24, no. 38 (October 4, 2018): 396–409. http://dx.doi.org/10.5007/2175-7976.2017v24n38p396.
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Após o desfecho de uma eleição presidencial histórica que consagrou Donald Trump como 45º presidente dos Estados Unidos, muitos cientistas políticos voltaram a analisar toda a trajetória da candidatura dos presidenciáveis para entender o que levou as pesquisas de opinião a apontarem um resultado diferente. Nesse sentido, esse trabalho busca explorar os acontecimentos desse pleito desde o lançamento das candidaturas nas primarias, sob a ótica da teoria da espiral do silêncio da Elisabeth Noelle-Neumann e conceitos adjacentes, buscando interpolar o papel da mídia, o perfil do eleitorado e a influência desses fatores na opinião pública desta eleição.
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Muñoz Portillo, Juan Manuel. "¿Por qué es tán difícil definir populismo?" Anuario Centro de Investigación y Estudios Políticos, no. 10 (June 12, 2020): 65–88. http://dx.doi.org/10.15517/aciep.v0i10.39155.
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El populismo es un concepto que ha ganado mucha relevancia en la discusión diaria y en la investigación académica en años recientes. El presente es un análisis metateórico de la literatura reciente en política comparada sobre populismo. Se encuentra que definir qué es populismo genera un amplio debate en la literatura. Este debate puede haber aumentado durante el último lustro, a partir de eventos recientes alrededor del mundo, como la presidencia de Donald Trump en Estados Unidos. Se argumenta que la principal dificultado para definir y, a partir de allí, operacionalizar y medir este concepto se encuentra en su naturaleza ideacional; es decir, subjetiva e intersubjetiva. El estudio de las ideas es muy común desde el punto de vista de quienes se identifican con la hermenéutica. En cambio, los estudios empiristas han encontrado difícil adaptar esa naturaleza a sus esquemas de análisis. Empero, la investigación sobre populismo en política comparada parece enrumbarse hacia el estudio de su naturaleza compleja e ideacional.
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Stewart, Patrick A., Austin D. Eubanks, and Jason Miller. "“Please Clap”: Applause, Laughter, and Booing during the 2016 GOP Presidential Primary Debates." PS: Political Science & Politics 49, no. 04 (October 2016): 696–700. http://dx.doi.org/10.1017/s1049096516001451.
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ABSTRACTThe 2016 Republican Party presidential primary debates were unprecedented in the amount of media and public interest they generated. Substantially driven by curiosity about reality television celebrity Donald Trump, the initial debates hosted by FOX News and CNN both reflected and validated interest in his candidacy while proffering attention to a full slate of more traditional presidential contenders in front of boisterous audiences. This study considers these audiences’ response. Whether applause, laughter, booing, or combinations thereof, these group utterances provide a reliable metric by which insights may be derived concerning partisan attitudes towards Trump and the other candidates, as well as the unity of the Republican Party. Findings suggest that the debate setting in concert with the demographics of the in-person audience may well have influenced initial response to the candidates and as a result have subtle yet lingering consequences for the 2016 presidential election.
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Gehre, Thiago, and Virgílio Caixeta Arraes. "Relações Centro-Periféricas: a imperfeição de poderes entre Estados Unidos, Brasil e Venezuela." Conjuntura Austral 12, no. 58 (April 29, 2021): 50–62. http://dx.doi.org/10.22456/2178-8839.110964.
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O artigo trata do relacionamento desigual recente entre Estados Unidos, Brasil e Venezuela, à luz do conceito de Centro e Periferia. Nele, Washington é o centro, ao passo que Brasília e Caracas disputam espaço na periferia do sistema, o que delineia historicamente uma relação imperfeita de poderes. Em função da diminuição da influência da Casa Branca nos últimos anos, houve a possibilidade de maior autonomia do Planalto e Miraflores em suas movimentações regionais e até globais. Todavia, isso não se sustentou por muito tempo, em decorrência de problemas políticos e econômicos internos nos dois países. Acrescente-se também que a busca por autonomia não significou o rompimento com os Estados Unidos, a despeito da retórica às vezes inflamada como no caso da Venezuela. A relação é pendular como se pôde constatar a aproximação estreita entre Donald John Trump e Michel Miguel Elias Temer e depois Jair Messias Bolsonaro. Com a substituição de Trump por Joe Biden, aguarda-se nova conformação triangular.
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Rodriguês, Theófilo Machado. "Populismo de esquerda versus populismo de direita no início do século XXI: o conflito político nos EUA, Inglaterra, França e Alemanha." Revista Estudos Políticos 9, no. 17 (December 10, 2019): 70. http://dx.doi.org/10.22409/rep.v9i17.39851.
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Com a publicação, em 2005, de A razão populista, Ernesto Laclau trouxe o tema do populismo de volta para a agenda da teoria política. Mas o tema não ficou circunscrito somente aos debates teóricos. Nesse início de século assistimos ao crescimento de uma miríade de forças eleitorais que articulam a política sob o método do populismo. Essa forma de articulação de demandas e reivindicações ocorre tanto à direita quanto à esquerda do espectro ideológico. Tendo como suporte analítico o conceito de populismo de Laclau, o presente artigo investiga as recentes investidas eleitorais que atuam sob essa forma em quatro países: Estados Unidos, Inglaterra, França e Alemanha. A primeira seção é dedicada ao conceito de populismo em Laclau. A segunda seção observa o processo eleitoral estadunidense de 2016 com a pré-candidatura de Bernie Sanders e a vitória de Donald Trump. Na terceira parte é analisada a ascensão de Jeremy Corbyn no Partido Trabalhista britânico e de seu oposto, Nigel Farage, do UKIP. Na quarta, foram comparados os extremos que se apresentaram para a eleição presidencial francesa de 2017: Marine Le Pen, da Frente Nacional; e Jean-Luc Mélenchon, da antiga Front de Gauche, atual France Insoumise.Por fim, observa-se o crescimento do Die Linke e da AfD na Alemanha. A hipótese apresentada é a de que o conceito de populismo formulado por Ernesto Laclau e reafirmado por ChantalMouffe possui validade explicativa não apenas para países da América Latina, como já vem ressaltando uma parcela da literatura, mas também para os países do “norte”.
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Maddox, John. "Una falla geológica de fallas raciales: el Sur norteamericano en Piri Thomas y Manuel Zapata Olivella." Visitas al Patio, no. 10 (October 23, 2017): 13–40. http://dx.doi.org/10.32997/2027-0585-vol.1-num.10/2016/74.
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En los años 1940 dos afro-latinos hemisféricos, el afro-puertorriqueño Piri Thomas y el afro-colombiano Manuel Zapata Olivella, viajaron al Sur durante la época de las leyes discriminatorias Jim Crow y los linchamientos de negros. ¿Por qué se pusieron en peligro? Mi respuesta adapta el concepto de los “movimientos continentales” inter-americanos del crítico John D. “Río” Riofrío al contexto de Jim Crow para mostrar que el Sur norteamericano era una “zona catastrófica” a la cual viajaron estos escritores en su juventud para fortalecer sus identidades afro-latinas y su compromiso con la comunidad. Las confrontaciones de estos autores y sus protagonistas con la zona de desastre del Sur son relevantes mientras América experimenta el Nuevo Jim Crow y la época de Trump.
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Barros, Ana Tereza Duarte Lima de. "A tentação populista segue viva." Em Tese 17, no. 1 (January 2, 2020): 127–32. http://dx.doi.org/10.5007/1806-5023.2020v17n1p127.
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Com a ascensão ao poder de Donald Trump, nos Estados Unidos; a reaparição de líderes ultranacionalistas, na Europa; e a possível candidatura do militar da reserva Jair Bolsonaro, no Brasil, o tema “populismo” se encontra em alta, sendo recorrente nas colunas de opinião dos grandes jornais, pelos quais se observa que cada autor parece possuir seu próprio conceito do que seja o populismo – o que também ocorre dentro das Ciências Sociais –, e a obra “La tentación populista. Una vía al poder en América Latina”, da cientista política Flavia Freidenberg, trata da questão com maestria. Ainda que o libro tenha sido publicado em 2007, em 2018, com o aparecimento de novas lideranças populistas no cenário mundial, a temática do populismo se encontra em um de seus auges.
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ENDRICH, ARCHER. "Composers' Desktop Project: a musical imperative." Organised Sound 2, no. 1 (April 1997): 29–33. http://dx.doi.org/10.1017/s1355771897000071.
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In the early 1970s, you could have gone to Trevor Wishart's front garden on St Mary's in York and found huge slabs of steel sheeting. You could have walked into the Lyons Concert Hall of York University and found him and several other people using 20′ scaffolding poles as trumpets (now that's a great sound!). While I was still in the States in 1969, I made a 3′ diameter red gong from the hood of a truck ( = bonnet of a lorry) and could be seen striking a suspended piece of ¼“ curved steel flooring with a sledge hammer, etc. etc. Scenes like this were duplicated across the world. Why? How did it start? Sounds, sounds – the sounds were there, they wanted out. How did they get in? Anybody's guess really, but maybe a clue is what often happens while working in the studio. You've been deploying a sound and then seem to hear it at a time when playback is switched off, then realise that it's coming in from outside the building. The sounds are out there in the environment. We have ears (and other ways of sensing vibrations) and so the sounds have found a way to get inside us. Now they want out again. Composers: they just can't help it.
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Villanueva, Darío. "Pós-verdade e Distopia." Revista de Estudos Literários 10 (September 28, 2020): 673–95. http://dx.doi.org/10.14195/2183-847x_10_34.
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Na nossa sociedade pós-moderna, um novo conceito surgiu com força: o de pós-verdade. Segundo o Dicionário Oxford, post-truth é um adjetivo que qualifica circunstâncias que denotam que os factos objetivos têm muito menos influência na formação da opinião pública do que os apelos à emoção e às crenças pessoais. Não parece plausível que Donald Trump tenha sido leitor de filósofos como Jacques Derrida ou Michel Foucault. É, contudo, evidente a ligação entre a pós-verdade e um clima de pensamento pós-moderno por eles propiciado. À parte os embustes de Trump e dos Brexiters, não deixa de denunciar-se a intensificação de campanhas desinfomativas noutros países como a Rússia, Hungria ou Turquia. E em Espanha, olhe-se para o chamado processo em Catalunha. O género romanesco das distopias conta já com um corpus considerável. Este assunto da pós-verdade encontra a sua primeira fundamentação distópica no romance 1984 de George Orwell, publicado em 1949, embora a primeira obra da série tenha sido Nós de Evgueni Zamiatin, de 1924. Entre ambas as distopias, Aldous Huxley tinha publicado Admirável Mundo Novo, de 1932, cujo título, tomado de Shakespeare, sugere uma tirania aparentemente amável. Porém, nela funciona já a pós-verdade.
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Iltis, Peter W., Sarah L. Gillespie, Jens Frahm, Dirk Voit, Arun Joseph, and Eckart Altenmuller. "Movements of the Glottis During Horn Performance: A Pilot Study." Medical Problems of Performing Artists 32, no. 1 (March 1, 2017): 33–39. http://dx.doi.org/10.21091/mppa.2017.1007.
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OBJECTIVE: The functional role of the glottis in brass performance is poorly understood and controversial, particularly with respect to pedagogy. Technological limitations have prevented the non-invasive, systematic study of the glottis in the past, but developments in real-time magnetic resonance imaging (RT-MRI) allow representations of glottal movement during performance on a MRI-compatible horn to be recorded and quantified. METHODS: We present RT-MRI data obtained on 6 advanced-level horn players from serial images acquired at an acquisition time of 33.3 ms as they performed sustained note exercises on three notes (concert Eb2, Eb4, and Bb4) at each of three dynamics (pp, mf, and ff) and a staccato exercise. An advanced-level trumpet player was also studied performing a modification of the staccato exercise designed to minimize vertical movement of the larynx. Glottal movements and positions in the coronal plane were analyzed using a customized MATLAB toolkit. RESULTS: In sustained note playing, there is a significant influence of dynamic on the degree of glottal adduction/abduction. There is greater adduction with softer notes, and greater abduction with louder notes. In slow staccato playing, glottal closure accompanies the cessation of each note and persists until iteration of the next note in the sequence. CONCLUSIONS: We demonstrate that RT-MRI provides a suitable method to identify and quantify glottal movement during horn playing. We further show that there is a direct relationship between dynamic level and glottal adduction/abduction, and that the glottis is involved in performing notes during slow staccato playing.
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Adler-McKean, Jack. "‘A Day for Pierre Boulez’, Lucerne Festival im Sommer, Kultur- und Kongresszentrum." Tempo 70, no. 275 (December 7, 2015): 98–99. http://dx.doi.org/10.1017/s0040298215000777.
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The ninetieth birthday of the last surviving founding father of post-WWII classical music is certainly reason enough for celebration, but what could the Lucerne Festival offer that has not already been covered by the many festivities that have taken place around the world? Fortunately, the festival has a trump card up its sleeve: the Lucerne Festival Academy, founded 11 years ago by Pierre Boulez and festival director Michael Haefliger to provide young musicians with the opportunity for intensive study of the music of the twentieth and twenty-first centuries. The Lucerne Festival Academy Orchestra and Ensemble were omnipresent during 11 concerts given over nine hours on 23 August 2015, performing eight world premieres from three generations of composers inspired by Boulez, alongside eight works from the master himself.
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Zelicovich, Julieta. "¿Crisis en la globalización o crisis de la globalización?" Perspectivas Revista de Ciencias Sociales, no. 6 (December 13, 2018): 42–59. http://dx.doi.org/10.35305/prcs.v0i6.33.
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Este trabajo tiene como meta presentar un análisis de coyuntura acerca de la llamada “crisis de la globalización”. La globalización es entendida como un proceso que tiene lugar en razón de un componente económico-tecnológico, como también político-ideológicoinstitucional; y que periódicamente atraviesa situaciones de crisis. ¿Es la crisis que se manifiesta a partir de 2016 diferente de las anteriores? ¿Qué es aquello que entra en crisis en torno al desarrollo de fenómenos como la elección de Donald Trump, en EEUU o el Brexit? ¿Cuáles son sus implicancias? A partir de un análisis de la literatura en torno al concepto de “crisis de globalización”, y de la contrastación empírica de sus indicadores, se busca dilucidar si se trata de una crisis en la globalización o una crisis de la globalización.
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Tolstov, S. "Strategic Approaches and Priorities in U.S. Foreign Policy: from Harry Truman to Donald Trump." Problems of World History, no. 5 (March 15, 2018): 66–95. http://dx.doi.org/10.46869/2707-6776-2018-5-4.
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The article examines the evolution of strategic approaches and priorities of U.S. international policy after the Second World War to present. An overview of American foreign policy concepts anddoctrines allows concluding that the main task of U.S. foreign policy throughout this period was to ensure the dominant role of the state within the international system. The analysis of foreign policy documents confirms the conclusions of a number of American researchers that the concept of preponderance in its various interpretations served as a “Grand strategy” that encompasses the narrower in content and shorter functional doctrines of deterrence, offshore balancing, concert-balance or Blocpolitik. Correction of foreign policy priorities of the president D. Trump reflects an objective process ofadaptation to a multipolar international system. It is suggested that the conditions of multipolar competition will force the USA to use new instruments of influence, such as multilateral and multipurpose containment, various forms of balancing on the basis of regional alliances, coalitions and security communities, or offshore intervention in cases if it can provide the USA benefits solving specific problems.
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Maestas, Cherie D., Matthew K. Buttice, and Walter J. Stone. "Extracting Wisdom from Experts and Small Crowds: Strategies for Improving Informant-based Measures of Political Concepts." Political Analysis 22, no. 3 (2014): 354–73. http://dx.doi.org/10.1093/pan/mpt050.
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Social scientists have increasingly turned to expert judgments to generate data for difficult-to-measure concepts, but getting access to and response from highly expert informants can be costly and challenging. We examine how informant selection and post-survey response aggregation influence the validity and reliability of measures built from informant observations. We draw upon three surveys with parallel survey questions of candidate characteristics to examine the trade-off between expanding the size of the local informant pool and the pool's level of expertise. We find that a “wisdom-of-crowds” effect trumps the benefits associated with the expertise of individual informants when the size of the rater pool is modestly increased. We demonstrate that the benefits of expertise are best realized by prescreening potential informants for expertise rather than post-survey weighting by expertise.
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Andrade, Eliane Righi de, and Janaina Ferreira Coriolano. "A VONTADE DE VERDADE NO DISCURSO DE CANDIDATURA DO (NÃO)POLÍTICO TRUMP." Iniciação Científica Cesumar 20, no. 2 (December 11, 2018): 221. http://dx.doi.org/10.17765/1518-1243.2018v20n2p221-233.
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O artigo busca promover uma reflexão sobre a construção dos processos identitários na campanha presidencial do atual presidente dos Estados Unidos, Donald Trump, por meio de representações que circularam na mídia ao longo desse período. Objetiva-se analisar de que maneira essas representações podem ser encontradas nos recortes midiáticos e que efeitos de sentido possíveis são proporcionados. Trabalha-se com o discurso de candidatura de Trump, sob duas perspectivas: a do próprio candidato e da mídia corporativa CNN, a partir de recortes e transcrições de vídeos e reportagens. Trabalhando com a materialidade linguística e imagética dos recortes, analisa-se a construção do discurso da mídia sobre o candidato e suas repercussões na campanha, até o acontecimento de sua eleição. Por meio dos recortes, tem-se o intuito de compreender de que maneira a “vontade de verdade” trazida por Foucault pode ser encontrada nesse discurso e qual impacto esse recurso trouxe aos eleitores na tomada de decisões. O conceito da “vontade de verdade” é, além disso, trazido para dialogar com a “pós-verdade”, já que emoções e crenças pessoais parecem, muitas vezes, mais influentes na formação da opinião pública do que fatos. Por meio de análise, foi possível concluir que, embora a mídia desempenhe importante papel na formação das identidades, é impossível controlar os efeitos de sentido que as representações disseminadas produziram, questionando a construção e a existência de uma verdade única e fazendo o imprevisível emergir do acontecimento “eleição americana”.
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Bodemer, Klaus. "Las relaciones entre México y Estados Unidos bajo el gobierno de Trump." Anuario Latinoamericano – Ciencias Políticas y Relaciones Internacionales 6 (February 5, 2019): 187. http://dx.doi.org/10.17951/al.2018.6.187-212.
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<p>Partiendo del legado histórico pesado de las relaciones entre EE. UU. y su vecino México y utilizando los conceptos analíticos del (neo)realismo y constructivismo social, el artículo hace un balance de estas relaciones bilaterales al final del primer año de la presidencia de Donald Trump. Las áreas prioritarias de la Casa Blanca fueron la construcción de un muro en la frontera, la renegociación (o abolición) del NAFTA y la política migratoria. Los éxitos en estos tres campos de acción son más bien modestos, la brecha entre el discurso y realidad hasta hoy notable, parcialmente como consecuencia del buen funcionamiento de las instituciones democráticas en Washington. Las relaciones bilaterales están, eso sí, bajo estrés, pero no erosionadas. Incertidumbre sigue caracterizando las negociaciones sobre el NAFTA, el estatus de muchos inmigrantes mexicanos (y centroamericanos) en Estados Unidos y el futuro de la cooperación bilateral fronteriza y de seguridad. Las elecciones presidenciales en julio del año en curso amenazan inyectar más incertidumbres no solo en las relaciones bilaterales, sino también con respecto a sus impactos en toda la región.</p>
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MACEDO, Wilza Karla Leão de. "ANÁLISE DE CHISTES REFERENTES À MULHER: UM ESTUDO À LUZ DE CONCEITOS PRECONIZADOS POR MARCELO DASCAL EM INTERPRETAÇÃO E COMPREENSÃO." Trama 17, no. 40 (February 4, 2021): 88–102. http://dx.doi.org/10.48075/rt.v17i40.26131.
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Este artigo analisa três chistes referentes à mulher em contextos políticos, a partir de diferentes personagens públicas. Trata-se de um estudo interdisciplinar que apresenta o conceito de chiste de acordo com Freud (1996) e Dascal (2006), analisando os enunciados a partir de recursos sociopragmáticos. A interpretação feita baseou-se em estudos da interpretação/compreensão leitora, indiretividade e implicitude sociopragmática da linguagem e definiu o seu escopo, segundo preconiza a pragmática, delimitando o conceito de contexto e de intenções comunicativas de acordo com Dascal. Apresenta o que defende Dascal (2006) sobre a relação complementar entre a semântica e a pragmática, em sentido de cooperação, em domínios paralelos e complementares. Discute a ideia dascaliana, na qual a pragmática não priva a semântica das suas tarefas, todavia, amplia o âmbito das suas responsabilidades, assim, o contexto não se caracteriza como um fenômeno pragmático em distinção ao semântico. Estando na base de outros tipos de informação contextual, a pragmática se encarrega de verificar a correspondência entre a proposição expressa pela elocução e a intenção comunicativa do falante. Logo, no artigo, o contexto é discutido como elemento com funções diferentes – uma semântica e outra pragmática, conforme Dascal (2006). As análises foram uma tentativa de aplicação da teoria freudiana e dascalina a atos de fala cotidianos, buscando atestar que o estudo de linguagem é interdisciplinar e multifacetado.Referências:DASCAL, Marcelo. Interpretação e compreensão. Tradução Marcia Heloisa Lima da Rocha. São Leopoldo, RS: UNISINOS, 2006.FERRARE, Carol.; FERRAZ, Lucas.; TORRES, Rodolfo. Clodovil no centro da polêmica. Congresso em Foco. Abril, 2007. Disponível em: http://congressoemfoco.uol.com.br/noticias/clodovil-no-centro-da-polemica/ . Acesso em: 12 jul. 2017.FREUD, Sigmund. Obras psicológicas completas de Sigmund Freud: A interpretação dos sonhos (I) (1900). v. IV. Tradução sob direção geral de Jayme Salomão. Rio de Janeiro: Imago editora, 1996a.FREUD, Sigmund. Obras psicológicas completas de Sigmund Freud: Os chistes e a sua relação com o inconsciente (1905). v. XIII. Tradução sob direção geral de Jayme Salomão. Rio de Janeiro: Imago editora, 1996b.FREUD, Sigmund. Obras psicológicas completas de Sigmund Freud: O ego e o id e outros trabalhos (1923-1925). v. XIX. Tradução sob direção geral de Jayme Salomão. Rio de Janeiro: Imago editora, 1996c.Revista Isto É. Uma presidente fora de si. 2016. Disponível em: http://istoe.com.br/450027_UMA+PRESIDENTE+FORA+DE+SI/ . Acesso em: 5 jun. 2020.RIESTRA, Laura. 18 coisas que Donald Trump disse sobre as mulheres. Esquerda Diário. Novembro, 2016. Disponível em: http://www.esquerdadiario.com.br/18-coisas-que-Donald-Trump-disse-sobre-as-mulheres. Acesso em: 10 jul. 2020.ROUSSEFF, Dilma. Cerimônia Palácio do Planalto. 2016. Disponível em: https://pt.scribd.com/document/310974365/Capa-Da-IstoE-e-Baixa-e-Reproduz-Misoginia . Acesso em: 25 mai. 2020.SCHIBOULA, Tatiana. Declaração infeliz de Donald Trump irrita femininistas (e qualquer mulher que já tenha ouvido que sua assertividade era, na verdade, TPM). Revista Cláudia, agosto, 2015. Disponível em: http://claudia.abril.com.br/noticias/declaracao-infeliz-de-donald-trump-irrita-femininistas-e-qualquer-mulher-que-ja-tenha-ouvido-que-sua-assertividade-era-na-verdade-tpm/ . Acesso em: 13 jul. 2020.Recebido em 30-10-2020Revisões requeridas em 30-11-2020Aceito em 29-12-2020
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Herrera Damas, Susana. "Magallón Rosa, R. (2019). Unfaking news. Cómo combatir la desinformación." Revista de Comunicación 19, no. 2 (September 11, 2020): 321–22. http://dx.doi.org/10.26441/rc19.2-2020-r2.
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En este ensayo, Raúl Magallón, profesor de Periodismo en la Universidad Carlos III de Madrid, aborda el relevante y espinoso tema de la desinformación con el objetivo, en sus propias palabras, de “describir la complejidad del presente” (p. 17). Y ciertamente lo consigue. A través de las 204 páginas que integran el libro, el autor ubica primero los conceptos de desinformación, propaganda, información errónea y fake news. Después explica por qué la cultura de las fake news resulta ser un imán para las plataformas, los sistemas de mensajería y las redes sociales, examina los usos del big data por parte de Facebook y Google y describe la relación de Trump y Rusia con las noticias falsas.
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Borba, Julian, and Gregório Unbehaun Leal da Silva. "Da emancipação ao autoritarismo: a teoria do pós-materialismo e o “cultural backlash”." Sociologias 23, no. 57 (August 2021): 450–58. http://dx.doi.org/10.1590/15174522-106396.
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Resumo Cultural Backlash: Trump, Brexit, and authoritarian populism é o mais recente livro de Pippa Norris e Ronald Inglehart. A obra busca analisar transformações recentes nas democracias mais consolidadas, ancorado no modelo teórico originalmente formulado no pós-materialismo. Sintetiza-se aqui essa contribuição, indicando o modo como os autores operacionalizam os conceitos de populismo, autoritarismo e reação cultural. Conclui-se que o modelo Norris/Inglehart foi demasiado otimista e deixou de antecipar fatores como declínio da confiança nas instituições democráticas e da negatividade nas avaliações dos políticos que se consolidaram nos últimos anos. Constatou-se, também, que a obra analisada fornece um original enquadramento teórico para o entendimento da emergência do populismo autoritário nos países estudados.
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Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.
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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and vocal performances. O. Nazarenko strived for performing activity, and therefore he chose the direction of creative work as a soloist-accordionist of the Kharkiv Regional Philharmonic (1962–1967), where together with solo performances he began professional concertmaster activity, working in various genres (vocal, dance and original). After graduating from the conservatory, O. Nazarenko paid much attention to the technique of reading from a sheet of works for piano, studied professional accompaniment to soloists, gained experience in concertmaster’s work to learn the new repertoire with artists. At the Department of Folk Instruments, students and teachers competed with each other in better technique of reading from a sheet, transposition into any key, play a tune by ear, improvisation, and skillfully translation the piano texture into accordion. According to the professor’s words, in order not to lose his performance skill during the tour and to maintain the technical level, he tried to practice even on a bus. He played accordion technical exercises with ready-made chords and fragments from masterpiece works (G. Diniku “Romanian round dance”, introduction to the opera “Ruslan” by M. Glinka); always worked on the plastic of his right hand. Most often, the acquaintance with the musical text took place during the move or a short time before the concert. Soloists-vocalists gave piano notes and indicated in what key they were comfortable to sing. Thus, the accordionist had to analyse the texture without an instrument, sing the melody in the required key with his inner ear, and transpose the musical material. O. Nazarenko tried to enrich the instrumental accompaniment with texture (counterpoint, melodic undertones) in order to move away from the primitive form (bass-chord support). The intention to complicate the accordion part made O. Nazarenko to improve his skills constantly in the selection of means of expression, intonation, the search for timbre diversity, all means which create true artistic values. Accompanying the soloists, the artist paid special attention to the thinning of the sound, imitating stringed instruments. While accompanying a group of brass instruments of a symphony orchestra (trumpet, trombone), he tried to convey the effect of “spaciousness”, equalling the techniques of sound production of brass instruments. Thus, performing a popular song of the Great Patriotic War “At Nameless Height”, O. Nazarenko imitated the replicas of the trumpet signal, and in the song “Buchenwald’s alarm” his performance gained maximum tension, sharpening and concentration in the transmission of bells. The world-famous song for the musical of the same name “Hello, Dolly” accompanied by O. Nazarenko gained a swing accent due to the alternation of the first and fourth parts of the bar and bright intonation. The material for accompaniment in the original genres (acrobats, jugglers, tightrope walkers, illusionists) was Latin American tunes (“Malagenya”, rumba “Valencia”), music for movies (“Serenade of the Sunny Valley”), personal improvisations. Between 1967 and 1987, the Union of Composers of Ukraine had author’s concerts-meetings, where among soloists were present the artists from the Philharmonic, the Opera House and teachers from the Institute of Arts. Well-known composers of Kharkiv such as G. Finarovsky, O. Zhuk, T. Kravtsov, F. Bogdanov, I. Kovach, N. Yukhnovska, O. Litvinov, G. Faintukh, V. Zolotukhin selected the soloists and completed the concert program. In general, during the whole period devoted to concertmaster’s activity, O. Nazarenko performed with more than a hundred soloists-vocalists of academic (bass, baritone, soprano, mezzo-soprano) and folk singing, as well as with numerous instrumentalists. Conclusions. Fruitful work on improving his own professionalism made the master a famous concertmaster-accordionist of Kharkiv. Collaboration with talented artists filled the emotional and intellectual state of the young musician, a rich palette of genres allowed the musician to think more widely and go beyond academism. The variety in the choice of means of expression enriched the technique of reading from a sheet, transposing and transition a piano works into an accordion. The expansion of the dramatic functions of the accordion accompaniment, the arsenal of means of expression contributed to the formation of a new type of ensemble based on the cocreation (equality / subordination) of its participants. This determined the active role of the accordionist concertmaster at all stages of the development of the interpretation plan: from the search for a key idea to its implementation on the concert stage. Working as an accompanist influenced not only his performing skills, but also Nazarenko’s work as a composer. Thanks to the personality of O. Nazarenko, the concertmaster activity of a whole generation of accordionists reached a qualitatively new professional level, and the profession of accompanist became popular among the younger generations working in this complex performance format.
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Conway, Paul. "BBC Proms 2013: Diana Burrell, Harrison Birtwistle, Param Vir and Charlotte Seither." Tempo 68, no. 267 (January 2014): 57–59. http://dx.doi.org/10.1017/s0040298213001368.
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As in previous Proms seasons, Cadogan Hall's 2013 chamber concerts series presented some of the most interesting repertoire. On 5 August, Tine Thing Helseth and her all-female brass ensemble tenThing gave the world premiere of a new piece by Diana Burrell. She has already written a substantial work for brass ensemble, Gold, dating from 2001 (which also requires 3 gongs and a piano), and her new BBC commission has a similarly punchy title capturing the bright and burnished qualities of its instrumentation – Blaze. Scored for three trumpets, flugelhorn, horn, three tenor trombones, bass trombone and tuba, this virtuosic, 10-minute showcase grabbed the audience's attention from the start with a striking, fanfare-like idea that recurred in extended form as unison chords during the closing bars, providing an incandescent coda. In a brief pre-performance talk, the composer spoke of the often-untapped technical capabilities of brass instruments, and her demanding piece successfully tapped into this potential, as she gave each performer a chance to shine within its teeming textures. In addition to these challenging solo episodes, the score was memorable for its inventive deployment of various combinations of instruments, denoting a genuinely chamber-oriented work. Blaze provided a strong focal point for a programme that otherwise consisted solely of arrangements, nearly all by guitarist Jarle Storløkken, of repertoire originally conceived for other forces, such as piano pieces by Grieg and excerpts from Carmen and The Threepenny Opera.