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Artykuły w czasopismach na temat „Musical”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Cherry, James M. "The Musical of Musicals (The Musical!) (review)." Theatre Journal 56, no. 4 (2004): 705–6. http://dx.doi.org/10.1353/tj.2004.0156.

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Yanuar, Dani. "Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (2019): 10–18. http://dx.doi.org/10.33153/dewaruci.v14i1.2532.

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Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner

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Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.

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This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design

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4

Mellers, Wilfrid. "Platform: Are Musicals Musical?" Musical Times 132, no. 1782 (1991): 380. http://dx.doi.org/10.2307/965879.

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Restani, Donatella. "Aldrovandi’s Musical Legacy: not just Aristoxenus. Towards New Research Horizons." Aldrovandiana. Historical Studies in Natural History 3, no. 1 (2024): 48–57. http://dx.doi.org/10.30682/aldro2401e.

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L’interesse di Aldrovandi per la musica come cultura, come mezzo per comprendere il mondo e i suoi abitanti, come nutrimento insostituibile per la curiosità intellettuale dello scienziato, è una pagina ancora da scrivere nella storia dei rapporti tra musica e scienza, nel XVI e nel primo XVII secolo. Concentrandosi sull’edizione a stampa della traduzione latina del trattato musicale di Aristosseno presente nella sua biblioteca, questo articolo delinea alcune altre direzioni di un progetto di ricerca sull’eredità musicale di Aldrovandi che esplorerà i trattati musicali antichi e contemporanei,

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BOMBOLA, GINA. "FromThere's Magic in MusictoThe Hard-Boiled Canary: Promoting “Good Music” in Prewar Musical Films." Journal of the Society for American Music 12, no. 2 (2018): 151–78. http://dx.doi.org/10.1017/s1752196318000068.

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AbstractIn 1941, Paramount releasedThere's Magic in Music, a film about a soprano who sings opera in burlesque and wins a scholarship to attend Interlochen. The movie's utopian view of art music, however, caused difficulties for the studio in regard to marketing, leading to a studio-wide debate over the film's title. Archival documents positionThere's Magic in Musicas a valuable case study for investigating the transitional period of musical film production between the Great Depression and the onset of World War II, particularly with respect to operatic musicals. Just prior to the United State

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Boffone, Trevor. "From Heathers to Six: Stealth musicals and the TikTok Broadway archive." Studies in Musical Theatre 15, no. 3 (2021): 175–89. http://dx.doi.org/10.1386/smt_00070_1.

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This article explores two popular TikTok trends that use sound bites from the original cast recordings of Heathers: The Musical and Six. The ‘Martha Dumptruck in the Flesh’ challenge from Heathers: The Musical and the ‘Yeah That Didn’t Work Out’ challenge from Six were, by and large, completely detached from the musicals. TikTokers who engaged with these trends, therefore, likely did not even know that the sound bites came from musicals. These musicals became what I term ‘stealth musicals’, or undercover musicals that proliferate on TikTok in ways that are completely removed from the show’s dr

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Feng, Yizhang, and Kexu Chen. "On the inspiration of Lin-Manur-Miranda musical Hamilton." International Journal of Education and Humanities 14, no. 1 (2024): 152–54. http://dx.doi.org/10.54097/6dyf4743.

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Lin-manuel-Miranda's musical "Hamilton" as the fastest in the history of Broadway music costs and began to profitable musical with its pioneer music style and the core values of drama structure in the world stage, the success of the Broadway musical is not only in the history, also for the development of world musical provides unprecedented possibilities.the success of Lin-Manuel Miranda's musical "Hamilton" has had a profound impact on the world of theater, particularly in the realm of musicals. Its pioneering music style and the core values of drama structure have opened up new possibilities

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9

Greenspan, Charlotte. "Death Comes to the Broadway Musical." Daedalus 141, no. 1 (2012): 154–59. http://dx.doi.org/10.1162/daed_a_00137.

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The Broadway musical is an excellent prism for viewing the narrative of American life – as it is, has been, and perhaps should be. In the first part of the twentieth century, musicals viewed life through rose-colored glasses; musicals were equivalent to musical comedy. Starting in the 1940s, the mood of musicals darkened. One indication of the new, serious tone was that characters in musicals died in the course of the show. This essay examines several questions relating to death in the Broadway musical, such as who dies, when in the course of the drama the death occurs, and how the death is ma

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10

Achille, Rosaria Anna. "AMY MARCY BEACH." Civitas et Lex 44, no. 4 (2024): 45–54. https://doi.org/10.31648/cetl.10675.

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L’articolo è incentrato sulla figura di Amy Marcy Beach, artista talentuosa ed emancipata che, grazie alla sua determinazione e alla forza delle sue produzioni musicali, riuscì a superare le diffidenze e i pregiudizi che permeavano il mondo musicale dell’America puritana e conservatrice di fine Ottocento, riguardo alla possibilità per una donna di avvicinarsi alla composizione. The article focuses on the figure of Amy Marcy Beach, a talented and emancipated artist who, thanks to her determination and the strength of her musical productions, managed to overcome the mistrust and prejudices that

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11

Xu, Yexiaxin. "Social Media Marketing Strategy in Chinese Musical Theatre Industry." Communication, Society and Media 6, no. 4 (2023): p15. http://dx.doi.org/10.22158/csm.v6n4p15.

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The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, an

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12

Belymenko, Liliana. "Children's Musicals on the Stage of Modern Musical and Music and Drama Theatres in Ukraine." Bulletin of KNUKiM. Series in Arts, no. 47 (December 26, 2022): 110–16. https://doi.org/10.31866/2410-1176.47.2022.269609.

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The purpose of the article is to reveal the peculiarities of children’s musical productions on the stages of Ukrainian musical and music and drama theaters in dramaturgical, artistic-aesthetic, stylistic, and directing-production aspects. Research methodology. The systematic method (for researching the children’s musicals as an independent genre), the comparative method, the method of art history, and genre-style analysis (to identify the features of the domestic children’s musical development and the specific features of its productions on the stages of musical and

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13

Duan, Shuyu, Youlin Li, and Ruiyan Wang. "Analyzing the Development Prospects of Song and Dance Drama Art and Integrated Media from The Greatest Showman." Communications in Humanities Research 14, no. 1 (2023): 314–21. http://dx.doi.org/10.54254/2753-7064/14/20230510.

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As a Hollywood musical film released at the end of 2017, The Greatest Showman has earned more than 400 million dollars at the box office worldwide with its outstanding original songs and dance elements. It is a Hollywood musical film with a relatively good box office performance in recent years. Global research on musical drama has increased dramatically in recent decades, gradually forming a complete research system. However, it has not yet attracted enough attention in terms of artistic creation techniques of musicals. This article intends to analyze three aspects: the overall research of gl

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14

Bondarenko, Andrii. "Musical As Intonation Practice." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 78–86. https://doi.org/10.31866/2410-1176.46.2022.258619.

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The purpose of the article is to identify the musical genre features and its development prospects in Ukraine in terms of intonation practices. Methods. The article is based on a comprehensive analysis of the temporal and spatial characteristics of the musical language used in musicals, which allows determining the nature of the intonation practices involved, identifying what is common and what is different in works of this genre. Results. The article analyses the characteristic musical language features of early film musicals of the USA and the UK, early musicals of the USSR and musicals of U

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15

Anderson, Natasha. "Narrative and Number in Busby Berkeley’s Footlight Parade." MUSIC.OLOGY.ECA 1 (September 11, 2020): 40–59. http://dx.doi.org/10.2218/music.2020.5697.

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The backstage film musical was a successful genre of the brief ‘Pre-Code’ era of American film history (1929-1934), in which audiences witnessed the inner workings of a theatre studio and watched the creation and performance of a musical production unfold. This essay focusses on one of these film musicals, Footlight Parade, and examines its key musical numbers: ‘Honeymoon Hotel’, ‘By a Waterfall’ and ‘Shanghai Lil’. Using these examples, the article analyses the relationship between musical number and film narrative, while relating the film to wider issues surrounding musicals in the ‘Pre-Code

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Santo, Erickson Rodrigues do Espírito, and Arnaldo Nogaro. "COMPORTAMENTOS MUSICAIS NA EDUCAÇÃO MUSICAL." Vivências 19, no. 38 (2023): 283–300. http://dx.doi.org/10.31512/vivencias.v19i38.870.

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Ao ressaltar a perda de alteridade da Grande Música em face da Indústria Cultural, Theodor W. Adorno vê, de uma forma dialética, o prejuízo musical que a Grande Música sofre na mídia sob o ponto de vista de horizonte musical bem como pedagógico. Assim, esse artigo, de natureza teórica e enfoque qualitativo, conduz-se pelo objetivo de problematizar, à luz do pensamento de Adorno, a respeito da diferença entre a Grande Música e a música de massa como fenômenos musicais e como a Grande Música é prejudicada nessa relação de alienação e consumo a partir do conceito adorniano de comportamentos music

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17

Hodge, Matthew. "21st-Century Broadway Musicals and the ‘Best Musical’ Tony Award: Trends and Impact." Arts 9, no. 2 (2020): 58. http://dx.doi.org/10.3390/arts9020058.

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Recent Broadway theatre seasons consistently saw record-breaking numbers of admissions and grosses, with musicals’ ticket sales making up 78–89% of annual Broadway grosses. The annual Tony Awards continue to serve as an influential theatre industry establishment that helps define a Broadway musical as exceptional and worthy of audiences, especially the awarding of the ‘Best Musical’ category (which can statistically have a profound impact on a production’s longevity). This article offers comprehensive surveying and discussions of significant components of a musical’s initial Broadway success i

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Regev, Motti. "Pop-rock, cosmopolitisme musical i coneixement musical corporeïtzat." Debats. Revista de cultura, poder i societat 138, no. 1 (2024): 33–46. http://dx.doi.org/10.28939/iam.debats-138-1.2.

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Aquest article suggereix que després de més de mig segle en què les generacions successives de fans de països de tot el món han abraçat múltiples gèneres i estils locals i globals de música pop-rock, persones de nombrosos països s’han dotat a poc a poc de coneixements sonors i musicals que permeten desxifrar de manera immediata, espontània i intuïtiva sonoritats musicals amplificades, elèctriques, electròniques i manipulades. El fet de disposar d’aquesta mena de coneixement corporal i la seua posada en pràctica rutinària per part de persones de molts llocs diferents, resulta en una manifestaci

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Rigopoulou, Faye. "Still Here? Aging Female Vocalities in Musical Theatre." IASPM Journal 14, no. 1 (2024): 113–33. http://dx.doi.org/10.5429/2079-3871(2024)v14i1.8en.

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Musical theatre has a complex relationship with ageing (and especially female ageing). As youth has always been at the forefront of musicals, essentialist approaches to ageing in articulation and enactment of ageing musical characters often lead to aesthetic peripheries and creative stagnation. Aiming for a deeper understanding of how female ageing vocalities are perceived, dramaturged and performed in musical theatre, the article takes under consideration viewpoints from ‘outsiders’/ageing performers who work ‘at the centre’ of the musical theatre industry (West End and Broadway).Through a cl

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Zagozdzon, Agnieszka. "Backstage am Broadway: das Filmmusical 42ND STREET (USA 1933, Lloyd Bacon) zwischen musikpraktischem Realismus und choreografischen Fantasien." Kieler Beiträge zur Filmmusikforschung 14 (July 3, 2023): 72–89. http://dx.doi.org/10.59056/kbzf.2019.14.p72-89.

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The 1933 movie musical 42ND STREET is considered as a prototype of the so- called »Backstage Musicals« – a genre which puts the developmental process of a musical at the heart of the story. Due to the realistic portrayal of this process, 42ND STREET is seen as one of the most prominent and influential works in the history not only of movie musicals, but of staged musicals as well. One of the most decisive parts in this realistic portrayal is the almost entirely diegetical use of music within the movie, resulting from rehearsals or performances shown on the screen. Additionally, the songs withi

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WITKOWSKA-ZAREMBA, ELŻBIETA. "Johannes de Muris's Musica speculativa cited by Jacobus de Ispania." Plainsong and Medieval Music 31, no. 1 (2022): 37–63. http://dx.doi.org/10.1017/s0961137122000031.

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ABSTRACTIt is known that the seventh book of Jacobus's Speculum musicae contains, alongside other quotations from Ars Nova treatises, the earliest extant transmission of the salient passage of Johannes de Muris's Musica speculativa, Conclusio XVIII, where Muris questions the nature of the fourth as a perfect consonance. However, the relevant passages of Musica speculativa cited and discussed by Jacobus have not yet been analysed in the context of the rich manuscript tradition of the Musica speculativa, which served the needs of musical education throughout Latin Europe for at least two hundred

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Harahap, Irwansyah. "MERANGKAI WARNA: EKSPLORASI LARAS “PELOG” DALAM PERMAINAN ‘OUD ARABIS BERBASIS GARAPAN “WORLD MUSIC”." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (2020): 149. http://dx.doi.org/10.26887/mapj.v2i2.974.

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ABSTRACT This writing generally discusses the term “world music” and various musical creative approaches that have been done. This writing also descriptively reviews the composition of “Merangkai Warna” in the context of melodist’s idea, instrument, concept building, and musical practice in musical composition. The musical composition “Merangkai Warna” is a musical composition inspired from the conception of world music. This composition is a form of musical exploration, namely through a set of musical instrument ‘oud Arabis, it tried to fuse and synthesize musical idioms and aesthetics via th

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Rakhymberdiyeva, S., and G. Dzhumaseitova. "«ASTANA MUSICAL» THEATER: THE INFLUENCE OF WESTERN TRADITIONS ON THE FORMATION OF A PROFESSIONAL NATIONAL MUSICAL." POLISH JOURNAL OF SCIENCE, no. 51 (June 16, 2022): 3–6. https://doi.org/10.5281/zenodo.6651019.

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The article reveals the significance of productions of French musicals on the stage of the «Astana musical» Theater. Using the example of the musicals «Notre Dame de Paris» and «Romeo and Juliet», the author examines the prospects for further development of the musical genre in the theatrical space of Kazakhstan.

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ROHOLT, TIGER C. "Musical Musical Nuance." Journal of Aesthetics and Art Criticism 68, no. 1 (2010): 1–10. http://dx.doi.org/10.1111/j.1540-6245.2009.01387.x.

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Nevriana, Alicia, Pandu Riono, Tri Budi W. Rahardjo, and Adji Kusumadjati. "Lifetime Musical Activities and Cognitive Function of the Elderly." Kesmas: National Public Health Journal 7, no. 7 (2013): 304. http://dx.doi.org/10.21109/kesmas.v7i7.28.

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Decreasing cognitive function of the elderly is one of the most common problems that might affect their quality of life. Music is an element that is believed to be able to contribute to the quality of life of the elderly. However, whether musical activities that are done throughout the life span related to cognitive function is unclear. In this research, we evaluated the association between lifetime musical activities and cognitive function. Fifty three older adults from three nursing homes in East Jakarta were selected and interviewed regarding their characteristics and lifetime musical activ

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Lundy, Ben. "Fifty Key Stage Musicals." Musical Theatre Educators Alliance Journal 5, no. 2024 (2024): 116–17. http://dx.doi.org/10.62392/kwet5572.

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In a post-pandemic climate, how might we, as instructors, challenge our students to infuse their knowledge of musical theatre history into their craft? Fifty Key Stage Musicals, edited by Robert W. Schneider and Shannon Agnew, is a refreshing musical theatre history text that illustrates Broadway’s changing tides while focusing on fifty innovative musicals...

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Breytburg, Kimol A. "Broadway musical commercial theater in the context of the socio-cultural environment of the 70s of the XX century." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 182–95. http://dx.doi.org/10.17223/22220836/46/15.

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Broadway musicals created in the 70s of the XX century are a reflection of many socio-cultural phenomena taking place in the USA at that time. Their dynamic, originally formed musical dramaturgy, an appeal to topical topics consonant with the public consciousness of the era of the 70s, makes this period of development truly unique. The works created during these years by Stephen Sondheim, Stephen Schwartz, John Kander, Fred Ebb, Marvin Hamlisch, Edward Kleban greatly influenced the development of the musical genre, enriching it with new musical and dramatic techniques, a fundamentally new worl

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Das, Joanna Dee, and Ryan Donovan. "Special Issue: Dance in musical theatre." Studies in Musical Theatre 13, no. 1 (2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.

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This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds

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Duchesneau, Michel. "La Revue musicale ou le phoenix musical." Revue musicale OICRM 4, no. 2 (2018): 19–34. http://dx.doi.org/10.7202/1043218ar.

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Lorsque le directeur de La Revue musicale sim, Jules Écorcheville, part pour le front en 1914, il écrit à son ami Émile Vuillermoz : Malgré le souhait d’Écorcheville, La Revue sim disparaîtra, mais pas pour longtemps puisqu’elle donnera naissance à deux nouveaux organismes en 1917 et 1920. Pendant la guerre, les anciens de La Revue sim dont Lionel de La Laurencie, vont créer la Société française de musicologie (sfm) sur les ruines de la Société internationale de musique et publieront un Bulletin qui deviendra la Revue de musicologie. Loin de l’actualité, s’écartant délibérément du contexte soc

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Sung Hee Kirk. "Translated Musicals and Musical Translation in Korea." Journal of Translation Studies 9, no. 1 (2008): 283–309. http://dx.doi.org/10.15749/jts.2008.9.1.011.

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Feng, Zimo. "Analysis of the Business Model of Chinese Musical Theater Based on Community Economy." Journal of Applied Economics and Policy Studies 12, no. 1 (2024): 77–82. http://dx.doi.org/10.54254/2977-5701/12/2024114.

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In recent years, the Chinese musical theater industry has developed rapidly, becoming an important component of the cultural industry. Compared to traditional musical theater production and distribution methods, the community economy offers a new business model for Chinese musicals. This paper aims to explore how the community economy, combined with self-media platforms, supports the promotion and profitability of Chinese musicals. It analyzes the factors behind its success, the challenges it faces, and its future development prospects. Through an in-depth analysis of the existing business mod

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Koschany, Rafał. "Realistyczny musical? Allen – Resnais – von Trier." Kwartalnik Filmowy, no. 75-76 (December 31, 2011): 199–208. https://doi.org/10.36744/kf.2898.

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W musicalu realizm pojawia się na wiele sposobów, jest kategorią historycznie zmienną i wieloznaczną, a często zależną od odmiany gatunkowej (na przykład w backstage musicals czy w filmowych opowieściach o artystach elementy wykonywania muzyki, śpiewu czy tańca są racjonalnie uzasadnione). Z pewnością jednak nie jest to cecha konstytutywna omawianego gatunku i ostatecznie pozostaje konwencją. Autor artykułu przywołuje jednak pewne koncepcje czy poetyki, które sprzeciwiają się temu poglądowi, a także odbiorczym przyzwyczajeniom widzów. Wybrane do analizy przykłady są wyjątkowymi próbami w karie

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Jenkins, J. Daniel. "The Early Years of the American Musical in Vienna." Journal of Austrian-American History 6, no. 1 (2022): 89–103. http://dx.doi.org/10.5325/jaustamerhist.6.1.0089.

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Abstract The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of Amer

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Firdhani, Aldhila Mifta. "Peningkatan Kemampuan Musikal Peserta Didik Melalui Aktivitas Musik Kreatif." Indonesian Journal Of Performing Arts Education 1, no. 1 (2021): 11–17. http://dx.doi.org/10.24821/ijopaed.v1i1.4915.

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AbstractThis study aims to determine the effectiveness of creative music to improve students' musical abilities in learning music. The research method uses this type of classroom action research conducted in 2 cycles. The research was conducted at SMP Sunan Averroes Sleman Yogyakarta for three months. The object of the study was 13 students of class VIII. Sources of data used in this study are the results of observations and test results of musical abilities. Data analysis techniques were carried out qualitatively, which were identified to see the achievement and improvement results in each cy

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Pizà, Antonio. "Frontera de Valldemosa’s Equinotación and the Nineteenth-Century Textbook Controversies It Sparked." Itamar. Revista de investigación musical: territorios para el arte, no. 10 (July 7, 2024): 119. http://dx.doi.org/10.7203/itamar.10.29138.

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Abstract. Francisco Frontera de Valldemosa (1807-1891) published the first edition of his treatise, generally known as Equinotación, in 1837. The book purported to simplify musical notation by reducing the complex system of clefs to only three. From the moment it became public his clef method became controversial. First, it sparked a long controversy in the Revue et gazette musicale de Paris regarding the system’s originality, usefulness, and possible plagiarism. Subsequent editions decades later also sparked debates and even a couple of lawsuits, as reflected in several articles in the Gaceta

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Mateo, Marta. "Sunset Boulevard in Spanish Performance: Translations on the Musical Stage." Revista Alicantina de Estudios Ingleses, no. 37 (July 27, 2022): 81. http://dx.doi.org/10.14198/raei.2022.37.03.

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This article focuses on Andrew Lloyd Webber’s musical Sunset Boulevard (1993), in order to present some relevant aspects of the production and reception of musicals both in an original and a target context. The study will first describe the eventful creative process of this musical text in its Anglophone source contexts, and will then move on to examine it from the perspective of its performance in Spanish translation. Recently translated for a Spanish-language production staged in Tenerife in 2017 (soon followed by another one in Argentina in 2018), Sunset Boulevard is a good example of the p

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Kato, Katia. "A Mimesis Musical." Trans/Form/Ação 39, spe (2016): 93–110. http://dx.doi.org/10.1590/s0101-31732016000500007.

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RESUMO: A música ocupa um lugar de destaque como um dos principais meios de imitação. A utilização da música como ferramenta para suscitar e representar afetos, preconizada desde os antigos, chega integralmente ao século XVIII, podendo ser observada claramente nas obras dos compositores alemães ligados à doutrina composicional da Musica Poetica3 e, sobretudo, na obra de Johann Sebastian Bach. Porém, diversas são as espécies de imitação musical, de forma que o intuito deste trabalho foi categorizar e definir a função das espécies imitativas, com base na concepção aristotélica de imitação e nas

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38

Ye, Jiahui. "THE GOLDEN SANDS MUSICAL (金沙): ON THE FORMATION OF A GENRE ARCHETYPE IN CHINA". Scientific and analytical journal Burganov House. The space of culture 19, № 6 (2023): 94–102. http://dx.doi.org/10.36340/2071-6818-2023-19-6-94-102.

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The Golden Sands musical is considered in terms of the genre formation specifics in China. Attention is focused on the American origins of Chinese musicals, especially regarding style, scenography, and the specifics of vocal sound extraction. Consideration is given to the penetration of Chinese ethnic elements into the means of musical expression and choreographic poetics in the Equatorial Rain original musical, which demonstrated the fusion of national elements with Western ones, with jazz, rock, rap, etc. The author puts forward the hypothesis that the development of musicals in China is sti

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Ridley, Aaron. "Musical Ontology, Musical Reasons." Monist 95, no. 4 (2012): 663–83. http://dx.doi.org/10.5840/monist201295433.

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Johnson, Peter. "Musical Works, Musical Performances." Musical Times 138, no. 1854 (1997): 4. http://dx.doi.org/10.2307/1003750.

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McLEAY, COLIN R. "Musical Words, Musical Worlds." New Zealand Geographer 51, no. 2 (1995): 1–6. http://dx.doi.org/10.1111/j.1745-7939.1995.tb02044.x.

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Park, Moon Hee. "The Definition of Concept and the Role of the Audience in Concept Musicals." Liberal Arts Innovation Center 9 (May 30, 2022): 259–82. http://dx.doi.org/10.54698/kl.2022.9.259.

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The purpose of this paper is to define the term ‘concept’ as it is used in conceptual musicals and to investigate what the role of the audience is. So far, there have been efforts by several scholars to define the concept of concept musicals; however, existing definitions are limited to the subject or focus on form, making it difficult to understand the concept musicals properly. Further, because the meaning and relationship of the attributes that make up the concept are not clear, definitions are bound to suffer confusion. The concept musical’ must create a new form to embody the theme

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Kalό, Ildiko. "Considerations on the Elements of Musical Language in ‘La casa di peste drum’ [At the House across the Road] by Tudor Jarda." Musicology Papers 35, no. 1 (2020): 35–40. http://dx.doi.org/10.47809/mp.2020.35.01.02.

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When we speak about musical rhetoric, rhetorical figures, or elements related to musica poetica, we almost always automatically think about the Baroque and, why not, about Johann Sebastian Bach`s music. However, few of us realize that the roots of these notions trace back to the Renaissance, and even fewer will relate them to Martin Luther`s name and the Protestant Reformation. The principles of musical rhetoric developed mainly in the North German space, although they were also present in other countries such as Italy, France and England. It was Germany, however, that in those times most enth

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Gang, Yi, and Bi Zhang. "A Study of Choreography Courses for Musical Theater Majors." Studies in Art and Architecture 1, no. 1 (2022): 8–13. http://dx.doi.org/10.56397/saa.2022.12.02.

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Musical theater education in Chinese universities is generally focused on training musical performance talents, and the dance courses involved are also set up to enhance dance performance. The dance styles learned are mainly ballet, modern dance, jazz dance and tap dance, which are common in European and American musicals. However, in the actual musical rehearsal process, the use of dance to create dramatic characters, develop dramatic events, and show dramatic emotions and conflicts requires the skilled creative ability of the musical choreographer. The educational process of musical choreogr

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Delalande, François. "Le bipôle objet/conduites : réflexions sur l'objectif de la sémiologie musicale." Objets 21, no. 3 (2005): 141–55. http://dx.doi.org/10.7202/500877ar.

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Les limites d'une sémiologie de la signification de l'objet musical. Le fait musical comme faisceau de conduites. Objet et conduites, une réalité à deux faces. Le bipôle objet/conduites comme objet de la sémiologie musicale. Pertinence théorique et conduites- types. La métaphorisation. Sémiologie et psychologie.

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Kristiyanto, Eko, and Muhammad Nur Salim. "PERKEMBANGAN MUSIK KESENIAN GATHOLOCO CIPTO BUDOYO KABUPATEN TEMANGGUNG." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, no. 1 (2019): 25–38. http://dx.doi.org/10.33153/keteg.v19i1.2649.

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Penelitian ini bertujuan untuk mengungkap mengenai perkembangan musikal kesenian Gatholoco Cipto Budoyo Desa Kembangsari. Permasalahan utama yang dibahas adalah tentang periodisasi perkembangan musikal serta faktor-faktor yang mempengaruhinya. Untuk menjawab permasalahan tersebut, peneliti menggunakan konsep musik khususnya tentang garap dan konsep tentang perkembangan yang merujuk pada konsep periodisasi dan faktorfaktor penyebab perkembangan. Pendekatan yang digunakan adalah antropologi sosial dan musikologi dengan menggunakan metode deskripstif analisis. Hasil dari peneilitian ini mengungka

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Stenberg, Josh. "Genealogy and sketch of Indonesian musical theatre." Studies in Musical Theatre 18, no. 3 (2024): 241–49. https://doi.org/10.1386/smt_00170_1.

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Indonesia has a wide range of theatres, traditional and modern, that incorporate music. How to identify ‘musical theatre’ in such a rich context is a question of working definitions and genealogy. Commercial theatre histories since the early twentieth century offer rough parallels to the Anglo-American musical. In recent years, direct influence from the United States has brought about anglophone productions of Broadway musicals and new, locally created Indonesian theatre work more overtly inspired by the Broadway musical.

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Vukićević, Nataša M. "НАСТАВА МУЗИЧКЕ КУЛТУРЕ И ПОЗИТИВНО ОБРАЗОВАЊЕ – ОД ДОЖИВЉАЈА ДО ИСХОДА У ОБЛАСТИ МУЗИЧКОГ СТВАРАЛАШТВА И СЛУШАЊА МУЗИКЕ". Узданица XX, № 3 (2023): 241–56. http://dx.doi.org/10.46793/uzdanica20.s.241v.

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This paper analyses experiential aspects of teaching music in the context of the well-being education and creating a stimulating environment for learning, development and psychological well-being of lower-grade pupils. The analysis involves music classes held with fourth-graders who were expected to connect a literary text with a corresponding musical composition they listened to. The research was conducted in the primary school “17. Oktobarˮ in Jagodina in September 2023. In accordance with the research topic which encompasses pupils’ achievement in two areas, musical creativity and listening

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Breitburg, Kimol A. "THE HISTORICAL PROTOTYPE OF THE AMERICAN CONCEPT MUSICAL." Arts education and science 1, no. 34 (2023): 64–71. http://dx.doi.org/10.36871/hon.202301064.

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The article considers one of the popular prototypes of the musical genre formed on the Broadway stage in the 1960s — 1970s. Its birth, which has received a terminological definition as a “concept musical”, is associated with a number of important socio-political events of the 1970s in the USA. Against the background of economic and social crisis that American society experienced during this period, a new social formation emerged, known today as the “Me” generation. The divided and largely fragmented social environment, the shift of young Americans away from social and political activism to per

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Garber, Michael G. "Tragicomedy, Melodrama, and Genre in Early Sound Films: The Case of Two “Sad Clown” Musicals." CINEJ Cinema Journal 5, no. 2 (2016): 53–86. http://dx.doi.org/10.5195/cinej.2016.135.

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This interdisciplinary study applies the theatrical theories of stage genres to examples of the early sound cinema, the 1930 Hollywood musicals Puttin’ on the Ritz (starring Harry Richman, and with songs by Irving Berlin) and Free and Easy (starring Buster Keaton). The discussion focuses on the phenomenon of the sad clown as a symbol of tragicomedy. Springing from Rick Altman’s delineation of the “sad clown” sub-subgenre of the show musical subgenre, outlined in The American Film Musical, this article shows that, in these seminal movie musicals, naïve melodrama and “gag” comedy coexist with th

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