Готові списки джерел за темами / Televisioni musicali

Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій

Добірка наукової літератури з теми "Televisioni musicali"

Автор: Grafiati
Опубліковано: 10 березня 2023

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Статті в журналах з теми "Televisioni musicali"

1

Brown, Julie. "Ally McBeal's Postmodern Soundtrack." Journal of the Royal Musical Association 126, no. 2 (2001): 275–303. http://dx.doi.org/10.1093/jrma/126.2.275.

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Анотація:
Television's Ally McBeal revels in soundtrack games, playing as it does with the conventions of several types of musical multimedia while elevating music, especially a particular type of pop music, to the role of central plot and series metaphor–above all in relation to Ally's character. As musically saturated television, Ally McBeal not only provides a window onto music's role in television (and hence a central expression of postmodern culture), it also engages some of pop music's broader social functions dramatically. Drawing on both film and media theory, I examine Ally McBeal's soundtrack
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2

Ocaña-Fernández, Almudena, and María-Luisa Reyes-López. "The sonic imagination of children in Andalusia: A musical analysis of the TV programme «The Band»." Comunicar 18, no. 35 (2010): 193–200. http://dx.doi.org/10.3916/c35-2010-03-13.

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Анотація:
In this article we present a descriptive study of the soundtrack of children’s television programmes on the Andalusian public television network. This study is part of an international research project based on Latin America which seeks to address the need to understand the sonic context in which children live and study the way in which this shapes their sonic imagination. The use of music on television may be a response to commercial needs and, therefore, it is necessary to understand its influence in an educational context. Through analysis of the permanent sections, advertising and the cart
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3

Guerrero Pérez, Enrique, and Patricia Diego. "La producción de programas musicales en la televisión pública española (1990-2010)." Estudios sobre el Mensaje Periodístico 26, no. 2 (2020): 597–609. http://dx.doi.org/10.5209/esmp.67935.

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Анотація:
Este artículo tiene como objeto ofrecer un recorrido por la historia de la producción de los programas musicales en la televisión pública española durante el periodo 1990-2010. Con esta finalidad, se ha consultado el archivo histórico digital de Radio Televisión Española como fuente primaria. A continuación, se ha completado la información con el análisis de fuentes secundarias como las secciones televisivas de la prensa nacional, publicaciones especializadas en televisión y bases de datos online como IMDb. Siguiendo un método de investigación inductivo, las conclusiones derivadas del estudio
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4

Lorenzo-Quiles, Oswaldo, and Lucía Herrera. "Análisis educativo-musical del medio televisión." Comunicar 8, no. 15 (2000): 169–74. http://dx.doi.org/10.3916/c15-2000-26.

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Анотація:
Se ofrece en esta colaboración el resultado de un trabajo de investigación que estudia el tipo de educación musical no formal que lleva a cabo la televisión en nuestra sociedad. Este medio de comunicación capitaliza lo que conocemos por escuela paralela, suponiendo un innegable vehículo de transmisión educativa y realizando una labor de divulgación sonora que, aun sin pretenderlo, determina y conforma desde la imagen la cultura musical de la población.
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5

Knapp, Raymond, and Zelda Knapp. "Musicals and the envoicing of mental illness and madness: From Lady in the Dark to Man of La Mancha (and beyond)." Journal of Interdisciplinary Voice Studies 4, no. 2 (2019): 209–23. http://dx.doi.org/10.1386/jivs_00006_1.

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Анотація:
Abstract Because musicals routinely position musical expression as an enabling form of madness, they can have a difficult time when they try to consider mental illness in thoughtful ways. This essay considers four prominent musicals that deal overtly with mental illness and/or madness to delineate these difficulties and show how musicals try to surmount them. The relatively few musical numbers in Lady in the Dark (1941) allow its protagonist Liza Elliott to both confront her mental block and give voice to her emancipation. In Anyone Can Whistle (1964), Hapgood's ambiguous mental status allows
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6

Porta-Navarro, Amparo. "The Musical Offers of Children’s Programming on «Televisión Española» as its Hearing Universe." Comunicar 19, no. 37 (2011): 177–85. http://dx.doi.org/10.3916/c37-2011-03-10.

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Анотація:
The music that children are exposed to in their everyday lives plays an important role in shaping the way they interpret the world around them, and television soundtracks are, together with their direct experience of reality, one of the most significant sources of such input. This work is part of a broader research project that looks at what kind of music children listen to in a sample of Latin American and Spanish TV programmes. More specifically, this study focuses on children’s programmes in Spain, and was addressed using a semiotic theoretical framework with a quantitative and musical appr
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7

Ocasio-Russe, Lizbette. "Purpose and Innovation in Family Guy’s Musical Numbers." English Language Teaching and Linguistics Studies 1, no. 1 (2019): 30. http://dx.doi.org/10.22158/eltls.v1n1p30.

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<em>Seth MacFarlane is well known for his groundbreaking animated series Family Guy (Fox, 1999-), a trademark of which is the inclusion musical numbers that reflect MacFarlane’s knowledge of the film musical. While many criticize the controversial approach and seeming arbitrary nature of not just the show’s jokes, but also its musical numbers, the way MacFarlane integrates them into his animated series allows todays cynical audience to enjoy a taste of the rather dormant genre. MacFarlane does so by employing elements of the Warner Brothers/Berkeley musical, the integrated and aggregate
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8

Fandos-Igado, Manuel. "El vídeo-clip musical." Comunicar 1, no. 1 (1993): 96–99. http://dx.doi.org/10.3916/c01-1993-13.

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Анотація:
Chicos y chicas de hoy pasan muchas horas a lo largo de la semana delante de la televisión consumiendo imágenes de todo tipo. Los videoclips son, sin duda, uno de los géneros audiovisuales con mayor impacto en los jóvenes. Se propone en este artículo su uso en el aula, desde uan vertiente crítica, de motivación y de investigación como género de expresión y comunicación.
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9

Frith, Simon. "Look! Hear! The uneasy relationship of music and television." Popular Music 21, no. 3 (2002): 277–90. http://dx.doi.org/10.1017/s0261143002002180.

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Анотація:
Television is an essential part of the star-making machinery of the music business and music accompanies nearly all television programmes, and yet the relationship between the two is uneasy. Television does not seem to be an essential part of musical culture and adds little to music aesthetically. Music has had little impact on the form or aesthetics of television. And yet television has certainly had an impact on music and particularly on the mediation of rock and the formation of the modern pop/rock aesthetic. Here it is not music in television that is important but television in music. The
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Rodman. "Television Genre / Musical Genre / Expressive Genre." American Music 37, no. 4 (2019): 435. http://dx.doi.org/10.5406/americanmusic.37.4.0435.

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Дисертації з теми "Televisioni musicali"

1

Pozzobon, Patrizia. "L’industria musicale e la musica classica nello scenario dei media digitali." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23558/.

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La musica classica ha sempre fatto parte del mondo dell’intrattenimento fino ai giorni nostri. In epoca contemporanea però, con l’evoluzione tecnologica, questa ha perso sempre più popolarità fino a essere considerata di nicchia o adatta solo a un certo tipo di persone, con un alto livello di cultura o sofisticate. Questa viene anche percepita difficile l’attenzione richiesta e la complessità considerata non accessibile a tutti. Le industrie culturali oggi devono affrontare problemi di monetizzazione del proprio mercato molto più che in precedenza, a causa delle nuove piattaforme digitali, dei
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2

Mathias-Baker, Ian. "The musical object in consumer culture." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327584.

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3

Phillips, Dara L. "Dancing Through Film Musicals : Narratives in Motion /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.

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4

Bochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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5

Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.

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Анотація:
A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of
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6

Alves, Rafael Paiva [UNESP]. "O som livre na TV Cultura: o programa A Fábrica do Som na difusão da música jovem, 1983-1984." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150677.

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Анотація:
Submitted by RAFAEL PAIVA ALVES null (rafael_paiva_alves@hotmail.com) on 2017-05-17T03:40:33Z No. of bitstreams: 1 DISSERTAÇÃO RAFAEL PAIVA ALVES - 16.05.2017.pdf: 6778986 bytes, checksum: 58a12b64489794068959eeb723d28e71 (MD5)<br>Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-05-17T12:56:36Z (GMT) No. of bitstreams: 1 alves_rp_me_assis.pdf: 6778986 bytes, checksum: 58a12b64489794068959eeb723d28e71 (MD5)<br>Made available in DSpace on 2017-05-17T12:56:36Z (GMT). No. of bitstreams: 1 alves_rp_me_assis.pdf: 6778986 bytes, checksum: 58a12b64489794068959eeb723d
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Croatto, Leonardo Ivan <1959&gt. "Musica, Cinema e identità nel Río de la Plata." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/8723/1/Croatto_Leonardo_tesi.pdf.

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Анотація:
La costruzione dell’identità culturale come problema centrale in contesti geografici periferici, vista dalla prospettiva che emerge dalla zona d’incrocio tra musica e produzione cinematografica nella regione del Río de la Plata, delimitata dalle due città capitali dell’Argentina e l’Uruguay. Verranno analizzate tre situazioni particolari: l’inserzione del tango nel cinema, in quanto elemento locale fortemente identitario, focalizzata sulla produzione di uno dei più noti compositori argentini del XX secolo, Astor Piazzolla, artefice del rinnovamento linguistico del tango e autore di numero
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8

Foroni, Andrea. "L'influenza del videoclip nel linguaggio cinematografico degli anni Ottanta." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.

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Анотація:
La mia tesi analizza l'influenza del videoclip nel linguaggio del cinema hollywoodiano degli anni Ottanta. Si parte dal rapporto tra musica popolare e immagini filmate nel corso del Novecento fino ad arrivare al rock 'n' roll e ai primi esempi di video musicali, per poi parlare dell'utilizzo della musica pop nel cinema della New Hollywood. L'argomento principale sarà poi l'analisi dei cambiamenti economici e produttivi nell'industria dell'intrattenimento negli anni Ottanta e le caratteristiche linguistiche del cinema americano coevo. Si analizza il rapporto con il musical, il recupero del conc
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Nichols, Donald Nealson. "Investigating percussion through television news : an analysis of the Breaking news program /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307167.

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Анотація:
Thesis (D.M.A.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed July 7, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 104-105.
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Álvarez, Vaquero Alicia. "Cuando la música desapareció de televisión. Historia, evolución y análisis narrativo del periodismo musical en TVE y TV3." Doctoral thesis, Universitat Ramon Llull, 2017. http://hdl.handle.net/10803/404735.

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Анотація:
La tesi que aquí es presenta està basada en una recerca sobre l'evolució en la narrativa audiovisual dels programes musicals periodístics en televisió per la qual hem aplicat una plantilla d'anàlisi narrativa que ens oferís una visió cronològica dels canvis i transformacions per les quals ha passat el format en les televisions públiques espanyola i catalana. Abans de dur a terme aquesta anàlisi s'ha construït un marc teòric que abasta dos terrenys fonamentals per parlar del periodisme musical en televisió: d'una banda, la història de la música popular urbana (internacional, nacional i catal
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Книги з теми "Televisioni musicali"

1

Kenrick, John. Musicals 101.com: The cyber encyclopedia of musical theatre, TV, and film. J. Kenrick, 1996.

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2

Hischak, Thomas S. The Oxford companion to the American musical: Theatre, film, and television. Oxford University Press, 2008.

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3

1937-, Deutsch Didier C., ed. VideoHound's soundtracks: Music from the movies, Broadway, and television. Visible Ink Press, 1998.

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4

Lynch, Richard Chigley. TV and studio cast musicals on record: A discography of television musicals and studio recordings of stage and film musicals. Greenwood Press, 1990.

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5

Broadway, movie, TV, and studio cast musicals on record: A discography of recordings, 1985-1995. Greenwood Press, 1996.

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6

Ott, Dorothee. Musical- und Tanzfilm. Reclam, 2014.

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7

Thomas, Scott. All in This Together: The Unofficial Story of High School Musical. ECW Press, 2007.

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8

Television musicals: Plots, critiques, casts, and credits for 222 shows written for and presented on television, 1944-1996. McFarland, 1997.

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9

Koeppel, Ruth. Hannah Montana: Fabulous friends : storybook & musical microphone. Reader's Digest Children's Books, 2008.

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10

Karim, Haryati Abdul. Malaysian adolescents and MTV: A search for identity. Penerbit UMS, 2007.

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Частини книг з теми "Televisioni musicali"

1

Driver, Emma, and Sarah Attfield. "Sketching Out Portlandia’s Musical Layers." In Music in Comedy Television. Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-11.

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Mora-Rioja, Arturo. "Musical Paratexts: Song Lyrics in Television Series." In Television Series as Literature. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-4720-1_14.

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Ostrofsky, Kathryn A. "Sesame Street as a Musical Comedy-Variety Show." In Music in Comedy Television. Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-2.

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Stokes, Jane. "Having a Ball in your Hall: Television in the Musical." In On Screen Rivals. Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27796-4_4.

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Bunch, Ryan. "“You Can’t Stop the Tweet”: Social Media and Networks of Participation in the Live Television Musical." In iBroadway. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64876-7_8.

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Ibrahim, Nihad. "Nelly: The Eternal Pyramid of Acting, Film, Theater and Television Musicals in Egypt and the Middle East." In Female Pioneers from Ancient Egypt and the Middle East. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1413-2_6.

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Kessler, Kelly. "Primetime Goes Hammerstein." In Broadway in the Box. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190674014.003.0006.

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Анотація:
This chapter explores shifts in television’s industrial landscape, examining how stylistic, technical, and viewer-based shifts opened up new spaces that encouraged the production of one-off musical episodes in otherwise straight fictional television series. A look across performance platforms illustrates how simultaneous changes that occurred in story types and methods of storytelling in stage and screen musicals of the1990s and the first decade of the 2000s dovetailed with emergent norms within the struggling post-network television landscape. Increasingly porous acting pools, the cross-platform entrenchment of self-aware stories and narrative styles, and a drive toward niche audiences helped create a late-millennium perfect storm that ushered in a new formally complex marriage of the musical and television. This chapter concludes with a close analysis of Grey’s Anatomy’s season seven musical episode, “The Song Beneath the Song,” highlighting its embodiment of television’s embrace of emergent cross-platform norms of musical performance, post-network narrative style, and contemporary target marketing.
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Feuer, Jane. "Musical Television." In The Oxford Handbook of the Hollywood Musical. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197503423.013.31.

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Abstract This essay traces shifting definitions of theatricality through the genre of quality drama, a genre that is also televisual and cinematic. It offers readings of Smash and makes reference to Glee and the Judy Garland Show in an attempt to show the relationships between the stage and screen models of the musical. The film musicals of the 1930s used vaudeville and Broadway revues as intertexts; later musicals had earlier film musicals as the internal show. Glee had a 1963 television show within a 2011 television show. Yet the live theatrical internal show continued to thrive in theater and in cinema. The compelling nature of live performance persisted as an intertext for film and television long after theater had ceased to be a dominant medium in popular culture. Considering this long history of texts about “Show Business” and” “Show People,” it is not surprising to find a backstage musical being made in 2012. What is surprising is that a backstage musical about the production of a Broadway show should be made for US network television at this late date. Theatricality structured the genre of quality drama but Smash was something even more than the theatrical: it was theater at every level.
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Kessler, Kelly. "Sequins and Songs on the Small Screen." In Broadway in the Box. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190674014.003.0004.

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By the late sixties, television was America’s medium and, just as it had with stage and film musicals in the decades prior, it embraced the increasingly legitimized musical style of Vegas. Whether through Mitzi Gaynor’s string of television specials; the repackaging of Sonny and Cher’s Vegas shtick, glitz, and musical tributes; or The Carol Burnett Show’s Bob Mackie–clad musical extravaganzas, Vegas/Broadway hybrids filled the small screen. This fusion of old-school and, to a lesser degree, contemporary musicals with the popularized pizzazz and glamour of Vegas brought the television musical comfortably in line with the cheeky sexiness of 1970s network programming. Highlighting the ongoing symbiosis among various musical platforms, this chapter explores the rise of a hybridized Broadway-Vegas style on television, or what the author terms “BroadVegas,” in the context of changing generic norms across stages and screens, heightened inter-network competition and branding, and emergent visual, generic, and promotional styles.
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Harrison, Jack. "The Television Musical." In Time in Television Narrative. University Press of Mississippi, 2012. http://dx.doi.org/10.14325/mississippi/9781617032936.003.0019.

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Тези доповідей конференцій з теми "Televisioni musicali"

1

Chen, Oscal T. C., Jhen Jhan Gu, Chih-Chang Chen, and Ping-Tsung Lu. "Affective perception of Musical Television." In 2012 4th International Conference on Awareness Science and Technology (iCAST). IEEE, 2012. http://dx.doi.org/10.1109/icawst.2012.6469597.

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Golubovskaya, S. P., and E. S. Sherstneva. "The speech portrait of the main character of the American musical television series «Empire» (phonetic aspect)." In XXV REGIONAL SCIENTIFIC CONFERENCE STUDENTS, APPLICANTS AND YOUNG RESEARCHERS. Знание-М, 2020. http://dx.doi.org/10.38006/907345-63-8.2020.95.102.

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This article deals with the problem of recreating the speech portrait of the main character in a cinematic context. The main components of the phonetic feature and lexical, as well as grammatical characteristics of the speech of the studied character are determined. Conclusions are deduced about the relationship between linguistic and extralinguistic factors that mediate the speech behavior of a particular language personality.
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Jedidi, Anis, Faiez Gargouri, Fahmi Bellalouna, and Mika Luimula. "VR-App for a Virtual Perception of Memory Impairment in Alzheimer’s Patients." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002088.

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Augmented, Virtual and Mixed Reality Technology (AR / VR / MR) - also known as xR technology - is one of the key technologies of digital transformation. Thanks to the existing powerful immersive hardware systems, complex technical and natural systems can be digitally represented in a realistic virtual environment. This enables users to completely immerse in the virtual environment and to observe and interact with the systems and objects contained therein without major restrictions, or to augment real products and systems with digital data in runtime. This creates new opportunities to present t
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