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Auswahl der wissenschaftlichen Literatur zum Thema „Musical“
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Zeitschriftenartikel zum Thema "Musical"
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Cherry, James M. „The Musical of Musicals (The Musical!) (review)“. Theatre Journal 56, Nr. 4 (2004): 705–6. http://dx.doi.org/10.1353/tj.2004.0156.
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Bispham, John C. „Music's “design features”: Musical motivation, musical pulse, and musical pitch“. Musicae Scientiae 13, Nr. 2_suppl (September 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 features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.
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Yanuar, Dani. „Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi“. Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, Nr. 1 (17.07.2019): 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. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.
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Mellers, Wilfrid. „Platform: Are Musicals Musical?“ Musical Times 132, Nr. 1782 (August 1991): 380. http://dx.doi.org/10.2307/965879.
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Molero, Esteve. „Todos poseemos inteligencia musical“. Folia Humanística 2, Nr. 2 (06.07.2020): 36–60. http://dx.doi.org/10.30860/0067.
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La inteligencia musical es una de las capacidades innatas del ser humano, según la Teoría de las Inteligencias Múltiples de H. Gardner. El artículo presenta y define este tipo de inteligencia y lo compara con los demás, para denotar sus interacciones. Así pone manifiesto que las habilidades musicales son más transversales de lo que comúnmente creen las personas sin formación musical. También enumera algunas de las ventajas de una aproximación al arte de la musica para el crecimiento y equilibrio personal. El autor se basa en sus conocimientos y vivencias personales como músico, comunicador y coach, así como en la bibliografía y la experiencia de artistas de reconocimiento internacional.
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Restani, Donatella. „Aldrovandi’s Musical Legacy: not just Aristoxenus. Towards New Research Horizons“. Aldrovandiana. Historical Studies in Natural History 3, Nr. 1 (12.07.2024): 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, nonché i suoni e la musica dei nativi trasmessi nelle narrazioni dei viaggiatori ed esploratori del Nuovo Mondo.
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Barros, Cassiano de Almeida. „Sobre a abundância de coisas, palavras e músicas“. Revista Música 23, Nr. 1 (01.09.2023): 521–35. http://dx.doi.org/10.11606/rm.v23i1.209508.
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Em 1606, o músico alemão Joachim Burmeister publicou em Rostock sua poética musical com o objetivo de sistematizar o processo criativo musical, constituir material didático para a escola latina onde atuava, difundir esse conhecimento e preservar as práticas musicais vigentes. Esse tratado é reconhecido pela originalidade da sistematização que propõe e que iniciou uma tradição especificamente luterana de escrita, leitura e interpretação musical, baseada na estreita relação entre poesia e música. Para a formulação dessa sistematização, Burmeister tomou como ponto de partida a ideia de que o espaço da elaboração musical seria aquele da compositio elocutiva das palavras e que essa mesma elaboração devia ser proporcional ao estilo das palavras, de maneira que a música resultante contribuísse para torná-las mais persuasivas. Nesses termos, podemos compreender que os diferentes estilos musicais se caracterizariam, em parte, por diferentes estilos poéticos e, em parte, pelas formas particulares de elaboração musical deles, codificadas retoricamente pela tratadística existente. Em seu Musica Poetica, Burmeister categorizou uma série de artifícios e técnicas musicais baseando-se nas referências mais próximas e comuns de seu tempo, dentre as quais destaco o De utraque verborum ac rerum copia (1512) de Erasmo de Roterdã. Assim como Erasmo reformulou e atualizou em seu tratado os preceitos relativos à abundância de pensamentos e palavras, Burmeister reformulou e atualizou, para o contexto luterano, os preceitos relativos à abundância de artifícios musicais. Neste artigo, proponho analisar as relações entre o tratado de Burmeister e o de Erasmo, investigar o caminho das ideias que os unem, suas aproximações e distanciamentos, e conhecer os fundamentos daquilo que se convencionou chamar desde o século XVII de retórica musical.
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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, Nr. 2 (05.04.2018): 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 States’ entry into the war, Hollywood moved away from the escapist fantasy of 1930s cinema toward the realism that would mark the 1940s. To reboot fading interest in musicals, studios toyed with the formula of the backstage musical to focus more on dramatic narratives and star power.There's Magic in Musicthus serves as a lens through which we might examine changes both in musical film production and in notions of “good music” at the eve of World War II.
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Araújo, Ítalo Robert da Silva, und Alexsander Jorge Duarte. „Criação-performance partilhada em música“. ouvirOUver 15, Nr. 2 (10.03.2020): 552–67. http://dx.doi.org/10.14393/ouv-v15n2a2019-46350.
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Este trabalho dedica-se ao estudo de práticas performativas coletivas nas quais o som, com intenção musical, é usado como material para a criação em tempo real. Trata-se de um tipo de prática musical em grupo onde a performance e a criação são assumidas pelos agentes como indissociáveis e que estão conotadas com formas de adjetivação da música como "improvisada", "livre", "experimental" e/ou "espontânea". Estes modos de fazer musical, diluidores da dicotomia compositor/intérprete, oferece outros valores ao processo de performance musical como "musicar" sem materiais musicais pré-concebidos. A pesquisa parte de um trabalho etnográfico com dois grupos praticantes deste modelo, sendo um no Brasil e outro em Portugal, e o modelo teórico de análise utilizado assenta-se no conceito da imprevisibilidade e no Paradigma da Complexidade que problematiza os conceitos de "ordem" e "desordem".
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MEDEIROS, ALAN RAFAEL DE, und ÁLVARO LUIZ RIBEIRO DA SILVA CARLINI. „A modernidade em questão: música de concerto em Curitiba – coexistência e especificidades entre a "SCABI" e "SPMC" * Modernity in question: concert music in Curitiba - coexistence and specificity between "SCABI" and "SPMC"“. História e Cultura 2, Nr. 1 (19.08.2013): 44. http://dx.doi.org/10.18223/hiscult.v2i1.939.
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<p><strong>Resumo:</strong> O presente trabalho tem como objetivo a análise da mudança de enfoque estético das entidades musicais civis em relação ao público curitibano no tocante às práticas musicais, em especial durante o período de coexistência de duas destas entidades, representativas no cenário local: a SCABI (Sociedade de Cultura Artística Brasílio Itiberê) e SPMC (Sociedade Pró Musica de Curitiba).</p><p><strong>Palavras-chave:</strong> Entidades musicais civis – Curitiba/PR - SCABI (Sociedade de Cultura Artística Brasílio Itiberê) e SPMC (Sociedade Pró Musica de Curitiba) - Música de concerto: dicotomia entre o repertório tradicional e contemporâneo.</p><p> </p><p><strong>Abstract:</strong> This work aims to analyze the change of an esthetical focus of civilian musical entities in relation to the public from Curitiba in regard of musical practices, particularly during the period of coexistence of these two entities, both representative of the local scene: the SCABI (Society for Artistic Culture Brasílio Itiberê – "Sociedade de Cultura Artística Brasílio Itiberê") and SPMC (Pro-Music Society of Curitiba – "Sociedade Pró Musica de Curitiba").</p><p><strong>Keywords:</strong> Civilian Musical Entities – Curitiba/PR - SCABI (Society for Artistic Culture Brasílio Itiberê) and SPMC (Pro-Music Society of Curitiba) - Concert Music: dichotomy between traditional and contemporary repertoire.</p>
Dissertationen zum Thema "Musical"
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Lascabettes, Paul. „Mathematical Models for the Discovery of Musical Patterns, Structures and for Performances Analysis“. Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS578.
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L'objectif de cette thèse est de fournir des modèles mathématiques pour la compréhension et l'analyse de représentations symboliques de la musique. En particulier, cette thèse se décompose en trois parties : comment découvrir les motifs musicaux~? Comment ces motifs sont-ils organisés avec la structure musicale ? Et finalement, comment ces motifs sont-ils joués durant la performance musicale ? Tout d'abord, cette thèse se focalise sur la tâche de découverte de motifs musicaux. Les travaux antérieurs permettent de distinguer deux approches : l'approche séquentielle et l'approche multidimensionnelle. Nous proposons une méthode pour développer l'approche multidimensionnelle. En particulier, nous montrons que la théorie de la morphologie mathématique s'adapte très bien à l'approche géométrique, ce qui permet d'obtenir des résultats mathématiques pour la découverte de motifs musicaux. En seconde partie, nous nous intéressons à la tâche de segmentation musicale. Nous proposons deux méthodes, l'une reposant sur l'homogénéité et l'autre sur la répétition, qui sont les deux caractéristiques principales à étudier pour découvrir la segmentation d'une pièce. La méthode reposant sur l'homogénéité utilise les filtres morphologiques pour détecter les blocs sur la diagonale de la matrice d'auto-similarité. Nous développons aussi une méthode reposant sur la quasi-répétition sans intersection pour obtenir la segmentation hiérarchique d'une pièce. La troisième partie est dédiée à l'analyse de la performance musicale avec des outils informatiques. Nous nous focalisons sur la base de données MazurkaBL qui contient des annotations de plus de 2000 performances de 46 Mazurkas de Chopin. Pour analyser cette base de données, nous proposons de représenter une performance musicale dans un 2-simplexe, ce qui permet de caractériser et d'interpréter l'expressivité musicale d'une performance. Ensuite, nous montrons comment la théorie du transport optimal peut être utilisée pour comparer des performances musicalesThe purpose of this thesis is to provide mathematical models for the understanding and analysis of symbolic representations of music. In particular, this thesis is divided into three parts. How to discover musical patterns? How are these patterns organized within the musical structure? And finally, how are these patterns performed during musical performance? First, this thesis focuses on the musical pattern discovery task. Previous work identifies two different approaches: the sequential and geometric approaches. We propose a method for each of these two approaches. We propose a method for developing the multidimensional approach. In particular, we show that the theory of mathematical morphology is well suited to the geometrical approach, making it possible to obtain mathematical results for the discovery of musical patterns. In the second part, we focus on the musical segmentation task. We propose a method based on homogeneity and one based on repetition, which are the two main features to be studied in order to discover the segmentation of a piece. The homogeneity-based method uses morphological filters to detect blocks on the diagonal of the self-similarity matrix. We also develop a method based on almost repetition without overlaps to obtain the hierarchical segmentation of a musical piece. The third part is dedicated to the computational models for music performances. We focus on the MazurkaBL dataset, which contains annotations of over 2000 recorded performances of 46 Chopin Mazurkas. To analyze this dataset, we propose to represent a musical performance in a 2-simplex, allowing us to characterize and interpret the expressivity of a performance. Then, we show how the theory of optimal transport can be used to compare musical performances
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Gérard, Élizabeth. „L'oreille musicale, une institution symbolique du sens musical“. Montpellier 3, 2000. http://www.theses.fr/2000MON30027.
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Copini, Guilherme de Cesaro 1985. „Musica espectral = o tempo musical conforme Gerard Grisey“. [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283993.
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Orientador: Silvio Ferraz Mello FilhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação, que teve como foco a filosofia composicional de Grisey, e a composição da peça original, baseadas nas características e técnicas identificadas na primeira etapa da pesquisa
Abstract: Music is a temporal art, and its primary object, the sound, can only exist and be noticed when the dimension time is considered. Then, one believes that the discussion about sound-time relation in music is important for the contemporary composer.Gérard Grisey, composer and cofounder of one of the most important schools of composition of the second half of the 20th century (the Spectral Music), shows a singular understanding toward the musical phenomenon, especially about its development over time. His understanding is mainly based in researches in the field of acoustics and psychoacoustics, in other words, in the physical structure of sound and how it is perceived, respectively. The main objective of this research is to expose the thinking about musical time by Grisey. Another objective is to compose an original musical piece based on this thinking. This outline is justified by the evident attention that important composers of the 20th century (as Messiaen, Boulez and Grisey) gave to the subject "time in music". Such importance can be verified either in their musical and theoretical works. Initially, a study of the main bibliography produced by the leading composers and experts in Spectral Music was accomplished. Then the writing process of the thesis began, which was focused on the compositional philosophy of Grisey, and the composition of the original musical piece, based on the characteristics and techniques identified in the first part of this research
Mestrado
Musica
Mestre em Música
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Ramos, Danilo. „Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não-músicos?“ Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-08102008-013413/.
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RAMOS, Danilo. Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não músicos? 2008, 268 p. Tese (Doutorado). Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto. Universidade de São Paulo, Ribeirão Preto, 2008. Esta pesquisa teve como objetivo verificar o papel das emoções desencadeadas pela música na percepção temporal de músicos e não músicos. Quatro experimentos foram realizados: no Experimento I, músicos e não músicos realizaram tarefas de associações emocionais a trechos musicais de 36 segundos de duração, pertencentes ao repertório erudito ocidental. A tarefa consistia em escutar cada trecho musical e associá-lo às categorias emocionais Alegria, Serenidade, Tristeza, Medo ou Raiva. Os resultados mostraram que a maioria dos trechos musicais desencadeou uma única emoção específica nos ouvintes; além disso, as associações emocionais dos músicos foram semelhantes às associações emocionais dos não músicos para a maioria dos trechos musicais apresentados. No Experimento II, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais mais representativos de cada emoção, utilizados no Experimento I. Assim, os trechos musicais eram apresentados e os participantes deveriam associar cada um deles a durações de 16, 18, 20, 22 ou 24 segundos. Os resultados mostraram que, para o grupo Músicos, os três trechos musicais associados à Tristeza foram subestimados em relação às suas durações reais; nenhuma outra categoria emocional apresentou mais do que um trecho musical sendo subestimado ou superestimado em relação a suas durações reais, para ambos os grupos. Pesquisas recentes em Psicologia da Música têm mostrado duas propriedades estruturais como sendo moduladoras da percepção de emoções específicas durante uma escuta musical: o modo (organização das notas dentro de uma escala musical) e o andamento (número de batidas por minuto). Assim, no Experimento III, músicos e não músicos realizaram tarefas de associações emocionais a composições musicais construídas em sete modos (Jônio, Dórico, Frígio, Lídio, Mixolídio, Eólio e Lócrio) e três andamentos (adágio, moderato e presto). O procedimento foi o mesmo utilizado no Experimento I. Os resultados mostraram que o modo musical modulou a valência afetiva desencadeada pelos trechos musicais: trechos musicais apresentados em modos maiores obtiveram índices positivos de valência afetiva e trechos musicais apresentados em modos menores obtiveram índices negativos de valência afetiva; além disso, o andamento musical modulou o arousal desencadeado pelos trechos musicais: quanto mais rápido o andamento do trecho musical, maiores os níveis de arousal desencadeados e vice-versa. No Experimento IV, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais modais utilizados no Experimento III. O procedimento foi o mesmo utilizado no Experimento II. Os resultados mostraram que manipulações, principalmente no arousal, afetaram a percepção temporal dos ouvintes: para ambos os grupos, foram encontradas subestimações temporais para trechos musicais desencadeadores de baixos índices de arousal; além disso, para o grupo Não Músicos, foram encontradas superestimações temporais para trechos musicais desencadeadores de altos índices de arousal. Estes resultados mostraram que, no caso dos músicos, a percepção temporal foi afetada por atmosferas emocionais relacionadas à Tristeza; no caso dos Não Músicos, a percepção temporal foi afetada por fatores relacionados ao nível do arousal dos eventos musicais apreciados.RAMOS, Danilo. Do emotional factors during music listening tasks affect time perception of musicians and nonmusicians? 2008, 268 pages. Thesis (PhD). Faculty of Philosophy, Sciences and Letters of Ribeirão Preto. University of São Paulo, Ribeirão Preto, 2008. This study aimed to verify the role of emotions triggered by music on time perception of musicians and nonmusicians. Four experiments were conducted: In Experiment I, musicians and nonmusicians performed emotional association tasks for musical excerpts of 36 seconds duration belonging to the Western classic repertoire. The tasks required to listen to each musical excerpt and to associate it with emotional categories: Joy, Serenity, Sadness, or Fear/Anger. The results showed that most musical excerpts triggered a specific single emotion in listeners; moreover, the emotional associations of musicians were similar to the emotional associations of nonmusicians for most musical excerpts presented. In Experiment II, musicians and nonmusicians performed temporal association tasks for the three most representative excerpts of each emotion used in Experiment I. Thus, the participants had to associate each of such musical excerpts with the following durations: 16, 18, 20, 22 or 24 seconds. The results showed that for the musicians, the three musical excerpts associated with Sadness were underestimated in relation to their real time; moreover, no other emotional category was associated with more than one musical excerpt whether being underestimated or overestimated, regarding their real time, for both groups. Recent researches in Psychology of Music have shown two structural properties as the modulators of specific emotions perceived during a music listening task: the mode (the organization of the notes in a musical scale) and tempo (the number of beats per minute). Thus, in Experiment III, musicians and nonmusicians carried out emotional association tasks with musical compositions constructed in seven modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) and three tempi (adagio, moderato, and presto). The procedure was the same used in Experiment I. The results showed that the musical mode modulated the affective valence triggered by the excerpts: musical excerpts based on major modes obtained positive affective valence indexes and musical excerpts based on minor modes obtained negative affective valence indexes; moreover, the musical tempo modulated the arousal triggered by the excerpts: the faster the tempo of the musical excerpts, the higher the arousal levels and vice versa, for both groups. In Experiment IV, musicians and nonmusicians performed temporal association tasks for those modal musical excerpts used in Experiment III. The procedure was the same used in Experiment II. The results showed that manipulations concerning arousal affected the time perception of the listeners: time underestimations due to low arousal excerpts were found for both groups; moreover, time underestimations due to high arousal excerpts were found only for nonmusicians. These results showed that in the case of musicians, time perception was affected by emotional atmospheres related to Sadness; in the case of nonmusicians, time perception was affected by factors related to the level of arousal of music events appreciated.
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Gambassi, Veronica. „Tutta un'altra musica La singing translation per il musical“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
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Il presente elaborato ha l’obiettivo di approfondire la singing translation, vale a dire la traduzione di testi musicali “cantabili”, ambito della traduzione per molte ragioni ancora poco osservato dal mondo accademico. Per farlo e per comprendere al meglio tutte le caratteristiche di questa atipica disciplina traduttiva, l’analizzeremo in relazione al mondo del musical, realtà in cui l’intervento del traduttore è quasi sempre essenziale. Dopo un primo capitolo dedicato interamente alla descrizione del genere e alla sua storia, illustreremo le ragioni per cui è necessario tradurre un musical e le diverse strategie traduttive applicabili a seconda del mezzo attraverso cui viene portato al pubblico (cinema, televisione, teatro). Nel terzo capitolo, approfondiremo la singing translation, descrivendo le sue numerose insidie, spesso dovute alla presenza della musica, e alcune delle teorie più autorevoli elaborate a riguardo. In ultimo, nella parte pratica di questa tesi, presenteremo una proposta di traduzione di tre liriche di un musical francese per bambini, Le Soldat Rose, la cui analisi ci permetterà di mettere in luce le problematiche di questo tipo di traduzione e le astuzie che il traduttore può implementare per risolverle.
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Axtell, Katherine Leigh. „Maiden voyage : the genesis and reception of Show boat, 1926-1932 /“. Digitized version, 2009. http://hdl.handle.net/1802/10968.
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Thesis (Ph. D)--University of Rochester, 2009.Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10968
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Matare, Joseph. „The nature of musical intelligence / musical abilities“. Thesis, University of Exeter, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407292.
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Johnson, Daniel S. „Musical Motif Discovery in Non-Musical Media“. BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4081.
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Many music composition algorithms attempt to compose music in a particular style. The resulting music is often impressive and indistinguishable from the style of the training data, but it tends to lack significant innovation. In an effort to increase innovation in the selection of pitches and rhythms, we present a system that discovers musical motifs by coupling machine learning techniques with an inspirational component. The inspirational component allows for the discovery of musical motifs that are unlikely to be produced by a generative model, while the machine learning component harnesses innovation. Candidate motifs are extracted from non-musical media such as images and audio. Machine learning algorithms select the motifs that best comply with patterns learned from training data. This process is validated by extracting motifs from real music scores, identifying themes in the piece according to a theme database, and measuring the probability of discovering thematic motifs verses non-thematic motifs. We examine the information content of the discovered motifs by comparing the entropy of the discovered motifs, candidate motifs, and training data. We measure innovation by comparing the probability of the training data and the probability of the discovered motifs given the model. We also compare the probabilities of media-inspired motifs with random motifs and find that media inspiration is more efficient than random generation.
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Trindade, Alexandra Sofia Monteiro da Silva. „A iniciação em violino e a introdução do método Suzuki em Portugal“. Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3822.
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Mestrado em Música - Ensino VocacionalA formação inicial pode ser determinante para o sucesso académico de um indivíduo. Através deste projecto pretende-se compreender de que forma este princípio se aplica à aprendizagem do violino. Passados dezassete anos após a introdução e aplicação do método Suzuki em Portugal no ensino particular e cooperativo, é importante avaliar os resultados obtidos e a validade da metodologia. Actualmente, assiste-se à democratização do ensino da música e à comparticipação integral por parte do Estado para que a aprendizagem de um instrumento se inicie aos dez anos de idade. Questiona-se se esta será a idade mais apropriada para iniciar a aprendizagem do violino. Os dados recolhidos comprovam o incremento do número de alunos nas escolas de ensino artístico especializado da música, sobretudo na Iniciação e no Básico. As entrevistas e questionários aos intervenientes no processo educativo, quer do ensino público como do particular e cooperativo, reflectem o estado do ensino desta arte em Portugal.
Education in Preparatory school has a decisive influence in future academic success of the individual. With this research I wish to understand how this principle applies to violin education. Seventeen years have passed after the introduction and application of Suzuki method in Portuguese private schools with partial financial State support and, thus, it is now important to evaluate the outcomes and the validity of this methodology. Presently, we assist to a process of music education democratization since Portuguese Education Ministry established full financial support for students who start learning a musical instrument at the age of ten years old. Questions arise as to whether this is the right age to start learning the violin. Data confirm that the number of students at music schools has been increasing, especially at Preparatory and Basic levels. Interviews and questionnaires to participants of the education process, public and private, reflect the actual state of music education in Portugal.
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Afonso, Ludovic do Nascimento. „A implementação do método Suzuki para violino em Portugal : três estudos de caso“. Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/1236.
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Mestrado em Música para o Ensino VocacionalEste estudo pretende ser um contributo para os músicos portugueses, professores e violinistas de forma a levá-los para uma reflexão acerca desta prestigiada via de ensino: O Método Suzuki. Perceber todo o conteúdo envolvente do método, como: críticas, respostas, soluções, técnicas de ensino, apresentações de emoções pelos diferentes membros da triangulação – pais-professores-entidades pedagógicas – é sem dúvida algo de muito ambicioso. Por outro lado, é importante salientar de que forma os alunos encaram este processo de ensino, se realmente a motivação faz parte do seu quotidiano enquanto indivíduos e instrumentistas. ABSTRACT: This study attempts to make a contribution to Portuguese musicians, teachers, and violinists in order to get them to reflect on this prestigious way of teaching: the Suzuki method. To perceive the entire content contained in this method, such as: critiques, answers, solutions, teaching techniques, emotional presentations by the different triangular members – parents-teachers-pedagogical institutions – is certainly something very ambitious. On the other hand, it is important to note how the students see this teaching process, if indeed motivation is part of their everyday life, as individuals and instrumentalists.
Bücher zum Thema "Musical"
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Joanne, Bogart, Hrsg. The musical of musicals: The musical! New York: Samuel French, 2005.
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Farkas, Kiko. Cartazes musicais: Musical posters. São Paulo, SP: Cosac Naify, 2009.
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Bering, Rüdiger. Musical. Köln: Dumont, 1997.
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dell'immagine, Accademia, Hrsg. Musical. Milano: Electa, 2006.
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1955-, Iburg Larry, Hrsg. Musical. Arnhem: Ellessy, 2004.
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Ord-Hume, Arthur W. J. G. Restoring musical boxes & musical clocks. Mayfield, Ashbourne, Derbyshire, England: Mayfield Books, 1997.
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Hellaby, Julian. Musical Topics and Musical Performance. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003218340.
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1952-, Briggs Tom, und Hammerstein Oscar 1895-1960, Hrsg. Musical scene study: The musicals of Rodgers & Hammerstein. New York: Applause Theatre and Cinema Books, 2007.
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Moyer, Ann E. Musica scientia: Musical scholarship in the Italian Renaissance. Ithaca: Cornell University Press, 1992.
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Beth, Bullard, Hrsg. Musica getutscht: A treatise on musical instruments (1511). Cambridge: Cambridge University Press, 1993.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Musical"
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Sykes, Jim. „Musical Labor, Musical Value“. In Critical Themes in World Music, 71–84. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429424717-8.
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Gafni, Eli, und Sergio Rajsbaum. „Musical Benches“. In Lecture Notes in Computer Science, 63–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11561927_7.
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Lindemann, Anna, und Eric Lindemann. „Musical Organisms“. In Computational Intelligence in Music, Sound, Art and Design, 128–44. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77583-8_9.
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Sacks, Oliver W., und Jan Dirk Blom. „Musical Hallucinations“. In Hallucinations, 133–42. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4614-0959-5_11.
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Sloboda, John. „Musical Ability“. In Ciba Foundation Symposium 178 - The Origins and Development of High Ability, 106–18. Chichester, UK: John Wiley & Sons, Ltd., 2007. http://dx.doi.org/10.1002/9780470514498.ch7.
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Sethares, William A. „Musical Scales“. In Tuning, Timbre, Spectrum, Scale, 49–71. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-4177-8_3.
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Shintel, Hadas. „Musical Protolanguage“. In Encyclopedia of Evolutionary Psychological Science, 1–3. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-16999-6_2856-1.
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Bader, Rolf. „Musical Instruments“. In Nonlinearities and Synchronization in Musical Acoustics and Music Psychology, 157–284. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36098-5_7.
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Frohlich, David M. „Musical Photographs“. In Fast Design, Slow Innovation, 41–69. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21939-4_3.
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Tröger, Cornelia. „Das Musical“. In Handbuch Filmgenre, 609–20. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-09017-3_31.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Musical"
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Ungur, Marian. „New classical — a trend of the musical-cultural industry“. In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.21.
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The modern sound environment is characterized by stylistic diversity. The article discusses some aspects of the current musical phenomenon New Classical or New Classics which is deciphered as "accessible" classical music, reflecting a certain trend in the field of music consumption. The author approaches the phenomenon in question from a postmodernist perspective, considering it a manifestation of certain postmodern tendencies and, at the same time, a sign of the transformation of the modern music industry in the direction of bringing classical music closer to listeners — consumers of musical products. The activity of the Japanese musician Nobuo Uematsu and especially of the Welsh composer Karl Jenkins was chosen as a case study.
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Moshugi, Kgomotso. „A Musical History Through Vocal Expressions at the Abbey Cindi Cosmology Concert“. In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35900.
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This paper reports on a research project that culminated in a concert honoring South African musician and activist Bra Abbey Cindi. The project involved reissuing Cindi’s album, forming a band of young musicians to perform his music, and creating a vocal group called No Limits to reinterpret Cindi’s earlier South African choral works. The paper proposes the use of music to explore the past, present, and future, linking generations and addressing social issues. It discusses specific compositions, their lyrical and musical merits, and the process of arranging them for vocal performance. The paper also highlights the role of community engagement and the value of reimagining historical musical works.
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Poon Chong, Peter, und Terrence Lalla. „APPLYING FUZZY QFD MCDM TO EVALUATE MUSICAL INSTRUMENTS“. In International Conference on Emerging Trends in Engineering & Technology (IConETech-2020). Faculty of Engineering, The University of the West Indies, St. Augustine, 2020. http://dx.doi.org/10.47412/bgmj4037.
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This paper exhibits a method to improve the quality of musical instruments with the application of two Multi-Criteria Decision Making models, Technique of Order Preference by Similarity to Ideal Solution (TOPSIS) and Analytic Hierarchy Process (AHP) in a Quality Function Deployment (QFD) Environment. A fuzzy analysis approach was also included to accommodate qualitative data in music. The QFD was constructed with literature based on optimizing the manufacture of musical instruments. At this phase of the research, the paper focused on the physical parameters and perceived qualities of musical instruments. The proposed modified QFD was developed to identify the product features chosen by the market and aid the manufacture of musical instruments. A standard QFD recognized and scored factors to develop and manufacture musical instruments. It accommodated some core engineering variables for the musical instruments but overlooked some feature stakeholder needs. For example, the musician may not have 100% gratification while playing the instrument as the manufacturer fails to capture acoustic features to psychologically satisfy the musician’s audience. Using fuzzy logic, QFD and MCDM increased the model performance by expanding the data set. It offered the manufacturer of musical instruments a mode to capture and analyse behavioural linguistic data covering more customer requirements. Hence, the approach increased the range to correlate the physical features and psychological behaviours of musical instruments. It allowed non-technical persons to provide an improved form of reliable information. This modified QFD can also be applied to develop other products involving linguistic data.
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Hincu, Ionela. „Musical-interpretative skills and their role in teacher music education training“. In Condiții pedagogice de optimizare a învățării în post criză pandemică prin prisma dezvoltării gândirii științifice. "Ion Creanga" State Pedagogical University, 2021. http://dx.doi.org/10.46728/c.18-06-2021.p274-277.
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This article reflects the professional and moral values of the Music Education teacher: abilities, skills, aptitudes, organisational skills, and abilities, etc. that have a special place in the formation of pedagogical mastery. Performing activity reinforces the teacher’s authority as a propagandist musician of all that is best, transforming him or her into a genuine teacher of the 21st century. Thus, in the training of the Music Education teacher, the mutual relationship between the vocal, instrumental, vocal-instrumental performance and musical-theoretical knowledge is of great importance.
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Gonçalves, Luan, und Flávio Luiz Schiavoni. „The development of libmosaic-sound: a library for sound design and an extension for the Mosaicode Programming Environment“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10429.
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Music has been influenced by digital technology over the last few decades. With the computer, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications, several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Language (VPL) for audio applications in the Mosaicode programming environment, simplifying sound design and making the synthesis and manipulation of audio more accessible to digital artists. It is also presented the implementation of libmosaic-sound library for the specific domain of Music Computing, which supported the VPL development.
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Ghilas, Victor. „Musical Chisinau. History Pages (1812-1918)“. In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.01.
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The article subjects to observation some coordinates of Chisinau’s musical life over the course of about a hundred years after the annexation of Bessarabia to the Russian Empire. The sources that served as documentary support for achieving this goal are: historical, literary, and scientific writings, sketches, notes, travel memoirs of some people, passing through our lands, testimonies little known or more difficult to reach the reader. From the synthesis of the most eloquent data and information, inserted in the reference sources, we try to outline a general picture of music in the administrative center of Moldavia on the left bank of the Prut during the years 1812- 1918. The view, resulting from the reconstruction of the musical landscape in the researched urban environment, offers a rich palette of events. Following the chronology of the presence of music in society, we highlight its main forms of expression, including folk music, music of boyar salons (fashionable), religious music, military music, concert activities, musical-theatrical performances. Through the prism of the musical components recorded within the specified time interval, we identify different styles, influences, artistic tastes, as well as the share of music in the urban society. We also draw attention to the social functions that music fulfilled in the Chisinau cultural environment at that time. The undertaken radiography leads us to the finding that European music is beginning to gain more and more ground for assertion in the cultural life of Chisinau with a wider openness to Western civilization and the assimilation of new artistic forms of manifestation.
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Costalonga, Leandro, Daniel Coura, Marcus Vinícius Das Neves, Fabiano Costa und Helder Rocha. „NESCoM Research Report (2019)“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10437.
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The NESCoM is a multidisciplinary research center formed by musicians, engineers and computer scientists. The main research interest lies with sonology, audiotacticle musical analysis, ubiquitous music, interactive multimedia installations, and the design of computer music technology in general. Overall, the common ground for the NESCoM projects lies with the human-aspects, both cognitive and motor, behind a musical activity. This can come, for instance, in the shape of an audiotactile analysis of musical interaction applied to a new digital musical interface designed to overcome human physical constraints or the composition of a cinema soundtrack based on perceptual models of the audience. In this paper, it is reported a short description of the ongoing projects of the NESCoM and the future works.
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Araújo, João, Rogerio Constante, Flávio Luiz Schiavoni und Octávio Deluchi. „Harmonia: a MuseScore's plugin to teach music“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10447.
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Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.
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Oliveira, Vinicius César, und José Henrique Padovani. „Mapping, Triggering, Scoring, and Procedural Paradigms of Machine Listening Application in Live-Electronics Compositions“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19445.
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Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this context, this article discusses the creative use of Machine Listening and Musical Information Retrieval techniques applied in the composition of live-electronics works. By pointing out some practical applications and creative approaches, we aim to circumscribe, in a general way, the strategies for employing Machine Listening and Music Information Retrieval techniques observed in a set of live-electronics pieces, categorizing four compositional approaches: namely, mapping, triggering, scoring, and procedural paradigms of application of machine listening techniques in the context of live-electronics music compositions.
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Evrim Tunca, Ozan. „Using Distant Learning Platform for Musical Instrument Instructor Training“. In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.
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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
Berichte der Organisationen zum Thema "Musical"
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Osorio, John. Noted: Musical affordances for collective exploratory music-making. Ames (Iowa): Iowa State University, Januar 2019. http://dx.doi.org/10.31274/cc-20240624-1067.
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Gentry, Jonathan. Memory and hypnotism in Wagner's musical discourse. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.5544.
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Islam, Wajid, und Hafsa Hina. Electoral musical chairs makes a mockery of democracy. Herausgegeben von Reece Hooker. Monash University, Februar 2024. http://dx.doi.org/10.54377/3e57-0d1f.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Creswell, Megan. A Study Comparing Musical Abilities of Stutterers and Nonstutterers. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.7123.
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Volta, Erica, und Nicola Di Stefano. Studying musical experience with wearable devices: a systematic review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, Juli 2024. http://dx.doi.org/10.37766/inplasy2024.7.0098.
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Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, Oktober 2021. http://dx.doi.org/10.1553/oeai_ambh_3.
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Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.
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Banducci, Naomi. Teaching hearing-impaired children language through the use of musical rhythm. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.1281.
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Abdulkhaliq, Zubeida S. Kakai Religion and the Place of Music and the Tanbur. Institute of Development Studies, Januar 2023. http://dx.doi.org/10.19088/creid.2023.001.
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This paper discusses the historical context and mythic framework of the Kakai religion. While some information regarding Kakai theological views and beliefs may be known to outsiders, many facets of their religious life, customs and traditions remain undisclosed. Much secrecy surrounds this religion, and non-believers are not encouraged to engage in or witness most Kakai rites. Geopolitical instability in the Kurdistan region also makes access difficult. Throughout this paper we will look at the relationship between Kakai beliefs and music (tanburo), and how the tanbur (a sacred lute) is not merely a musical instrument but is seen as a symbol of Kakai identity, with the music preserving language and legend.
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Frojdh, P., U. Lindgren und M. Westerlund. Media Type Registrations for Downloadable Sounds for Musical Instrument Digital Interface (MIDI). RFC Editor, September 2006. http://dx.doi.org/10.17487/rfc4613.
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