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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>
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MacDonald, Laura. „Le pouvoir de consommer : le spectateur comme enjeu et acteur de l’économie du théâtre musical1“. Pratiques et travaux, Nr. 58 (13.12.2016): 137–50. http://dx.doi.org/10.7202/1038324ar.
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Alors que l’achat d’un billet marque l’engagement de l’amateur de théâtre à consommer une comédie musicale de Broadway, l’expérience de la performance en direct ne marque pas la fin de la consommation de ladite comédie musicale ou de la marque Broadway. Après le spectacle, grâce au bouche à oreille, le spectateur va communiquer ses souvenirs et ses impressions sur la comédie musicale, ce qui constitue de la publicité gratuite pour les producteurs. Cet article retrace l’évolution des stratégies de marketing du théâtre musical déployées depuis les années 1960 pour montrer comment et pourquoi les spectateurs choisissent de consommer des comédies musicales. En passant par l’analyse des campagnes de marketing, par des études sur la démographie des auditoires menées par des producteurs de Broadway et par certains documents d’archives, cet article présente le spectateur de la comédie musicale comme un enjeu et un acteur important de l’économie du théâtre musical.
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Fagundes, Flávia Maiara Lima, und Giann Mendes Ribeiro. „O FEEDBACK E O SEU PAPEL PARA A MOTIVAÇÃO NO TEATRO MUSICAL“. Cena, Nr. 20 (27.10.2016): 72. http://dx.doi.org/10.22456/2236-3254.63097.
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Este trabalho discute os tipos de feedback e os efeitos que eles proporcionaram aos participantes de um grupo de Teatro Musical de uma universidade no Estado do Rio Grande do Norte, mencionada no trabalho pelo pseudônimo de Companhia Musicale. Os dados analisados são oriundos de uma pesquisa concluída com 12 participantes, que investigou a motivação no Teatro Musical sob a perspectiva da Teoria da Autodeterminação. Os resultados mostraram que os participantes forneceram e buscaram receber feedbacks sobre o desempenho, e que os feedbacks contribuíram de forma positiva para o desenvolvimento das atividades. Com este estudo, discutimos o uso do feedback para que professores, regentes, diretores de musicais e coordenadores de grupos artístico em geral possam melhor compreender os processos motivacionais dos seus respectivos participantes, na tentativa de buscar maior envolvimento dos integrantes, a promoção da motivação autônoma e que a aprendizagem musical ocorra de maneira mais significativa para a área da Educação Musical.
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Boffone, Trevor. „From Heathers to Six: Stealth musicals and the TikTok Broadway archive“. Studies in Musical Theatre 15, Nr. 3 (01.12.2021): 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 dramaturgy. As stealth musicals, Heathers: The Musical and Six did not just go viral but stayed viral on TikTok. I argue, therefore, that these two musicals became canonical pieces of Gen Z culture. With viral canonization, Heathers: The Musical and Six demonstrate how cultural capital accrues in digital spaces and, as a result, sound bites such as ‘Martha Dumptruck in the flesh’ enter into a public life that extends beyond the musicals themselves. Indeed, as I propose, quoting ‘Martha Dumptruck in the flesh’ is as synonymous with Gen Z culture as it is with the musical Heathers.
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Greenspan, Charlotte. „Death Comes to the Broadway Musical“. Daedalus 141, Nr. 1 (Januar 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 marked musically. It concludes with a look at musicals involving the deaths of historical characters and at AIDS-related musicals, works whose assumptions and ideals are very far from those of the musical comedies of the early twentieth century.
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Gregori i Cifré, Josep Maria. „IFMuC: un proyecto universitario para la recuperación del Patrimonio Musical de Catalunya“. Cuadernos de Investigación Musical, Nr. 1 (20.03.2017): 12–26. http://dx.doi.org/10.18239/invesmusic_2016.01.1306.
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Este artículo se centra en reflejar la trayectoria de la recuperación del patrimonio musical de Catalunya, estudiando en primer los antecedentes desde el siglo XIX hasta la creación, ya en el siglo XX, del Centre de Documentació Musical (CDM) y del Institut de Documentació i d’Investigació Musicològiques Josep Ricart i Matas (IDIM), ambos organismos promovidos desde la Universidad Autónoma de Barcelona (UAB). Ello sirve para comprender la necesidad y motivación del proyecto IFMuC (Inventari dels Fons Musicals de Catalunya), creado asimismo en el seno de la UAB con el objetivo principal de crear una base de datos digital que ponga a disposición de la comunidad musical un repertorio inédito que aporte información y acceso a las principales fuentes musicales de Catalunya con un cuádruple beneficio: científico, artístico, social y educativo.
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Feng, Yizhang, und Kexu Chen. „On the inspiration of Lin-Manur-Miranda musical Hamilton“. International Journal of Education and Humanities 14, Nr. 1 (14.05.2024): 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 for the development of musicals worldwide. The widespread appeal and profitability of "Hamilton" have inspired artists to experiment with different genres and storytelling techniques, pushing the boundaries of what is considered traditional musical theater. Furthermore, the global interest in historical and biographical musicals that "Hamilton" has generated has enriched the cultural landscape of musical theater, offering audiences a diverse range of stories and perspectives. Overall, "Hamilton" has left an indelible mark on the world stage, paving the way for future innovations in the field of musical theater.
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Martin, Denis-Constant. „A herança musical da escravidão“. Tempo 15, Nr. 29 (Dezember 2010): 15–41. http://dx.doi.org/10.1590/s1413-77042010000200002.
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A escravidão colocou em contato povos de diferentes origens em situações radicalmente novas, em um contexto de violência e dominação extremas. Apesar disso, tais contatos, a despeito da brutalidade que os fundava e das profundas desigualdades então engendradas, resultaram também em processos de mistura e criação cultural que produziram, especialmente, novas formas de expressão musicais. Este artigo busca analisar, de uma perspectiva comparada, processos sociais de criação musical no contexto de sociedades escravagistas ou pós-escravagistas, especialmente o surgimento de novas formas musicas nos Estados Unidos e na África do Sul.
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Xu, Yexiaxin. „Social Media Marketing Strategy in Chinese Musical Theatre Industry“. Communication, Society and Media 6, Nr. 4 (21.10.2023): 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, and Amazing Musicals. The results provide insights into the characteristics of social media marketing strategies of musical theatre production companies and changes after covid-19 pandemic. The study results add to the rapidly evolving field of social media within the musical theatre industry marketing context. Moreover, it advocates for an active role for the musical companies to explore and actively participate in the customer and musical fan communities on social media.
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Santo, Erickson Rodrigues do Espírito, und Arnaldo Nogaro. „COMPORTAMENTOS MUSICAIS NA EDUCAÇÃO MUSICAL“. Vivências 19, Nr. 38 (01.01.2023): 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 musicais. A ideia nuclear é criar possibilidades para a identificação desses comportamentos musicais a fim de que eles possam ser trabalhados pelo educador musical, dentro de uma proposta de uma pedagogia que resista à barbárie, buscando a superação e a não repetição de fatos de amplo declínio humano, tal como bem nos orienta a filosofia de Adorno.
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Duan, Shuyu, Youlin Li und Ruiyan Wang. „Analyzing the Development Prospects of Song and Dance Drama Art and Integrated Media from The Greatest Showman“. Communications in Humanities Research 14, Nr. 1 (20.11.2023): 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 global musicals, the study of The Greatest Showman drama aesthetics, and the integration of musical, film, and media. Taking The Greatest Showman as an example explores the historical development of musicals and the dramatic art in movies and provides practical, theoretical sources for the creation and development of musicals.
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Després, Jean-Philippe, Francine Julien-Gauthier, Marie-Claude Mathieu und Flavie Bédard-Bruyère. „Développer la littératie des jeunes ayant une déficience intellectuelle par la participation à un programme d’apprentissage informel de la musique à distance“. Revue hybride de l'éducation 7, Nr. 1 (21.06.2023): 147–83. http://dx.doi.org/10.1522/rhe.v7i1.1308.
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Le présent article relate l’expérience d’une participante au Camp musical extra-ordinaire, un projet de recherche musical inclusif à l’intention des jeunes ayant une déficience intellectuelle ou physique. Une approche multiméthode a été mise en œuvre afin de documenter l’évolution des littératies langagière, musicale et technologique de la participante. Les résultats suggèrent que Léa a amélioré ses habiletés de communication, de socialisation, ses performances musicales et ses habiletés numériques. Ces résultats laissent entrevoir une synergie entre les différentes formes de littératie qui lui a permis d’acquérir différentes formes d’expression, de mettre en valeur son potentiel et de renforcer son estime personnelle et sa confiance.
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Koniari, Dimitra, Sandrine Predazzer und Marc Méélen. „Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children“. Music Perception 18, Nr. 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.
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This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece into the appropriate category and to evaluate the segments' degree of similarity. Experiment 3 investigated the segmentation process, which underlies the organization of musical events into groups. Experiment 4 explored children's ability to reconstruct a piece of music after hearing it. The influence of musical training is investigated by comparing musician and nonmusician children. In addition, the effects of different musical features are explored. La préésente éétude porte sur le méécanisme d'extraction d'indices dans le cadre des processus cognitifs sous-tendant l'éécoute d'un morceau de musique chez des enfants de 10-11 ans. Les diverses procéédures utiliséées dans les quatre expéériences portent sur trois processus: a) la catéégorisation de caractééristiques musicales, b) la segmentation du discours musical et c) l'éélaboration d'un schééma mental de la pièèce. Deux courtes pièèces du réépertoire classique pour piano ont servi de matéériel expéérimental. Les expéériences 1 et 2 éévaluent la capacitéé des enfants àà classer des segments issus d'un mêême pièèce musicale dans leur catéégorie respective et àà appréécier leur degréé de similaritéé. L'expéérience 3 éétudie le processus de segmentation qui sous-tend l'organisation des éévéénements musicaux en groupes. L'expéérience 4 explore l'aptitude des enfants àà reconstruire la pièèce aprèès l'avoir entendue. L'influence de la formation musicale est prise en compte àà travers une comparaison d'enfants musiciens et non-musiciens. De plus, l'effet de difféérents traits musicaux est exploréé.
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Anderson, Natasha. „Narrative and Number in Busby Berkeley’s Footlight Parade“. MUSIC.OLOGY.ECA 1 (11.09.2020): 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’ era and beyond.
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Regev, Motti. „Pop-rock, cosmopolitisme musical i coneixement musical corporeïtzat“. Debats. Revista de cultura, poder i societat 138, Nr. 1 (30.05.2024): 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 manifestació mundana del cosmopolitisme cultural actual, o més aviat el musical, en la vida quotidiana. En aquest article s’analitza la noció de cosmopolitisme musical i el significat del pop-rock com a cultura estètica. Així mateix, s’hi exposa una tipologia de coneixements relacionats amb la música, que consta de tres categories principals —coneixement discursiu, musical i sonor— per a, finalment, centrar-se en el tercer tipus.
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Hodge, Matthew. „21st-Century Broadway Musicals and the ‘Best Musical’ Tony Award: Trends and Impact“. Arts 9, Nr. 2 (10.05.2020): 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 in the 21st century. All 82 musicals that were nominated for or won the ‘Best Musical’ Tony Award between the years 2000 and 2019 are assessed for their source material and original Broadway run length. Subsequent discussions center on diversity and genres of musicals recognized by the Tony Awards, followed by conclusions and predictions of the COVID-19 pandemic’s impact on Broadway’s future and the influence of the ‘Best Musical’ Tony Award. The results of this study display observable patterns among the musicals surveyed, including screen (film/tv) being the most prominent source material and at least a 10–12 month run after the Tony Awards ceremonies for all ‘Best Musical’ winners.
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Cont, Arshia, und Martine Rhéaume. „Synchronisme musical et musiques mixtes : du temps écrit au temps produit“. Circuit 22, Nr. 1 (30.04.2012): 9–24. http://dx.doi.org/10.7202/1008965ar.
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Le synchronisme musical est essentiel à l’interprétation de la musique écrite. La capacité de synchronisation et de coordination en temps réel entre plusieurs musiciens sur scène, interprétant chacun sa propre partie et donnant un résultat d’ensemble cohérent, est un acquis commun des musiciens, qui pose des défis intéressants à l’intelligence artificielle ainsi que la pratique musicale de la musique mixte, afin de pouvoir la ramener dans un contexte d’interaction entre les musiciens et la machine. Cet article étudie la question du synchronisme musical dans la musique mixte, une problématique qui est présentée sous l’angle des aspects pratique, artistique et technologique, et expose des points de vue historiques et récents autour des sujets de recherches musicales connexes a cette problématique.
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Brietzke, Marta Macedo. „Tupã: o rap indígena dos Brô MC’s como performance micropolítica“. Revista Música 23, Nr. 1 (01.09.2023): 399–414. http://dx.doi.org/10.11606/rm.v23i1.212212.
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Este texto aborda uma performance com práticas musicais do grupo Brô MC’s, de rap indígena, em conjunto com a Orquestra Infantil Indígena Ueze Zahran realizada em 2019 no encerramento do XXIV Congresso da Associação Brasileira de Educação Musical. Através de abordagens autoetnográficas, o texto discute e concebe essa performance como micropolítica, segundo as concepções de Suely Rolnik (2019), propondo a necessidade da presença consciente em tais práticas. Enfatiza as ideias de performance conforme abordadas por Schechner e Turner (2006) e adota a concepção de musicar, de Christopher Small (1999), para ampliar as ideias de performance comumente adotadas pela área musical, que se relacionam ao ato de cantar ou tocar um instrumento musical. Sugere também as concepções de escutas de mundo, em alusão às ideias de leituras e pronúncias de mundo de Paulo Freire (2019), associando-a aos conceitos de micropolítica. Propõe-se, assim, a participar de debates antirracistas a partir do universo acadêmico, hegemonicamente identificado como branco.
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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 (03.07.2023): 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 within the fictional musical Pretty Lady strictly follow the musical and formal standards at that time. Last but not least, the orchestrations of these songs adhere to the rules of Broadway back then – as an analysis of the orchestrated partiturs with regard to its musical, theoretical, and dramaturgical structure shows. However, certain significant differences in the style of these orchestrations, which resulted from specific circumstances on a movie set, can be seen there, too. Unlike that musically realistic approach, the visually spectacular choreographies by Busby Berkeley, which contained (at that time) up-to-date technical possibilities like tracking shots and overhead shots, were only practicable by means of the cinematic genre. However, during the performance of Pretty Lady, the spectators are often pulled out of these choreographic fantasies, when cuts from close-ups all of a sudden show the entire theatre stage as well as the conductor and the orchestra, thereby transferring the audience in the reality of a staged musical performance. This essay examines the means and reasons of the musical realism of 42ND STREET, its connection to the way the songs were choreographed and how this movie has shaped movie musicals and stage musicals to this day.
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Rigopoulou, Faye. „Still Here? Aging Female Vocalities in Musical Theatre.“ IASPM Journal 14, Nr. 1 (18.03.2024): 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 close analysis of two ageing female characters (Madame Armfeldt and Grandma) in the musicals A Little Night Music and Billy Elliot, this article discusses and critiques preconceptions of ageing in the dramaturgy and performance of these roles, and it argues that musicals frequently fail to give agency to the voice of their ageing women.
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WITKOWSKA-ZAREMBA, ELŻBIETA. „Johannes de Muris's Musica speculativa cited by Jacobus de Ispania“. Plainsong and Medieval Music 31, Nr. 1 (April 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 years. In order to position Jacobus's citations of Muris within the framework of the Musica speculativa tradition, I examine several significant variant readings contained in Speculum musicae, comparing them to two French, most probably Parisian, manuscripts transmitting versions A (A-SPL Cod. 264/4) and B (BnF lat. 7378A) of Musica speculativa. Both A and B versions are provided with colophons dated 1323 and 1325, respectively. Establishing which version of Musica speculativa was the source of Jacobus's citations provides a new basis for the dating of two other treatises by Muris to which Jacobus refers, namely Notitia artis musicae and Compendium musicae practicae, and, more generally, for the date of the seventh book of Speculum musicae.
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ROHOLT, TIGER C. „Musical Musical Nuance“. Journal of Aesthetics and Art Criticism 68, Nr. 1 (Februar 2010): 1–10. http://dx.doi.org/10.1111/j.1540-6245.2009.01387.x.
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Aramayo, Stella. „Un diseño musicológico reversible para analizar canciones escritas en notación occidental tradicional“. Epistemus. Revista de Estudios en Música, Cognición y Cultura 9, Nr. 2 (17.12.2021): 035. http://dx.doi.org/10.24215/18530494e035.
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El aprendizaje de canciones es una de las actividades más frecuentes en el campo de la música formal, no formal, académica o popular. A partir de mi trabajo en diferentes Institutos Superiores de Formación Docente, he diseñado un modelo analítico en el que teoría y práctica musical resultan reversibles, durante el proceso de enseñanza-aprendizaje de canciones. He usado como marco teórico, los siete principios del Aprendizaje pleno de David Perkins (2009). Mis objetivos fueron: (1) Analizar en partituras y en interpretaciones musicales cantadas de esas partituras, ocho elementos de morfología musical: pulso, acento, ritmo, tipo de compás, tipo de comienzo, tipo de final, movimiento y frases musicales; y (2) Demostrar la reversibilidad entre teoría y práctica musical que poseen los ocho aspectos morfológicos analizados en canciones y su utilidad pedagógica para el campo de la educación musical. La metodología fue un estudio de caso de cognición y teoría musical de performances, sustentado en la musicología como disciplina unificada y en la música como disciplina teórico-práctica, según ocho aspectos morfológicos musicales específicos. He analizado ocho elementos musicales desde la teoría y desde la práctica musical, en una postura constructivista reversible entre teoría y práctica musical. He podido comprobar la eficacia de la aplicación de este diseño reversible entre teoría y práctica musical para la educación musical. Además, demostré la importancia de considerar la musicología como un campo disciplinar unificado y la música como una disciplina teórico-práctica, para seguir avanzando en el campo de la percepción y cognición musical.
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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, Nr. 2 (20.01.2020): 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 the composition of pentatonic playing style found in the area of musical era in Asia. In this composition, there is a concept of a new rhythm play called as “hetero-poly-metric rhythmic structure,” in which the basis of rhythmical play is built on metrical 7 contra 3 pattern applied in the percussion play of kendangan Sunda and ’oud. Keywords: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure ABSTRAK Tulisan ini membicarakan secara umum tentang istilah “world music” dan berbagai pendekatan kreatif musikal yang telah dikerjakan. Tulisan ini juga mengulas secara deskriptif karya komposisi “Merangkai Warna” dalam konteks gagasan kompositoris, instrumetarium, bangunan konsep, dan praktik musikal dalam karya musik. Komposisi musik “Merangkai Warna” merupakan sebuah garapan musik berangkat dari konsepsi musik dunia (world music). Karya ini merupakan sebuah bentuk eksplorasi musikal dimana melalui perangkat alat musik ‘oud Arabis mencoba untuk memfusikan dan mensintesiskan idiom dan estetika musik lewat garapan gaya permainan modus pentatonik yang terdapat di wilayah peradaban musik di Asia. Dalam karya komposisi ini tertuang satu konsep permainan ritme baru, yang disebut dengan “hetero-poly-metric rhythmic structure,” dimana dasar permainan ritmikal dibangun dari pola metrikal 7 kontra 3 yang dituangkan dalam permainan perkusi kendangan Sunda dan ’oud. Kata Kunci: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure
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Nevriana, Alicia, Pandu Riono, Tri Budi W. Rahardjo und Adji Kusumadjati. „Lifetime Musical Activities and Cognitive Function of the Elderly“. Kesmas: National Public Health Journal 7, Nr. 7 (01.02.2013): 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 activities. Cognitive function was also measured using Mini Mental State Examinaion (MMSE). The results of this preliminary study revealed that a possibility of an association between lifetime musical activities and cognitive function of the elderly was indicated. The result also showed that the participants who were not actively involved in musical activities during their lifetime were twice more likely to develop cognitive function impairment than the elderly who were actively involved in musical activities, after being adjusted by the characteristics. These correlational results suggest the beneficial effect of musical activities throughout the life span on cognitive functioning for the elderly.Penurunan fungsi kognitif merupakan salah satu masalah umum pada lanjut usia yang mampu memengaruhi kualitas hidup mereka. Musik merupakan sebuah elemen yang dipercaya mampu berkontribusi terhadap kualitas hidup mereka. Meski demikian, hubungan antara aktivitas musikal yang dilakukan sepanjang hidup dan fungsi kognitif lansia belum diketahui secara pasti. Pada penelitian ini, hubungan antara aktivitas musikal sepanjang hidup dan fungsi kognitif dievaluasi. Lima puluh tiga lansia penghuni panti tresna werdha di Jakarta Timur dipilih dan diwawancarai terkait karakteristik dan aktivitas musikal sepanjang hidup mereka. Fungsi kognitif juga diukur menggunakan MMSE. Hasil penelitian ini menunjukkan adanya kemungkinan asosiasi antara aktivitas musikal sepanjang hidup dan fungsi kognitif lansia. Hasil penelitian juga menunjukkan bahwa partisipan yang tidak aktif melakukan aktivitas musikal sepanjang hidupnya dua kali lebih berpeluang untuk mengalami gangguan fungsi kognitif dibandingkan dengan mereka yang aktif melakukan aktivitas musikal, sete-lah disesuaikan dengan karakteristiknya. Hasil korelasi ini mengisyaratkan pengaruh bermanfaat dari aktivitas musikal sepanjang hidup terhadap fungsi kognitif lansia.
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Monteiro, Acácia Angélica. „O POTENCIAL DO TEATRO MUSICAL NA EDUCAÇÃO: UM ESTUDO DE CASO COM O MUSICAL KIMERA“. Revista Olhares 1, Nr. 13 (23.04.2024): 193–99. http://dx.doi.org/10.63052/revistaolhares.v1i13.111.
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Este artigo, parte do trabalho de conclusão de mestrado intitulado "Musical Kimera - Um Mundo Imaginário: Processo de Criação Musical como Recurso de Musicalização na Escola", explora um projeto de criação musical em uma instituição educacional. O objetivo foi investigar o potencial do Teatro Musical como instrumento de musicalização para os alunos. Inicialmente, o contexto histórico do Teatro Musical no Brasil é apresentado, destacando a escassez de estudos sobre sua aplicação educativa. O projeto seguiu três etapas: pesquisa bibliográfica, análise de trabalhos anteriores e criação do musical em colaboração com os alunos, com base na narrativa do jogo simulador Kimera. Os resultados revelaram melhorias significativas nas habilidades musicais, expressivas e cognitivas dos participantes, bem como no trabalho em grupo e na autoestima. Além disso, observou-se uma maior compreensão dos conceitos musicais básicos e uma conexão mais profunda com a cultura dos alunos. Destaca-se a importância do Teatro Musical como ferramenta eficaz de ensino musical e a necessidade de mais pesquisas nesse campo, valorizando sua relevância criativa e educacional. Este estudo contribui para a promoção do Teatro Musical como uma abordagem inovadora na educação musical escolar.
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Soto-Parra, José Miguel. „Ciudad y Música: cómo la Escena Musical influye en la Ciudad“. Revista científica de ingeniería y arquitectura_iyA 2, Nr. 2 (17.04.2024): 109–8. http://dx.doi.org/10.62407/rciya.v2i2.105.
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La música se manifiesta de una manera más tangible en la ciudad a través de la escena musical que se presenta en los barrios; en donde se ha asentado un distrito de arte, es decir, en donde una escena musical se ha formado y consolidado a través del tiempo y de distintos fenómenos sociales y urbanos, es de esta forma que el proceso dialéctico entre la música y la ciudad va condicionando una dimensión física en los barrios donde se presenta este proceso, y a su vez esta dinámica socio-espacial influye también en la escena musical.A través de este ensayo introducimos algunas de las variables que definen lo que es una escena musical y como es que esta se presenta en la ciudad a través de los distritos de arte, del mismo modo exponemos el caso de Greenwich Village el cual es uno de los principales distritos de arte de Nueva York, en donde se ha consolidado una escena musical; del jazz concretamente, para después describir de qué manera esta escena musical ha influido en este barrio, para posteriormente llegar a una conclusión sobre la relación que hay entre la música y la ciudad a través de las escenas musicales en los distritos de arte.
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Duchesneau, Michel. „La Revue musicale ou le phoenix musical“. Revue musicale OICRM 4, Nr. 2 (08.02.2018): 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 sociopolitique et culturel, la sfm et son Bulletin favoriseront une approche très « scientifique » et relativement nouvelle en France, de la musicologie, bien qu’encore teintée par les tendances historicisantes à la manière de la Schola Cantorum et écartant pour un temps toute la musicologie germanique. En parallèle, sous les auspices du musicologue Henry Prunières qui s’écarte résolument de la sfm, est créée La Revue musicale. C’est à partir d’un réseau international qui place la musicologie française au coeur de l’action musicale contemporaine que Prunières établit de nouvelles alliances avec le milieu des arts et de la littérature pour fonder l’une des plus célèbres revues musicales de la première moitié du xxe siècle. À partir de documents inédits, nous étudierons les circonstances qui mènent à la refondation de La Revue musicale sur les cendres de la Revue sim entre 1915 et 1919. Nous verrons ainsi comment les hasards de la guerre mènent Prunières à entreprendre la carrière d’éditeur et comment le musicologue conçoit le projet international de la revue dans un contexte de guerre qui contribue à une redéfinition des cultures nationales. Il est difficile d’extrapoler sur ce qu’aurait pu être l’avenir de La Revue musicale sim si la guerre n’avait pas eu lieu. Il est par contre possible de documenter et de comprendre le rôle que la Grande Guerre jouera dans l’essor d’une nouvelle dynamique pour la musicologie française dont la division d’abord justifiée par le conflit aura des conséquences à long terme sur l’échiquier international de la discipline.
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Sung Hee Kirk. „Translated Musicals and Musical Translation in Korea“. Journal of Translation Studies 9, Nr. 1 (März 2008): 283–309. http://dx.doi.org/10.15749/jts.2008.9.1.011.
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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, Nr. 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 worldview for that time. The 70s of the XX century were the heyday of the creative work of musical theater di- © К.А. Брейтбург, 2022 rectors such as Harold Prince, Bob Foss, Jerome Robins, Michael Bennett, whose work revealed the musical and dramatic features of musicals, created an atmosphere and a unique charm of entertainment, but at the same time a special psychological depth, for which such musicals as “Chicago”, “Corps de Ballet”, “Company”, “Little Night Music” became famous. Commercial theater is also professional management and non-trivial production solutions that promote artistic works to the market. Perhaps because of this, these musicals have become beloved by a huge audience and iconic in the history of the genre as a whole. The 70s were especially difficult for the life survival of Broadway theaters, because the conditions of the economic crisis in the United States were increasing. Society, on the one hand, became more and more divided, on the other hand, various racial and gender minorities united, intensifying the struggle for their civil rights, the women's movement for equality was gaining more and more strength. Since its inception in the middle of the XIX century and up to the beginning of the XXI century, the Broadway musical has been and remains a vibrant, viable entertainment form. The musical as a kind of musical theater has endured devastating economic and political crises, radical shifts in public consciousness and the development of much more modern, less expensive and supported mass entertainment media with enviable resilience. This type of musical and scenic art continues to live and develop steadily, and in recent years its importance in social and cultural life and popularity among the general population, including in our country, has increased significantly. The stage American musical is a constantly adapting commercial musical and theatrical entertainment form, which is the product of a dynamically developing socio-cultural environment. It is impossible to separate the processes occurring in the genre-stylistic evolution of the musical from the economic, socio-political and social phenomena occurring at each individual historical stage of the development of society. That is why the materials presented in the article are interdisciplinary. They are connected not only with the musical as a kind of musical and scenic art, but, what is fundamentally important and new for this kind of research, with the socio-historical background that influenced the formation of certain trends in the development and formation of musical theater.
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Lundy, Ben. „Fifty Key Stage Musicals“. Musical Theatre Educators Alliance Journal 5, Nr. 2024 (01.01.2024): 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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Domingues, Glauber Resende. „A criação musical na perspectiva das pedagogias musicais abertas“. Orfeu 6, Nr. 2 (10.09.2021): 48–77. http://dx.doi.org/10.5965/2525530406022021048.
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Este artigo apresenta a criação musical nas pedagogias musicais abertas, trazendo um panorama sobre a temática. Traremos, na primeira parte, uma caracterização histórica e conceitual sobre como tais pedagogias foram sendo forjadas. Cabe, neste sentido, sinalizar o marco da criação do Foro Latinoamericano de Educación Musical (FLADEM), que foi se tornando o espaço de debate sobre tais pedagogias. A seguir dissertaremos sobre a perspectiva de criatividade/criação musical e como esta foi sendo construída, principalmente a partir das ideias de Violeta Hemsy de Gainza. Na terceira parte discorreremos sobre o tripé formação, atuação e avaliação em práticas criativas na educação musical. Por fim, apresentaremos algumas propostas criativas de autores orientados pelas pedagogias abertas a partir de três eixos: experiências musicais centradas na prática, práxis musical participativa e práxis musical integrada. Nas considerações finais comentaremos sobre o alargamento conceitual das pedagogias abertas e a emergência de novas questões para a educação musical.
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Lucas, Monica. „Imitação de Retóricas Latinas na Concepção de Gêneros e Estilos da Musica Poetica“. Revista Música 14, Nr. 1 (10.05.2014): 129. http://dx.doi.org/10.11606/rm.v14i1.115250.
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A vinculação entre a música e as artes do trivium remonta a uma tradição antiga. Contudo, foi na pena de escritores luteranos do início do século XVII que a música e a palavra se aproximaram de maneira sistemática, de modo que a primeira passou a ser entendida como arte persuasiva, sujeita a regras gramáticais e retóricas. A transferência destes preceitos verbais para a composição musical se deu de maneira cada vez mais intensa a partir do século XVI, perdurando até o fim do séc. XVIII. Essas transposições formaram a base da teoria de composição musical conhecida no mundo luterano como musica poetica. Neste artigo, concentrar-nos-emos na teoria retórica dos gêneros e estilos musicais, como compreendida em preceptivas seiscentistas e setecentistas. Mostraremos como a musica poetica foi se aproximando dos ideais retóricos humanistas e como esta aproximação colaborou para consolidar a ideia de música como linguagem, no final do séc. XVIII.
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Das, Joanna Dee, und Ryan Donovan. „Special Issue: Dance in musical theatre“. Studies in Musical Theatre 13, Nr. 1 (01.03.2019): 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 readers that choreography extends beyond human bodies. Finally, the articles all consider questions of methodology and history – how do we best study musical theatre? While there are several other areas of potential inquiry not covered in these six articles, this special issue, the first in the field to focus on dance in musical theatre, aims to help define and cohere an important subfield.
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Duchesneau, Michel. „French Music Criticism and Musicology at the Turn of the Twentieth Century: New Journals, New Networks“. Nineteenth-Century Music Review 14, Nr. 1 (07.02.2017): 9–32. http://dx.doi.org/10.1017/s1479409816000264.
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This article examines the efforts of French musicologists to create a specialized journal at the turn of the twentieth century that would clearly associate music criticism and musicology. Using as case study a set of music journals, from La Revue d’histoire et de critique musicales to the Mercure musical and the Revue S.I.M. that followed, I establish the connections that brought together the nascent musicological milieu, the musical press and the artistic affinities among the principal actors in their attempt to create a new network of music critics guided by musicological exigencies. Jules Combarieu, Romain Rolland, Louis Laloy, Jean Marnold, Émile Vuillermoz and Jules Écorcheville are some of the musicologists engaged in this project between 1900 and 1914. But historical contingencies make this project a relative utopia, and requirements of the young musicology hardly meet that of a music criticism divided between disciplinary tradition and the necessity to support contemporary music. After the war, with the founding of a new Revue musicale, René Prunières, prudently, would not hire musicologists to develop a music criticism. Instead, he took up the characteristically Republican project of promoting musical culture, and thus responding to the interests of both the cultivated bourgeoisie and the musical, literary and artistic milieus through diffusion of music knowledge.
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Rodríguez Reinoso, Oswaldo Antonio. „¿Qué se entiende por Competencias Musicales? Configurando bases teóricas desde la socioformación y el desarrollo social sostenible“. FORHUM International Journal of Social Sciences and Humanities, Nr. 3 (31.07.2020): 51–65. http://dx.doi.org/10.35766/jf20235.
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El enfoque por competencias para la educación musical suscita importantes desafíos epistémicos y metodológicos. La importancia que reviste tanto la práctica musical en la formación general de los sujetos, como los espacios de formación musical que promueven el desarrollo especializado, ha sido claramente reconocida. Las propuestas de educación musical que han surgido bajo la idea de vincular propósitos tanto educativos musicales como de desarrollo social dejan al descubierto la necesidad de replantear la educación musical. La Educación Musical para el Desarrollo Sostenible (EMDS) es una propuesta pensada como alternativa, donde la socioformación constituye el punto de partida de un corpus teórico necesario para el sustento epistémico y metodológico. La presente investigación de tipo cualitativa y carácter documental, mediante metodología de cartografía conceptual aborda y analiza la noción de Competencias Musicales con el propósito de evidenciar el desarrollo de esta en el ámbito educativo y musical. El estudio concluye en la necesidad de profundizar la reflexión onto-epistémica y metodológica que permita un diseño competencial para la educación musical desde la socioformación.
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Afonso, José António. „Ana L. Paz. Ser músico em Portugal: trajetórias do aprender a ser génio, finais do século XIX – inícios do século XX“. Sarmiento. Revista Galego-Portuguesa de Historia da Educación 23 (27.12.2019): 317–21. http://dx.doi.org/10.17979/srgphe.2019.23.0.5900.
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É um pertinente close-up sobre o microcosmo musical português, entre 1868 e 1930, desvendando, por um lado, um objeto historiográfico, desconhecido, ou eventualmente ignorado: o musical; e, por outro lado, explorando o “inconsciente musical", enquanto um amplexo de práticas sociais musicais constituídas por relações de forças visíveis e invisíveis que estruturam o campo musical.
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Jenkins, J. Daniel. „The Early Years of the American Musical in Vienna“. Journal of Austrian-American History 6, Nr. 1 (18.05.2022): 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 American musicals on the European continent. The article reviews archival documents at the Prawy archive, housed at the Wienbibliothek, to better understand Prawy’s early efforts to bring American musical theater to the Viennese stage. The focus will be on the two earliest musicals Prawy produced, Kiss Me, Kate and Wonderful Town. The analysis will consider how Prawy packaged, promoted, and “sold” the American musical to his Viennese audience. A close reading of some of Prawy’s translations of libretti will be part of the analysis, revealing interesting insights into how Americans and American culture may have been viewed by the Viennese audience.
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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 categorias de imitação propostas por Johann Mattheson, um dos principais teóricos da Musica Poetica, tentando demonstrar que, desde a concepção musical da antiguidade, música e poética são inseparáveis.
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Firdhani, Aldhila Mifta. „Peningkatan Kemampuan Musikal Peserta Didik Melalui Aktivitas Musik Kreatif“. Indonesian Journal Of Performing Arts Education 1, Nr. 1 (31.01.2021): 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 cycle. The results showed that creative music activity could improve students' musical abilities in learning music based on the analysis. This increase was evidenced by observations and the acquisition of students' musical abilities in cycle I to cycle II. Based on the observations' results, it can be seen that the average score of students' musical ability in cycle I was 29.5, while in cycle II was 40.1. Based on this average value, it is known that the increase in students' musical abilities is 10.6. So based on this data analysis, it can be said that creative music activities in learning music can improve students' musical abilities. AbstrakPenelitian ini bertujuan untuk mengetahui keefektifan musik kreatif untuk meningkatkan kemampuan musikal peserta didik dalam pembelajaran musik. Metode penelitian menggunakan jenis penelitian tindakan kelas yang dilakukan dalam 2 siklus. Penelitian dilakukan di SMP Sunan Averroes Sleman Yogyakarta selama 3 bulan. Objek penelitian adalah peserta didik kelas VIII yang berjumlah 13 anak. Sumber data yang digunakan dalam penelitian ini adalah hasil observasi dan hasil tes kemampuan musikal. Taknik analisis data dilakukan secara kualitatif yang diidentifikasi untuk melihat hasil pencapaian dan menyempurnakan di setiap siklusnya. Berdasarkan analisis, hasil penelitian menunjukkan bahwa aktivitas musik kreatif dapat meningkatkan kemampuan musikal peserta didik dalam pembelajaran musik. Peningkatan ini dibuktikan berdasarkan hasil observasi dan perolehan skor kemampuan musikal peserta didik pada siklus I ke siklus II. Berdasarkan hasil observasi dapat diketahui bahwa nilai rata-rata kelas kemampuan musikal peserta didik pada siklus I sebesar 29,5, sedangkan pada siklus II sebesar 40,1. Sehingga berdasarkan nilai rata-rata tersebut diketahui peningkatan kemampuan musikal peserta didik sebesar 10,6. Sehingga berdasarkan analisis data tersebut dapat dikatakan bahwa aktivitas musik kreatif dalam pembelajaran musik dapat meningkatkan kemampuan musikal
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During, Jean. „Éthique, droits et devoirs dans les cultures musicales orientales“. Les Cahiers de la Société québécoise de recherche en musique 11, Nr. 1-2 (21.11.2018): 89–98. http://dx.doi.org/10.7202/1054027ar.
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La problématique de l’éthique et du droit dans le domaine musical s’articule sur les notions d’oeuvre, d’auteur, de propriété et d’exploitation qui sont loin de rendre compte du champ éthique de bien des traditions musicales. Cet article explore ce champ au fil du discours classique de différentes cultures d’Asie et l’éclaire par des anecdotes significatives sur les comportements, les attitudes, et la mentalité des dépositaires du savoir musical. Les dispositions morales et personnelles, ou èthos, apparaissent comme fondement de l’éthos et donc de l’éthique idéalement requis par la Tradition comme garantie de la bonne transmission de la culture musicale. Ce dispositif est cependant remis en question à l’ère moderne, d’une part avec le glissement de l’authenticité depuis l’objet vers le sujet, d’autre part avec le mode de transmission impersonnel assuré par les médias.