Thematische Bibliographien / Musicals

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Auswahl der wissenschaftlichen Literatur zum Thema „Musicals“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Musicals"

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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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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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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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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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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Jiang, Xiaomeng, und Yiyan Shao. „Rock Elements in The Creation of French Musicals“. International Journal of Education and Humanities 4, Nr. 2 (06.09.2022): 69–71. http://dx.doi.org/10.54097/ijeh.v4i2.1508.

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French musicals are unique models of modern musicals beyond the classic musicals of Broadway and the west end of England. The French, who are "fashionable, romantic and modern", based on the creation of British and American musicals and through the exploratory and experimental development of various musical elements, have created the "French style" musicals with a strong sense of stage. Among them, the addition of "rock elements" is a highlight that cannot be ignored in the creation of French musicals. This paper studies the origin of "rock elements" in the accompaniment music of French musicals, illustrates the application of "rock elements" in the creation of French musicals with examples, and discusses the reasons for its formation, so as to find out the original charm of French musicals.

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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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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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Yang, Wenjing. „On the Translation of English Musical Songs from the Perspective of Skopos Theory“. Studies in English Language Teaching 12, Nr. 2 (02.06.2024): p190. http://dx.doi.org/10.22158/selt.v12n2p190.

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With the increased frequency intercultural communication, western musicals have been introduced into China and become a popular entertainment of the Chinese people. Some musicals will be dubbed in Chinese version for performance, so that the audience can enjoy the plots and songs more deeply. However, the different historical origins, social customs and religious cultures have formed specific cultural backgrounds, which in turn have formed different ways of thinking, values and pragmatic rules. All these factors have become obstacles in the translation of English musicals. As the main content of musicals songs, librettos have become an important medium for audience to appreciate musicals. Therefore, the translation of songs in musicals becomes the most important part in the study of musicals translation. Based on the Skopos Theory of functional translation, this thesis takes the Chinese version of a series of western musicals produced by SEVENAGES as the object, and analyzes the Chinese translation of these musicals from the rules of Skopos, coherence and fidelity, with the aim to find out the best techniques of translating musical songs, and improve the quality of the translation.

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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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Dissertationen zum Thema "Musicals"

Bradford, Joshua. „Clockwork plums“. Thesis, connect to online resource, 2004. http://www.unt.edu/theses/open/20041/bradford%5Fjoshua/index.htm.

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Thesis (M.M.)--University of North Texas, 2004.
Musical, for 5 vocalists, flute/tenor sax, clarinet/baritone sax, violin, cello, piano, electric keyboard, electric guitar, electric bass, drum set, and percussion. Based on a story by Joshua Forehand (pseudonym of Bradford), with additional lyrics by Joshua Bradford. Includes analysis by composer (p. 1-37). Includes bibliographical references (p. 36-37).

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Chan, Tracy. „The development of musicals in Hong Kong /“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021491.

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Klund, Heather A. „Music, lyrics, and plot synopsis for Redemption, a musical on the book of Ruth“. Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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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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Replogle, Holley Dawn. „Crossover and spectacle in American operetta and the megamusical“. Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1914357521&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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McCracken, Chelsea. „Contradiction in the tragic musical /“. Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/372.pdf.

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Fisher, Andrew M. S. „Composition folio : musicals vols. I-IV“. Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50601/.

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The musical language of popular music theatre continues to gain a growing academic scrutiny. Our understanding of the possibilities of the genre can be enriched by innovative work that experiments with a variety of musical techniques. Moreover developing fresh insights into this musical potential has an aesthetic importance: it could contribute to a revitalisation of the creative ambition of the musical language of the genre, which is generally one of highly derivative stock. This submission consists of a composition folio that includes one work of substantial proportions (the stage-work Stationcery) and five satellite pieces. Stutioncery uses a diverse range of jazz cultures (including numerous improvised sections) in a single large scale staged narrative, which it could be argued has not been attempted in this way or to this degree before. Stationery, and the other pieces, also develop other experimental musical techniques that are rarely used in popular music theatre: nonchronological story-telling, collage construction, and the extreme use of diverse parody and quotations. In addition there is a written element of fifteen thousand words which discusses semantic, aesthetic and technical issues prompted by the works and the genre in general. The submission has been organised into four volumes: VOLUME ONE: Stationery A three act jazz stage-work: Full Score in C. VOLUME TWO: Stationcery Piano/ Vocal Score. VOLUME THREE: Satellite pieces: That Baling Feeling - A three act musical: Piano/ Vocal Score. Mart - A theatre of the absurd mis-en-scene: Full Score in C. Descendit De Celis - A third-stream work for small orchestra: Full Score in C. Napoleon On St Helena - Four scena for actor and piano. Rain - A film score extract for small chamber group. VOLUME FOUR: Written Element, Libretti and Lyrics.

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Malone, Travis B. „Crafting Utopia and Dystopia: Film Musicals 1970-2002“. Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162486037.

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Wellborn, Brecken. „Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.

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Esteve, Marull Vanessa. „Representacions musicals en la pintura catalana dels segles XVII i XVIII“. Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/387422.

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Aquesta tesi doctoral té com a principal objectiu fer un estudi iconogràfic de diferents pintures, escultures i gravats catalans dels segles XVII i XVIII que tenen com a tema principal o secundari la música com a representació. A través l’anàlisi de les fonts documentals que parlen de música, es fa una descripció del context socio-cultural que va influir en l’elaboració d’aquests programes iconogràfics. Es tracta d’un anàlisi historiogràfic nou que reflexiona sobre la iconografia musical com a disciplina, i serveix per fer una aproximació inèdita al context de l’època que representen aquestes obres d’art i a les intencions dels seus artistes i mescenes. Per a la descripció d’aquestes imatges s’han manejat una seixantena d’imatges i s’ha reconstruit el paper de la música en diferents situacions i contextos socials. Divida en dues parts, la primera part fa referència a les imatges iconograficomusicals amb contingut religiós. S’han estudiat els àngels músics d’època barroca que es troben representats en alguns retaules catalans, representacions de sants amb atributs musicals i les representacions originals i úniques de l’Escolania de Montserrat. Per altra banda, la segona part de la tesi està dedicada a les imatges promogudes per la monarquia, la noblesa i la burgesia. S’han estudiat els principals temes on la música i l’art s’han desenvolupat com activitats d’oci i entreteniment. Es tracta tant d’esbossos i dibuixos de creació amb escenes de gènere com imatges al·legòriques que commemoren el poder polític. Per primera vegada es fa una lectura d’aquests programes iconogràfics, posant especial atenció a la simbologia, la organologia i les corrents artístiques que han circulat per Catalunya al llarg d’aquests segles. Això ens ha portat a descriure, de forma paral·lela, alguns esdeveniments històrics de Catalunya, com ara l’arribada de l’arxiduc Carles d’Àustria a Barcelona, la visita de Carles III i les primeres representacions operístiques catalanes. D’aquesta manera, aquesta tesi doctoral és un complement als estudis històrics i musicològics que s’han realitzat fins ara i esdevé una nova font documental per il·lustrar i entendre el paper de la música dins la societat catalana.
The principal aim of this doctoral thesis is to carry out an iconographic study of different Catalan paintings, sculptures and prints from the seventeenth and eighteenth centuries that have music as performance as their primary or secondary theme. A description of the socio-cultural context influencing these iconographic programmes is made following analysis of documentary sources which talk about music. This is a new historiographical analysis which reflects on musical iconography as a discipline and, for the first time, allows the context of the age which these works represent and the intentions of their artists and patrons to be addressed. Around sixty images have been used for the description which reconstructs the role of music in different situations and social contexts. It is divided into two parts: the first refers to the iconographical-musical images with religious content. The musical angels of the Baroque period found on some Catalan altarpieces, representations of saints with musical attributes and original and unique representations from the Escolania de Montserrat are studied in this section. The second part of the thesis is dedicated to the images promoted by the monarchy, the nobility and the bourgeoisie. The main themes in which music and art have become activities of leisure and entertainment are studied. In other words, the creative sketches and drawings with genre scenes such as allegorical images commemorating political power. For the first time a reading is made of these iconographic programmes, with a special focus on the symbology, organology and the artistic trends circulating around Catalonia during those centuries. This has led to a parallel description of some of the historic events in Catalonia, such as the arrival in Barcelona of Archduke Charles of Austria, the visit by Charles III and the first performances of Catalan operatic works. This doctoral thesis is therefore a complement to the historical and musicological studies that have been carried out to date and a new documentary source to illustrate and understand the role of music in Catalan society.

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Bücher zum Thema "Musicals"

Joanne, Bogart, Hrsg. The musical of musicals: The musical! New York: Samuel French, 2005.

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Kennedy, Michael Patrick. Musicals. London: Harper Collins, 1997.

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Wildbihler, Hubert. Musicals! Musicals!: Ein internationaler Führer zu 850 Musicals und 3000 Tonträgern. Passau, Germany: Musicalarchiv Wildbihler, 1992.

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John, Muir, Hrsg. Collins musicals. Glasgow: HarperCollins, 1997.

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Koerner, Julie. Hollywood musicals. New York: Friedman/Fairfax, 1993.

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Cohan, Steven. Hollywood Musicals. London ; New York : Routledge, 2019. | Series: Routledge film guidebooks: Routledge, 2019. http://dx.doi.org/10.4324/9781351018746.

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Dodson, Will. Hollywood musicals. Long Island City, N.Y: QNY, 2010.

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Staskowski, Andréa. Movie musicals. Minneapolis: Lerner Publications, 1992.

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Koerner, Julie. Hollywood musicals. New York: Friedman/Fairfax, 1997.

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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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Buchteile zum Thema "Musicals"

Cohan, Steven. „Analyzing musicals“. In Hollywood Musicals, 67–107. London ; New York : Routledge, 2019. | Series: Routledge film guidebooks: Routledge, 2019. http://dx.doi.org/10.4324/9781351018746-3.

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Seife, Ethan de. „Cult musicals“. In The Routledge Companion to Cult Cinema, 297–306. London; New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-37.

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Novick, Julius. „The Musicals“. In Beyond the Golden Door, 87–96. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611832_8.

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Richardson, Niall, und Frances Smith. „Film Musicals“. In Trans Representations in Contemporary, Popular Cinema, 19–42. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003039426-2.

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Loar, Josh. „Theater—Musicals“. In The Sound System Design Primer, 407–16. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315196817-43.

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Cohan, Steven. „Defining the musical“. In Hollywood Musicals, 1–25. London ; New York : Routledge, 2019. | Series: Routledge film guidebooks: Routledge, 2019. http://dx.doi.org/10.4324/9781351018746-1.

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Cohan, Steven. „A brief account of the long history of the Hollywood musical“. In Hollywood Musicals, 26–66. London ; New York : Routledge, 2019. | Series: Routledge film guidebooks: Routledge, 2019. http://dx.doi.org/10.4324/9781351018746-2.

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Cohan, Steven. „Stars of the classic musical“. In Hollywood Musicals, 108–55. London ; New York : Routledge, 2019. | Series: Routledge film guidebooks: Routledge, 2019. http://dx.doi.org/10.4324/9781351018746-4.

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Cohan, Steven. „Five auteur directors“. In Hollywood Musicals, 156–202. London ; New York : Routledge, 2019. | Series: Routledge film guidebooks: Routledge, 2019. http://dx.doi.org/10.4324/9781351018746-5.

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Cohan, Steven. „Epilogue“. In Hollywood Musicals, 203–8. London ; New York : Routledge, 2019. | Series: Routledge film guidebooks: Routledge, 2019. http://dx.doi.org/10.4324/9781351018746-6.

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Konferenzberichte zum Thema "Musicals"

Doudpota, Sher Muhammad, und Sumanta Guha. „Automatic actors detection in musicals“. In 2012 Seventh International Conference on Digital Information Management (ICDIM). IEEE, 2012. http://dx.doi.org/10.1109/icdim.2012.6360136.

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Acton, Lauren. „Entertainment tourism: Musicals at the Stratford Festival in Canada“. In Situating Popular Musics, herausgegeben von Ed Montano und Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.01.

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Jin, Li. „A Three-dimensional Framework of Acculturation in translation of Musicals“. In Proceedings of the 2018 4th International Conference on Social Science and Higher Education (ICSSHE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icsshe-18.2018.22.

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Chen, Zhitong. „Challenges and Opportunities: Musicals in China in the Era of Covid-19 Pandemic“. In The Asian Conference on Cultural Studies 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2187-4751.2022.8.

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Shin, Sa-Bin, und Woo-Chang Lee. „Significance of Production of and Characteristics of Performance of Yeonwoo Stage’s Original Musicals“. In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.113.27.

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Papatheodorou, Theodoros, und Jessica Wolpert. „Lights! Dance! Freeze!: An interactive installation for exploring dance-musicals using embodied search“. In VINCI 2023: The 16th International Symposium on Visual Information Communication and Interaction. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3615522.3615567.

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KURNIATI, Erisa. „Teaching Literature: Musicals' Application in Understanding the Poem for Students in High School“. In Sixth International Conference on Languages and Arts (ICLA 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icla-17.2018.71.

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Koch, Renate. „Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.

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Silva, Gisele Bernardes da, und Ronaldo dos Santos Mello. „Uma Análise de Soluções para Busca de Dados Musicais“. In Escola Regional de Banco de Dados. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/erbd.2022.223522.

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A representação de dados musicais e a construção de sistemas de processamento e recuperação musicais agrava-se com a necessidade de desenvolvimento de sistemas os mais compatíveis possíveis com as visões ou desejos dos usuários. Este trabalho contribui com um estudo sobre recuperação da informação musical que auxilia no desenvolvimento futuro de soluções para busca de dados musicais. Analisa-se soluções que não apenas buscam dados musicais através do casamento direto de parâmetros de entrada, como palavras-chave ou um áudio com parte da música, mas também através da busca por similaridade destes parâmetros.

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Silva, Douglas, Lucas Zampar, Felipe Rodrigues und Cláudio Gomes. „Modelo automático de classificação de gêneros musicais amazônicos“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19453.

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A globalização afeta a preferência musical da sociedade atual, que apresenta continua estima por ou gêneros musicais internacionais em detrimento aos nacionais ou locais. A música é dos meios de comunicação utilizados para a construção e organização da estrutura social influenciando o estilo de vida, gostos e convivência interpessoal. Portanto, cada manifestação de gênero musical apresenta função distinta para um ouvinte, como por exemplo, para dançar, festejar, descançar, ajudar na solidão, na tristeza etc. Diversos aplicativos como spotify e soundcloud, utilizam-se de classificadores de gêneros musicais para indicar, prever ou sugerir novas músicas para seus ouvintes. Por diversos motivos, a maioria dos classificadores não possui informações de gêneros musicais regionais. Este trabalho propõem um modelo de classificação automático de gêneros musicais populares amazônicos. Inicialmente, confeccionou-se uma base de dados contendo os gêneros musicais: andino, brega, carimbó, cúmbia, marabaixo, pasillo, salsa e vaqueirada, oriundos da região da Amazônia Legal dos países: Brasil, Guiana Francesa, Venezuela, Colômbia, Equador, Bolívia e Peru. Para a construção da base de dados, extraiu-se diversas características de cada música ao total de 64 parâmetros. Analisou-se os modelos de aprendizado de máquina na qual XGB, KNN, SVM e MLP obtiveram acurácia de 67.62%, 74.12%, 71.35%, 76.13%, respectivamente.

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Berichte der Organisationen zum Thema "Musicals"

Cai, Wenjie, und Hwan-Ching Tai. String Theories: Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, November 2020. http://dx.doi.org/10.51167/acm00006.

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The most valuable musical instruments in the world are 17-18th century violins from Cremona, Italy (made by Stradivari and Guarneri), and Chinese guqins (7-string zithers) from the 8-13th century. Today, musicians still prefer these antique instruments for their superior acoustic qualities that cannot be reproduced by later makers. Over the centuries, many theories have been proposed to explain the unique playing properties of famous violins and guqins, but most are based on conjectures rather than factual evidence.

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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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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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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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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse und Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.

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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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Pedro, Mombiedro Sandoval. ATLAS. De musica spirituali. Ediciones de la Universidad de Castilla-La Mancha, Dezember 2021. http://dx.doi.org/10.18239/caleidoscopio_2021.18.01.

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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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