Academic literature on the topic 'Archivi musicali'
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Journal articles on the topic "Archivi musicali"
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Boffone, Trevor. "From Heathers to Six: Stealth musicals and the TikTok Broadway archive." Studies in Musical Theatre 15, no. 3 (December 1, 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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Nelson, Kathleen E. "A fragment of medieval polyphony in the Archivo Histórico Provincial of Zamora." Plainsong and Medieval Music 2, no. 2 (October 1993): 141–51. http://dx.doi.org/10.1017/s0961137100000498.
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The source to be discussed here is one of a collection of about 288 fragments of liturgical manuscripts. These form the section entitled Pergaminos musicales in the Archivo Histórico Provincial of Zamora in western Spain. Most of the fragments contain notated chant while a few give texts without music. Whilst studying the collection I found that one, Pergamino musical 184, contains polyphony. The significance of this new source probably lies principally in its relationship to the great polyphonic manuscript of Las Huelgas (Burgos, Monasterio de Las Huelgas) from late thirteenth- or early fourteenth-century Spain. Pergamino musical 184 (hereafter referred to as Z 184) probably dates from between the middle of the thirteenth century and the beginning of the fourteenth century, and therefore may pre-date Las Huelgas. The collection of Pergaminos musicales including Z 184 was recently taken from the binding of books of legal documents (protocolos) dating from the sixteenth, seventeenth and eighteenth centuries. Many more fragments of liturgical manuscripts are to be found still in the binding of books in the archive but an extensive search of these has yielded no further examples of polyphony
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PARDO FRÍAS, VERÓNICA F. "Festival de la Lira y la Pluma Lojanas (1963-1977)." Tsantsa. Revista de Investigaciones artísticas, no. 11 (October 13, 2021): 115–32. http://dx.doi.org/10.18537/tria.11.01.09.
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El presente artículo tiene por objetivo la reconstrucción del Festival de la Lira y la Pluma Lojanas desde la música y sus protagonistas, con énfasis en la categoría de composición y como esta incidió en el aporte al desarrollo cultural de Loja. A partir de las fuentes primarias inéditas tomadas del archivo familiar Tabango-Espinoza y de algunas partituras halladas en la Biblioteca del Colegio de Artes “Salvador Bustamante Celi” de la ciudad de Loja se plantea la reflexión en torno al evento y su repercusión como hecho social que involucra a los miembros de una comunidad, quienes comparten esta trayectoria histórica musical como parte de su identidad cultural lojana.
Palabras clave: Escenas Musicales, Antropología Musical, Archivo, Loja.
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Schneider, Martin. "nr="40",,Der Dämon aller Sammler“. : Musikarchive in Gottfried Kellers ,,Hadlaub“ und den Züricher Novellen." Zeitschrift für Germanistik 31, no. 2 (January 1, 2021): 40–55. http://dx.doi.org/10.3726/92169_40.
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Abstract Der Beitrag untersucht Gottfried Kellers Züricher Novellen, insbesondere die Eröffnungsnovelle Hadlaub, im Kontext der Musikernovellen des 19. Jahrhundert. Er zeigt, dass Keller Topoi der romantischen Musikästhetik aufruft, um sie zugleich zu archivieren. Keller präsentiert eine Spielart realistischen Erzählens, in dem Ereignis und Archiv, Leidenschaft und philologische Edition, Innovation und Tradition immer schon verschränkt erscheinen und konfliktfrei koexistieren.This article examines Gottfried Keller’s Züricher Novellen, in particular the opening novella Hadlaub, in the context of 19th century musician’s novellas. It shows that Keller invokes topoi of Romantic musical aesthetics in order to simultaneously archive them. Keller presents a variation of realistic narration in which event and archive, passion and philological edition, innovation and tradition have always appeared intertwined and coexist without conflict.
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Albornoz Cuevas, César. "Vestigios para una historia musical de la sociedad chilena en la historia reciente: El Fondo Documental Sello Alerce." Sur y Tiempo: Revista de Historia de América 2, no. 4 (August 11, 2021): 138. http://dx.doi.org/10.22370/syt.2021.4.2917.
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El sello Alerce fue uno de los más importantes factores en la evolución de la historia de la música popular chilena durante el último cuarto del siglo XX. Su existencia le dio al período de la dictadura de Pinochet y a los inicios de la transición, una imagen sonora registrada en soportes musicales que permite disponer de fuentes para la comprensión de aquel tiempo desde la historia. Este artículo trata sobre la recuperación de sus documentos como patrimonio archivístico nacional, reflexiona sobre cómo se podría comprender nuestra historia reciente desde los vestigios musicales, y devela la historicidad que ofrece un conjunto de síntomas sobre pasado cultural organizados a modo de archivo. Asimismo, este escrito enseña el cómo desde la archivística, en su dimensión más práctica, se recupera, restaura y conserva un archivo musical importante para la historia reciente de Chile.
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Dal Farra, Ricardo. "Una Visita al "Center for Computer Research in Music and Acoustics"." Revista Música 4, no. 1 (May 1, 1993): 93. http://dx.doi.org/10.11606/rm.v4i1.55057.
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Durante una reciente estadía en el "Center for Computer Research in Music and Acoustics" - CCRMA - de la Universidad de Stanford, tuve la oportunidad de conocer más de cerca los estudios y desarollos que allí se están llevando adelante. A partir del trabajo interdisciplinario de compositores y científicos que emplean a las computadoras como un nuevo medio artístico-musical y como una herramienta para sus investigaciones, se desarrollan en CCRMA teorías y experiencias en campos tan diversos como la síntesis de sonido a través de modelos físicos, el reconocimiento óptico de una partitura, la producción de instrumentos musicales y controladores alternativos, la confección de un archivo musical con grabaciones digitales de las primeras obras electroacústicas realizadas en todo el mundo, la creación de lenguajes de programación aplicados a la composición musical, la implementación de un sistema que permita controlar en tiempo real el movimiento espacial del sonido, el estudio del proceso por el cual el sistema auditivo separa los sonidos provenientes de distintas fuentes, la transformación interactiva por medio de computadoras del sonido de instrumentos musicales acústicos, y el análisis de factores psicoacústicos que influyen sobre la entonación musical, entre muchos otros.
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Israel, Paolo. "Mueda Massacre: The Musical Archive." Journal of Southern African Studies 43, no. 6 (October 20, 2017): 1157–79. http://dx.doi.org/10.1080/03057070.2017.1382186.
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Flórez Cortés, Carla. "EL ARCHIVO MUSICAL DE LUIS MIGUEL DE ZULATEGI: UNA COMPOSICIÓN ARCHIVÍSTICA SEGÚN SUS VALORES SECUNDARIOS." Ricercare 2018, no. 10 (March 5, 2019): 37–54. http://dx.doi.org/10.17230/ricercare.2018.10.2.
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Este artículo muestra cómo los documentos de archivos reunidos por un músico a lo largo de su vida, caso de Luis Miguel de Zulategi, les proporciona a los investigadores información histórica, teórica musical, pedagógica y archivística a partir de temas centrales como la música colombiana y la española durante el siglo XX. La conformación de archivos musicales determina a la Archivística como una ciencia mediadora entre la Historia y la Musicología para conformar la memoria histórica de un territorio, a través de la producción documental de sus actores culturales como los músicos. La valoración documental de archivos personales con característica musical facilita conocer su estructura archivística desde la fase creativa de un músico hasta su trayectoria en diversos escenarios artísticos. El texto muestra la contextualización del archivo personal de Zulategi, los valores secundarios de su información y el análisis de sus tipologías documentales en relación con los datos y los registros que produce un músico, lo que permite realizar investigaciones en materia musical, histórica, social y en el campo de las Ciencias de la Información.
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Yates, Samuel. "Choreographing conjoinment: Side Show’s fleshly fixations and disability simulation." Studies in Musical Theatre 13, no. 1 (March 1, 2019): 67–78. http://dx.doi.org/10.1386/smt.13.1.67_1.
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This article aims to amplify disability theory’s impact in performance studies by generating a framework for understanding disability representation in musical theatre. Taking the original and revival Broadway productions of Side Show (1997, 2014) as a case study, I articulate how the musical simulates disability through a ‘choreography of conjoinment’ that relies on the exceptional able-bodiedness of the actors playing conjoined twins Daisy and Violet Hilton. Using disability as a category of analysis reveals how disabled bodies are made to be maximally productive iterations of themselves in musicals. To support this claim, I track the shift from the 1997 production’s co-construction of disability by the actors and audience, which replicates the social model of disability, to the 2014 revival’s grounding in a diagnostic realism typical of disability’s medical model. Side Show’s trajectory generates possibilities for considering the musical as an archive for disability representation and knowledge, bioethical inquiry, and artistic innovation.
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Bonanzinga, Sergio. "Musical Mourning Rituals in Sicily. By Sergio Bonanzinga. Translated by Giacomo Valentini." Ethnomusicology Translations, no. 5 (January 18, 2017): i—93. http://dx.doi.org/10.14434/emt.v0i5.23159.
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This article surveys various vocal and instrumental performances (chants, laments, calls, sounds of church bells and drums, band music) connected to the ritual celebration and commemoration of the dead that are still characterized in Sicily by a manifest syncretism between Christian Church rules and folk customs and beliefs. These “sounds of mourning” are examined in terms of both their musical aspects and their social and symbolic functions, with special attention given to the changing dynamics between the present day and the recent past. The focus also extends to include celebrations in which “fictitious funerals” are performed, such as those for Christ during the Easter procession and for Nannu (“Grandpa”) in Carnival ceremonies.Originally published in Italian as “Riti musicali del cordoglio in Sicilia,” Archivio Antropologico Mediterraneo 17, no. 16, 1 (2014): 113-156. Online at https://www.academia.edu/7954331/Riti_musicali_del_cordoglio.Note to Reader: This 64 mb PDF file includes texts, photographs, musical transcriptions, and embedded audio tracks.
Dissertations / Theses on the topic "Archivi musicali"
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Bonora, Paolo <1973>. "Impiego del Web Semantico per lo sviluppo e la consultazione di archivi musicali. Un caso di studio sulla storia e la documentazione del melodramma italiano: l’archivio Corago." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9174/1/Tesi-Bonora_791575_20200205.pdf.
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Lo studio presentato in questa tesi ha affrontato tre ambiti: la sperimentazione delle tecnologie semantiche per produrre una rappresentazione della storia e dei documenti relativi al melodramma; l’individuazione di metodologie di analisi dei contenuti della base di conoscenza per estrarre nuova informazione; l’esplorazione di nuove modalità di accesso e consultazione dei contenuti. La sperimentazione ha impiegato un insieme di tecnologie informatiche con particolare attenzione al Web Semantico, ai Linked Data e al Natural Language Processing.
Il caso di studio è costituito dall’archivio del melodramma italiano Corago che raccoglie un vasto patrimonio di informazioni relative al repertorio, alla cronologia degli spettacoli e ai libretti. I contenuti dell’archivio sono stati trasposti in una base di conoscenza mediante l’adozione di due ontologie formali di riferimento: CIDOC Conceptual Reference Model e FRBR Object Oriented.
La sperimentazione ha prodotto i seguenti risultati: (i) la realizzazione di un modello concettuale in grado di esprimere efficacemente il patrimonio informativo dell’archivio; (ii) la definizione di una metodologia di rappresentazione dell’informazione del dominio orientata alla ricezione dei contenuti; (iii) l’elaborazione di un modello descrittivo dei personaggi; (iv) la definizione di una metodologia per l’individuazione di relazioni tra i testi dei libretti; (v) la valutazione funzionale del modello concettuale attraverso una applicazione di consultazione dell’archivio.
Nel complesso, lo studio evidenzia come gli strumenti oggetto della sperimentazione offrano significative potenzialità nella realizzazione di sistemi per la gestione dell’informazione storica e documentale che viene sempre più prodotta e distribuita in forma digitale. L’evoluzione verso sistemi in grado di gestire e scambiare informazioni sulla base della semantica dei rispettivi modelli si offre come soluzione efficace alla gestione di contenuti multiformi e complessi come quelli relativi alla storia del melodramma.The study investigates three main topics: the use of semantic technologies to produce an effective representation of history and documents related to Opera; newer analytical methodologies in order to extract information from the resulting knowledge base; the exploration of new ways to access and investigate its contents. The experimentation investigated a set of information technologies focusing on the Semantic Web, Linked Data and Natural Language Processing. The case study consists of Corago: the archive of the Italian Opera which collects a vast set of information relating to the repertoire, chronology of performances and librettos. The archive has been transposed into a knowledge base through the adoption of two reference ontologies: CIDOC Conceptual Reference Model and FRBR Object Oriented. The experimentation obtained the following results: (i) the creation of a conceptual model capable of effectively expressing the information contained in the archive; (ii) the definition of a methodology to provide a domain oriented representation of information to the end user; (iii) the development of a descriptive model of characters; (iv) the definition of a methodology to identify similarities between librettos; (v) the functional evaluation of the resulting conceptual model through an experimental application. Overall, the study highlights how the tools being tested offer a significant potential for the development of systems for the management of historical information that is increasingly being produced and distributed in digital form. The evolution towards systems enabling the exchange of information based on the semantics of their respective domain offers also an effective solution to the management of multifaceted and complex contents such as those relating to the history of Opera.
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Wilson, Sarah Jane. "An exploration of the cerebral lateralisation of musical function /." Connect to thesis, 1996. http://eprints.unimelb.edu.au/archive/00000647.
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McMillan, Rosalind. ""A terrible honesty" : the development of a personal voice in musical improvisation /." Connect to thesis, 1996. http://eprints.unimelb.edu.au/archive/00000219.
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Hachem, Nancy. "La vie musicale dans les archives du Parlement de Paris au XVIe siècle." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL095.pdf.
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Au XVIe siècle, le Parlement de Paris est la plus haute cour de justice de France et est impliqué dans la vie quotidienne des individus de l’époque. Ses archives regorgent de décisions juridiques reflétant la réalité politique, judiciaire, historique, sociale, culturelle et musicale de la Renaissance.Cette recherche poursuit des investigations au sein des sources primaires du Parlement afin d’en extraire des informations qui viennent compléter nos connaissances actuelles sur la vie musicale en France entre 1500 et 1600. Ce travail offre un témoignage de la façon dont est vécue la musique dans la société française du XVIe siècle à travers le regard et sous l’influence du Parlement de ParisIn the 16th century, the Parliament of Paris was the highest court of Justice in France and was involved in the daily life of the individuals of that time. Its archives are full of legal decisions reflecting the political, judicial, historical, social, cultural and musical reality of the Renaissance. This research investigates the Parliament's primary sources in order to extract information that complements our current knowledge of musical life in France between 1500 and 1600. This work offers a testimony of the way music was experienced in 16th-century French society through the Parliament’s vision and influence
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Tripier-Mondancin, Odile. "L'éducation musicale au collège depuis 1985 : valeurs déclarées par des enseignants d'éducation musicale, genèse." Toulouse 2, 2008. https://hal-univ-tlse2.archives-ouvertes.fr/tel-01117916.
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La présente thèse a pour objet d'identifier les valeurs déclarées par 191 enseignants d'Éducation musicale en collège, d'examiner le lien entre ces valeurs et l'histoire de la discipline mais également l'histoire personnelle et le rapport aux savoirs musicaux de ces enseignants. La constitution de corpus de textes officiels, les méthodes d'enquête (questionnaire, entretiens post-observations), l'analyse des discours des enseignants et des textes officiels, les principes de catégorisation ont autorisé tantôt l'inférence de valeurs, tantôt le recueil de valeurs exprimées explicitement. Quelle que soit la manière d'aborder la problématique des valeurs –implicite, explicite – les enseignants font des valeurs morales et éthiques une priorité sur les valeurs esthétiques et intellectuelles. Une tension (sorte d'interférence) se noue entre valeurs morales et esthétiques ; cette tension se mue en une hésitation entre fondements subjectifs et objectifs, à donner aux jugements de valeur, lorsqu'il s'agit d'évaluer l'objet musical. Pour les enseignants interrogés à titre personnel, les critères généraux et particuliers de jugements de valeur ont principalement trait au ressenti du récepteur ainsi qu'à la composition, dans une posture subjectiviste. En revanche, au titre d'enseignant, ils demandent à l'élève d'avoir une posture objectiviste. Ces enseignants, non relativistes, non postmodernes, seraient, dans leur rapport à l'esthétique, plutôt goodmaniens face aux élèves et plutôt kantiens à titre personnel. Les formations reçues semblent avoir eu plus d'influence sur les valeurs déclarées que les concours de recrutement ou encore les textes de programmesThe purpose of the thesis is to identify the values declared by 191 teachers of music in junior high schools, to study the link between these values and the history of the subject, to examine the personal history of these teachers as well as their relation to knowledge of music. The collection of samples of official texts, the methods of investigation (questionnaires, interviews after observations), the analysis of discourse of these teachers and that of official texts, and the principles of categorising have, at times, enabled the inference of values, at others, the collection of values explicitly declared. Whatever the way of dealing with the question of values might be – be it implicitly or explicitly- teachers give priority to moral and ethical values over aesthetic and intellectual values. There is some tension (some sort of interference) between moral and aesthetic values; this tension turns into hesitation between subjective and objective bases for their judgments of value when it comes to assessing the musical object. For teachers interviewed in a personal capacity, the general and specific criteria for their judgments of value are linked to the feeling of the receiver as well as to the composition, adopting therefore a subjectivist attitude. However, as teachers, they require from their pupils an objectivist attitude. These teachers, who are non relativist, non postmodern, would, therefore, be rather ‘Goodmanian' in their relationship to the aesthetic when confronted to pupils, and rather ‘Kantian' in a personal capacity. The training they have had seems to have had more influence upon their declared values than competitive examinations or national curricula
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Sánchez, Mombiedro Rafael. "La capilla musical del Real Colegio-Seminario del Corpus Christi en la segunda mitad del siglo XVII: biografía crítica, legado musical y magisterio de José Hinojosa (fl. 1662-1673)." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/75085.
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The content of this thesis focuses on the musical work by José Hinojosa (fl. 1662-Valencia, 1673), preserved in the musical archive of the Real Colegio del Corpus Christi (Patriarca). After making a critical biography of the composer, updating the inventory of his 47 preserved works and studying the standards of practice of the musical chapel during the 11 years that José Hinojosa served as chapel master (1662-1673), I have selected, transcribed and studied a set of eight of his works. Through these works, it is possible to see, among other things, the treatment of polychorality, the employed technique of composition, theatrical and acoustic-space resources used and which were the vocal and sound features of the musical chapel he ruled. I have also done research on the use of rhetorical figures by Hinojosa, compared with the application of them in liturgical works of different composers belonging to the seventeenth century, in order to frame his work in the European context of the time.
I have concluded the investigation with other aspects of interest, such as: a synthetic analysis of political, economic and cultural events in Valencia along the seventeenth century, the launching of the Real Colegio del Corpus Christi by Juan de Ribera, the double regulations concerning the College and the musical chapel, the liturgical ceremonial and, finally, the receiving of polyphonic choirbooks during the arrival of José Hinojosa as a chapel master in 1662.Resumen El contenido de esta tesis se centra en la obra musical de José Hinojosa (fl. 1662-Valencia, 1673) conservada en el archivo musical del Real Colegio del Corpus Christi (Patriarca). Tras realizar una biografía crítica del compositor, actualizar el inventario de sus 47 obras conservadas y estudiar el funcionamiento de la capilla musical en los 11 años en que José Hinojosa ocupó el cargo de maestro de capilla (1662-1673), he seleccionado, transcrito y estudiado un conjunto de ocho obras del autor, a través de las cuales se puede observar, entre otros elementos, el tratamiento de la policoralidad, la técnica de composición empleada, los recursos teatrales y acústico-espaciales utilizados y cuáles eran las características vocales y tímbricas de la capilla que regía. Asimismo, he investigado sobre el uso de la retórica musical por parte de Hinojosa, en comparación con la aplicación de la misma en obras litúrgicas de diferentes compositores del siglo XVII, a fin de enmarcar su obra en el contexto europeo de la época. He completado la investigación con otros aspectos de interés, como son: un análisis sintético de los acontecimientos políticos, económicos y culturales de Valencia en el siglo XVII, la puesta en marcha del Real Colegio-Seminario del Corpus Christi por Juan de Ribera, la doble normativa concerniente al Colegio y a la capilla musical, el ceremonial litúrgico y, finalmente, la recepción de libros de polifonía disponibles a la llegada de José Hinojosa como maestro de capilla en 1662.
Resum El contingut d'esta tesi se centra en l'obra musical de Josep Hinojosa (fl. 1662-València, 1673) conservada a l'arxiu musical del Reial Col·legi del Corpus Christi (Patriarca). Després de realitzar una biografia crítica del compositor, actualitzar l'inventari de les seues 47 obres conservades i estudiar el funcionament de la capella musical en els 11 anys en què Josep Hinojosa ocupà el càrrec de mestre de capella (1662-1673), he seleccionat, transcrit i estudiat un conjunt de huit obres de l'autor, a través de les quals es pot observar, entre altres elements, el tractament de la policoralitat, la tècnica de composició emprada, els recursos teatrals i acusticoespacials utilitzats i quines eren les característiques vocals i tímbriques de la capella que regia. Així mateix, he investigat sobre la utilització de la retòrica musical per part d'Hinojosa, en comparació amb l'aplicació de la mateixa en obres litúrgiques de diferents compositors del segle XVII, per tal d'enquadrar la seua obra en el context europeu de l'època. He completat la investigació amb altres aspectes d'interès, com ara: una anàlisi sintètica dels esdeveniments polítics, econòmics i culturals de València en el segle XVII, l'endegament del Reial Col·legi del Corpus Christi per Joan de Ribera, la doble normativa concernent al Col·legi i a la capella musical, el cerimonial litúrgic i, finalment, la recepció de llibres de polifonia disponibles a l'arribada de Josep Hinojosa com a mestre de capella en 1662.
Sánchez Mombiedro, R. (2016). La capilla musical del Real Colegio-Seminario del Corpus Christi en la segunda mitad del siglo XVII: biografía crítica, legado musical y magisterio de José Hinojosa (fl. 1662-1673) [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/75085
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McConnachie, Boudina. "Legal access to our musical history: an investigation into the copyright implications of archived musical recordings held at the International Library of African Music (ILAM) in South Africa." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002313.
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This thesis explores the South African Copyright Act No. 98 of 1978 as it pertains to the archived holdings at the International Library of African Music (ILAM) situated at Rhodes University, Grahamstown, South Africa. The purpose of analysing this law is to advise and assist ILAM in fulfilling royalty payment obligations as stipulated in a contract signed between ILAM and the Smithsonian Global Sound (formally Global Sound Network) in 2001. In order to clearly comprehend the scope of the royalty payment clause in the Smithsonian Institution’s contract with ILAM, this research includes an examination of: the history and nature of South African copyright as a sub-structure of intellectual property; specific internationally documented copyright infringement cases; the recording and documentation practices of Hugh Tracey (ILAM’s founder and director from 1954 to 1977); the contract between Global Sound Network and ILAM; and contentious issues surrounding collective ownership and indigenous knowledge. In conclusion, this research suggests equitable solutions to ILAM’s copyright concerns and proposes the Eastern Cape Music Archiving Project (ECMAP) as a practical vehicle to assist the South African Department of Trade and Industry in implementation of the South African Intellectual Property Amendment Bill (2008) if, and when, it is passed.
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Montersino, Isabella. "Saint-Eustache des Halles au XIXe siècle : portrait musical d'une église parisienne d'après les archives du conseil de fabrique." Paris 4, 1994. http://www.theses.fr/1994PA040338.
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Construite sous le règne de François Ier dans un style gothique tardif,l'église Saint-Eustache se dresse dans l'un des plus anciens quartiers de Paris. Les dimensions exceptionnelles de l'édifice,sa beauté captivante ainsi qu'une qualité acoustique particulièrement claire en ont fait un haut lieu de la musique en France. Notre étude offre une description minutieuse des structures musicales de cette église au XIXe siècle ; elle est essentiellement axée sur le dépouillement des archives que les administrateurs de Saint-Eustache nous ont laissées. La première partie présente les révélations des archives paroissiales sur la vie musicale de cette église parisienne peu conventionnelle,classées par ordre rigoureusement chronologique. La deuxième partie met en évidence les principaux aspects de la musique à Saint-Eustache : la tradition du chant et ses nombreux avatars,le rôle des instruments accompagnateurs,le développement du grand orgue et la naissance d'une tradition de concerts qui se réalisera pleinement au XIXe siècleThe church of Saint-Eustache was built in late Gothic style during the reign of Francis I in one of the oldest quarters of Paris. Its unusual size,fascinating beauty and particulary clear acoustics have made it a significant centre for music-making in France. .
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Weber-Rigaudière, Angélica. "La participation des revues à la construction d’une discipline : the Musical Quarterly (1915-…) : revue de Musicologie (1917-…) : archiv für Musikwissenschaft (1918-1927 ; 1952-…)." Thesis, Avignon, 2009. http://www.theses.fr/2009AVIG1099.
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À partir d’une approche documentaire, éditoriale et historique du périodique musicologique est interrogée la participation des revues académiques à la construction d’une discipline.Composé de 122 titres américains, français et allemands du 20e siècle ainsi que de l’Archiv für Musikwissenschaft, de la Revue de Musicologie et du Musical Quarterly, le corpus est soumis à une double observation, macroscopique et microscopique, sur le temps long, ainsi qu’à une analyse des sommaires. Partant de l’idée que la musicologie est une forme d’écriture sur la musique, cette investigation a pour objectif d’éclairer les ambiguïtés et l’historicité du périodique savant sur la musique ainsi que de repérer la manière dont l’articulation entre science, écriture et musique agit sur la revue musicologique. Instrument rhétorique et de captation du lecteur, cette dernière régule, hiérarchise et contrôle un territoire disciplinaire qu’elle délimite. Espace de représentation, le périodique musicologique fabrique l’histoire et l’identité d’un collectif qu’il fédère et dont il constitue le support de communication. La capacité de la revue à accepter la différence et à relier, à laisser place aux polémiques et aux prises de position, ainsi qu’à faire circuler le discours en font un objet hétérogène en perpétuelle transformation que l’on envisage comme un objet culturelBasing on a documentary, editorial and historical approach of the musicological periodical and considering musicology as a form of writing about music, we examine the contribution of journals to the construction of a discipline. Consisting of 122 american, french and german titles, as well as of three leading journals in musicology, the Archiv für Musikwissenschaft, the Revue de Musicologie and The Musical Quarterly, the corpus is submitted to a macroscopical and microscopical observation and to a content analysis. The aim of this investigation is to shed light on the ambiguities and the historicity of learned journals about music. As a rhetorical instrument, the periodical circumscribes a disciplinary territory. This medium of communication federates a collective of which it writes the story, elaborates the history and constructs the identity. By its faculty to accept differences, to link, to leave room to controversy as well as to put discourses into circulation, it can be viewed as a cultural and a heterogeneous object. The articulation between science, writing and music acts on the musicological periodical which is in perpetual transformation
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Angeles, Padilla Stéphane. "Desarrollo del sentido auditivo para músicos aspirantes mediante un aplicativo móvil iOS utilizando archivos de audio y realidad aumentada." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/655041.
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El trabajo desarrollado en el presente documento consiste en el Proyecto Profesional “DESARROLLO DEL SENTIDO AUDITIVO PARA MÚSICOS ASPIRANTES MEDIANTE UN APLICATIVO MÓVIL IOS UTILIZANDO ARCHIVOS DE AUDIO Y REALIDAD AUMENTADA” el cual será nombrado como NODATRAINER (Nombre del aplicativo móvil iOS resultante).
En los ámbitos estudiantiles de formación musical en el Perú existen vacíos teóricos y prácticos sobre el entrenamiento auditivo, habilidad vital para todo músico aspirante. El objetivo de este proyecto de tesis es complementar el estudio integral del alumno mediante lecciones interactivas y gratuitas en un aplicativo móvil iOS en el idioma español, iniciando por el aprendizaje de notas (notación musical), intervalos, para la adquisición y reforzamiento del oído tanto relativo como absoluto.
Para llevar a cabo el proyecto, se han analizado los aplicativos actuales en el App Store, y las clases impartidas en Camerata Perú, alineado al repositorio académico de la UPC, así como consultadas las bases de datos OpenMusicLibrary y EBSCOHost. El aplicativo involucra desarrollo en plataforma iOS para los dispositivos iPhone y iPad, perfil e inicio de sesión de usuario, realizado mediante el servicio Firebase de Google. También, una sección exclusiva para venta de instrumentos musicales por empresas, así como personas naturales, y publicaciones de clases de música para impartir cursos a los que se encuentren interesados (clientes potenciales). Este aplicativo se encuentra publicado en el App Store de Apple de manera gratuita y diseñada para usabilidad del usuario.The current paper consists in the professional project called "DEVELOPMENT OF THE AUDITORY SENSE FOR ASPIRING MUSICIANS THROUGH AN IOS MOBILE APP USING AUDIO FILES AND AUGMENTED REALITY", which will be also named as NODATRAINER (Name of the resultant iOS app). At the student levels of musical development in Peru, informal or formals, there are theorical and practical gaps about ear training, a vital skill for every aspiring musician. The goal of this thesis project is to complement the integral study of the student through free and interactive lessons in an iOS mobile application in the Spanish language, beginning by learning the notes (music notation), intervals, to reach the acquisition and reinforcement of both relative and absolute ear. In order to culminate the project, the current applications in the AppStore has been analyzed, along with the teachings at “Camerata Perú”, aligned with the academy repository at UPC, as well as the following data bases consulted “OpenMusicLibrary” and “EBSCOHost”. The app involves developing in the platform iOS for the iPhone and iPad device, a profile and login through the Firebase service by Google. Also, an exclusive section for musical instruments selling by formal and informal businesses or even natural persons, just like posting music classes to teach courses to those, who are interested (potential clients). This free app has been published in the Apple App Store and designed with user usability in mind.
Tesis
Books on the topic "Archivi musicali"
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Gli archivi sonori: Fonoteche, nastroteche e biblioteche musicali in Italia. Genova: Erga, 2002.
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Moroni, Gabriele. La musica negli archivi e nelle biblioteche delle Marche: Primo censimento dei fondi musicali. [Italy]: Associazione marchigiana per la ricerca e valorizzazione delle fonti musicali, 1996.
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Istituto di bibliografia musicale (Rome, Italy), ed. I beni musicali di Roma e del Lazio: Biblioteche, archivi, discoteche, musei, collezioni pubblici e privati. Roma: IBIMUS, 2009.
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Giancarlo, Rostirolla, ed. Clavis archivorum ac bibliothecarum Italicarum ad musicam artem pertinentium (CABIMUS) =: Guida alle biblioteche e agli archivi musicali italiani ... Roma: IBIMUS, 2004.
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Tarallo, Alfredo. Archivio musicale: 1882-1884. Ann Arbor, Mich: U.M.I., 1996.
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Picún, Olga. Archivo Musical Jacobo Kostakowsky. México, D.F: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 2003.
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Pongiluppi, Lorenzo. Il fondo musicale dell'Archivio capitolare di Modena: Manoscritti musicali I-XLIV. Modena: Poligrafico Mucchi, 2005.
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Il fondo musicale dell'Archivio capitolare di Modena: Manoscritti musicali I-XLIV. [Modena?]: Poligrafico Mucchi, 2005.
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Cherubini, Oliver. Archivio musicale della Valle Sabbia: Primo inventario delle opere musicali a stampa e manoscritte dei compositori valsabbini. Brescia: Fondazione Civilta bresciana, 2002.
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Cherubini, Oliver. Archivio musicale della Valle Sabbia: Primo inventario delle opere musicali a stampa e manoscritte dei compositori valsabbini. Brescia: Fondazione Civilta bresciana, 2002.
Find full textBook chapters on the topic "Archivi musicali"
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Diana, Loretta, Goffredo Haus, and Maurizio Longari. "Towards a General Architecture for Musical Archive Information Systems." In Computer Music Modeling and Retrieval, 23–33. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-39900-1_3.
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Amoros, Luis Gimenez. "The Mobilisation of Shona Musical Identity During Colonial Times." In Tracing the Mbira Sound Archive in Zimbabwe, 15–21. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-2.
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Amoros, Luis Gimenez. "Reconsidering the Colonial Creation of Shona Musical Identity and Shona Mbiras in the Sound Archive." In Tracing the Mbira Sound Archive in Zimbabwe, 22–31. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-3.
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Seeger, Anthony. "Archives, Technology, Communities, and Sustainability." In Music, Communities, Sustainability, 211—C12.P10. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197609101.003.0012.
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Abstract Audiovisual archives can contribute significantly to efforts to safeguard, sustain, and revive music and other elements of intangible cultural heritage (ICH), especially in the digital era. But their usefulness is limited by the quality of the documentation in their collections. The “tragedy of Humpty Dumpty” in the title is that different kinds of documents of a performance are almost impossible to “put back together again,” like Humpty Dumpty after he fell off the wall. This chapter discusses weaknesses in the documentation of performances and some of the challenges of repatriating archival collections to their originating communities. Then it describes how digitization and the internet have transformed audiovisual archiving in the twenty-first century. They have enabled a massive growth of community-generated archives that counter hegemonic histories, mobilize communities, and facilitate the sharing of knowledge over long distances on diverse platforms and social media. Although the six traditional aspects of audiovisual archives—institutional affiliation, acquisition, organization, preservation, access, and distribution— remain, the emerging digital opportunities have altered how they function. Online archives, however, face their own specific challenges. For today’s recordings and collections to survive for use by future generations, new digital strategies for preservation and long-term access will need to be developed and implemented so that they may contribute to shaping a musical, archival, and sustainable future for the world’s music and other ICH.
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"1 THE MUSICAL AS ARCHIVE." In The Movie Musical, 15–48. Rutgers University Press, 2021. http://dx.doi.org/10.36019/9781978803824-002.
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Clark (Nanticoke), Victoria Rose. "Musical Indianism: Reassessing the Archive." In Sonic Identity at the Margins. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501368813.ch-2.
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Budasz, Rogério. "Musical Sources and Archives." In Opera in the Tropics, 112–56. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190215828.003.0004.
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This chapter examines the nature and uses of music in early Luso-Brazilian theater from the eighteenth to the early nineteenth century. The first part considers the processes and choices that determined the formation of a theatrical music repertory during the late colonial period. The second part describes the extant musical sources of theatrical music once performed in Portuguese America and now at libraries and archives in Portugal (Paço Ducal de Vila Viçosa, Biblioteca do Palácio da Ajuda) and Brazil (Acervo Curt Lange, Biblioteca da UFRJ, Museu da Música de Mariana), as well as those that have disappeared but can be identified through nonmusical sources. The chapter closes with a discussion ofthe first examples of sung-through Italian operas composed in Brazil.
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McHugh, Dominic. "Composing the Score for a Musical about Music." In The Big Parade, 65–108. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197554739.003.0004.
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Chapter 3 uses both Willson’s published comments about his philosophy of writing musicals and his previously unseen archive of music manuscripts to chart the development of the score of The Music Man. There are particular case studies on “Marian the Librarian” and “My White Knight,” revealing in detail how Willson crafted his musical numbers. Many of the songs dropped from the score, and their impact on the narrative of the show, are also discussed at length.
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Tkaczyk, Viktoria. "The Testing of a Hundred Listeners." In Testing Hearing, 49–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197511121.003.0003.
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In 1901, the Berlin psychologist Otto Abraham published a lengthy study on what he called “das absolute Tonbewußtsein” (absolute tone consciousness), claiming that musical ability is less a natural talent than something learnable—dependent on the imprint of certain tone systems and musical experiences. In place of simple stimulus–response tests, Abraham therefore proposed a completely new method of testing musicality, based on a comprehensive test battery and a detailed questionnaire. This chapter’s investigation of Abraham’s method highlights its underlying epistemology of hearing, with particular attention to the relationship between Abraham’s notion of musicality and his mentor Carl Stumpf’s theory of tone psychology. The chapter then traces later applications of Abraham’s study in the fields of comparative musicology and music education, focusing on testing procedures at the Berlin Phonogramm-Archiv, the Berlin Academy of Music, and, in the shape of U.S. psychologist Carl Seashore’s “measures of musical talent,” American schools and music academies.
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"6 Patronage Networks and Musical Traditions in Jhalavad." In Genealogy, Archive, Image, 194–236. Sciendo, 2018. http://dx.doi.org/10.1515/9783110601299-009.
Full textConference papers on the topic "Archivi musicali"
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Duque, Carlos. "The Archive of Dodecaphonic Sketches in Valls." In Roberto Gerhard (1896-1970): Re-appraising a Musical Visionary. University of Huddersfield, 2021. http://dx.doi.org/10.5920/dodecaphonicsketches.
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Brunner, Georg. "Example of the Connection Between Musicology and Music Education for the Preservation of Cultural Heritage." In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-2.
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For schools, the fundamental question is to what extent cultural heritage, and here specifically classical music, can play a role. In the scope of this paper, we will take an approach that places aspects of musicological research at the centre of music education. What role can musicological research play at schools and universities? In the following article, we will show how musicological (basic) research methods can be integrated into university teaching and school music lessons through relevant questions in a project-like approach. The focus is on exploring the musical culture of a region through archival work.
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Musil, Ondřej. "Filmová hudba jako prostředek popularizace národních hudebních tradic." In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-5.
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In general, the paper focuses on the potential of film music to transmit and preserve the typical features and character of national musical traditions in their authentic and stylized form. Specifically, the text introduces the musical peculiarities of selected cultures and nations, which we encounter in mainstream audiovisual works in the form of location links. The use of archival (non-original) music in some film genres is also viewed marginally. The aim of the paper is to point out the basic procedures used in film music to express the local or historical character of the narrative, musical traditions of the displayed countries and cultures, as well as the possibilities of their popularization and use in music education.
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Koukopoulos, Dimitrios, Dimitrios Tsolis, and Georgios P. Heliades. "Ionian Music Archive: Application of digitization, management and dissemination technologies for musical cultural heritage." In 2014 5th International Conference on Information, Intelligence, Systems and Applications (IISA). IEEE, 2014. http://dx.doi.org/10.1109/iisa.2014.6878753.
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Deisinger, Marko. "Fortschrittliche Technologie im Dienste eines Antimodernisten. Heinrich Schenker und der österreichische Rundfunk." 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/10.25366/2020.52.
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The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At first, this opposition applied to new technologies as well. Despite his skepticism, he purchased a radio shortly after the Austrian Broadcasting Corporation (RAVAG) started broadcasting in October 1924 and soon became an avid radio listener. Schenker quickly grasped the advantages of this new transmission medium and used it to further his own interests, aided by personal contacts with the RAVAG. In 1928, his associate Otto Erich Deutsch delivered a radio lecture co-authored with Schenker about the goals of the “Archive for Photograms of Musical Master Manuscripts” which was founded at Schenker’s instigation. In 1934, the RAVAG sponsored a competition, awarding the best text to a song fragment by Franz Schubert which in turn was discovered by Deutsch. Since the textless fragment lacks the final measures, Schenker had previously composed an ending for the song which was also performed on the radio.
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Covaci, Marinela. "SHARING THE DIGITAL RESOURCES." In eLSE 2018. Carol I National Defence University Publishing House, 2018. http://dx.doi.org/10.12753/2066-026x-18-269.
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The National Library of Romania shares digital resources, providing access to knowledge and cultural heritage, through three online platforms. These are: a) The Traditional Virtual Catalog for the books published before 1993. It is the virtual image of the traditional catalog which is organized alphabetically by author name in the appropriate folders physical drawers. 1,600,000 sheets are structured in 1600 folders, and a folder contains on average 1,000 sheets scanned catalog. Book-to-Book Platform, a crowd-cataloguing tool, provides both search and retrieval of bibliographic information in virtual catalog of books traditionally published before 1993 and the possibility to learn and contribute voluntarily in the development of the catalog by creating associated metadata catalog sheets scanned. Book-to-Book is a collaborative project.Through specialized internships and specialized seminars in National Library of Romania, students from Faculty of Letters are better prepared for integration in labor market, achieving skills and abilities, a good level of professional preparation The platform and database was designed by the students from the Techical University Bucuresti. Accessible at http://bookathon.bibnat.ro/ b) The Online Catalog. The online catalog web component is offered determined by the integrated library system, Aleph and contains bibliographic informations about documents in the library collections since 1993: books, periodicals, multimedia documents, periodical articles culture. In the online catalog, defined by logical databases, The doctoral theses Referential, which provides access to online content thereof (by digitizing paper or archiving electronic content of CD attached by author) and digital library for blind (project Sound of pages) that disabled users have access to requested digitized works. Accessible http://alephnew.bibnat.ro:8991/F . c) The National Digital Library Started in 2009, it was conducted on dedicated library software, Digitool. It is comprised of digital collections created by digitizing special collections of documents in the National Library of Romania, organized by themes or after events. Currently includes the following collections: Historical Archive, Incunabula, Old Romanian books and bibliophile, Potographs of personalities, romanian illustrated postcards, picture postcards, manuscripts, old maps, musical scores, albums with engravings, exlibris, japanese prints, drawings Romanian etc. These collections are the result of research on copyright of items. The metadata and the thumbnails of the digital collections was harvested via OAI-PMH protocol and published in Europeana, keeping the source of the original URL and a digital objects, after a careful analysis of the metadata and a data migration process. Accessible at http://digitool.bibnat.ro/R . Databases have grown steadily and have become e-learning tools for some categories of users. The systems provide open resources, learning and navigating tutorials and contribute to the knowledgeable and creative society.
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Mukai, Hibiki. "An Interactive and Digital Puppeteering Interface for new musical expression (IDPI)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.
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Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
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Prieto Aguaza, Alberto. "Juan Rulfo: Fotografía, literatura y música. Experiencias y propuestas pedagógicas." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6750.
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En la primera parte de la comunicación pretendo sintetizar los aspectos básicos de la relación entre la obra literaria de Juan Rulfo (Pedro Páramo y El llano en llamas) y su cada vez más reconocida obra fotográfica. Si bien han sido marcadas ambas prácticas artísticas como independientes, no es menos cierto que comparten un idéntico origen poético y perceptivo sobre la vida y la muerte en general, y sobre el ser mexicano en particular, atendiendo en este sentido a la configuración social del país desde la colonización. El sincretismo religioso mexicano -sustrato indígena y catolicismo posterior-, así como la violencia de la colonización y los procesos revolucionarios posteriores influyen en la visión de Rulfo, pues la muerte, el olvido, la culpa y el rencor son aspectos que resuenan en el silencio y las sombras de sus tomas fotográficas y en las palabras de los fantasmas de Comala. Aprovechando el centenario del nacimiento de Juan Rulfo, he intentado acercar a estudiantes diversos la estética de Rulfo desde unos presupuestos interdisciplinares, explorando la conexión emocional de las imágenes como en un viaje de ida y vuelta, en el que las fotografías y las palabras se retroalimentan. En un primer momento decidí aprovechar dos contextos educativos de diferente ámbito en los que imparto clases desde hace años: la Escuela Internacional de Fotografía GrisArt y el Institut de música y bachillerato Oriol Martorell. Así, los alumnos del primer centro parten de las imágenes para llegar a los textos, y, viceversa, los del segundo leen la novela para acabar visualizando las fotografías. Como engarce complementario decidí incorporar la música a las propuestas pedagógicas, pues el silencio como elemento estético es capital en las tres disiciplinas, ayudando a envolver las fotografías y las palabras de Rulfo de otras lecturas y visualizaciones. Esto es lo que nos ofrece Ghosts of Comala, versión musicada de la novela de Rulfo, que ha compuesto Àlex Torío. A pesar de las diferentes propuestas, el acercamiento interdisciplinar a la obra de Rulfo se ofrece como un juego de asociaciones en el que se pueden compaginar, en diversas dosis y emparejamientos, fragmentos literarios, fotografías y música (con y sin texto). En una sesión en GrisArt, además de escuchar en directo temas del disco, participaron Ramon Reverte, editor creativo de RM, para tratar sobre el estudio y edición del archivo fotográfico de Rulfo, y la fotógrafa Anna Galí, autora de las imágenes del disco, remedo libre que compagina la atmosfera mortuoria del disco de Àlex Torío con las imágenes de la novela y las fotos de Rulfo. En último lugar, cabría destacar que las prácticas llevadas a cabo se presentan como un primer paso para avanzar en propuestas en las que los alumnos pasen de entender globalmente el mundo de Rulfo, a crear ellos, empleando alguno de los otros medios de expresión: así, realizar fotos en GrisArt a partir de los textos, o escribir textos y componer música a partir de las fotos, en el Instituto Oriol Martorell.
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Cabanes, Jose Luis, Federico Iborra-Bernad, and Carlos Bonafé-Cervera. "Reconstrucción virtual de ambientes urbanos a partir de fotografías históricas a través de Image Based Animations (IBA). La Plaza de la Virgen de Valencia alrededor de 1870." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6055.
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Reconstrucción virtual de ambientes urbanos a partir de fotografías históricas a través de Image Based Animations (IBA). La Plaza de la Virgen de Valencia alrededor de 1870. Jose Luis Cabanes Ginés¹, Federico Iborra Bernad², Carlos Bonafé Cervera3 ¹Departamento de Expresión Gráfica Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia. 2Departamento de Composición Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia 3Departamento de Ing. Cartográf. Geodesia y Fotogramtría. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia E-mail: jlcabane@ega.upv.es, f_iborra@yahoo.es, carboce1@topo.upv.es Keywords (3-5): virtual reconstruction, historical urban environment, image based animations Conference topics and scale: City transformations / Tools of analysis in urban morphology The recreation of the historical environment of emblematic urban spaces in our cities through interactive technologies, allows to extend their knowledge among the interested users while contributing to its assessment. When the documentary bases are photographs it is possible to carefully model the recorded elements using photogrammetry techniques based on 3D primitives, so that by means of an immersive navigation limited to certain points of view, an appearance of acceptable tridimensionality is obtained, where only isolated images of dispersed frames are available. The virtual recreation can be completed increasing its realistic appearance through its edition with animations of objects (for example, carriages) and characters, texts, musical setting, etc. The results can be presented in formats such as video or navigation through virtual reality helmets. From a selection of the first historical photographs of the Plaza de la Virgen, that we have obtained searching in several documentary sources, our multidisciplinary team is interested in a reliable, realistic and pleasant presentation of the urban environment of one of the most representative places in the city of Valencia, whose spatial configuration has changed significantly over the years. References (100 words) Braun, C., Kolbe, T. H., Lang, F., Schickler, W., Steinhage, V., Cremers, A. B., Förstner, W., Plümer, L., 1995. Models for photogrammetric building reconstruction. Computers & Graphics, Volume 19, Issue 1, pp. 109-118. Debevec, P., Taylor, C. J. and Malik, J., 1996. Modeling and rendering architecture from photographs: A hybrid geometry and image-based approach. SIGGRAPH’96, pp. 11–20. De Mesa, A., Regot, J., Nuñez, M. A. and Buill, F., (2009). Métodos y procesos para el levantamiento de reconstrucción tridimensional gráfica de elementos del patrimonio cultural. La iglesia de Sant Sever de Barcelona. Revista EGA, nº 14, pp. 82-89. Drap, P., Grussenmeyer, P. and Gaillard, G., 2001. Simple Photogrammetric Methods with ARPENTEUR: 3-D Plotting and Orthoimage generation. XVIII International Symposium CIPA 2001, Potsdam (Germany). International Archives of Photogrammetry, Remote Sensing and Spatial Information Sciences, nº 34 (Part 5/C7), pp. 47-54. El-Hakim, S., Beraldin, J. and Lapointe, A., 2002. Towards Automatic Modeling of Monuments and Towers. IEEE Proceedings of the International Symposium on 3D Data Processing Visualization and Transmission, 3DPVT 2002, Padua, Italy, pp. 526-531. Proyecto Barcelona Darrera Mirada, http://darreramirada.ajuntament.barcelona.cat/#historia/8/1 The Old New York, http://vimeo.com/160024074, https://vimeo.com/162572088
Reports on the topic "Archivi musicali"
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Ramos Arteaga, José Antonio. El carnaval de los señores: máscaras, pantomimas musicales y mojigangas en el archivo Zárate-Cólogan. Edicions de la Universitat de Lleida, 2019. http://dx.doi.org/10.21001/scriptura.2019.26.05.
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