Academic literature on the topic 'Emphase musicale'
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Journal articles on the topic "Emphase musicale"
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Bonikowski, Tomasz. "Tęsknota za człowieczeństwem. Dehumanizacja w muzyce gry Cyberpunk 2077." Przestrzenie Teorii, no. 39 (January 5, 2024): 121–39. http://dx.doi.org/10.14746/pt.2023.39.6.
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Video games are often analysed as textual objects. This default literary point of view, while providing valuable conclusions, fails to observe some essential points that are realised in different modes of narration. Here I will analyse the Cyberpunk 2077 video game from a musical perspective. I will be “listening to” the game rather than “reading” it. This kind of hermeneutical approach will highlight certain ideas of CP2077. I will focus on the issue of dehumanisation, and show that musically the game places special emphasis on this. I will point out the musical characteristics that can affect players and interpret the rationale behind it.
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Epstein, Shulamit, Cochavit Elefant, and Grace Thompson. "Music Therapists’ Perceptions of the Therapeutic Potentials Using Music When Working With Verbal Children on the Autism Spectrum: A Qualitative Analysis." Journal of Music Therapy 57, no. 1 (December 9, 2019): 66–90. http://dx.doi.org/10.1093/jmt/thz017.
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Abstract While there are numerous descriptions of the use of music and its therapeutic potential by music therapists working with nonverbal children on the autism spectrum, only limited literature focuses on exploring how music therapists use music and perceive its therapeutic potential when working with children on the spectrum who have verbal skills. This qualitative study aimed to explore music therapists’ descriptions of the use of music and its therapeutic potential in their work with children on the autism spectrum who have verbal skills. Semi-structured interviews were conducted with six qualified music therapists from Israel and then analyzed according to the principles of interpretative phenomenological analysis (IPA). Three main themes were identified: (a) musical infrastructure, which describes how the music therapists facilitated musical experiences to support the children’s ability to regulate their arousal, attention and emotions; (b) the meeting point between musical and verbal playfulness, which reflects the music therapists’ beliefs about how musical experiences add vitality and support the development of both verbal and nonverbal imaginative play; and (c) musical responses, which describes the different ways music therapists use their voice and songs to interact musically with verbal children. The experiences described by the participants emphasize the importance of the therapist musically attuning to the child’s emotional, physiological, creative, and playful qualities, even when the child has verbal skills. These musical interactions help to create a shared experience between the child and therapist that are perceived to help the child’s different forms of regulation, continuity, and vitality within the play.
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Carrico, Alexandria. "From Craic to Communitas: Furthering disability activism through traditional Irish song." Journal of Interdisciplinary Voice Studies 4, no. 2 (October 1, 2019): 257–63. http://dx.doi.org/10.1386/jivs_00009_1.
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Abstract This piece offers an ethnographic account of work undertaken to bridge neurotypical and neurodivergent communities in Limerick, Ireland, through music-making workshops. By harnessing a common musical heritage in traditional Irish folk music, specifically its participatory dynamics, and its emphasis on story-telling, dialogue and inclusion, participants were able to musicalize their identities in ways that resonated with the integrative spirit of neurodiversity, against the logics of neurotypical, able-bodied assimilation.
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Wachi, Masatada. "Emphasize system for electronic musical instrument." Journal of the Acoustical Society of America 98, no. 4 (October 1995): 1837. http://dx.doi.org/10.1121/1.413366.
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Rašković, Božana, and Daliborka Popović. "Determinants of music development and the influence of music education on overall personal development." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 4 (2021): 367–86. http://dx.doi.org/10.5937/zrffp51-32598.
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The development of musical abilities and the space given to music education is determined by various factors. Disagreement in opinions about the role of some factors carries the danger of neglecting some activities that would contribute to the development of musical talent. In that sense, the aim of the paper is pointed at understanding the importance of hereditary and environmental factors for the development of musical abilities, with special emphasis on determining the activities of adults in the function of music education and achievement, but also overall development. Applying the method of theoretical analysis, a comparison of different conceptual approaches was performed, as well as of the results of the conducted research and the conclusions of the authors. After considering these issues, it is concluded that although debates about giving preference to certain factors still exist, there is no dilemma that innate and environmental factors are both important, but not in themselves without the activities of an individual. Accordingly, the role of parents, educators, and teachers in motivating and provoking children's musical development with adequate musical content, overall communication, and atmosphere was emphasized. The pedagogical implications are contained in the above recommendations for the correct approach in creating musical content and a stimulating environment. Future research should be focused on examining and possibly improving the competencies of professionals-educators and teachers-to discover and support musically gifted children
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Hidayatullah, Riyan. "Pendidikan Musik dalam Bingkai Pengalaman Estetis dan Kultural." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 4, no. 1 (June 25, 2022): 18–25. http://dx.doi.org/10.24036/musikolastika.v4i1.81.
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Music education can be seen from two dimensions. First, as a contagion concept whose output is musical skills inherent in a person. Second, music education is a means to achieve certain learning goals. For example, music is used to teach children about the environment. At this level, music education is used as a tool to introduce someone to musical experiences. Musical experience can be done with an emphasis on aesthetic and cultural values. This notion is done by providing insight that develops learning to apply the values of creation and appreciation. This conceptual article attempts to generate ideas and justifications for the concepts of music education in order to make an original contribution in the form of key and logical arguments that are communicated effectively. Learning experiences that are supported by these aspects make a person educated musically. Aesthetics relates to the values of goodness and beauty that can be transmitted. Meanwhile, culture is a means of introducing and strengthening identity. These strategies are concepts embodied in music education.
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Wollman, Elizabeth L. "How to Dismantle a [Theatric] Bomb: Broadway Flops, Broadway Money, and Musical Theater Historiography." Arts 9, no. 2 (May 29, 2020): 66. http://dx.doi.org/10.3390/arts9020066.
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The Broadway musical, balancing as it does artistic expression and commerce, is regularly said to reflect its sociocultural surroundings. Its historiography, however, tends for the most part to emphasize art over commerce, and exceptional productions over all else. Broadway histories tend to prioritize the most artistically valued musicals; occasional lip service, too, is paid to extraordinary commercial successes on the one hand, and lesser productions by creators who are collectively deemed great artists on the other. However, such a historiography provides less a reflection of reality than an idealized and thus somewhat warped portrait of the ways the commercial theater, its gatekeepers, and its chroniclers prioritize certain works and artists over others. Using as examples Ain’t Supposed to Die a Natural Death (1971), Merrily We Roll Along (1981), Carrie (1988), and Spider-Man: Turn Off the Dark (2011), I will suggest that a money-minded approach to the study of musicals may help paint a clearer picture of what kinds of shows have been collectively deemed successful enough to remember, and what gets dismissed as worthy of forgetting.
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Кривошея, Ігор. "Етноісторичні мотиви (сюжети) в музичному мистецтві України другої половини 18 – початку 19 століття." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, no. 47 (March 19, 2024): 35–44. http://dx.doi.org/10.31652/2411-2143-2024-47-35-44.
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The purpose of the article is to study ethno-historical motifs in the musical art of Ukraine in the second half of the eighteenth and early nineteenth centuries, with a special emphasis on folk art and its influence on the development of orchestral, choral and individual musical performances. The article examines the cultural and social changes of this era and their impact on the evolution of kobza and bandura art, which served not only as a means of musical expression but also as an important element of preserving national identity and historical memory. The article describes in detail the ethno-historical motifs that were manifested through musical art, reflecting social moods, historical events and the heroic past of the nation. Considerable attention is paid to the analysis of the interaction of folk traditions with professional art forms, revealing the richness and diversity of folk art of that time. The research methodology is based on an integrated approach to the study of historical, musical and cultural aspects, using archival documents and scientific sources, which allows a comprehensive assessment of the influence of ethno-historical motifs on the formation of the cultural landscape of Ukraine in the period under study. Particular attention is paid to the role of kobzars and bandura players, who, by performing historical and contemporary themes, contributed to the preservation of national identity and the reproduction of cultural heritage. The scientific novelty of the study lies in an in-depth analysis of the contribution of musical groups and individual performers to the development of the region’s art, with an emphasis on their interaction with folk traditions and professional music in the context of historical and cultural processes. Conclusions. The emphasise the importance of studying ethno-historical motifs in the musical art of the late eighteenth and early nineteenth centuries as key elements in the formation of Ukraine’s cultural identity, pointing to the need for further research in this area to better understand the role of musical art in the contemporary cultural context.
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Schleuse, Paul. "“A Tale Completed in the Mind”: Genre and Imitation in L'Amfiparnaso (1597)." Journal of Musicology 29, no. 2 (2012): 101–53. http://dx.doi.org/10.1525/jm.2012.29.2.101.
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Musical histories before the twentieth century consistently described Orazio Vecchi's L'Amfiparnaso (published in 1597) as an early or nascent form of opera, despite the composer's explanation that the work is an aural spectacle, not a visual one. Later scholars have persisted in viewing L'Amfiparnaso as a fundamentally theatrical work (in a notional genre called madrigal comedy), designed for quasi-dramatic performance before a listening audience. A close reading of this historiography, along with a partial reconstruction of the membership and movements of the Gelosi and Uniti theater companies in the 1590s, disproves the widely held assumption that L'Amfiparnaso was composed and performed in 1594, and suggests that its characters' names refer to specific actors who performed with the Uniti in Bologna in 1595 and 1596. This new account of the book's origin opens it up to interpretation as a recreational collection of musical imitations of theatre, rather than as an incomplete “script” for a novel kind of dramatic performance. Through its diverse musical styles and poetic registers (Vecchi penned both the poems and the music), as well as its unusual custom-made woodcut illustrations, L'Amfiparnaso presents scenes whose range defies cinquecento theatrical convention. Urban comic dialogues share the imagined stage with tragicomic monologues, idiosyncratic musical dialogues are found alongside serious madrigals, and the woodcuts depict both characteristic comic and pastoral stage settings. As a whole, then, L'Amfiparnaso represents—in Vecchi's words—“almost all the actions of the private man.” This emphasis on variety locates the book firmly within the poetic sphere of Vecchi's other large-scale collections, Selva di varia ricreatione (1590) and Convito musicale (1597), and adds special resonance to his claim that those seeking “a complete tale” in L'Amfiparnaso will find it only “in the mind.”
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Dakon, Jacob M., and Elene Cloete. "The Violet experience: Social interaction through eclectic music learning practices." British Journal of Music Education 35, no. 1 (September 7, 2017): 57–72. http://dx.doi.org/10.1017/s0265051717000122.
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In this qualitative case study, we used participant observation and interviews to examine Violet, a Flemish string youth orchestra. In doing so, we identify the qualities that constitute an ‘eclectic’ ensemble space, herein defined as a musical environment that uses a blend of informal and formal learning practices. Moreover, we emphasize how members benefit musically, socially, and personally from such spaces. Our findings suggest that a blend of eclectic practices create a music space that promotes social engagement, social interaction, and peer learning among members. Additionally, eclectic music spaces allow for personal development and nurture self-appreciation. An eclectic ensemble space thus provides a rich alternative to more traditional forms of music ensemble instruction.
Dissertations / Theses on the topic "Emphase musicale"
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Naëck, Krishvy. "Interroger l’idéologie du studio Disney par la (re)composition musicale : une approche alternative de l’analyse filmique : La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992)." Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080055.
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Notre travail concernant Disney s’inscrit dans le champ de la musique de film, et même si le studio a fait l’objet de nombreuses recherches tant sur des questions esthétiques que culturelles, il reste intéressant à étudier, car il peut ainsi devenir l’objet de recherche, non sur l’originalité d’un corpus, mais sur un déplacement de la méthode, nous permettant d’interroger l’idéologie à l’œuvre. Notre thèse concentre son attention sur La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992) où il nous semble que, en recourant à la recomposition de la musique de certaines séquences des films, nous puissions faire jouer à la part de virtualité du texte filmique un rôle dans cette entreprise critique : retrouver la voix des héroïnes Ariel, Belle et Jasmine. Si un geste de recomposition musicale peut nous aider à penser ce rapport au personnage, c’est parce que nous pensons que la musique peut faire entendre la virtualité d’un film (et plus précisément de ses personnages), et devenir par cela un geste d’analyse critique de son idéologie. La recomposition musicale met en acte les allers-retours indispensables à la compréhension des séquences que nous travaillerons : elle redonne corps aux espaces de résonance du film et compose les affleurements d’une promesse initiale proposée par le film vis-à-vis de son héroïne. Ces allers-retours nous permettent de retrouver l’importance des numéros musicaux. En prolongeant notre analyse par le prisme de l’intermédialité, nous réfléchissons à la porosité avec la scène de Broadway (ou plus précisément ici avec le off-Broadway) qui permettent des doubles lectures issues des numéros musicauxFrom aesthetics to cultural studies, Disney has been the subject of many studies. Thanks to this prolific research, it is possible de study it by another methodological angle to understand the ideology of and within the movies. Within the academic field of film music, our thesis will draw its attention on The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992). It seems that, thanks to an alternative version of the original score that we would compose, we may bring the potentiality inscribed in the movie to be a part of our critical study: find the heroines’ voice Ariel, Belle and Jasmine. We think that this method will enable us to take account of the character’s consistency for the music can be a way to hear the potentiality of a movie (and specifically here, the characters), so it will be an opportunity to discuss Disney ideology. The musical recomposition enact the back and forth inside the different moments of the movie to help us understand what is at stake: it enlightens the resonances between the sequences and compose the surfacing promise initially build-up by the movie towards the heroine. It also helps us thinking about the movie’s interactions while getting to the surface the aforementioned promise the movie was trying to stop from actualising. By extending our analysis through the prism of intermediality, we consider the porosity of theses musical numbers with the Broadway stage (and more accurately the off-Broadway) whose enable us to do dual readings of the movie. All the music in its connexion to the rest of the audio-visual complex enable us to think about the power relations which occurs in the movie
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Peters, Nils. "Sweet [re]production: developing sound spatialization tools for musical applications with emphasis on sweet spot and off-center perception." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97071.
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This dissertation investigates spatial sound production and reproduction technology as a mediator between music creator and listener. Listening experiments investigate the perception of spatialized music as a function of the listening position in surround-sound loud- speaker setups.Over the last 50 years, many spatial sound rendering applications have been developed and proposed to artists. Unfortunately, the literature suggests that artists hardly exploit the possibilities offered by novel spatial sound technologies. Another typical drawback of many sound rendering techniques in the context of larger audiences is that most listeners perceive a degraded sound image: spatial sound reproduction is best at a particular listening position, also known as the sweet spot.Structured in three parts, this dissertation systematically investigates both problems with the objective of making spatial audio technology more applicable for artistic purposes and proposing technical solutions for spatial sound reproductions for larger audiences.The first part investigates the relationship between composers and spatial audio technology through a survey on the compositional use of spatialization, seeking to understand how composers use spatialization, what spatial aspects are essential and what functionalities spatial audio systems should strive to include.The second part describes the development process of spatializaton tools for musical applications and presents a technical concept. The Virtual Microphone Control (ViMiC) system is an auditory virtual environment that recreates a recording situation through virtual sound sources, virtual room properties and virtual microphones. A technical concept is presented to facilitate artistic work with spatial audio systems and to allow the combination of different spatialization tools.The third part investigates the perception of spatialized sounds as a function of the listening positions in multichannel sound systems. Perceptual experiments were designed to understand the multidimensional nature of an off-center sound degradation and to propose concepts to improve the listening conditions for larger audiences.This research extends our understanding of spatial audio perception and has potential value to all those interested in spatial audio quality, including designers, creators and specialists in the fields of acoustics, music, technology and auditory perception.Cette thèse a pour objet l'étude des dispositifs de production et de reproduction des sons spatialisés. Plus particulièrement, ce travail comporte plusieurs expériences évaluant l'influence de la position d'un auditeur au sein d'un dispositif de haut-parleur de type "surround" sur la perception d'oeuvres musicales. Au cours des 50 dernières années, de nombreuses applications destinées à la mise en espace de sources sonores ont vu le jour. Cependant, deux problèmes principaux persistent. D'une part, il semble que les artistes n'exploitent que très superficiellement le potentiel de ces nouveaux outils de création. D'autre part, dans la majeure partie des cas, lorsque les dispositifs de reproduction de sons spatialité sont utilisés pour un grand nombre de spectateurs, seulement une fraction du public peut vraiment percevoir les nuances et subtilités de la spatialisation; ces privilégiés se situent dans une zone d'écoute plus connue sous le nom de "sweet spot", caractéristique des systèmes de reproduction du son dans l'espace. La recherche systématique de solutions à ces deux problèmes constituent le cœur de ce travail. Cette thèse est divisée en trois parties. Dans la première, grâce à un sondage effectué auprès de compositeurs, nous avons essayé de mieux cerner comment la spatialisation s'intègre dans leur processus de composition, et aussi quels sont leurs exigences vis-a-vis des systèmes de spatialisation afin de faire l'inventaire des fonctionnalités essentielles d'un tel système. Dans la seconde partie de cette thèse, le développement d'un nouvel outil pour la mise en espace de sources sonores est présenté: le système Virtual Microphone Control (ViMiC). Cette application est un environnement auditif virtuel (EAV) qui permet de recréer des conditions d'enregistrement particulières grâce à la modélisation de salles, de microphones et de sources sonores. Une approche technique permettant l'utilisation facile de plusieurs outils de spatialisation à des fins artistiques est aussi présentée. Enfin, dans la troisième partie de cet ouvrage, les résultats de différentes études perceptives sont détaillés pour identifier l'influence de la position des auditeurs lors de performances en son "surround". Ces études ont été mises en place afin de caractériser de manière approfondie la dégradation de la perception sonore en fonction de la position d'un auditeur. Des solutions pratiques permettant de minimiser ces effets négatifs sont aussi proposés. Ce travail de recherche permet d'étendre notre compréhension de la perception des sons spatialisés. D'autre part, cette étude est certainement précieuse pour ceux et celles travaillant à l'amélioration de la qualité des sons spatialisé, qu'ils soient techniciens, compositeurs, spécialistes en acoustique, en musique ou encore en perception auditive.
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Heuchemer, Dane Owen. "Italian musicians in Dresden in the second half of the sixteenth century, with an emphasis on the lives and works of Antonio Scandello and Giovanni Battista Pinello di Ghirardi /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063469h.
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Diss.--Philosophy (musicology)--Cincinnati (Ohio)--College-Conservatory of music, 1997.Contient la musique de 6 messes (1572), ainsi que du 1er livre de chansons napolitaines à 4 voix d'Antonio Scandello, et le 2e livre de chansons napolitaines à 3 voix de G.B. Pinello. Bibliogr. p. 277-283 (t.1).
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Pearce, Kevin (Conductor). "A Descriptive Study of the Musical Backgrounds of Orchestral Concert Attendees, with an Emphasis on Past Participation in School Music Programs." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505209/.
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This was a descriptive study that was completed to gather information about musical backgrounds of orchestral concert attendees, and to determine if those attendees perceived relationships between past participation in school music programs and current patronage of classical music concerts. Participants completed a survey about their musical experiences from childhood through adulthood, as well as memories from school music programs. Results and analysis of the responses identified common themes among participants' childhoods, their schooling and private lessons, experiences that served as gateways to classical music listening, the aesthetic benefits that they found in concert attendance, and negative responses that they had to music participation. Results also found a large number of pieces and composers that participants recalled from past participation in school music programs. Findings from this study analyze why these experiences were important to participants and why they might serve as motivation to attend classical music concerts or continue to support them. Implications of this study include suggestions for professional music organizations, school music educators, professional classical musicians, and church music directors. Suggestions for further research based on this study's findings are also included.
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Wheeler, Ellen Jayne Maris. "The Mignon Lieder of Goethe's Wilhelm Meisters Lehrjahre : a study of literary background and musical evolution with particular emphasis on Hugo Wolf /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1987.
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Seitz, Elizabeth A. "Die schöne Müllerin: in the context of early 19th century musical and poetic trends with an emphasis on its relation to the settings of Ludwig Berger." Thesis, Boston University, 1989. https://hdl.handle.net/2144/22550.
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Still, Tamara G. "Paul Fritts and Company, organ builders : the evolution of the mechanical-action organ in the United States during the 20th century with historical emphasis on the instruments of Paul Fritts /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11254.
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Bogner, Ryan. "A study of the factors that influence compositions of common texts with an emphasis regarding the text of Te Deum settings by Antonín Leopold Dvořák and Franz Joseph Haydn." Thesis, Kansas State University, 2011. http://hdl.handle.net/2097/9096.
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Master of MusicDepartment of Music
Joshua Oppenheim
Julie Yu Oppenheim
The Te Deum chant began in the Roman Catholic Church in prayer, and like many other psalms used in the Mass, it has evolved into a concert piece with settings composed for coronations, military victories, and other festive occasions. This author has identified two significant settings of this text by Joseph Franz Haydn and Antonín Leopold Dvořák for this discussion to study how common factors (primarily a common text) influence their compositions. Chapter I provides the purpose of the study, a brief description of related research, description of the appendices, and analytical criteria for examining the Te Deum settings. Chapter II presents a study of the ancient Te Deum psalm and its text. Topics for discussion include a brief overview of the history of chant. In regards to the Te Deum, further studies are included on its history, uses within prayer, the text, melody, and other uses of the Te Deum. Chapter III contains an in-depth analysis of the Haydn Te Deum (HXXIIIc:2) and the Dvořák Te Deum (Op. 103, B176, [Op. 93, Op. 98]). Analytical criteria for examining these settings consist of: a brief biographical sketch along with each composers compositional characteristics and reasons for commissioning this piece; discussions on general characteristics, structural and formal design, themes, melodic/harmonic characteristics, rhythmic/metrical/tempo characteristics, articulations, dynamics, texture, performance, pedagogical, and conducting considerations. Chapter IV summarizes general trends in the usage of the text of Te Deum. Information for this final chapter is derived from the in-depth analysis, the ancient history of the Te Deum, and other settings of the Te Deum text examined in sources similar to this document. The findings contain summaries of the musical elements listed above as well as general and specific commonalities of textual influence between the selected Te Deum settings. Appendix A provides the complete text of the Te Deum psalm with English translations and melody. Appendix B provides a score analysis of Te Deum (HXXIIIc:2). Appendix C provides a score analysis of Te Deum (Op. 103, B176, [Op. 93, Op. 98]).
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Smith, Felicity. "The Music of Rene Drouard de Bousset (1703-1760): a Source Study and Stylistic Survey, with Emphasis on His Sacred Output : a thesis submitted to the New Zealand School of Music in fulfilment of the degree of Master of Music in Musiology." New Zealand School of Music, 2008. http://hdl.handle.net/10179/1114.
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Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739).
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Middenway, R. "'If music and sweet poetry agree' : the marriage of two art-forms, with particular emphasis on speech rhythm & inflection, dramatic intensity & musical coherence." Thesis, 2015. https://eprints.utas.edu.au/22903/7/Middenway_whole_thesis_ex_pub_mat.pdf.
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This applied research project has focussed on the sequence of compositional challenges faced when setting verse to music, its principal output a folio of settings of verse spanning thirteen centuries. For the sake of general accessibility, the texts selected were predominantly in English, with two sets in translation from the original Japanese and one in Latin. The works included in the folio are: a choral canzonet; a duet; four complete song cycles and extracts from a fifth; a cantata for solo voices, choir and chamber ensemble; and a piece for two solo voices and orchestra. To provide a broader compositional context, excerpts from two of the other works completed during the project are included in the folio: from a piano sonata, and from a new realisation of the Latin medieval church opera, The Play of Daniel. Three other instrumental pieces completed during the project are omitted from the folio.
Experience as a singer, choral conductor, opera production and stage manager and long-time music and opera critic has inevitably informed my creative practice. In this Exegesis I identify some composers whose approaches to word-setting have consciously and no doubt unconsciously influenced my personal approach over the years, and consider ways in which specific works of several of them might have influenced some aspects of the pieces in the folio. In the core of the exegesis I consider two key works in the folio, documenting in varying detail the procedures employed in text selection and analysis, and subsequently in musical synthesis. But the overall creative process depends on unconscious art as much as conscious craft; in this contextualising document I consider the verse itself and the evanescent clouds of ideas and emotions that evidently drove the various poets, my personal responses, and the musical processes by which I set out to communicate these ideas and emotions to performers and audiences, balancing craft and art with the aim of illuminating the verse.
Books on the topic "Emphase musicale"
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Bajzek, Dieter. Percussion: An annotated bibliography with special emphasis on contemporary notation and performance. Metuchen, N.J: Scarecrow Press, 1988.
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Spectral Analysis of Musical Sounds with Emphasis on the Piano. Oxford University Press, 2015.
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Racy, A. J. Musical Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.23.
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This chapter studies musical improvisation from the perspective of a performing musician and ethnomusicologist. Informed by personal experience and theory, the author explores improvisation in terms of two broadly conceived yet closely interconnected realms, musical artistry and cultural interpretation. Examples from different world contexts are presented with emphasis on the author’s area of expertise, especially the Arab World, Turkey, and Iran. Topics addressed include musical mode, emotion, ecstasy, and the cultural values and meanings attached to improvisatory practice. Cross-cultural musical fusions are closely studied. Through analysis of specific performance events, this research highlights the symbolic, social, political, and ideological meanings as well as the improvisatory artistry.
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Sheppard, W. Anthony. Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.001.0001.
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Extreme Exoticism: Japan in the American Musical Imagination offers a detailed and wide-ranging documentation and investigation of the role of music in shaping American perceptions of the Japanese, the influence of Japanese music on American composers, and the place of Japanese Americans in American musical life. This book covers over 150 years of American musical history, from the first American encounters with the Japanese in the mid nineteenth-century to today, as it reveals the central role of music in American japonisme. Nearly every musical genre, media, and form is discussed, as parallels between “high” and “low” art and connections between various art forms are explored. Particular emphasis is placed on popular song in both the Tin Pan Alley period and in more recent decades and on representations of the Japanese throughout the history of Hollywood film and Broadway musicals. Manifestations of the “Madame Butterfly” narrative are explored throughout a wide range of popular musical, cinematic, and theatrical genres. Musical representations of Japan were directly connected to efforts to reshape American perceptions of race and gender and for the purposes of political propaganda, particularly during World War II and the Cold War periods. The book also details the extensive influence of Japanese traditional music on modernist American composers and the pursuit of Japanese musical performance by numerous American musicians.
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Martincich, Dustyn, Phoebe Rumsey, Benae Beamon, Bud Coleman, Tome’ Cousin, Joanna Dee Das, Ramón Flowers, et al. Dance in Musical Theatre. Edited by Dustyn Martincich and Phoebe Rumsey. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350235564.
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From Oklahoma! and West Side Story, to Spring Awakening and Hamilton, dance remains one of the most important and key factors in musical theatre. Through the integration of song and dance in the ‘dream ballets’ of choreographers like Agnes de Mille; the triple threat performances of Jerome Robbins’ dancers; the signature style creation by choreographers like Bob Fosse with dancers like Gwen Verdon; and the contemporary, identity-driven work of choreographers like Camille A. Brown, the history of the body in movement is one that begs study and appreciation. Dance in Musical Theatre offers guidelines in how to read this movement by analyzing it in terms of composition and movement vocabulary whilst simultaneously situating it both historically and critically. This collection provides the tools, terms, history, and movement theory for reading, interpreting, and centralizing a discussion of dance in musical theatre, importantly, with added emphasis on women and artists of color. Bringing together musical theatre and dance scholars, choreographers and practitioners, this edited collection highlights musical theatre case studies that employ dance in a dramaturgically essential manner, tracking the emergence of the dancer as a key figure in the genre, and connecting the contributions to past and present choreographers. This collection foregrounds the work of the ensemble, incorporating firsthand and autoethnographic accounts that intersect with historical and cultural contexts. Through a selection of essays, this volume conceptualizes the function of dance in musical: how it functions diegetically as a part of the story or non-diegetically as an amplification of emotion, as well as how the dancing body works to reveal character psychology by expressing an unspoken aspect of the libretto, embodying emotions or ideas through metaphor or abstraction. Dance in Musical Theatre makes dance language accessible for instructors, students, and musical theatre enthusiasts, providing the tools to critically engage with the work of important choreographers and dancers from the beginning of the 20th century to today.
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Tan, Sooi Beng. Community Musical Theatre and Interethnic Peace-Building in Malaysia. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.33.
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Community musical theatre projects have played important roles in engaging young people of diverse ethnicities in multicultural and religious Malaysia to cross borders, deconstruct stereotypes, appreciate differences, and build interethnic peace. This essay provides insights into the strategies and dialogic approaches employed in two such community musical theatre projects that promote peace-building in Penang. The emphasis is on the making of musical theatre through participatory research, collaboration, ensemble work, and group discussions about alternative history, social relationships and cultural change. The projects also stress partnerships with the multiethnic stakeholders, communities, traditional artists, university students, and school teachers who are involved in the projects. Equally important is the creation of a safe space for intercultural dialogue, skill training, research, and assessments to take place; this a working space that allows for free and open participation, communication, play, and creative expressions for all participants.
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Fung, C. Victor. Complementary Bipolar Continua in Music Education. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0005.
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Classic Confucianism and classic Daoism were inspired by Yijing and were established during a period of nihilism. Both philosophical schools value human lives, expect individuals to improve continuously by self-cultivation, and recognize the world as a living organism. Despite their different emphases of dao, they are compatible to a great extent. For most people, it is necessary to utilize the different emphases to maintain a healthy diet, much like eating different types of food at different times of the day. Based on principles of yin and yang, the author proposes four complementary bipolar continua: active and passive musical motions, music teacher and learner roles, high-energy and low-energy activities, and familiar and unfamiliar musical experiences. The chapter ends with an explanation on how the complementary bipolar continua are connected among themselves and with the broader life.
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Merchant, Tanya. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0007.
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This conclusion considers the border-crossing process involved as women come together as a community, applying educational theorist Etienne Wenger's ideas about learning as engaged by a community of practice to musical activity—specifically to the musical activities of professional women musicians both inside and outside institutions. By contrasting practices within and beyond the Uzbek State Conservatory and by putting the rhetoric surrounding each of these musical styles into conversation, the diverse nature of women's musical contribution to the Uzbek national project comes into sharper focus. The more everyday context of a social gathering allows not only border crossing, but also an emphasis on the pleasure of music making and the joy of singing along. Institutions define musical genres, not musical experience. The conclusion emphasizes the complex relation of national identity to individual feminine experiences.
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Shrock, Dennis. Ludwig van Beethoven – Symphony no. 9. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0006.
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Chapter 6 begins with an Introduction that discusses the exceptional popularity of Beethoven’s final symphony. An historical overview of all nine symphonies follows, with emphasis on unique qualities, the genesis of the Ninth, and factors of its premiere. Other historical information includes biographical material about Friedrich von Schiller, his poem “An die Freude,” other musical settings of the poem, and Beethoven’s choice and arrangement of verses. Musical discussion of Beethoven’s Ninth focuses on the formal structures of all movements, the relationship of the first three movements to the fourth, and extra-musical characteristics. Performance practice topics include tempo based on character, metric accentuation, orchestration, and disposition of performers on stage.
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Sears, Ann. Political Currents and Black Culture in Scott Joplin’s Treemonisha. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0006.
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This chapter examines politics and black culture in Scott Joplin's Treemonisha, a love story that also lays emphasis on the main character's education and its benefits to her and the plantation folk, as well as the novel idea of a woman as a community leader. Much of Treemonisha's music parallels the Euro-American musical style employed by other American opera composers of the early twentieth century, but also incorporates nineteenth-century African American musical styles. This chapter first considers Treemonisha's African American musical elements before discussing some important musical signifiers of black identity in the opera, along with Joplin's use of language to impart cultural and political messages. It also explores Treemonisha's take on progress and education as well as its political content. It argues that through Treemonisha, Joplin was making a statement about the political, social, and economic status of African Americans in the early twentieth century.
Book chapters on the topic "Emphase musicale"
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Porter, Wendy J. "Musical-Linguistic Emphasis as Interpretation." In Early English Composers and the Credo, 34–65. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003194569-2.
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Jatiningtyas, Salsabila Putri, Danang Junaedi, and Veronikha Effendy. "Interaction Design for Digital Saron Musical Instruments Using Call and Response System and Rhythmic Emphasis Weighting Methods." In Advances in Visual Informatics, 127–38. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-90235-3_11.
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"Dramatic emphasis." In The Musical Madhouse, 66–68. Boydell & Brewer Ltd, 2003. http://dx.doi.org/10.2307/j.ctvc16mv1.40.
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"Setting the Scene." In Get Shown the Light, 22–44. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027324-003.
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This chapter contextualizes the Grateful Dead with regard to their musical and professional scenes. Musically, it focuses particularly on the increased presence in American musical consciousness of improvisational practices (coming from jazz, avant-garde, and world music perspectives); professionally, it discusses the maturation of rock as a musical tradition and the emphasis on dance and celebration in the San Francisco musical scene.
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Koenig, David M. "Harmonics in Musical Sounds." In Spectral Analysis of Musical Sounds with Emphasis on the Piano, 87–102. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780198722908.003.0004.
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Mordden, Ethan. "Imagine the Duchess’ Feelings." In Pick a Pocket Or Two, 90–106. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190877958.003.0007.
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This chapter looks at the work of Noël Coward, and presents a list of his musicals. Perusing the list, we can note that Bitter Sweet (1929) is the only classic. This is so more for its superb score than its functional book, which was full of snobby folk fussing over etiquette. The elements that are most memorable about Coward's musicals, are the songs, especially the witty lyrics. This chapter argues that no one in the world of the West End theatre besides W. S. Gilbert rivals Coward for his lyrics. Ironically, there is little wit in the scripts of Coward's musicals, the wit is to be found only in the lyrics and some of the revue sketches. Coward's revue songs emphasize his musical-comedy side, while his story shows tilt toward operetta in whole or part. This irony could be a result of Coward's musical illiteracy: he composed but could not write anything down. For most of his career, he used hired secretaries to help organize the music.
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Block, Geoffrey. "More Than a “Chemical Reaction”." In A Fine Romance, 147—C5T4. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197501733.003.0005.
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Abstract Ninotchka (MGM 1939), directed by the German immigrant Ernst Lubitsch, was a much-praised romantic comedy featuring the popular Swedish-born actress Greta Garbo. It gained additional distinction when in 1955 it was adapted into one of the first stage musicals to be based on a non-musical film, Cole Porter’s final Broadway musical Silk Stockings. Two years later, MGM adapted Silk Stockings into a film musical, the last film directed by Rouben Mamoulian and the last film to star Fred Astaire and Cyd Charisse as featured dancers. This chapter will argue that despite not entering the repertoire, the stage version remains important because it paved the way for the future that musical theater audiences currently inhabit, in which non-musical films serve as perhaps the major source of musical stage material. Despite this legitimate claim to fame, it is Mamoulian’s film version with its new emphasis on dance that disproves Ralph Waldo Emerson’s adage: “Imitation cannot go above its model.”
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Campbell, Patricia Shehan. "For Children: Prospects for Their Musical Education." In Songs in Their Heads, 167–224. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195111002.003.0004.
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Abstract This third section reflects on the dialogues and descriptions of children’s musical repertoire, practices, and thoughts and looks ahead to possible interventions: school music practices, training through lessons, and parent-guided musical enrichment for children. It considers who the children musically are au naturel—in their natural state—and suggests possibilities for all that they can musically become. Thus, this is prescriptive as well as descriptive, in that it acknowledges the voices of children and recommends channels for their development in and through music. It is important for me to reiterate that my thoughts here emanate not only from experiences of the children whose tales have been recounted here but also from a conglomerate of my experiences as a longtime teacher of children, and to emphasize my belief in the great benefits to be had from making moments to talk with children, to watch them at musical play, and to listen to their songs.
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Koenig, David M. "Analysis of Several Common Musical Sounds." In Spectral Analysis of Musical Sounds with Emphasis on the Piano, 62–86. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780198722908.003.0003.
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Magee, Wendy l. "Disability And Identity In Music Therapy." In Musical Identities, 179–97. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198509325.003.0011.
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Abstract In the previous chapter, MacDonald and Miell presented data that revealed how acquiring musical skills within the shared experience of music workshops affects self-concepts and identity. This chapter will expand upon this with reference to music therapy. Drawing on the results of a research study (Magee, 1998), this chapter reveals the effects on personal identity when disability is acquired during adulthood, and examines the role of music in therapeutic interventions with individuals struggling with changes in their own identities. Particular emphasis is given to the therapeutic processes involved in music therapy, and to the potential for alliance between therapist and client in using music as an agent for change. The role of the music therapist in facilitating shifts in negative selfconstructs will also be explored.
Conference papers on the topic "Emphase musicale"
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Davies, Matthew E. P., Mark D. Plumbley, and Douglas Eck. "Towards a musical beat emphasis function." In 2009 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA). IEEE, 2009. http://dx.doi.org/10.1109/aspaa.2009.5346462.
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Carvalho, Fabio, Flávio Luiz Schiavoni, and João Araújo. "Per(sino)ficação." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10456.
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The bell’s culture is a secular tradition strongly linked to the religious and social activities of the old Brazilian’s villages. In São João del-Rei, where the singular bell tradition composes the soundscape of the city, the bell’s ringing created from different rhythmic and timbral patterns, establish a language capable of transmitting varied types of messages to the local population. In this way, the social function of these ringing, added to real or legendary facts related to the bell’s culture, were able to produce affections and to constitute a strong relation with the identity of the community. The link of this community with the bells, therefore transcends the man-object relationship, tending to an interpersonal relationship practically. Thus, to emphasize this connection in an artistic way, it is proposed the installation called: PER (SINO) FICAÇÂO. This consists of an environment where users would have their physical attributes collected through the use of computer vision. From the interlocking of these data with timbral attributes of the bells, visitors would be able to sound like these, through mapped bodily attributes capable of performing syntheses based on original samples of the bells. Thus the inverse sense of the personification of the bell is realized, producing the human “bellification”.
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Simion, Adrian, and Stefan Trausanmatu. "E-LEARNING TOOLS FOR ETHNOMUSICOLOGICAL STUDENTS BASED ON MUSIC INFORMATION RETRIEVAL TECHNIQUES." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-025.
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The content analysis of audio data is a paradigm in which algorithms are created and deducted from the data, allowing machines to "understand" the content of the audio signals and to process it further. This paper emphasis on applying musical information retrieval methods in order to provide a set of tools that could aid students in Musicology and Ethnomusicology. The analysis is done in a similar way that the famous composer Bela Bartok conducted his analytic study on folk songs, but making this process automatic through machine learning. Aesthetic reasoning has been used throughout this process in the attempt to synchronize the extracted relevant computed musicology data to ethnomusicology theory. By applying aesthetic means that are computed by the machine, we can regard this process an "Automated Artificial Musical Aesthete". Also the input data is being processed by using internal metrics that are relevant to a particular musical genre. The internal algorithm clusters this data finding characteristics that could be particular to more then one genere, thus leading to the link with the Musicology and Ethnomusicolgy fields that are concerned with the broad study of music, emphasizing on on more than one dimension. This set of tools could provide to students insight on the interconnections between the musical genres like social or cultural implications that were not so obvious at first, or simply provide metrics for each genre that could be the start for future research. The authors reused already established open source methods and developed a micro-system in which these tools become modules of a broader system.
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Martinelli, Jose, Jessica Ivanovs, and Marcos Martinelli. "GERIATRIC EVALUATION IN 27 CASES OF MUSICAL HALLUCINATION." In XIII Meeting of Researchers on Alzheimer's Disease and Related Disorders. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1980-5764.rpda073.
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Background: Musical hallucination (AM) is a type of complex auditory hallucination described as hearing musical tones, rhythms, harmonies, and melodies without the corresponding external auditory stimulus. This type of hallucination is relatively rare and is seen less often than other types of hallucination. Such hallucinations can be continuous or intermittent and are usually accompanied by a clear and critical awareness on the part of the patient. AM are found mainly in elderly women with progressive hearing loss, usually due to ear diseases or lesions. They also occur in neurological disorders, neuropsychological disorders (eg dementia) and psychiatric disorders, especially depression. Objective: To evaluate clinical and neuropsychological issues of the elderly with Musical Hallucinations Methods: Twenty-seven outpatient patients clinic of Geriatrics and Gerontology at FMJ from January 2010 to October 2019 were selected Results: Of the 27 patients, 20 were women. The average age was 83.47 years. The most prevalent diseases were systemic arterial hypertension, osteoporosis, diabetes mellitus, hypothyroidism, osteoporosis, chronic obstructive pulmonary disease and dementia syndrome. With the exception of one patient, all had hearing loss. The songs were the most varied from Gregorian chant to lullaby. Many had this picture for months and continuously (day and night). 40% of them had no insight into AM. We emphasize that all these patients sought medical care with the main complaint of musical hallucination. Conclusion: In general, AM has an uninterrupted, fragmentary and repetitive character. They are involuntary, intrusive and have an apparent exteriority. They differ from the simple mental image of auditory sensation in that they appear to come from outside the individual as if they actually hear an external device playing music. Currently, it is estimated that about 2% of elderly people with hearing loss also have AM. The neuropsychological basis of AM is not fully established. The phenomenological study, especially the perception of complex sequences and consistency with previous auditory experience strongly suggest the involvement of central auditory processing mechanisms. Normal musical auditory processing involves several interrelated brain levels and subsystems. While the recognition of elementary sounds is done in the primary auditory cortex, the recognition of musical characteristics such as notes, melody and metric rhythm occur in a secondary and tertiary association center, which in turn, are greatly influenced by regions linked to memory and emotion.
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Tanasković, Marija K. "Učenje kroz pokret u pristupima muzičkom obrazovanju." In Nauka i obrazovanje – izazovi i perspektive. University of Kragujevac, Faculty of Edaucatin in Uzice, 2022. http://dx.doi.org/10.46793/noip.403t.
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The movement is related to dance and play, and it is significant for the musical development of an individual and his/her perception of music. Some research results show that learning through movement is familiar to children and can contribute to their development in many aspects (musicality, creativity, but also to their cognitive, social and physical development). Some approaches to music education focusing on the child, which is an imperative of modern upbringing and education, emphasize the importance of understanding the content of learning through sensory perception and practical activities. Music is associated with speech, movement and play, as these elements coexist in children. The paper gives an overview of approaches and methods (Dalcroze, Orff, Kodaly, Gordon) in music education in which movement has a dominant role and significance, as it activates not only the body and the mind, but also encourages the perception of music and its means of expression.
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Silva, Mariana O., and Mirella M. Moro. "Collaboration-Aware Hit Song Analysis and Prediction." In Anais Estendidos do Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/webmedia_estendido.2021.17603.
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We propose tackling the Hit Song Prediction problem through a multimodal form with songs’ features fused together. Specifically, we describe songs from three feature modalities: music, artist and album. Initially, we identify collaboration profiles in a success-based musical network, unveiling how professional connections can significantly impact their success. Then, we use time series and the Granger Causality test for assessing whether there is a causal relationship between collaboration profiles and artists’ popularity. Finally, we model the Hit Song Prediction problem as two distinct tasks: classification and placement. The former is a classical binary classification model and directly applies our fusion strategies. The latter is a modeling approach that ranks a song relative to a given chart, predicts hit songs, and provides comparative popularity information of a set of songs. Furthermore, we emphasize collaboration artists’ profiles as important features when describing their songs. Overall, our empirical studies confirm the effectiveness of our method that fuses heterogeneous data for both tasks.
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with Down's Syndrome, Children. "Correctional and Developmental Work with." In Human Interaction and Emerging Technologies (IHIET-AI 2022) Artificial Intelligence and Future Applications. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100839.
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The article examines the features of the use of new approaches to correctional and developmental work focused on children with mental and physical retardation, in particular, "sun children" (with Down syndrome) and "rain children" (with autism spectrum dis-order) in inclusive education. It highlights the theoretical material and owns view of the practical use of the synthesis of music and colour in the implementation of this activity. The paper elucidates the mental processes that occur during the processing of information in the hemispheres of the child's brain. It reveals the wave energy nature of colour and the associative relationship of colours with the sound of musical works. The light auditory and the creative-practical component of classes have been described. Particular emphasis has been placed on the "special" children’s characteristics of perception, behaviour and performance of colour music tasks. It has been shown that our proposed program of colour music therapy has a positive effect on the emotional sphere, improves the quality of communication, and enhances the ability to self-regulation, creative activity of children.
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Katsumata, Hiromi, and Bo Liu. "A drawing system with an interface that can be used to impose limits and unleash creativity." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001503.
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In order to enjoy creativity, the creators need to be given environmental restrictions. For example, there are rules such as Japanese Haiku or Chinese Zeku for poetry, or musical grammar for music, and these rules are supposed to enhance the creativity of the creator. However, most existing drawing software focuses only on making the process of completing a work comfortable, and does not provide much support for the goal setting process that requires environmental restrictions. In this study, based on research on creativity, such as the idea method, we were able to show that developing a drawing system that imposes environmental restrictions, such as the appearance of obstacles on the canvas, causes changes in the creativity of the subjects. In conventional drawing software, it is common to start the creative process with a blank canvas so that the painter can paint freely. However, in our experiments, many of the participants said that they were able to come up with more ideas and enjoy painting more when obstacles appeared on the canvas. By creating obstacles, we succeeded in approaching the characteristics of human visual cognition and structuring the creative process. Digital creative activities give us more control than analog creative activities. This advantage can be used to make the first step of the creative process, the idea generation process, more convenient. In analog creation, you could not choose irreversible methods such as creating obstacles on the canvas. The drawing software of the future will emphasize the process of externalizing human images and make the creative process more enjoyable, without the need to stick to a blank canvas.
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Mercean-Țârc, Mirela. "The genre of symphony in the transylvanian school of composition – the last seven decades." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.04.
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The term „school of composition” has been used mainly to define a group of composers whose directions in music creation meet two conditions: claiming from a founding- master and respecting the continuity of the traditions established by him, often going beyond the original model. In this sense, we should emphasize the contribution made by Professor Sigismund Todita to the establishment of the composition school within the “Gh. Dima” Academy of Music in Cluj-Napoca, one of the most active musical higher education institutions from Transylvania in the second half of the 20th century. A dominant figure by the authority conferred by erudition and his encyclopedic spirit, S. Toduţă formed entire generations of composers whose creative path also marked original orientations in contemporary Romanian music. Maestro Cornel Ţăranu took over the management of this composition school after the retirement of S. Toduţă, in the last two decades of the 20th century and the first decade of the new millennium. Currently, the composer Adrian Pop is the main coordinator of the destinies of the future music creators, Adrian Borza, Şerban Marcu and Cristian Bence Muk taking over the responsibility of consolidating a bright future for music composition in this prestigious Transylvanian school, The „Gh. Dima” Academy of Music from Cluj-Napoca The paper aims to highlight the role and the place of symphony in the creation of these composers, as the fruit of creative maturity, of the craft in the art of orchestral writing. At the same time, it will try to draw a global picture of the evolution of this genre in terms of stylistic stages, of the language of each composer and the adaptation to the orientations and the directions of contemporary music in the last seven decades.