To see the other types of publications on this topic, follow the link: Musical.
Journal articles on the topic 'Musical'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Musical.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Cherry, James M. "The Musical of Musicals (The Musical!) (review)." Theatre Journal 56, no. 4 (2004): 705–6. http://dx.doi.org/10.1353/tj.2004.0156.
Full text
2
Yanuar, Dani. "Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 10–18. http://dx.doi.org/10.33153/dewaruci.v14i1.2532.
Full textAbstract:
Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.
3
Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (September 2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.
Full textAbstract:
This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.
4
Mellers, Wilfrid. "Platform: Are Musicals Musical?" Musical Times 132, no. 1782 (August 1991): 380. http://dx.doi.org/10.2307/965879.
Full text
5
Restani, Donatella. "Aldrovandi’s Musical Legacy: not just Aristoxenus. Towards New Research Horizons." Aldrovandiana. Historical Studies in Natural History 3, no. 1 (July 12, 2024): 48–57. http://dx.doi.org/10.30682/aldro2401e.
Full textAbstract:
L’interesse di Aldrovandi per la musica come cultura, come mezzo per comprendere il mondo e i suoi abitanti, come nutrimento insostituibile per la curiosità intellettuale dello scienziato, è una pagina ancora da scrivere nella storia dei rapporti tra musica e scienza, nel XVI e nel primo XVII secolo. Concentrandosi sull’edizione a stampa della traduzione latina del trattato musicale di Aristosseno presente nella sua biblioteca, questo articolo delinea alcune altre direzioni di un progetto di ricerca sull’eredità musicale di Aldrovandi che esplorerà i trattati musicali antichi e contemporanei, nonché i suoni e la musica dei nativi trasmessi nelle narrazioni dei viaggiatori ed esploratori del Nuovo Mondo.
6
BOMBOLA, GINA. "FromThere's Magic in MusictoThe Hard-Boiled Canary: Promoting “Good Music” in Prewar Musical Films." Journal of the Society for American Music 12, no. 2 (April 5, 2018): 151–78. http://dx.doi.org/10.1017/s1752196318000068.
Full textAbstract:
AbstractIn 1941, Paramount releasedThere's Magic in Music, a film about a soprano who sings opera in burlesque and wins a scholarship to attend Interlochen. The movie's utopian view of art music, however, caused difficulties for the studio in regard to marketing, leading to a studio-wide debate over the film's title. Archival documents positionThere's Magic in Musicas a valuable case study for investigating the transitional period of musical film production between the Great Depression and the onset of World War II, particularly with respect to operatic musicals. Just prior to the United States’ entry into the war, Hollywood moved away from the escapist fantasy of 1930s cinema toward the realism that would mark the 1940s. To reboot fading interest in musicals, studios toyed with the formula of the backstage musical to focus more on dramatic narratives and star power.There's Magic in Musicthus serves as a lens through which we might examine changes both in musical film production and in notions of “good music” at the eve of World War II.
7
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.
Full textAbstract:
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.
8
Feng, Yizhang, and Kexu Chen. "On the inspiration of Lin-Manur-Miranda musical Hamilton." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 152–54. http://dx.doi.org/10.54097/6dyf4743.
Full textAbstract:
Lin-manuel-Miranda's musical "Hamilton" as the fastest in the history of Broadway music costs and began to profitable musical with its pioneer music style and the core values of drama structure in the world stage, the success of the Broadway musical is not only in the history, also for the development of world musical provides unprecedented possibilities.the success of Lin-Manuel Miranda's musical "Hamilton" has had a profound impact on the world of theater, particularly in the realm of musicals. Its pioneering music style and the core values of drama structure have opened up new possibilities for the development of musicals worldwide. The widespread appeal and profitability of "Hamilton" have inspired artists to experiment with different genres and storytelling techniques, pushing the boundaries of what is considered traditional musical theater. Furthermore, the global interest in historical and biographical musicals that "Hamilton" has generated has enriched the cultural landscape of musical theater, offering audiences a diverse range of stories and perspectives. Overall, "Hamilton" has left an indelible mark on the world stage, paving the way for future innovations in the field of musical theater.
9
Greenspan, Charlotte. "Death Comes to the Broadway Musical." Daedalus 141, no. 1 (January 2012): 154–59. http://dx.doi.org/10.1162/daed_a_00137.
Full textAbstract:
The Broadway musical is an excellent prism for viewing the narrative of American life – as it is, has been, and perhaps should be. In the first part of the twentieth century, musicals viewed life through rose-colored glasses; musicals were equivalent to musical comedy. Starting in the 1940s, the mood of musicals darkened. One indication of the new, serious tone was that characters in musicals died in the course of the show. This essay examines several questions relating to death in the Broadway musical, such as who dies, when in the course of the drama the death occurs, and how the death is marked musically. It concludes with a look at musicals involving the deaths of historical characters and at AIDS-related musicals, works whose assumptions and ideals are very far from those of the musical comedies of the early twentieth century.
10
Achille, Rosaria Anna. "AMY MARCY BEACH." Civitas et Lex 44, no. 4 (December 18, 2024): 45–54. https://doi.org/10.31648/cetl.10675.
Full textAbstract:
L’articolo è incentrato sulla figura di Amy Marcy Beach, artista talentuosa ed emancipata che, grazie alla sua determinazione e alla forza delle sue produzioni musicali, riuscì a superare le diffidenze e i pregiudizi che permeavano il mondo musicale dell’America puritana e conservatrice di fine Ottocento, riguardo alla possibilità per una donna di avvicinarsi alla composizione. The article focuses on the figure of Amy Marcy Beach, a talented and emancipated artist who, thanks to her determination and the strength of her musical productions, managed to overcome the mistrust and prejudices that permeated the musical world of puritan and conservative America of the late nineteenth century, regarding the possibility for a woman to approach composition.
11
Xu, Yexiaxin. "Social Media Marketing Strategy in Chinese Musical Theatre Industry." Communication, Society and Media 6, no. 4 (October 21, 2023): p15. http://dx.doi.org/10.22158/csm.v6n4p15.
Full textAbstract:
The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, and Amazing Musicals. The results provide insights into the characteristics of social media marketing strategies of musical theatre production companies and changes after covid-19 pandemic. The study results add to the rapidly evolving field of social media within the musical theatre industry marketing context. Moreover, it advocates for an active role for the musical companies to explore and actively participate in the customer and musical fan communities on social media.
12
Belymenko, Liliana. "Children's Musicals on the Stage of Modern Musical and Music and Drama Theatres in Ukraine." Bulletin of KNUKiM. Series in Arts, no. 47 (December 26, 2022): 110–16. https://doi.org/10.31866/2410-1176.47.2022.269609.
Full textAbstract:
The purpose of the article is to reveal the peculiarities of children’s musical productions on the stages of Ukrainian musical and music and drama theaters in dramaturgical, artistic-aesthetic, stylistic, and directing-production aspects. Research methodology. The systematic method (for researching the children’s musicals as an independent genre), the comparative method, the method of art history, and genre-style analysis (to identify the features of the domestic children’s musical development and the specific features of its productions on the stages of musical and music and drama theatres of Ukraine), as well as the method of generalisation, were applied. Results. Children’s musicals, presented in the repertoire of musical and music and drama theatres of Ukraine, represent a unique form of functioning of the national school with all its national and artistic and aesthetic features, as well as unlimited possibilities in the stage representation of holistic and multidimensional cultural layers of the past and present. The peculiarities of children’s musicals, their main genre, and aesthetic characteristics (tendency to a synthesis of arts, universal stage language, which organically combines dramatic, musical, flexible, and visual means of expression) are revealed in the example of modern productions. It is found that in accordance with the specifics and trends in the development of Ukrainian stage art of the first decades of the 21st century, the domestic children’s musical combines intercultural and national elements. The study revealed that the basis for the formation of Ukrainian children’s musicals is a variety of musical and dramatic genres varieties (zong opera, rock opera, musical comedy) and artistic and aesthetic principles of Broadway musicals. Scientific novelty. The dramaturgical, artistic and aesthetic, stylistic and directorial aspects of children’s musicals presented in the repertoire of musical and music and drama theaters of Ukraine at the present stage are investigated; the features of domestic children’s musicals are considered and their main characteristics are revealed; for the first time in the national art history the children’s musicals <em>Cat’s House </em>(Kytsyn Dim), <em>There</em> <em>Once Was a Dog </em>(Zhyv Sobi Pes), <em>School of Rock </em>are analyzed.
13
Bondarenko, Andrii. "Musical As Intonation Practice." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 78–86. https://doi.org/10.31866/2410-1176.46.2022.258619.
Full textAbstract:
The purpose of the article is to identify the musical genre features and its development prospects in Ukraine in terms of intonation practices. Methods. The article is based on a comprehensive analysis of the temporal and spatial characteristics of the musical language used in musicals, which allows determining the nature of the intonation practices involved, identifying what is common and what is different in works of this genre. Results. The article analyses the characteristic musical language features of early film musicals of the USA and the UK, early musicals of the USSR and musicals of Ukrainian authors of the independence period. Based on the analysis, the author concluded that despite the stylistic and even genre diversity of musicals of different historical periods and national schools, it is essential for composers involved in writing music for musicals to choose intonation practices that encourage its easy, hedonistic perception. For early American musicals, this choice implies using mostly major tonalities and abundant orchestrations involving elements of jazz. The emergence of rock and pop music in the 1960s changed the intonation palette of musicals, determining composers towards the intonation space of pop and rock music and later dance electronics. The intensification of stylistic searches of Ukrainian authors in this genre, mainly the focus on intonation practices of contemporary Ukrainian rock and dance electronics, shows that the potential of this genre in Ukraine has not yet been exhausted. The scientific novelty lies in studying the problem of intonation specificity of the musical, analysing “temporal and spatial” parameters such as harmonic, tempo and rhythm, genre and stylistic ties.
14
Duan, Shuyu, Youlin Li, and Ruiyan Wang. "Analyzing the Development Prospects of Song and Dance Drama Art and Integrated Media from The Greatest Showman." Communications in Humanities Research 14, no. 1 (November 20, 2023): 314–21. http://dx.doi.org/10.54254/2753-7064/14/20230510.
Full textAbstract:
As a Hollywood musical film released at the end of 2017, The Greatest Showman has earned more than 400 million dollars at the box office worldwide with its outstanding original songs and dance elements. It is a Hollywood musical film with a relatively good box office performance in recent years. Global research on musical drama has increased dramatically in recent decades, gradually forming a complete research system. However, it has not yet attracted enough attention in terms of artistic creation techniques of musicals. This article intends to analyze three aspects: the overall research of global musicals, the study of The Greatest Showman drama aesthetics, and the integration of musical, film, and media. Taking The Greatest Showman as an example explores the historical development of musicals and the dramatic art in movies and provides practical, theoretical sources for the creation and development of musicals.
15
Anderson, Natasha. "Narrative and Number in Busby Berkeley’s Footlight Parade." MUSIC.OLOGY.ECA 1 (September 11, 2020): 40–59. http://dx.doi.org/10.2218/music.2020.5697.
Full textAbstract:
The backstage film musical was a successful genre of the brief ‘Pre-Code’ era of American film history (1929-1934), in which audiences witnessed the inner workings of a theatre studio and watched the creation and performance of a musical production unfold. This essay focusses on one of these film musicals, Footlight Parade, and examines its key musical numbers: ‘Honeymoon Hotel’, ‘By a Waterfall’ and ‘Shanghai Lil’. Using these examples, the article analyses the relationship between musical number and film narrative, while relating the film to wider issues surrounding musicals in the ‘Pre-Code’ era and beyond.
16
Santo, Erickson Rodrigues do Espírito, and Arnaldo Nogaro. "COMPORTAMENTOS MUSICAIS NA EDUCAÇÃO MUSICAL." Vivências 19, no. 38 (January 1, 2023): 283–300. http://dx.doi.org/10.31512/vivencias.v19i38.870.
Full textAbstract:
Ao ressaltar a perda de alteridade da Grande Música em face da Indústria Cultural, Theodor W. Adorno vê, de uma forma dialética, o prejuízo musical que a Grande Música sofre na mídia sob o ponto de vista de horizonte musical bem como pedagógico. Assim, esse artigo, de natureza teórica e enfoque qualitativo, conduz-se pelo objetivo de problematizar, à luz do pensamento de Adorno, a respeito da diferença entre a Grande Música e a música de massa como fenômenos musicais e como a Grande Música é prejudicada nessa relação de alienação e consumo a partir do conceito adorniano de comportamentos musicais. A ideia nuclear é criar possibilidades para a identificação desses comportamentos musicais a fim de que eles possam ser trabalhados pelo educador musical, dentro de uma proposta de uma pedagogia que resista à barbárie, buscando a superação e a não repetição de fatos de amplo declínio humano, tal como bem nos orienta a filosofia de Adorno.
17
Hodge, Matthew. "21st-Century Broadway Musicals and the ‘Best Musical’ Tony Award: Trends and Impact." Arts 9, no. 2 (May 10, 2020): 58. http://dx.doi.org/10.3390/arts9020058.
Full textAbstract:
Recent Broadway theatre seasons consistently saw record-breaking numbers of admissions and grosses, with musicals’ ticket sales making up 78–89% of annual Broadway grosses. The annual Tony Awards continue to serve as an influential theatre industry establishment that helps define a Broadway musical as exceptional and worthy of audiences, especially the awarding of the ‘Best Musical’ category (which can statistically have a profound impact on a production’s longevity). This article offers comprehensive surveying and discussions of significant components of a musical’s initial Broadway success in the 21st century. All 82 musicals that were nominated for or won the ‘Best Musical’ Tony Award between the years 2000 and 2019 are assessed for their source material and original Broadway run length. Subsequent discussions center on diversity and genres of musicals recognized by the Tony Awards, followed by conclusions and predictions of the COVID-19 pandemic’s impact on Broadway’s future and the influence of the ‘Best Musical’ Tony Award. The results of this study display observable patterns among the musicals surveyed, including screen (film/tv) being the most prominent source material and at least a 10–12 month run after the Tony Awards ceremonies for all ‘Best Musical’ winners.
18
Regev, Motti. "Pop-rock, cosmopolitisme musical i coneixement musical corporeïtzat." Debats. Revista de cultura, poder i societat 138, no. 1 (May 30, 2024): 33–46. http://dx.doi.org/10.28939/iam.debats-138-1.2.
Full textAbstract:
Aquest article suggereix que després de més de mig segle en què les generacions successives de fans de països de tot el món han abraçat múltiples gèneres i estils locals i globals de música pop-rock, persones de nombrosos països s’han dotat a poc a poc de coneixements sonors i musicals que permeten desxifrar de manera immediata, espontània i intuïtiva sonoritats musicals amplificades, elèctriques, electròniques i manipulades. El fet de disposar d’aquesta mena de coneixement corporal i la seua posada en pràctica rutinària per part de persones de molts llocs diferents, resulta en una manifestació mundana del cosmopolitisme cultural actual, o més aviat el musical, en la vida quotidiana. En aquest article s’analitza la noció de cosmopolitisme musical i el significat del pop-rock com a cultura estètica. Així mateix, s’hi exposa una tipologia de coneixements relacionats amb la música, que consta de tres categories principals —coneixement discursiu, musical i sonor— per a, finalment, centrar-se en el tercer tipus.
19
Rigopoulou, Faye. "Still Here? Aging Female Vocalities in Musical Theatre." IASPM Journal 14, no. 1 (March 18, 2024): 113–33. http://dx.doi.org/10.5429/2079-3871(2024)v14i1.8en.
Full textAbstract:
Musical theatre has a complex relationship with ageing (and especially female ageing). As youth has always been at the forefront of musicals, essentialist approaches to ageing in articulation and enactment of ageing musical characters often lead to aesthetic peripheries and creative stagnation. Aiming for a deeper understanding of how female ageing vocalities are perceived, dramaturged and performed in musical theatre, the article takes under consideration viewpoints from ‘outsiders’/ageing performers who work ‘at the centre’ of the musical theatre industry (West End and Broadway).Through a close analysis of two ageing female characters (Madame Armfeldt and Grandma) in the musicals A Little Night Music and Billy Elliot, this article discusses and critiques preconceptions of ageing in the dramaturgy and performance of these roles, and it argues that musicals frequently fail to give agency to the voice of their ageing women.
20
Zagozdzon, Agnieszka. "Backstage am Broadway: das Filmmusical 42ND STREET (USA 1933, Lloyd Bacon) zwischen musikpraktischem Realismus und choreografischen Fantasien." Kieler Beiträge zur Filmmusikforschung 14 (July 3, 2023): 72–89. http://dx.doi.org/10.59056/kbzf.2019.14.p72-89.
Full textAbstract:
The 1933 movie musical 42ND STREET is considered as a prototype of the so- called »Backstage Musicals« – a genre which puts the developmental process of a musical at the heart of the story. Due to the realistic portrayal of this process, 42ND STREET is seen as one of the most prominent and influential works in the history not only of movie musicals, but of staged musicals as well. One of the most decisive parts in this realistic portrayal is the almost entirely diegetical use of music within the movie, resulting from rehearsals or performances shown on the screen. Additionally, the songs within the fictional musical Pretty Lady strictly follow the musical and formal standards at that time. Last but not least, the orchestrations of these songs adhere to the rules of Broadway back then – as an analysis of the orchestrated partiturs with regard to its musical, theoretical, and dramaturgical structure shows. However, certain significant differences in the style of these orchestrations, which resulted from specific circumstances on a movie set, can be seen there, too. Unlike that musically realistic approach, the visually spectacular choreographies by Busby Berkeley, which contained (at that time) up-to-date technical possibilities like tracking shots and overhead shots, were only practicable by means of the cinematic genre. However, during the performance of Pretty Lady, the spectators are often pulled out of these choreographic fantasies, when cuts from close-ups all of a sudden show the entire theatre stage as well as the conductor and the orchestra, thereby transferring the audience in the reality of a staged musical performance. This essay examines the means and reasons of the musical realism of 42ND STREET, its connection to the way the songs were choreographed and how this movie has shaped movie musicals and stage musicals to this day.
21
WITKOWSKA-ZAREMBA, ELŻBIETA. "Johannes de Muris's Musica speculativa cited by Jacobus de Ispania." Plainsong and Medieval Music 31, no. 1 (April 2022): 37–63. http://dx.doi.org/10.1017/s0961137122000031.
Full textAbstract:
ABSTRACTIt is known that the seventh book of Jacobus's Speculum musicae contains, alongside other quotations from Ars Nova treatises, the earliest extant transmission of the salient passage of Johannes de Muris's Musica speculativa, Conclusio XVIII, where Muris questions the nature of the fourth as a perfect consonance. However, the relevant passages of Musica speculativa cited and discussed by Jacobus have not yet been analysed in the context of the rich manuscript tradition of the Musica speculativa, which served the needs of musical education throughout Latin Europe for at least two hundred years. In order to position Jacobus's citations of Muris within the framework of the Musica speculativa tradition, I examine several significant variant readings contained in Speculum musicae, comparing them to two French, most probably Parisian, manuscripts transmitting versions A (A-SPL Cod. 264/4) and B (BnF lat. 7378A) of Musica speculativa. Both A and B versions are provided with colophons dated 1323 and 1325, respectively. Establishing which version of Musica speculativa was the source of Jacobus's citations provides a new basis for the dating of two other treatises by Muris to which Jacobus refers, namely Notitia artis musicae and Compendium musicae practicae, and, more generally, for the date of the seventh book of Speculum musicae.
22
Harahap, Irwansyah. "MERANGKAI WARNA: EKSPLORASI LARAS “PELOG” DALAM PERMAINAN ‘OUD ARABIS BERBASIS GARAPAN “WORLD MUSIC”." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (January 20, 2020): 149. http://dx.doi.org/10.26887/mapj.v2i2.974.
Full textAbstract:
ABSTRACT This writing generally discusses the term “world music” and various musical creative approaches that have been done. This writing also descriptively reviews the composition of “Merangkai Warna” in the context of melodist’s idea, instrument, concept building, and musical practice in musical composition. The musical composition “Merangkai Warna” is a musical composition inspired from the conception of world music. This composition is a form of musical exploration, namely through a set of musical instrument ‘oud Arabis, it tried to fuse and synthesize musical idioms and aesthetics via the composition of pentatonic playing style found in the area of musical era in Asia. In this composition, there is a concept of a new rhythm play called as “hetero-poly-metric rhythmic structure,” in which the basis of rhythmical play is built on metrical 7 contra 3 pattern applied in the percussion play of kendangan Sunda and ’oud. Keywords: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure ABSTRAK Tulisan ini membicarakan secara umum tentang istilah “world music” dan berbagai pendekatan kreatif musikal yang telah dikerjakan. Tulisan ini juga mengulas secara deskriptif karya komposisi “Merangkai Warna” dalam konteks gagasan kompositoris, instrumetarium, bangunan konsep, dan praktik musikal dalam karya musik. Komposisi musik “Merangkai Warna” merupakan sebuah garapan musik berangkat dari konsepsi musik dunia (world music). Karya ini merupakan sebuah bentuk eksplorasi musikal dimana melalui perangkat alat musik ‘oud Arabis mencoba untuk memfusikan dan mensintesiskan idiom dan estetika musik lewat garapan gaya permainan modus pentatonik yang terdapat di wilayah peradaban musik di Asia. Dalam karya komposisi ini tertuang satu konsep permainan ritme baru, yang disebut dengan “hetero-poly-metric rhythmic structure,” dimana dasar permainan ritmikal dibangun dari pola metrikal 7 kontra 3 yang dituangkan dalam permainan perkusi kendangan Sunda dan ’oud. Kata Kunci: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure
23
Rakhymberdiyeva, S., and G. Dzhumaseitova. "«ASTANA MUSICAL» THEATER: THE INFLUENCE OF WESTERN TRADITIONS ON THE FORMATION OF A PROFESSIONAL NATIONAL MUSICAL." POLISH JOURNAL OF SCIENCE, no. 51 (June 16, 2022): 3–6. https://doi.org/10.5281/zenodo.6651019.
Full textAbstract:
The article reveals the significance of productions of French musicals on the stage of the «Astana musical» Theater. Using the example of the musicals «Notre Dame de Paris» and «Romeo and Juliet», the author examines the prospects for further development of the musical genre in the theatrical space of Kazakhstan.
24
ROHOLT, TIGER C. "Musical Musical Nuance." Journal of Aesthetics and Art Criticism 68, no. 1 (February 2010): 1–10. http://dx.doi.org/10.1111/j.1540-6245.2009.01387.x.
Full text
25
Nevriana, Alicia, Pandu Riono, Tri Budi W. Rahardjo, and Adji Kusumadjati. "Lifetime Musical Activities and Cognitive Function of the Elderly." Kesmas: National Public Health Journal 7, no. 7 (February 1, 2013): 304. http://dx.doi.org/10.21109/kesmas.v7i7.28.
Full textAbstract:
Decreasing cognitive function of the elderly is one of the most common problems that might affect their quality of life. Music is an element that is believed to be able to contribute to the quality of life of the elderly. However, whether musical activities that are done throughout the life span related to cognitive function is unclear. In this research, we evaluated the association between lifetime musical activities and cognitive function. Fifty three older adults from three nursing homes in East Jakarta were selected and interviewed regarding their characteristics and lifetime musical activities. Cognitive function was also measured using Mini Mental State Examinaion (MMSE). The results of this preliminary study revealed that a possibility of an association between lifetime musical activities and cognitive function of the elderly was indicated. The result also showed that the participants who were not actively involved in musical activities during their lifetime were twice more likely to develop cognitive function impairment than the elderly who were actively involved in musical activities, after being adjusted by the characteristics. These correlational results suggest the beneficial effect of musical activities throughout the life span on cognitive functioning for the elderly.Penurunan fungsi kognitif merupakan salah satu masalah umum pada lanjut usia yang mampu memengaruhi kualitas hidup mereka. Musik merupakan sebuah elemen yang dipercaya mampu berkontribusi terhadap kualitas hidup mereka. Meski demikian, hubungan antara aktivitas musikal yang dilakukan sepanjang hidup dan fungsi kognitif lansia belum diketahui secara pasti. Pada penelitian ini, hubungan antara aktivitas musikal sepanjang hidup dan fungsi kognitif dievaluasi. Lima puluh tiga lansia penghuni panti tresna werdha di Jakarta Timur dipilih dan diwawancarai terkait karakteristik dan aktivitas musikal sepanjang hidup mereka. Fungsi kognitif juga diukur menggunakan MMSE. Hasil penelitian ini menunjukkan adanya kemungkinan asosiasi antara aktivitas musikal sepanjang hidup dan fungsi kognitif lansia. Hasil penelitian juga menunjukkan bahwa partisipan yang tidak aktif melakukan aktivitas musikal sepanjang hidupnya dua kali lebih berpeluang untuk mengalami gangguan fungsi kognitif dibandingkan dengan mereka yang aktif melakukan aktivitas musikal, sete-lah disesuaikan dengan karakteristiknya. Hasil korelasi ini mengisyaratkan pengaruh bermanfaat dari aktivitas musikal sepanjang hidup terhadap fungsi kognitif lansia.
26
Lundy, Ben. "Fifty Key Stage Musicals." Musical Theatre Educators Alliance Journal 5, no. 2024 (January 1, 2024): 116–17. http://dx.doi.org/10.62392/kwet5572.
Full textAbstract:
In a post-pandemic climate, how might we, as instructors, challenge our students to infuse their knowledge of musical theatre history into their craft? Fifty Key Stage Musicals, edited by Robert W. Schneider and Shannon Agnew, is a refreshing musical theatre history text that illustrates Broadway’s changing tides while focusing on fifty innovative musicals...
27
Breytburg, Kimol A. "Broadway musical commercial theater in the context of the socio-cultural environment of the 70s of the XX century." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 182–95. http://dx.doi.org/10.17223/22220836/46/15.
Full textAbstract:
Broadway musicals created in the 70s of the XX century are a reflection of many socio-cultural phenomena taking place in the USA at that time. Their dynamic, originally formed musical dramaturgy, an appeal to topical topics consonant with the public consciousness of the era of the 70s, makes this period of development truly unique. The works created during these years by Stephen Sondheim, Stephen Schwartz, John Kander, Fred Ebb, Marvin Hamlisch, Edward Kleban greatly influenced the development of the musical genre, enriching it with new musical and dramatic techniques, a fundamentally new worldview for that time. The 70s of the XX century were the heyday of the creative work of musical theater di- © К.А. Брейтбург, 2022 rectors such as Harold Prince, Bob Foss, Jerome Robins, Michael Bennett, whose work revealed the musical and dramatic features of musicals, created an atmosphere and a unique charm of entertainment, but at the same time a special psychological depth, for which such musicals as “Chicago”, “Corps de Ballet”, “Company”, “Little Night Music” became famous. Commercial theater is also professional management and non-trivial production solutions that promote artistic works to the market. Perhaps because of this, these musicals have become beloved by a huge audience and iconic in the history of the genre as a whole. The 70s were especially difficult for the life survival of Broadway theaters, because the conditions of the economic crisis in the United States were increasing. Society, on the one hand, became more and more divided, on the other hand, various racial and gender minorities united, intensifying the struggle for their civil rights, the women's movement for equality was gaining more and more strength. Since its inception in the middle of the XIX century and up to the beginning of the XXI century, the Broadway musical has been and remains a vibrant, viable entertainment form. The musical as a kind of musical theater has endured devastating economic and political crises, radical shifts in public consciousness and the development of much more modern, less expensive and supported mass entertainment media with enviable resilience. This type of musical and scenic art continues to live and develop steadily, and in recent years its importance in social and cultural life and popularity among the general population, including in our country, has increased significantly. The stage American musical is a constantly adapting commercial musical and theatrical entertainment form, which is the product of a dynamically developing socio-cultural environment. It is impossible to separate the processes occurring in the genre-stylistic evolution of the musical from the economic, socio-political and social phenomena occurring at each individual historical stage of the development of society. That is why the materials presented in the article are interdisciplinary. They are connected not only with the musical as a kind of musical and scenic art, but, what is fundamentally important and new for this kind of research, with the socio-historical background that influenced the formation of certain trends in the development and formation of musical theater.
28
Das, Joanna Dee, and Ryan Donovan. "Special Issue: Dance in musical theatre." Studies in Musical Theatre 13, no. 1 (March 1, 2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.
Full textAbstract:
This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds readers that choreography extends beyond human bodies. Finally, the articles all consider questions of methodology and history – how do we best study musical theatre? While there are several other areas of potential inquiry not covered in these six articles, this special issue, the first in the field to focus on dance in musical theatre, aims to help define and cohere an important subfield.
29
Duchesneau, Michel. "La Revue musicale ou le phoenix musical." Revue musicale OICRM 4, no. 2 (February 8, 2018): 19–34. http://dx.doi.org/10.7202/1043218ar.
Full textAbstract:
Lorsque le directeur de La Revue musicale sim, Jules Écorcheville, part pour le front en 1914, il écrit à son ami Émile Vuillermoz : Malgré le souhait d’Écorcheville, La Revue sim disparaîtra, mais pas pour longtemps puisqu’elle donnera naissance à deux nouveaux organismes en 1917 et 1920. Pendant la guerre, les anciens de La Revue sim dont Lionel de La Laurencie, vont créer la Société française de musicologie (sfm) sur les ruines de la Société internationale de musique et publieront un Bulletin qui deviendra la Revue de musicologie. Loin de l’actualité, s’écartant délibérément du contexte sociopolitique et culturel, la sfm et son Bulletin favoriseront une approche très « scientifique » et relativement nouvelle en France, de la musicologie, bien qu’encore teintée par les tendances historicisantes à la manière de la Schola Cantorum et écartant pour un temps toute la musicologie germanique. En parallèle, sous les auspices du musicologue Henry Prunières qui s’écarte résolument de la sfm, est créée La Revue musicale. C’est à partir d’un réseau international qui place la musicologie française au coeur de l’action musicale contemporaine que Prunières établit de nouvelles alliances avec le milieu des arts et de la littérature pour fonder l’une des plus célèbres revues musicales de la première moitié du xxe siècle. À partir de documents inédits, nous étudierons les circonstances qui mènent à la refondation de La Revue musicale sur les cendres de la Revue sim entre 1915 et 1919. Nous verrons ainsi comment les hasards de la guerre mènent Prunières à entreprendre la carrière d’éditeur et comment le musicologue conçoit le projet international de la revue dans un contexte de guerre qui contribue à une redéfinition des cultures nationales. Il est difficile d’extrapoler sur ce qu’aurait pu être l’avenir de La Revue musicale sim si la guerre n’avait pas eu lieu. Il est par contre possible de documenter et de comprendre le rôle que la Grande Guerre jouera dans l’essor d’une nouvelle dynamique pour la musicologie française dont la division d’abord justifiée par le conflit aura des conséquences à long terme sur l’échiquier international de la discipline.
30
Sung Hee Kirk. "Translated Musicals and Musical Translation in Korea." Journal of Translation Studies 9, no. 1 (March 2008): 283–309. http://dx.doi.org/10.15749/jts.2008.9.1.011.
Full text
31
Feng, Zimo. "Analysis of the Business Model of Chinese Musical Theater Based on Community Economy." Journal of Applied Economics and Policy Studies 12, no. 1 (November 14, 2024): 77–82. http://dx.doi.org/10.54254/2977-5701/12/2024114.
Full textAbstract:
In recent years, the Chinese musical theater industry has developed rapidly, becoming an important component of the cultural industry. Compared to traditional musical theater production and distribution methods, the community economy offers a new business model for Chinese musicals. This paper aims to explore how the community economy, combined with self-media platforms, supports the promotion and profitability of Chinese musicals. It analyzes the factors behind its success, the challenges it faces, and its future development prospects. Through an in-depth analysis of the existing business models, this paper proposes multiple strategies to promote the sustainable development of the Chinese musical theater industry.
32
Koschany, Rafał. "Realistyczny musical? Allen – Resnais – von Trier." Kwartalnik Filmowy, no. 75-76 (December 31, 2011): 199–208. https://doi.org/10.36744/kf.2898.
Full textAbstract:
W musicalu realizm pojawia się na wiele sposobów, jest kategorią historycznie zmienną i wieloznaczną, a często zależną od odmiany gatunkowej (na przykład w backstage musicals czy w filmowych opowieściach o artystach elementy wykonywania muzyki, śpiewu czy tańca są racjonalnie uzasadnione). Z pewnością jednak nie jest to cecha konstytutywna omawianego gatunku i ostatecznie pozostaje konwencją. Autor artykułu przywołuje jednak pewne koncepcje czy poetyki, które sprzeciwiają się temu poglądowi, a także odbiorczym przyzwyczajeniom widzów. Wybrane do analizy przykłady są wyjątkowymi próbami w karierze trzech reżyserów; są to Everyone Says I Love You Woody’ego Allena (1996), On connaît la chanson (Same Old Song) Alaina Resnais (1997) oraz Dancer in the Dark Larsa von Triera (2000). Wszyscy podnieśli musical do rangi ważnego eksperymentu – jako autotematycznej wypowiedzi na temat statusu gatunku i jego ewentualnej realistycznej wersji.
33
Jenkins, J. Daniel. "The Early Years of the American Musical in Vienna." Journal of Austrian-American History 6, no. 1 (May 18, 2022): 89–103. http://dx.doi.org/10.5325/jaustamerhist.6.1.0089.
Full textAbstract:
Abstract The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of American musicals on the European continent. The article reviews archival documents at the Prawy archive, housed at the Wienbibliothek, to better understand Prawy’s early efforts to bring American musical theater to the Viennese stage. The focus will be on the two earliest musicals Prawy produced, Kiss Me, Kate and Wonderful Town. The analysis will consider how Prawy packaged, promoted, and “sold” the American musical to his Viennese audience. A close reading of some of Prawy’s translations of libretti will be part of the analysis, revealing interesting insights into how Americans and American culture may have been viewed by the Viennese audience.
34
Firdhani, Aldhila Mifta. "Peningkatan Kemampuan Musikal Peserta Didik Melalui Aktivitas Musik Kreatif." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 11–17. http://dx.doi.org/10.24821/ijopaed.v1i1.4915.
Full textAbstract:
AbstractThis study aims to determine the effectiveness of creative music to improve students' musical abilities in learning music. The research method uses this type of classroom action research conducted in 2 cycles. The research was conducted at SMP Sunan Averroes Sleman Yogyakarta for three months. The object of the study was 13 students of class VIII. Sources of data used in this study are the results of observations and test results of musical abilities. Data analysis techniques were carried out qualitatively, which were identified to see the achievement and improvement results in each cycle. The results showed that creative music activity could improve students' musical abilities in learning music based on the analysis. This increase was evidenced by observations and the acquisition of students' musical abilities in cycle I to cycle II. Based on the observations' results, it can be seen that the average score of students' musical ability in cycle I was 29.5, while in cycle II was 40.1. Based on this average value, it is known that the increase in students' musical abilities is 10.6. So based on this data analysis, it can be said that creative music activities in learning music can improve students' musical abilities. AbstrakPenelitian ini bertujuan untuk mengetahui keefektifan musik kreatif untuk meningkatkan kemampuan musikal peserta didik dalam pembelajaran musik. Metode penelitian menggunakan jenis penelitian tindakan kelas yang dilakukan dalam 2 siklus. Penelitian dilakukan di SMP Sunan Averroes Sleman Yogyakarta selama 3 bulan. Objek penelitian adalah peserta didik kelas VIII yang berjumlah 13 anak. Sumber data yang digunakan dalam penelitian ini adalah hasil observasi dan hasil tes kemampuan musikal. Taknik analisis data dilakukan secara kualitatif yang diidentifikasi untuk melihat hasil pencapaian dan menyempurnakan di setiap siklusnya. Berdasarkan analisis, hasil penelitian menunjukkan bahwa aktivitas musik kreatif dapat meningkatkan kemampuan musikal peserta didik dalam pembelajaran musik. Peningkatan ini dibuktikan berdasarkan hasil observasi dan perolehan skor kemampuan musikal peserta didik pada siklus I ke siklus II. Berdasarkan hasil observasi dapat diketahui bahwa nilai rata-rata kelas kemampuan musikal peserta didik pada siklus I sebesar 29,5, sedangkan pada siklus II sebesar 40,1. Sehingga berdasarkan nilai rata-rata tersebut diketahui peningkatan kemampuan musikal peserta didik sebesar 10,6. Sehingga berdasarkan analisis data tersebut dapat dikatakan bahwa aktivitas musik kreatif dalam pembelajaran musik dapat meningkatkan kemampuan musikal
35
Pizà, Antonio. "Frontera de Valldemosa’s Equinotación and the Nineteenth-Century Textbook Controversies It Sparked." Itamar. Revista de investigación musical: territorios para el arte, no. 10 (July 7, 2024): 119. http://dx.doi.org/10.7203/itamar.10.29138.
Full textAbstract:
Abstract. Francisco Frontera de Valldemosa (1807-1891) published the first edition of his treatise, generally known as Equinotación, in 1837. The book purported to simplify musical notation by reducing the complex system of clefs to only three. From the moment it became public his clef method became controversial. First, it sparked a long controversy in the Revue et gazette musicale de Paris regarding the system’s originality, usefulness, and possible plagiarism. Subsequent editions decades later also sparked debates and even a couple of lawsuits, as reflected in several articles in the Gaceta musical barcelonesa. At the bottom of these polemics and under the guise of music-theoretical arguments there were the commercial interests of the textbooks’ authors. Keywords. Equinotación, Francisco Frontera de Valldemosa, Jose Gil y Navarro, musical notation, textbooks, music theory and solfège methods, Revue et gazette musicale de Paris, Gaceta musical barcelonesa.
36
Mateo, Marta. "Sunset Boulevard in Spanish Performance: Translations on the Musical Stage." Revista Alicantina de Estudios Ingleses, no. 37 (July 27, 2022): 81. http://dx.doi.org/10.14198/raei.2022.37.03.
Full textAbstract:
This article focuses on Andrew Lloyd Webber’s musical Sunset Boulevard (1993), in order to present some relevant aspects of the production and reception of musicals both in an original and a target context. The study will first describe the eventful creative process of this musical text in its Anglophone source contexts, and will then move on to examine it from the perspective of its performance in Spanish translation. Recently translated for a Spanish-language production staged in Tenerife in 2017 (soon followed by another one in Argentina in 2018), Sunset Boulevard is a good example of the powerful impact that the importation of Anglo-American musicals has had in Spain in recent decades (see Mateo 2008) while it also serves to illustrate interesting aspects of the evolution and current situation of musicals’ production in this country. This macro-level study will therefore examine Lloyd Webber’s musical performed in sung translation, addressing it from a contextual standpoint and with a focus in Spain, with the aim of contributing to a deeper knowledge of theatre translation when it involves musical plays.
37
Kato, Katia. "A Mimesis Musical." Trans/Form/Ação 39, spe (2016): 93–110. http://dx.doi.org/10.1590/s0101-31732016000500007.
Full textAbstract:
RESUMO: A música ocupa um lugar de destaque como um dos principais meios de imitação. A utilização da música como ferramenta para suscitar e representar afetos, preconizada desde os antigos, chega integralmente ao século XVIII, podendo ser observada claramente nas obras dos compositores alemães ligados à doutrina composicional da Musica Poetica3 e, sobretudo, na obra de Johann Sebastian Bach. Porém, diversas são as espécies de imitação musical, de forma que o intuito deste trabalho foi categorizar e definir a função das espécies imitativas, com base na concepção aristotélica de imitação e nas categorias de imitação propostas por Johann Mattheson, um dos principais teóricos da Musica Poetica, tentando demonstrar que, desde a concepção musical da antiguidade, música e poética são inseparáveis.
38
Ye, Jiahui. "THE GOLDEN SANDS MUSICAL (金沙): ON THE FORMATION OF A GENRE ARCHETYPE IN CHINA". Scientific and analytical journal Burganov House. The space of culture 19, № 6 (10 грудня 2023): 94–102. http://dx.doi.org/10.36340/2071-6818-2023-19-6-94-102.
Full textAbstract:
The Golden Sands musical is considered in terms of the genre formation specifics in China. Attention is focused on the American origins of Chinese musicals, especially regarding style, scenography, and the specifics of vocal sound extraction. Consideration is given to the penetration of Chinese ethnic elements into the means of musical expression and choreographic poetics in the Equatorial Rain original musical, which demonstrated the fusion of national elements with Western ones, with jazz, rock, rap, etc. The author puts forward the hypothesis that the development of musicals in China is still at the stage of mastering and forming a genre with national specifics, using the original folk style of singing. It is the mixing of different singing styles that is becoming the most important trend in the development of modern Chinese musical theatre. Created under the direction of Zhou Enlai, the Golden Sands musical (金沙) reveals the typological features of the genre characteristic of its Western models: a synthesis of academic and pop music principles, a synthesis of arts (music, choreography, stage design, costume art). However, its combination with Chinese poetics has created a new nationally oriented direction, which has a significant influence on the development of musical art both in China and throughout the world.
39
Ridley, Aaron. "Musical Ontology, Musical Reasons." Monist 95, no. 4 (2012): 663–83. http://dx.doi.org/10.5840/monist201295433.
Full text
40
Johnson, Peter. "Musical Works, Musical Performances." Musical Times 138, no. 1854 (August 1997): 4. http://dx.doi.org/10.2307/1003750.
Full text
41
McLEAY, COLIN R. "Musical Words, Musical Worlds." New Zealand Geographer 51, no. 2 (October 1995): 1–6. http://dx.doi.org/10.1111/j.1745-7939.1995.tb02044.x.
Full text
42
Park, Moon Hee. "The Definition of Concept and the Role of the Audience in Concept Musicals." Liberal Arts Innovation Center 9 (May 30, 2022): 259–82. http://dx.doi.org/10.54698/kl.2022.9.259.
Full textAbstract:
The purpose of this paper is to define the term ‘concept’ as it is used in conceptual musicals and to investigate what the role of the audience is. So far, there have been efforts by several scholars to define the concept of concept musicals; however, existing definitions are limited to the subject or focus on form, making it difficult to understand the concept musicals properly. Further, because the meaning and relationship of the attributes that make up the concept are not clear, definitions are bound to suffer confusion.
 The concept musical’ must create a new form to embody the theme implied in the content, i.e., the information delivered by the characters to the audience, and represent the audience through performances using the concept to reveal the theme while also remaining as an abstract substance hidden in the script. The concept does not have a fixed meaning, but concept that exists in the passage of time and must be included in the attributes that define the concept musical'.
 In addition, the role of the audience in the concept musical is of paramount importance. Just as it was thought in the experimental theatre in the late 20th century that the completion of the performance depended on the audience participating in the show and playing roles, the concept musical must also include the audience's participation and role performance in the shows for the attributes of the concept to reach a complete definition in the concept musical. Then in a true sense, the show of the concept musical is completed.
43
Kalό, Ildiko. "Considerations on the Elements of Musical Language in ‘La casa di peste drum’ [At the House across the Road] by Tudor Jarda." Musicology Papers 35, no. 1 (November 1, 2020): 35–40. http://dx.doi.org/10.47809/mp.2020.35.01.02.
Full textAbstract:
When we speak about musical rhetoric, rhetorical figures, or elements related to musica poetica, we almost always automatically think about the Baroque and, why not, about Johann Sebastian Bach`s music. However, few of us realize that the roots of these notions trace back to the Renaissance, and even fewer will relate them to Martin Luther`s name and the Protestant Reformation. The principles of musical rhetoric developed mainly in the North German space, although they were also present in other countries such as Italy, France and England. It was Germany, however, that in those times most enthusiastically adopted and adapted the terminology, methods and structures of ancient rhetoric. In his Musica Poetica, the German musicologist Dietrich Bartel explains the rise of musical rhetoric in Germany as a consequence of Martin Luther`s view of music being embraced by the Christian believers. Over the sixteenth to eighteenth centuries, musical rhetoric was continuously enriched and perfected, generating an extremely elaborate art whose focus was to find equivalences between rhetorical figures and musical intervals. Thus, music acquired a higher degree of accuracy of expression.
44
Gang, Yi, and Bi Zhang. "A Study of Choreography Courses for Musical Theater Majors." Studies in Art and Architecture 1, no. 1 (December 2022): 8–13. http://dx.doi.org/10.56397/saa.2022.12.02.
Full textAbstract:
Musical theater education in Chinese universities is generally focused on training musical performance talents, and the dance courses involved are also set up to enhance dance performance. The dance styles learned are mainly ballet, modern dance, jazz dance and tap dance, which are common in European and American musicals. However, in the actual musical rehearsal process, the use of dance to create dramatic characters, develop dramatic events, and show dramatic emotions and conflicts requires the skilled creative ability of the musical choreographer. The educational process of musical choreography is a multi-faceted process, which requires the choreographer to have a solid theoretical basis and flexible creative skills. By comparing with universities in Europe, America and South Korea that have musical theater major, this paper studies the advantages and disadvantages of musical theater major courses in Chinese universities in terms of choreography training. Based on the actual situation of China, this study finds the curriculum that conforms to musical choreography through multi-angle analysis of practice, creation, and theory.
45
Delalande, François. "Le bipôle objet/conduites : réflexions sur l'objectif de la sémiologie musicale." Objets 21, no. 3 (April 12, 2005): 141–55. http://dx.doi.org/10.7202/500877ar.
Full textAbstract:
Les limites d'une sémiologie de la signification de l'objet musical. Le fait musical comme faisceau de conduites. Objet et conduites, une réalité à deux faces. Le bipôle objet/conduites comme objet de la sémiologie musicale. Pertinence théorique et conduites- types. La métaphorisation. Sémiologie et psychologie.
46
Kristiyanto, Eko, and Muhammad Nur Salim. "PERKEMBANGAN MUSIK KESENIAN GATHOLOCO CIPTO BUDOYO KABUPATEN TEMANGGUNG." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, no. 1 (September 12, 2019): 25–38. http://dx.doi.org/10.33153/keteg.v19i1.2649.
Full textAbstract:
Penelitian ini bertujuan untuk mengungkap mengenai perkembangan musikal kesenian Gatholoco Cipto Budoyo Desa Kembangsari. Permasalahan utama yang dibahas adalah tentang periodisasi perkembangan musikal serta faktor-faktor yang mempengaruhinya. Untuk menjawab permasalahan tersebut, peneliti menggunakan konsep musik khususnya tentang garap dan konsep tentang perkembangan yang merujuk pada konsep periodisasi dan faktorfaktor penyebab perkembangan. Pendekatan yang digunakan adalah antropologi sosial dan musikologi dengan menggunakan metode deskripstif analisis. Hasil dari peneilitian ini mengungkap bahwa perkembangan musikal kesenian Gatholoco kelompok seni Cipto BudoyoDesa Kembangsari terjadi secara periodik, yakni melalui beberapa tahapan masa atau waktu. Periode pertama terjadi pada tahun 1963-1980, kemudian periode kedua terjadi pada tahun 1981-2000 dan periode ketiga terjadi pada tahun 2001-2018. Perkembangan musikal yang terjadi pada masing-masing periode dapat dilihat dari unsur-unsur garap diantaranya: materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap, serta pertimbangan garap. Perkembangan musikal kesenian Gatholoco Cipto Budoyo terjadi karena adanya beberapa faktorpendukung. Faktor-faktor pendukung tersebut berasal dari dalam (internal) dan dari luar (eksternal).Kata kunci: Gatholoco, musikal, periodisasi, perkembangan, faktor-faktor. AbstractThis research aims to reveal the musical development of the Gatholoco Cipto Budoyo Kembangsari Village. The main problem discussed is about the periodization of musical development and the factors that influencing it. To answer this problem, researchers use the concept of music specifically about work and the concept of development that refers to the concept of periodization and the factors that causedevelopment. The approach used is social anthropology and musicology by using descriptive analysis methods. The results of this study revealed that the musical development of the art group Gatholoco Cipto Budoyo, Kembangsari Village that occurred periodically through several stages of time. The first period occurred in 1963-1980, then the second period occurred in 1981-2000 and the third periodoccurred in 2001-2018. Musical developments that occur in each period can be seen from the elements of cultivation including: works on material (garap), instrument players, facilities of the works (garap), instruments and determinants of the works (garap), and the consideration of the works (garap). The musical art development of Gatholoco Cipto Budoyo was due to several supporting factors. These supporting factors come from within (internal) and from outside (external).Keywords: Gatholoco, musical, periodization, development, factors.
47
Vukićević, Nataša M. "НАСТАВА МУЗИЧКЕ КУЛТУРЕ И ПОЗИТИВНО ОБРАЗОВАЊЕ – ОД ДОЖИВЉАЈА ДО ИСХОДА У ОБЛАСТИ МУЗИЧКОГ СТВАРАЛАШТВА И СЛУШАЊА МУЗИКЕ". Узданица XX, № 3 (2023): 241–56. http://dx.doi.org/10.46793/uzdanica20.s.241v.
Full textAbstract:
This paper analyses experiential aspects of teaching music in the context of the well-being education and creating a stimulating environment for learning, development and psychological well-being of lower-grade pupils. The analysis involves music classes held with fourth-graders who were expected to connect a literary text with a corresponding musical composition they listened to. The research was conducted in the primary school “17. Oktobarˮ in Jagodina in September 2023. In accordance with the research topic which encompasses pupils’ achievement in two areas, musical creativity and listening to music, the content analysis was applied. The research results were analysed in relation to the choice of musical composition which pupils considered appropriate for the poem “Three Blind Miceˮ by Peđa Trajković. The qualitative analysis dealt with pupils’ choice of the musical characteristics based on which they connected the given composition with the poem. It can be concluded that pupils’ creative activities, a positive pedagogical atmosphere, open approach and constructive feedback contribute to the development of a pupil’s musical perception and better achievements in the area of listening to music.
48
Stenberg, Josh. "Genealogy and sketch of Indonesian musical theatre." Studies in Musical Theatre 18, no. 3 (December 1, 2024): 241–49. https://doi.org/10.1386/smt_00170_1.
Full textAbstract:
Indonesia has a wide range of theatres, traditional and modern, that incorporate music. How to identify ‘musical theatre’ in such a rich context is a question of working definitions and genealogy. Commercial theatre histories since the early twentieth century offer rough parallels to the Anglo-American musical. In recent years, direct influence from the United States has brought about anglophone productions of Broadway musicals and new, locally created Indonesian theatre work more overtly inspired by the Broadway musical.
49
Breitburg, Kimol A. "THE HISTORICAL PROTOTYPE OF THE AMERICAN CONCEPT MUSICAL." Arts education and science 1, no. 34 (2023): 64–71. http://dx.doi.org/10.36871/hon.202301064.
Full textAbstract:
The article considers one of the popular prototypes of the musical genre formed on the Broadway stage in the 1960s — 1970s. Its birth, which has received a terminological definition as a “concept musical”, is associated with a number of important socio-political events of the 1970s in the USA. Against the background of economic and social crisis that American society experienced during this period, a new social formation emerged, known today as the “Me” generation. The divided and largely fragmented social environment, the shift of young Americans away from social and political activism to personal concerns and individualism, could not but provoke a reaction from artists and cultural figures, as reflected in their work, including musicals created for the commercial musical theatre of Broadway. “Fiddler on the Roof”, “Cabaret”, “Hair”, “Company” all served as new genre models, samples which, as a result of an emerging trend, led musicals of this kind to a stable canon, establishing a certain prototype. This prototype was later defined as a “fragmentary” or “concept musical” The art of the musical has been actively developing throughout its century and a half history, becoming increasingly important in the cultural life of different countries, including Russia. This type of musical theatre is an ever adapting theatrical and entertainment form, which in turn is a product of a dynamically developing socio–cultural environment.
50
Garber, Michael G. "Tragicomedy, Melodrama, and Genre in Early Sound Films: The Case of Two “Sad Clown” Musicals." CINEJ Cinema Journal 5, no. 2 (October 11, 2016): 53–86. http://dx.doi.org/10.5195/cinej.2016.135.
Full textAbstract:
This interdisciplinary study applies the theatrical theories of stage genres to examples of the early sound cinema, the 1930 Hollywood musicals Puttin’ on the Ritz (starring Harry Richman, and with songs by Irving Berlin) and Free and Easy (starring Buster Keaton). The discussion focuses on the phenomenon of the sad clown as a symbol of tragicomedy. Springing from Rick Altman’s delineation of the “sad clown” sub-subgenre of the show musical subgenre, outlined in The American Film Musical, this article shows that, in these seminal movie musicals, naïve melodrama and “gag” comedy coexist with the tonalities, structures, philosophy, and images of the sophisticated genre of tragicomedy, including by incorporating the grotesque into the mise en scene of their musical production numbers.