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Journal articles on the topic 'Nuova Musica'
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1
Bernardini, Nicola, and Venice Biennale. "Nuova Atlantide, Il Continente della Musica Elettronica 1900-1986." Computer Music Journal 11, no. 3 (1987): 48. http://dx.doi.org/10.2307/3679737.
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O'Grady, Deirdre. "Da Dante a Mercadante: Francesca da Rimini voce del belcanto ottocentesco." Dante e l'Arte 8 (March 7, 2022): 183–202. http://dx.doi.org/10.5565/rev/dea.145.
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Questo studio rintraccia l’evoluzione della figura di Francesca da Rimini da voce poetica dantesca, a voce scenica del Romanticismo italiano per arrivare sulla scena lirica ottocentesca in veste di primadonna, espressione del belcanto ottocentesco. In questo nuovo contesto Francesca si esprime come voce del Romanticismo medievale. Questo itinerario la libera dall’essere strumento della dottrina tomistica per diventare una figura che medita su una filosofia tutta nuova, che la spinge a riflettere sulla natura della colpevolezza e sul suo rapporto con l’innocenza. Nel campo della musica, il manoscritto riscoperto ci spinge a una rivisitazione delle voci e della tecnica vocale dei grandi interpreti dell’Ottocento e anche a una riconsiderazione della voce di tenore del periodo. Dalla poesia di Dante si passa al teatro di Pellico, al libretto di Romani per riscoprire il Personaggio lirico senza Interprete.
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Furlan, Alberto. "Rebuilding the Country: La "nuova tradizione" nella musica pop-rock degli aborigeni australiani." La Ricerca Folklorica, no. 46 (October 2002): 135. http://dx.doi.org/10.2307/1479922.
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Avallone, Alessandro. "Franz Liszt e la «Dante Symphony»: frammenti e simboli per una nuova musica «umanitaria»." Dante e l'Arte 2 (December 31, 2015): 127. http://dx.doi.org/10.5565/rev/dea.39.
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Bartoli, Gabriella. "Psicologia, arte, attività espressive." RICERCHE DI PSICOLOGIA, no. 2 (October 2021): 203–15. http://dx.doi.org/10.3280/rip2021oa12607.
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Viene ricostruito il clima culturale che favorì un primo accostarsi della psicologia accademica bolognese al fenomeno artistico. Tra i fattori facilitanti: gli stretti rapporti fra i maestri tedeschi della Gestalt e gli artisti del Bauhaus nel periodo 1911-1933; nonché, nei primi anni Sessanta, entro la scuola di Renzo Canestrari, gli scambi tra i gestaltisti italiani e gli esponenti di avanguardie artistiche come "Arte Programmata" e "Nuova Tendenza". Ne scaturirono iniziative di ricerca messe in opera da un gruppo di allievi nelle Università di Bologna e, in seguito, di Roma Sapienza e Roma Tre. Furono inoltre introdotte nel corso di laurea DAMS di Bologna due nuove discipline ("Psicologia dell'arte" e "Psicologia della musica"), poi attivate in altri atenei. In parallelo vennero condotti numerosi studi teorici e sperimentali sui linguaggi artistici e i processi creativi, d'invenzione e fruizione; studi i cui risultati sono stati apprezzati sul piano internazionale per l'integrazione dei metodi e l'interdisciplinarità delle competenze.
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MATELLI, ELISABETTA. "MUSICOTERAPIA E CATARSI IN TEOFRASTO." Bulletin of the Institute of Classical Studies 47, no. 1 (December 1, 2004): 153–74. http://dx.doi.org/10.1111/j.2041-5370.2004.tb00249.x.
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Abstract Si propone una nuova interpetazione di Teofrasto, Historia Plantarum IV. 11.1–9 dedicato alla descrizione di due tipologie di ance per aulo: il passo è stato messo a confronto con le esperienze pratiche di costruzione e uso di questo tipo di imboccatura ancora vive in zone grecaniche della Calabria, documentate da fotografie e da una registrazione dei suoni (accessibili nella pagina web http:www.unicatt.itdocentimatelli). Anche in altre opere Teofrasto si è occupato dell'aulo per descriverne gli effetti terapeutici e catartici. Si approfondiscono le questioni musicali implicate in tali testimonianze (tipo di strumento musicale, concetti di ‘genere’, ‘amonia’, ‘ritmo’), offrendo alcune esemplificazioni esecutive nella pagina web attraverso il suono dell'aulo (suonato dal M.stro C. Crucitti). Infine la nozione di ‘catarsi’ viene studiata all'interno della filosofia di Teofrasto, dove fisiologia umana, psicologia, poetica e musica sono teoreticamente collegate in un sistema unitario. Particolare importanza viene data al collegamento dell'idea di ‘entusiasmo’ a quella di ‘catarsi’, entrambe esperienze sia fisiologiche che psichiche, e al tempo stesso ‘poetiche’: una intima unione collega l'esperienza poetico/estetica alla condizione psico-fisica dell'individuo.
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Lannutti, Maria Sofia. "L’ultimo canto: Musica e poesia nella lirica catalana del medioevo (con una nuova edizione del Cançoneret di Sant Joan de les Abadesses)." Romance Philology 66, no. 2 (September 2012): 309–63. http://dx.doi.org/10.1484/j.rph.5.100843.
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Romanelli, Claudia. "Quel che resta di pulp in Stabat Mater di Tiziano Scarpa." Forum Italicum: A Journal of Italian Studies 52, no. 3 (June 18, 2018): 763–87. http://dx.doi.org/10.1177/0014585818781796.
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Nel 2008 Tiziano Scarpa pubblica Stabat Mater con il quale vincerà prima il Premio Mondello e poi lo Strega. La critica ha definito questo romanzo sorprendente, visto che non ha molto a che vedere con l'interesse di Scarpa per la narrativa cannibale, dando ragione a chi di recente ha notato l’affermarsi di una nuova letteratura dell’impegno in Italia. Tuttavia, un’attenta analisi del romanzo mette in luce una serie di tecniche predilette dai cannibali che rendono l’opera meno convenzionale di quanto si possa credere. Stabat Mater, diario spietato di un’adolescente abbandonata dalla madre nella Venezia del 1700, rappresenta personaggi alienati, scene di sangue e secrezione corporea, ricorre alla frammentarietà ed alla ripetizione lessicale, alla sperimentazione linguistica tesa alla produzione di un linguaggio orale e performativo, trovando ispirazione in vari generi e mezzi espressivi, quali il romanzo, il diario, la pittura, la musica e la poesia sacra. Con quest’opera Scarpa continua a voler suscitare nei lettori una reazione alla parola scritta, dimostrando di non mancare né d’immaginazione a livello espressivo, né d’essere indifferente al tema dell’ engagement, come gli è stato spesso rimproverato. Stabat Mater si misura con questioni che coinvolgono i rapporti tra arte, vita e cultura anche grazie a quel che di pulp in esso rimane.
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Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.
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Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comparison with practical results. Background. The active studying phase of the South of Italy song tradition falls on the middle of the 20th century and is associated with the activities of a music critic, professor of ethnomusicology Diego Carpitella (1924−1990). This defender of Italian folklore took an active part in ethnographic expeditions and the 1950s discussions, collected more than 5,000 songs, and paid special attention to the music of southern Italy. An important contribution was also made by Roberto De Simone (born 1933) – Italian theater director, composer and ethnomusicologist, founder of Nuova Compagnia di Canto Popolare (from 1967 to the present). Today, the fate of the historical past of Canzone Napoletana appears to be the object of close attention in Italy. This is evidenced by regularly held international conferences dedicated to the stylistics and poetics of Neapolitan song, its historical past, personalities who made a significant contribution to the formation of the genre, as well as monographs of various topics. Objective of the researching. In Ukrainian and Chinese musicology, the state of elaboration of the information field on the issue of Canzone Napoletana is extremely weak. Therefore, it seems relevant to refer to the review of foreign scientific sources. Thus, the subject of research in this article is the tradition of scientific and critical understanding of the phenomenon of Neapolitan song, formed at the crossroads of different areas of modern Italian art history. The identification of the leading issues in the coverage of the phenomenon of Canzone Napoletana in the works of modern scientists is the subject of this article. The research material, on the one hand, is a song “Te vogliо Bene assaje” as an example of commercialization of the genre, on the other hand – a monograph “La canzone napoletana. Tra memoria e innovazione” (2013). Results. The prerequisites for modern scientific thought aimed at studying the musical folklore of the South of Italy first arose in the 19th century. In the context of Romanticism’s interest in folk culture, musicological search was more of a practical nature: collection and recording of the texts of Neapolitan songs, musical notation of samples of spoken creativity. The origin of these processes is investigated in the collective monograph “La canzone napoletana. Tra memoria e innovazione” (2013) prepared by historians, sociologists, anthropologists, musicians. They entered a group for the study of Neapolitan song on the initiative by Institute for Studies on the Mediterranean (ISSM, Italy). Paola Avallone points to the ability of Neapolitan music to sublimate the musical traditions of various Mediterranean peoples, due to contact with the southern regions through geographic, commercial interaction. In Italy itself, the Neapolitan song is already recognized as a cultural phenomenon, the uniqueness of which is surprising against the background of the region’s economic problems, the depletion of its natural resources, and weak state financial support. The study of Neapolitan song at an interdisciplinary level dictates the development of such directions as: historical, methodological, scientific-analytical, morphological. The Neapolitan song is inextricably linked with the cultural environment of the southerners, their special “lifestyle”, mythological and religious ideas. Marialuisa Stazio characterizes the Neapolitan song of the late 19th century as unique because of its strong connection to collective memory. The attitude to the Canzone Napoletana as a certain musical archetype reveals the insufficiency of methods and imperfection of the tools of analysis due to the archaic nature of the origins of the Canzone Napoletana, as well as because of the incompleteness of its evolution from 1824 to 1970. Many of the samples created during this period have many similarities. At the same time, the forms of communication changed: from “flying” leaflets to “compilations” – collections of Neapolitan songs, like “Passatempi musicali” by G. Cottrau; from author’s songs to the involvement of the media in the 20th century, “television festivals of the Neapolitan song”. In the last decade, the Internet resources YouTube, Spotify, Pandora have played a decisive role in promoting the musical product Musica Napoletana. Conclusions. The Neapolitan song is of interest as a cultural and economic phenomenon. It has turned into a “tourist” product, a souvenir, which fully represents the cultural originality of the southern region, acts as a carrier of the cultural code of the nation and the Mediterranean as a whole. The problem of its preservation, as well as of bringing the existing developments in the field of ethnomusicology to a common denominator, giving them a certain integrity, remains urgent.
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Wilbourne, Emily. "Lo Schiavetto (1612): Travestied Sound, Ethnic Performance, and the Eloquence of the Body." Journal of the American Musicological Society 63, no. 1 (2010): 1–43. http://dx.doi.org/10.1525/jams.2010.63.1.1.
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This article examines at the relationship between epistemologies of sound, repertoires of popular music, and markers of ethnic difference in early seventeenth-century Italy. The analysis concentrates on two scenes from the 1612 commedia dell'arte play Lo Schiavetto (“The Little Slave”). In one, an Italian nobleman disguises himself as a mute Jew, in the other, a young Italian noblewoman sings while cross-dressed as a black, male slave. Questions of embodiment are considered, as are the specific historical circumstances of the work's original performers, Virginia Ramponi Andreini, detta Florinda, and her husband, Giovan Battista Andreini, detto Lelio. Musical discussion focuses on the genre of the madrigal comedy (with particular attention to Orazio Vecchi's L'Amfiparnaso) and Giulio Caccini's Le nuove musiche e nuova maniera di scriverle (1614).
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Donati, Pier Paolo. "Las características de los órganos italianos en la época de Antonio de Cabezón." Anuario Musical, no. 69 (December 30, 2014): 249. http://dx.doi.org/10.3989/anuariomusical.2014.69.171.
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En 1548 Antonio de Cabezón fue capaz de hacer un viaje a Italia. En esa ocasión, él sin duda podría aprender y tocar el órgano italiano. Las nuevas fuentes y documentos inéditos, nos han permitido recientemente para identifi car un perfi l nuevo y confi able de los órganos de origen italiano. Eliminado los errores históricos, falsos de fecha y clichés, la adquisición de los datos técnicos distintos de los transmitida por tradición han abierto una nueva perspectiva histórica de la cual aquí se da cuenta. Ilustración actualizada de las características de los órganos del Renacimiento italiano sigue las directrices de la práctica interpretativa que derivan de ella y un enfrentamiento con los instrumentos españoles practicadas por Antonio de Cabezón.
[it] Le caratteristiche degli organi italiani al tempo di Antonio de Cabezón
Nel 1548 Antonio de Cabezón ebbe modo di compiere un viaggio in Italia. In quell’occasione poté sicuramente conoscere e suonare gli organi italiani. Nuove fonti e inediti documenti hanno recentemente permesso di delineare un nuovo ed attendibile profi lo degli organi italiani delle origini. Eliminati falsi storici, errori di cronologia e luoghi comuni, l’acquisizione di dati tecnici diversi da quelli tramandati dalla tradizione hanno aperto ad una nuova prospettiva storica di cui qui viene dato conto. All’illustrazione aggiornata delle caratteristiche degli organi italiani del Rinascimento seguono le indicazioni di prassi esecutiva che ne derivano, e un confronto con gli strumenti spagnoli praticati da Antonio de Cabezón.
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Ladino Herrera, Luisa Fernanda, Geraldyne Pérez Molina, Heiryn Dayanne Hernández Prieto, and Paula Andrea Gomez Villalba. "TBL Through Music to Foster Students’ Lexical Competence." Enletawa Journal 13, no. 2 (October 30, 2020): 74–93. http://dx.doi.org/10.19053/2011835x.12004.
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The topic of this qualitative action research was to evidence how Task Based Learning (TBL) through music could foster students’ lexical competence in a multi grade school based on “Escuela Nueva”. The population of the research was a primary school of a public institution that had difficulties in their lexical competence. The goal of this research was to explore the impact that Task Based Learning through music had on students’ lexical competence in an environment of “Escuela Nueva”. The instruments to gather the data were field notes, videotape recordings, pictures, and questionnaires. Findings of this study evidenced that this type of musical tasks can foster lexical competence and engage students to participate actively in class. Likewise, results showed that students were able to relate and recognize words, thanks to the implementation of musical activities as well as the fact that practicing vocabulary with songs can become a good strategy to develop students’ higher level of comprehension.
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Nelson, Michelle, Bev Foster, Sarah Pearson, Aimee Berends, Jennifer Ridgway, Renee Lyons, and Lee Bartel. "Optimizing music in complex rehabilitation and continuing care: A Community Site Facility Study (Part 2 of 3)." Music and Medicine 8, no. 3 (July 31, 2016): 128. http://dx.doi.org/10.47513/mmd.v8i3.416.
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This article is the second in a three-part series on the theory and applications of a music care framework. Music is increasingly being recognized in health care as an effective psychosocial and rehabilitative intervention. Currently, there is little standardization as to how music may best be integrated into health care settings. It is the absence of standardization that prompted the authors to identify new possibilities for integrating music in health care. The purpose of this study was to explore how music could be optimized in complex rehabilitation and continuing care environments, using one such facility in Ontario, Canada, as an example. Data collection focused on the feasibility of incorporating music in care delivery by surveying stakeholders regarding the potential for music in the facility, and collecting specific ideas for the integration of music within the space. Participants’ perspectives were collected using 4 methods: design charrettes, a musical café, an electronic questionnaire and ‘idea boxes’. Data revealed participants’ perceived values and assumptions about the importance of music in care. The researchers utilized a conceptual framework of music care, which was designed to help clarify various dimensions of music in care, assist in the mapping of existing music care initiatives, and identify opportunities to optimize the use of music in care. The study concluded with site specific recommendations, which may be applicable to other health care settingsSpanishOptimizando la Música en Rehabilitación Compleja y en Cuidado Continuo y Rehabilitación; un estudio en centros de atención comunitarias.Este artículo es el segundo de una serie de tres partes sobre la teoría y aplicación de la música en el marco de atención de salud. La música está siendo altamentereconocida en las comunidades de atención de salud como una intervención psicosocial y de rehabilitación efectiva, incrementando muchos aspectos de la calidad de vida. Actualmente, existe poca estandarización sobre cómo integrar de forma eficiente a la música dentro de los objetivos de atención individual y en los centros de atención. Es esta ausencia en la estandarización la que ha llevado a los autores a desarrollar un marco conceptual de atención musical, de esta manera los variados ámbitos de la práctica que incluyen a la música pueden ser distinguidos unos de otros y pueden ser identificadas nuevas posibilidades de optimización musical en los centros de atención.El primer estudio de esta serie examina la optimización de la música en centros de atención a largo plazo en Canadá [1], el propósito del mismo es explorar como la música puede ser optimizada en ambientes de atención compleja y continua, utilizando un centro de estas características como lugar de exploración, ubicado en Ontario, Canadá. Este estudio examina la viabilidad de incorporar música dentro de la atención de este lugar mediante encuestas a sus miembros sobre como ellos evalúan el potencial de la música en la institución, y sobre ideas específicas que pueden tener sobre como optimizar la música en ese espacio. Los datos fueron tomados utilizando 4 métodos: reuniones de directorio, café musical, cuestionarios electrónicos y caja de ideas. Los investigadores desarrollaron un marco conceptual de atención musical como una herramienta de investigación, diseñada para ayudar a clarificar las dimensiones de la música en atención de salud, mapear las iniciativas existentes en atención musical y optimizar el uso de la música en atención de salud. El estudio concluye con ideas y estrategias para la optimización musical, y una lista de recomendaciones para instituciones específicas. Los datos revelan que los participantes tienen valores y suposiciones sobre la importancia de la música en atención de salud que se correlaciona con la importancia de la atención centrada en la persona.Palabras claves: atención musical, cuidado centrado en el paciente, cuidado continuo complejo, optimización musical, diez dominios de la atención musical German Optimierung von Musik in dem Gesamt der Rehabilitation und der kontinuierlichen Versorgung und Rehabilitation: eine Studie über VersorgungseinrichtungenAbstract: Dieser Artikel ist der dritte einer dreiteiligen Serie über Theorie und Anwendung eines Versorgungsrahmens mit Musik. In Versorgungs-einrichtungen wird Musik zunehmend als eine effektive psychosoziale und rehabilitative Intervention anerkannt, die viele Aspekte der Lebensqualität verbessert. Zurzeit gibt es wenig Standardisierung wie Musik am besten in individuelle Versorgungsziele und –settings integriert werden kann. Die noch nicht vorhandene Standardisierung hat die Autoren angeregt, das Konzept eines Versorgungsrahmen mit Musik zu entwickeln, so dass die verschiedenen Praxisbereiche, die Musik integrieren, voneinander unterschieden und neue Möglichkeiten, die Anwendung von Musik in der Versorgung zu optimieren, identifiziert werden können.Während die erste Studie dieser Serie die Optimierung der Musikversorgung in kanadischen Langzeitpflegeheimen [1] untersuchten, ist der Zweck dieser Studie herauszufinden, wie man Musik in komplexen Pflegeeinrichtungen optimieren könnte, dafür wurde solch eine Einrichtung in Ontario/Canada ausgewählt. Diese Studie untersuchte die Möglichkeiten, Musik in die Pflege dieser Einrichtung einzubringen, indem sie die Mitglieder dieser Gemeinschaft beobachteten, wie sie das Potential von Musik der Einrichtung einschätzen, sowie ihre spezifischen Ideen, Musik in diesem Raum zu optimieren.Die Daten wurden mithilfe von vier Methoden erhoben: Design charettes, musikalisches Café, ein elektronischer Fragebogen und Boxen für Ideen. Die Forscher entwickelten einen konzeptuellen Rahmen für die Musikversorgung als Forschungstool, der helfen soll, die Dimensionen der Musikversorgung zu klären, Initiativen zur Musikversorgung zu kategorisieren, und die Anwendung von Musik in der Pflege zu optimieren. Die Studie schließt mit Ideen und Strategien zur Optimierung der Musik und eine Liste von Vorschlägen für spezifische Einrichtungen. Die Daten enthüllt, dass die von den Teilnehmern wahrgenommenen Werte und Annahmen über die Bedeutung von Musik in der Pflege mit der Bedeutung der personen-zentrierten Pflege korrelieren. Keywords: Versorgung mit Musik, patientenzentrierte Pflege, komplexe Langzeitpflege, Optimierung von Musik, zehn Bereiche von Pflege mit Musik.ItalianOttimizzazione della musica nelle Riabilitazioni Complesse e di Cura continua: A facility community site studyQuesto è il secondo di una serie di tre articoli sulla teoria e le applicazioni della cura (riabilitazione) tramite la musica. La musica è sempre piú riconosciuta nelle comunitá di assistenza sanitaria come un efficace intervento psicosociale e riabilitativo, aumentado molti aspetti della qualitá della vita. Ad oggi c’é una leggera standardizzazione su come la musica puó essere meglio integrata per obbiettivi di cura individuale e in altri ambiti di cura. É proprio questa assenza di standardizzazione che ha portato gli autori a creare un quadro concettuale di cura con la musica, cosi i diversi scopi delle pratiche che integrano la musica possono essere distinti gli uni dagli altri, rendendo quindi possible l’ identificazione di nuove possibilitá per utilizzare la musica come cura.Mentre il primo studio ha esaminato l’ottimizzazione della cura con la musica in strutture di assistenza a lungo termine canadesi [1], lo scopo di questo studio é quello di esplorare come la musica possa essere ottimizzata in complessi ambienti di cura continua, utilizzando un impianto in Ontario, Canada, come sito di esplorazione.Questo studio ha esaminato la fattibilitá di incorporare la cura con la musica all’interno di questa struttura, sorvegliando come I membri della comunitá valutano il potenziale della musica nella struttura e su idée specifiche che potrebbero avere per ottimizzare l’uso della musica nello spazio. I dati sono stati raccolti secondo 4 metodi: * (designed charrettes, musical café, an electronic questionnaire and idea boxes). I ricercatori hanno sviluppato un quadro concettuale di cura con la musica come strumento di ricerca, progettato per aiutare a chiarire il ruolo della musica nella cura ,e ottimizzarne l’ uso. Lo studio si é concluso con idée e strategie per l’ottimizzazione della musica, e un elenco di raccomandazioni per un istituto specifico. I dati hanno rilevato valori ed ipotesi fornite dai partecipanti circa l’importanza della musica nella cura correlalandola al significato di cura incentrata sulla persona.Parole Chiave: cura tramite musicaJapanese要旨：本論文は、３部の連続した音楽ケア構造の理論と応用の第２部である。音楽は、心理社会的かつ社会復帰のための効果ある介入としてヘルスケアコニュニティーにおいてますます認知され 、QOLの多くの様相を高めている。現時点では、音楽が個人ケアの目的とケア設定の中にどのように最適に調和させられるかに関して標準化されたものはわずかである。この標準化の欠乏が著者に音楽ケアの構造概念の構築を先導した。音楽を調和した臨床の異なる機会は相互から識別されることができ、ケアの中での音楽の最適化の新しい可能性を見極めることができるかもしれない。このシリーズの第一部でカナダの長期ケア施設での音楽ケアの最適化を考察したが、この研究の目的は音楽が複雑に継続するケア環境の中でどのように最適化されるか、カナダのオンタリオの施設を実地サイトとして探求することである。本研究では、このサイトでのケアに音楽を取り入れることの可能性について、施設コミュニティーのメンバーがどのように音楽の施設内利用の可能性について評価しているか、また、どのように音楽を最適化するか特定のアイディアについて、アンケートを用いて調査した。データは、4つのメソッドを用いて収集された：デザインシャレット、ミュージカルカフェ、電子アンケート、そしてアイディアボックス。研究者達は研究ツールとしての音楽ケアの構造概念を構築し、ケアの中での音楽の重要性を明確にすることを助長するデザインをし、存在する音楽ケア構想をマッピングし、ケアの中での音楽利用を最適化した。研究は音楽の最適化のためのアイディアと方法、特定の施設のための推奨事項を含めて完結した。データは、参加者が認めた有用性と、人間中心ケアの意義とケアの相互関係の中での音楽の重要性の仮説について明らかにしている キーワード：音楽ケア、患者中心ケア、複合継続ケア、音楽最適化、音楽ケアの10の領域
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Bezuglaia, Galina Aleksandrovna. "Apollo's “gift of Harmony and Rhythm”: Emilio de' Cavalieri’s ballo “O che nuovo miracolo”." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 38–53. http://dx.doi.org/10.7256/2453-613x.2020.4.32170.
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The article analyzes the music-dance interaction in Emilio de' Cavalieri’s ballo “O che nuovo miracolo” (“Oh what a new miracle”, Florence, 1589). The topicality of the research is determined by the interest in the epoch of generation and formation of the theatre ballet show genre. The purpose of the research is to study the music-plastic ties manifesting themselves at different levels of a form implemented in a complex multi-sided interaction. The author reveals traditional techniques of adjustment based on the commonness of measured length of syllables/motives/steps, and innovative forms of interaction manifesting themselves in the correlation between the plastic properties of a dance with metrics, rhythm, texture and timbres of the music fabric. The analysis of the peculiarities of musical creative work is based on the historical, historical-typological and intertextual research methods. The author analyzes the multilayered structure of the piece of music consisting in the rotation of complex visual and music-intonation transformations and in the explication of contrasting and symmentrically consistent entities of dance and music. The author concludes about a special dramatic meaning gained by the form of music-choreography explication, found by Cavalieri, symbolizing the process of acquiring “the gift of Harmony”. Multilayered intertextual crossings formed a complex composition that can be referred to as one of unique artistic findings of the epoch.
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Santos-Recto, Matilde Melicent, Fernando P. Ferrer Jr., and Marjorie N. Manlulu. "Gender Sensitivity of Nueva Ecija, Philippines Cradle Songs." International Journal of Research and Innovation in Social Science 06, no. 07 (2022): 401–9. http://dx.doi.org/10.47772/ijriss.2022.6727.
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Gender is recently becoming a significant area of research in the field of popular music studies. As most studies focus on content analyses of popular music, there is still a need to research on the content of traditional songs, particularly, that which focuses on gender sensitivity. The idea that have appeared in most literatures that music phenomena are gendered, and that these phenomena are present in the musical “messages” with its gendered qualities imposed by the listener in the process of perception were the focal points of the study. The conclusion of the research provided information about the contents of lullaby in consideration of gender sensitivity. Data collection was through personal interviews and focus group discussions with elderly citizens groups of selected Nueva Ecija municipalities. The respondents were considered based on their age and initial claims that they have sung lullabies to their children. The more important results indicated that, most of the lyrics of cradle songs of Nueva Ecija are stereotypical with messages implying that mothers are usually left at home to take care of the children and fathers go work to provide the needs of the family. The backstories of the songs are connected to farm activities, market undertakings and advices for the child to grow worthy of their parents. Some songs deal with the merits of being a good and obedient child. It appeared that the cradle songs of Nueva Ecija are not highly gender-biased because most of the lyrics pertained to a child that for the time being is yet insensitive to gender roles.
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Ferri-Benedetti, Flavio. "“La tua Grecia, la quale a me non è Dio”: Martello y Metastasio reinterpretando a Aristóteles." Humanitas 65 (August 30, 2016): 219–50. http://dx.doi.org/10.14195/2183-1718_65_12.
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Martello en 1714 y Metastasio en 1773-1783: dos autores italianos, pertenecientesambos a la Accademia dell’Arcadia, que tratan, por un lado, de reinterpretar y comprender según las novedades literarias y filosóficas de la época los preceptosde la Poética aristotélica (ya tergiversados ampliamente por el recelo de los eruditos del siglo anterior) y, por otro lado, de aplicar esta nueva perspectiva al importante género del teatro musical, el dramma per musica. Buscamos y comparamos aquí los posibles enlaces entre ambos autores en el tratamiento de los preceptos aristotélicos aplicados al rico entramado del teatro barroco tardío y del melodrama.
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Romero, Eugenia R. "Gaitas, panderos y tambores. La nueva música gallega y una identidad glocalizada / Bagpipes, tambourines and drums. New Galician Music and a Glocalized Identity." Kamchatka. Revista de análisis cultural., no. 9 (August 31, 2017): 313. http://dx.doi.org/10.7203/kam.9.9557.
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Resumen: La música gallega ha jugado un papel importante en la interpretación de la identidad gallega. En las últimas décadas, los nuevos movimientos musicales y algunas propuestas de relectura del floklore gallego en relación con otras tradiciones musicales ha abierto las puertas a una redifinición de la ‘galleguidad’ desde una perspectiva glocalizada, que incorpora tanto elementos tradicionalmente asociados a lo gallego como dispositivos y estilos propios de otras tradiciones.Palabras clave: Identidad, Galicia, Música, Glocalización.Abstract: Galician music has played an important role in the interpretation of Galician identity. In the last decades, the new musical movements and some proposals of rereading of the Galician floklore in relation to other musical traditions have opened the doors to a redefinition of the ‘Galleguidad’ from a glocalizated perspective, that incorporates both elements traditionally associated to the Galician indentity and some other cultural styles and traditions. Key words: Identity, Galicia, Music, Clocalization.
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Suppan, Wolfgang. "La antropología musical: informe sobre sus objetivos y trabajos de investigación." Anuario Musical, no. 53 (January 24, 2019): 257. http://dx.doi.org/10.3989/anuariomusical.1998.i53.283.
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Desde 1951 en que el filósofo alemán Hans Plessner publicó su artículo «Anthropology of Music», se ha intentado descubrir desde diferentes disciplinas cómo se interrelacionan el ser humano y la música. Los libros Sound and Symbol (1956) y Man the Musician (1973) de Viktor Zuckerkandl, Anthropology of Music (1964) de Alan B. Merriam, How Musical is Man? de John Blacking (1973), Der musizierende Mensch. Eine Anthropologie der Musik (1984) y Música humana (1986) de Wolfgang Suppan constituyen los pasos más importantes hacia una nueva e interdisciplinaria ciencia de la música. Pero el pensar sobre la necesidad de la música por parte del hombre y la sociedad aparece ya en las antiguas filosofías de China y Grecia. Nuestro estudio y repaso bibliográfico sobre el desarrollo de la investigación antropológico-musical toma asimismo en consideración al jesuíta español P. Antonio Eximeno y Pujades, quien en el siglo XVIII publicó en sus poco conocidos libros importantes ideas sobre nuestra temática.
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Belaise, Vera, Alvise Vidolin, and Roberto Doati. "Nuova Atlantide." Computer Music Journal 11, no. 3 (1987): 49. http://dx.doi.org/10.2307/3679738.
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GAVAGNIN, STEFANO. "‘They Fell Like Meteorites’: Avatars of the Andean Sound and Their Reception by Italian Music Groups (1973–1996)." Twentieth-Century Music 17, no. 3 (October 2020): 381–99. http://dx.doi.org/10.1017/s1478572220000183.
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AbstractDespite the attention given to the transnational circulation of Andean music, its reception and adoption by European musicians have been rarely researched. This article focuses on the specific case of Italy, where the Andean music boom blended with that of the New Chilean Song in exile (1973–89) and where, in addition, repertoires and practices of both musics were adopted by dozens of local groups formed by young Italians. Those Italian groups – with their performative strategies and their choices of repertoires – provide a privileged lookout about how different representations of the andeaneity (the Nueva Canción Chilena with its ethical and political connotations, the musique des Andes of the French matrix, the autóctonas indigenist currents) interacted in creating an Italian imagery of the Andes. They also suggest how the adoption of ‘someone else's music’ can act, with its transcultural complexity, in the elaboration of personal narratives of identity.
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LOPATIN, MIKHAIL. "Antonio Calvia and Maria Sofia Lannutti , eds., Musica e poesia nel Trecento italiano: verso una nuova edizione critica ‘dell’ ‘Ars Nova’, La tradizione musicale: Studi e testi 16. Florence: SISMEL, Edizioni del Galluzzo per la Fondazione Ezio Franceschini, 2015. ix + 360 pp. €62. ISBN 978 88 8450 651 1." Plainsong and Medieval Music 26, no. 2 (October 2017): 198–206. http://dx.doi.org/10.1017/s0961137117000109.
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Goldman, Jonathan. "alcides lanza’s Musical Awakening in Buenos Aires." Circuit 17, no. 2 (December 10, 2007): 83–91. http://dx.doi.org/10.7202/016842ar.
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In this interview with Argentinean-born alcides lanza, the composer speaks about his teachers in Rosario, and his first experiments with tape music, as well as his move to Buenos Aires in 1955. He speaks about his studies at the claem of the Di Tella institute as well as his role in the establishment of the ensemble Agrupación Música Viva, and about his work as a pianist in Juan Carlos Paz’s Agrupación Nueva Música. He discusses how his contact in Buenos Aires with teachers like Maderna, Messiaen, Copland and Ginastera, and colleagues like Gandini, Kagel, Krieger and Tauriello, shaped his musical development.
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Chessa, Luciano. "L'Arte dei “Romori”: Leonardine Devotion in Luigi Russolo's Oeuvre." Leonardo 41, no. 1 (February 2008): 43–48. http://dx.doi.org/10.1162/leon.2008.41.1.43.
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The author has discerned a deep interest in the occult arts at the core of Luigi Russolo's Art of Noises. Such an interest is confirmed by Russolo's admiration for Leonardo da Vinci. Leonardo's writings on music and acoustics constituted in fact a scientific and spiritual paradigm for Russolo; the former's mechanical musical-instrument projects were important models for Russolo's own, from 1913's intonarumori to the nuovo istrumento musicale a corde of 1931. Perhaps because of the futurists' ambivalent position toward the figure of Leonardo (proto-futurist or passatista), Russolo profusely quoted Leonardo but carefully avoided mentioning any borrowing.
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Madrid, Alejandro L. "Rastreando las huellas de la escucha performativa: la escritura como constelación archivística." Anuario Musical, no. 76 (December 21, 2021): 11–30. http://dx.doi.org/10.3989/anuariomusical.2021.76.02.
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Este artículo plantea una revisión de la historiografía musical nacionalista mexicana tomando como punto de partida un análisis comparativo de dos libros publicados en Ciudad de México a principios de la década de 1930, Instrumental precortesiano (1933) de Daniel Castañeda y Vicente T. Mendoza y Hacia una nueva música/Toward a New Music (1932-1937) de Carlos Chávez. En el contexto de la reconceptualización de la noción de archivo musical o archivo sonoro a partir de la escucha y la imaginación de la escucha, este artículo explora la posibilidad de acercarse a esos dos libros de manera relacional como archivos de aspiraciones y deseos. Esta constelación archivística nos ofrece un punto de entrada para comprender la relación performativa entre modernidad y tradición que informa el desarrollo de la narrativa nacionalista mexicana posrevolucionaria. El artículo sugiere que la invención del pasado en contrapunto con la imaginación del futuro que la escritura de estos libros pone en evidencia es una clave fundamental para entender el esencialismo de las aspiraciones que ha informado la historiografía musical mexicana de los últimos noventa años.
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Bass, John. "Would Caccini approve?" Early Music 36, no. 1 (February 1, 2008): 81–94. http://dx.doi.org/10.1093/em/cam120.
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Abstract Although it is known that improvisation was an important part of musical performance in the 16th and 17th centuries, studying how extemporaneous elements were incorporated into real-world situations has proven to be difficult. Improvisers, by nature, do not record what they do, but there is evidence that points to some of these individuals attempting to document their approach to music, namely in ornamentation manuals and individual pieces with written-out embellishment. Among these sources is British Library Ms. Egerton 2971, a 37-folio volume probably dating from the second or third decade of the 17th century, which contains, among other things, embellished versions of Giulio Caccini’s Amarilli, mia bella and Dolcissimo sospiro, first published in Le nuove musiche (Florence, 1602). Sources like this, despite some inherent problems, offer the clearest window into the minds of improvisers of the time, and warrant further study. The research in this article serves two purposes. First, the versions of Amarilli, mia bella and Dolcissimo sospiro contained in Egerton 2971 will be examined and compared to those published in Le nuove musiche as a case study of early 17th-century improvisation. Second, because of Caccini’s open disdain for singers taking liberties with his compositions, an attempt will be made to see if these pieces might be examples of such treatments. The crux of the article aims to show that ornamentation of the time, at least as shown in these examples, was not a random act of substituting stereotyped musical patterns for given intervals, but instead points to a more robust idea of improvisatory thought. Rather than looking at individual ornaments or how specific musical gestures might have painted certain words, the overall structure of the ornamentation is examined to show that it is subject to deeper and subtler intellectual considerations of poetic structure, overall musical structure, and rhetoric.
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Milin, Melita. "Ancient Greek mythology mediated by Latin culture: On Vlastimir Trajkovic’s arion and Zephyrus returns." Muzikologija, no. 12 (2012): 165–82. http://dx.doi.org/10.2298/muz120130008m.
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Vlastimir Trajkovic (b. 1947) is a prominent Serbian composer with a strong inclination towards subjects from ancient Greek mythology. Among his most important achievements may be counted Arion - le nuove musiche per chitarra ed archi (1979) and Zephyrus returns for flute, viola and piano (2003). Two important aspects of those works are discussed in the present article: 1. the line that connects them to ancient Greek culture via French Modernism (Debussy, Ravel, Messiaen) and Renaissance poetry and music (Petrarch, Caccini, Monteverdi); 2. modality, which has proved its vitality through long periods of the history of European music, beginning with ancient Greek modes, reaching its high point in the 16th century, and re-emerging at the beginning of the 20th century in different hybrid forms. Trajkovic is seen as a composer who has shaped his creative identity by exploring the rich musical heritage of the Latin European nations, especially the contributions of Debussy and Ravel.
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Stoessel, Jason. "Antonio Calvia and Maria Sofia Lannutti, eds., Musica e poesia nel Trecento italiano. Verso una nuova edizione critica dell’ “Ars nova”. (La Tradizione Musicale 16.) Florence: SISMEL Edizioni del Galluzzo for the Fondazione Ezio Franceschini, 2015. Paper. Pp. xi, 360. €62. ISBN: 978-88-8450-651-1. http://www.sismel.it/tidetails.asp?hdntiid=1443." Speculum 93, no. 1 (January 2018): 184–85. http://dx.doi.org/10.1086/696085.
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Espinosa Arango, Cecilia, and Gabriel Andrés Rodríguez Zuluaga. "The new colombian symphonic and choral music." Ricercare 1, no. 1 (2014): 86–96. http://dx.doi.org/10.17230/ricercare.2014.1.5.
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Tammen, Björn R. ""Formare un nuovo originale"." Die Musikforschung 59, no. 2 (September 22, 2021): 107–33. http://dx.doi.org/10.52412/mf.2006.h2.569.
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Eine Bestandsaufnahme der Quellen der Österreichischen Nationalbibliothek in Wien (Handschriften-, Autographen- und Nachlass-Sammlung) zum Briefwechsel Pietro Metastasios (1698-1782) förderte neben 380 Originalbriefen auch über 2300 zu Lebzeiten des kaiserlichen Hofdichters angefertigte, vor allem von Angehörigen der Familie Martines (Joseph, Marianne) angelegte und in mehreren Kopierbüchern gesammelte Primär- und Sekundärabschriften zu Tage. Exemplarisch wird verfolgt, wie Metastasio die Abschriften seiner Briefe persönlich durchgesehen, korrigiert, sprachlich überformt, Namen lebender Personen anonymisiert und verfängliche Passagen durch Selbstzensur getilgt hat (mit Rekonstruktionen). Der bis zum heutigen Tag für maßgeblich erachteten Briefedition sind diese Redaktionsstufen entgangen: Bruno Brunelli legte seiner zwischen 1943 und 1954 erschienenen Studienausgabe im Wesentlichen ein auktorial bereinigtes Textkorpus zugrunde. Zusätzlich werden die Entwürfe zweier bisher unbekannter Briefe Metastasios - vermutlich an den Komponisten Johann Adolf Hasse (1699-1783) beziehungsweise den Dichter Ranieri Calzabigi (1714-1795) - erstmals ediert.
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Herrera, María Mercedes. "Musika viva en Beethovenianas Momentum 11: conciertos de música electrónica y ambientes en Casa de la Cultura, año 1970." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 9 (January 15, 2012): 91. http://dx.doi.org/10.26564/16926250.338.
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Resumen:Beethovenianas Momentum 11 fue un evento de participación organizado por Musika viva en Bogotá, el cual tuvo como invitado a Musika Viva Ensemble de Nueva York. En este se dieron conciertos de música electrónica y ambientes escultóricos construidos de sonido, en medio de la utilización de innovaciones tecnológicas. Este artículo analizará Beethovenianas teniendo como fuentes documentales el programa de mano impreso tipo fanzine, las fotografías y los testimonios de algunos protagonistas. Con ello se apuntará a reconstruir este evento de participación en su relación con los movimientos artísticos internacionales, y con búsquedas escultóricas que se desarrollaron en Colombia. Palabras clave: Musika viva, Musika viva ensemble, Beethovenianas, momentum, arte conceptual Colombia, historia del arte ColombiaResumo:Beethovenianas Momentum 11 foi um evento de participação organizado por Musika viva em Bogotá, e que tive como convidado o Musika Viva Ensemble de Nova Iorque. Nesse evento foram oferecidos concertos de música eletrônica e ambientes escultóricos construídos de som, isso dentro da utilização de inovações tecnológicas. O presente artigo analisa Beethovenianas tendo como fontes documentais o programa de mão impresso tipo fanzine, as fotografias e as testemunhas de alguns protagonistas. Com isso tenta se reconstruir esse evento de participação na sua relação com os movimentos artísticos internacionais e com as buscas escultóricas desenvolvidas na Colômbia. Palavras chave: Musika viva, Musika viva ensemble, Beethovenianas, momentum, arte conceitual Colômbia, história da arte Colômbia.Abstract:Beethovenianas Momentum 11 was an event organized by Musika Viva in Bogotá featured by Musika Viva Ensemble from New York. In this event concerts of electronic music and sculpturing environments made up with sound in the midst of technological innovation. This article will analyze Beethovenianas resourcing to the printed fanzine hand program, the photographs and the testimonials of some of the participants. With this we will aim at reconstructing that participatory event in its relation to the international artistic movements and their sculpturing endeavors developed in Colombia. Keywords: Musika viva; Musika viva ensemble; Beethovenianas; momentum; Colombian conceptual art; Colombian art history.
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Stefanovic, Аna. "Baroque references in works of Vlastimir Trajkovic." Muzikologija, no. 13 (2012): 141–62. http://dx.doi.org/10.2298/muz120401016s.
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The article examines Baroque references in three Trajkovic?s compositions: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des z?phyres ou ?Zefiro torna? op. 25 (2001) and solo song Renoveau from the cycle Cinq po?mes de St?phane Mallarm? op. 29, in its version for voice, flute and piano (2003), all these compositions being unified by the idea of modernity and novelty, metaphorically contained also in the idea of renewal of nature, which connects music of the moderns from the beginning of the 17th century and Trajkovic?s search for new paths in music, opposite to ?gothic? tangles of the Avant-garde. Complex and multi-layered, the references to the Baroque era in Trajkovic?s works reflect fundamentally generic, arche-textual relations. Compositions Arion and Zefiro torna are set upon explicit references to Italian origins of the Baroque epoch, in theoretical, as well as in the creative domain (to Caccini?s collection of madrigals - Le nuove musiche, 1601, and Monteverdi?s madrigal Zefiro torna, 1614, after Petrarch?s sonnet). Zefiro torna, with a primarily French title and subtitles of the ?scenes? given after antique mythological sources, indicates, again, a twofold generic relation: to the Italian madrigal tradition (including another Monteverdi?s madrigal with the same title composed after Rinuccini?s sonnet, from 1632) and the French tradition of opera/ballet, additionally mediated by references to the opuses of Debussy and Ravel. Multiple literary and musical trans-historical relations can be observed in the solo song Renouveau. However, from these compositions, implicit generic relations, far more than explicit para-textual references, with the whole corpus of themes, forms, texts, discourses as well as crucial poetic concepts of the 17th century music can be inferred.
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Swafford, Jan. "La Vita Nuova: The Courtship of Charles and Harmony Ives." American Music 13, no. 4 (1995): 470. http://dx.doi.org/10.2307/3052404.
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Merino Montero, Luis. "Una nueva etapa." Revista musical chilena 64, no. 214 (December 2010): 7–8. http://dx.doi.org/10.4067/s0716-27902010000200002.
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Merino Montero, Luis. "Una nueva etapa." Revista musical chilena 71, no. 227 (June 2017): 7–8. http://dx.doi.org/10.4067/s0716-27902017000100007.
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Moreno Gaona, David. "Significados, usos y funciones de la música clásica en Guadalajara, 1947-1960. Un análisis a partir de la historia social de la música." Intersticios Sociales, no. 14 (August 31, 2017): 283–315. http://dx.doi.org/10.55555/is.14.166.
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Durante el régimen de Jesús González Gallo (1947-1953), ocurrieron una serie de cambios en todos los niveles sociales; la élite política estrechó alianzas con la jerarquía eclesiástica y con la burguesía compuesta por comerciantes e industriales, para evitar conflictos al momento de implementar el nuevo modelo económico-político conocido como “desarrollismo”. Dentro de este contexto de redistribución de poderes y de reformas que trastocaron todos los ámbitos sociales –fomento industrial, modificación urbana, crecimiento demográfico, etc.–, la música clásica adquirió nuevos significados para los grupos de poder, ocupando un lugar predominante dentro de las políticas culturales. La reactivación de la Orquesta Sinfónica de Guadalajara, que venía enfrentándose a condiciones económicas adversas por lo menos desde el sexenio anterior, constituyó un punto de encuentro para la nueva élite.Meanings, uses and functions of classical music in Guadalajara, 1947-1960: An analysis based on the social history of musicAbstractDuring the regime of Jesús González Gallo (1947-1953), occurred a number of changes in all social levels; the political elite created alliances with the church hierarchy and the bourgeoisie made up of merchants and industrialists, to avoid conflicts when implementing the new economic-political model known as “desarrollismo”. Within this context of redistribution of powers and reforms that altered all social ambits –industrial development, urban renewal, population growth, etc.–, classical music acquired new meanings for power groups, occupying a prominent place in cultural policies. The revival of the Guadalajara Symphony Orchestra, which had been facing adverse economic conditions at least since the previous six years, was a meeting point for the new elite.Keywords: classical music, meanings of music, music and politics, musical taste, Guadalajara.
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Negri, Manuel. "Collezioni di miracoli mariani al tempo di Alfonso X." Revista de Poética Medieval 35 (November 30, 2021): 179–96. http://dx.doi.org/10.37536/rpm.2021.35.35.89260.
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La seconda metà del XIII sec., periodo nel quale opera politicamente e culturalmente Alfonso X, rappresenta il momento di massima fioritura della miracolistica mariana nello spazio europeo. Le collezioni di miracoli mariani allora disponibili sono sia il frutto di una tradizione di opere universalmente riconosciute che narrano fatti prodigiosi permessi dall’intermediazione della Vergine Maria, sia il risultato di nuove aggiunte ai temi più tradizionali. Inoltre, alle collezioni trasmesse in lingua latina, si affiancano anche altre raccolte in volgare scaturite non solo dalla penna di nuovi ecclesiastici o monaci, ma anche da quelle di devoti laici, assumendo così aspetti e finalità del tutto nuove. Il presente contributo vuole offrire una panoramica ragionata di queste collezioni – sia locali che diffuse a livello internazionale – accessibili o meno al tempo del sovrano Alfonso X, detto «Il Saggio».
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Fiorussi, André. "La diéresis silenciada de Julio Herrera y Reissig." Rhythmica. Revista Española de Métrica Comparada, no. 17 (January 9, 2020): 35. http://dx.doi.org/10.5944/rhythmica.26314.
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Julio Herrera y Reissig (1875-1910) defiende el uso de la “diéresis silenciada” en unas notas que escribió para explicar soluciones adoptadas en la traducción de dos poemas franceses. El concepto de “diéresis silenciada” es el punto de partida para una amplia exposición de la nueva música del verso, constituida por una serie de recursos capaces de promover, en su conjunto, una nueva música para la poesía en lengua española. Este artículo plantea que las notas de Herrera y Reissig sobre el tema cumplen una función táctica que sobrepasa la discusión técnica y normativa y pueden ser interpretadas como una preceptiva y una descripción poética y musical del modernismo hispanoamericano. Las notas evidencian que el ritmo poético no está plenamente inscrito en el texto y que tampoco es independiente de él, sino que se produce históricamente en construcciones complejas, en las que intervienen los diversos miembros de una comunidad siempre dinámica que incluye, entre otros, a poetas, lectores,editores o estudiosos.In his explanatory notes regarding the solutions he adopted for the translation of two French poems, the Uruguayan poet Julio Herrera y Reissig (1875- 1910) defends the use of the “silenced diaeresis”, taking it as the starting point of a large proposition in favor of a new music of verses. Through the concurrent employment of a series of specifi c resources, it would enable the promotion of a new music for poetry in Spanish. This essay argues that Herrera y Reissig’s notes on this subject have a tactical function that goes far beyond technical and normative discussions, and may be interpreted as a prescription for and a description of the music of the so-called Modernist Hispanic-American poetry. His notes lead to the perception that the poetic rhythm is not wholly inscribed in the text, but not altogether independent of the text: it is produced historically, in complex constructs, with the intervention of various members of a constantly dynamic community including poets, readers, editors, scholars.
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Lamadrid, Enrique R., and Cipriano Virgil. "Cipriano con la Nueva Cancion Nuevomexicana." Latin American Music Review / Revista de Música Latinoamericana 7, no. 1 (1986): 119. http://dx.doi.org/10.2307/780192.
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FREEDMAN, JESSE. "Political Participation and Engagement in East Germany Through Chilean Nueva Canción." Yearbook for Traditional Music 54, no. 1 (July 2022): 1–25. http://dx.doi.org/10.1017/ytm.2022.4.
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AbstractChilean musical and political themes were an important element of East German life during the socialist presidency of Salvador Allende (1970–1973) and the violent military dictatorship (1973–1990) that overthrew him. The musical movement nueva canción (new song) was critical in mobilising solidarity with Chile around the world. In East Germany, the state-sponsored Singebewegung (singing movement) and the Liedermacher*innen1 (song makers) who were sometimes more openly critical both performed Chilean themes and covers. In addition to promoting solidarity, both groups drew on the musical identity of this group to arouse political participation towards different ends.
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De la Fuente Charfolé, José Luis. "Inventarium Librorum Musicae: nueva aportación documental sobre el archivo musical de la Catedral de Cuenca (siglos XVII-XVIII)." Anuario Musical, no. 62 (December 30, 2007): 171. http://dx.doi.org/10.3989/anuariomusical.2007.62.22.
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Considerar la recuperación y estudio de documentos descriptivos un elemento fundamental de la reconstrucción y revisión histórico-historiográfica de la práctica musical en general, y catedralicia en particular, es un tópico que debe revalorizarse como maniobra crítica. A tal efecto, en el presente artículo, la documentación trancrita aporta datos esenciales para la crítica cualitativa de los primeros fondos polifónicos de que hay constancia escrita en la Catedral de Cuenca. A nuestro entender, el contenido de los presentes inventarios trasciende la simple cuantificación de partituras y certifica que la calidad de la capilla musical conquense, desde comienzos del siglo XVII, fue equiparable al de otras capillas hispanas de mayor notoriedad.
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Hoyos Sánchez, Inmaculada. "El coraje en el gobierno de las pasiones: notas sobre Platón y los cínicos antiguos = Courage in the Government of Passions: Notes on Plato and the Ancient Cynics." ΠΗΓΗ/FONS 4, no. 1 (June 4, 2020): 141. http://dx.doi.org/10.20318/fons.2019.4915.
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Resumen: El propósito de este estudio es reflexionar acerca de las distintas concepciones que del coraje y sus funciones han tenido algunas escuelas de la Antigüedad en el marco de una política entendida como gobierno de las pasiones. En este artículo se compara la perspectiva de Platón con el enfoque del cinismo. En la primera sección, se analiza el papel de la educación musical en la República . Dicha educación, según Platón, fomenta el verdadero coraje entre los guardianes y evita su brutalidad. En la segunda sección, se consideran las diferencias entre el platonismo y el cinismo. Éste último presentó una nueva manera de entender el coraje, como un modo de vida que no requiere ningún tipo de pedagogía musical, sino un entrenamiento constante para superar la vergüenza. Además, el coraje, para el cínico, no es la virtud específica de una clase del estado, la de los guardianes, sino que es un modo de vida que cualquier individuo puede adoptar aplicando una terapia correctora.Palabras clave: Platón, cinismo, coraje, música, vergüenza.Abstract: The following paper compares Plato’s proposal with the approach of cynicism concerning the virtue of courage. The first section studies role of musical education in the Republic, which contributes to foster real courage among the guardians and avoids brutality. The second section exposes the differences between Platonism and Cynicism. The latter presented a new way of understanding courage, as a way of life, which does not require a musical pedagogy, but training in overcoming shame. Courage, according to the Cynics, is not the specific virtue of a class but is a way of life that any individual can adopt.Keywords: Plato, Cynicism, courage, music, shame.
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Hernández. ""MUSICA ANTIQUA", NUEVA REVISTA MENSUAL ESPECIALIZADA (Córdoba, junio-noviembre de 1986)." Revista de Musicología 10, no. 1 (1987): 323. http://dx.doi.org/10.2307/20795127.
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Chomsky, Aviva. "Rewriting Gender in the New Revolutionary Song." Radical History Review 2020, no. 136 (January 1, 2020): 142–55. http://dx.doi.org/10.1215/01636545-7857319.
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Abstract This essay examines the meanings of gender in the music of Cuba’s Nueva Trova, an important expression of what came to be known as the Nueva Canción (New Song) that flourished throughout Latin America between the 1960s and the 1980s. The continent-wide movement sought to challenge the commercialization of the airwaves by raising profound, revolutionary, and deeply Latin American themes while revaluing traditional instruments and styles. Music played an important role in articulating a rejection of capitalist and colonial values, a turn to popular and indigenous roots, a commitment to continent-wide revolution, and a vision of a better world. Through festivals, gatherings, and conferences, mass concerts and radio, international travel, and, under dictatorship, clandestinely circulated cassette tapes, the Nueva Canción exemplified a generation’s search for multiple meanings of liberation. In participating in radical critiques of Latin America’s social order, the Nueva Canción rewrote gender norms embedded in society and its music. Revolutionary singer-songwriters explored the meanings of human emancipation in ways that challenged traditional gender roles and ideologies. Political, personal, and love songs upended gender stereotypes to offer new, revolutionary meanings to romantic love. Songwriters linked the Cuban Revolution to other Latin American revolutionary processes and imagined how the new society would liberate the human spirit and human potential. Socially committed art reflected, explored, and contributed to imagining the new world, and reimagining gender played a role in the process and in its music.
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Vélez-Caro, Constanza, and Miguel Ángel Mansilla. "La nueva canción evangélica (1986-2012): la influencia de Marcos Witt en la música y los músicos evangélicos." Religião & Sociedade 40, no. 3 (December 2020): 241–68. http://dx.doi.org/10.1590/0100-85872020v40n3cap10.
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Resumen: Se describen los elementos que hicieron de Marcos Witt, uno de los músicos evangélicos más relevantes en el desarrollo de lo que aquí denominamos “la nueva canción evangélica”. Igualmente, se expone cómo su producción musical, asociada al contexto del fenómeno evangélico, y de la globalización de la industria musical, influyó en el surgimiento de recursos musicales característicos del movimiento. Los que permearon al pentecostalismo clásico e influyeron en el fenómeno neopentecostal. Fue utilizada una metodología cualitativa de estudio de caso, con relevamiento de fuentes primarias y secundarias sobre el tema, junto con entrevistas a locutores de radios evangélicas de la década de 1990. Y como elemento adicional, se analizaron letras de canciones. Se concluirá la importancia de Marcos Witt en la nueva canción evangélica, como promotor del neopentecostalismo en lo referido a la industria musical.
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Pereira, Adriana Teixeira. "A IDENTIDADE LATINO-AMERICANA NO MOVIMENTO “NUEVA CANCIÓN LATINOAMERICANA” DE 1960." Revista Leia Escola 19, no. 1 (June 4, 2019): 130–41. http://dx.doi.org/10.35572/rle.v19i1.1309.
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O presente trabalho resulta do projeto de pesquisa Júnior desenvolvido no Instituto Federal de Educação, Ciência e Tecnologia (IFCE), campus Juazeiro do Norte, cujo objetivo era o de promover a reflexão sobre a construção da identidade latino-americana por meio da análise musical do movimento artístico cultural “nova canção latino-americana” de 1960. Esta pesquisa está fundamentada nos conceitos de interculturalidade, segundo Kramsch (1993), de identidade de Hall (2015) e Silva (2014) e nos estudos sobre o movimento musical canção de protesta. Os resultados revelam um aprimoramento da língua/cultura espanhola, bem como ampliação dos conhecimentos socio-históricos-culturais da América Hispânica dos participantes, contribuindo, portanto, para a construção da identidade latino-americana.
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Valle. "MÚSICA Y RETÓRICA: UNA NUEVA TRAYECTORIA DE LA "ARS MUSICA" Y LA "MUSICA PRACTICA" A COMIENZOS DEL BARROCO." Revista de Musicología 10, no. 3 (1987): 811. http://dx.doi.org/10.2307/20795173.
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RICHTER-IBÁÑEZ, CHRISTINA. "Latin American Songs in the GDR and the East German Singer-Songwriter Repertoire (1970–2000): Gerhard Schöne's ‘Meine Geschwister’ in the Light of Translation Studies." Twentieth-Century Music 17, no. 3 (October 2020): 401–17. http://dx.doi.org/10.1017/s1478572220000195.
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AbstractLatin American folkloric-popular music had an impact on the music scenes of both Germanies, where singer-songwriters emerged and became interested in Chilean Nueva Canción, the Argentinian Movimiento del Nuevo Cancionero, and Cuban Nueva Trova in the 1970s. Particularly interesting in this context is the contact of some Latin American countries with the German Democratic Republic (GDR). Based on translation theory and articles on Nueva Canción in Europe, this article examines the Latin American presence at the Political Song Festival in East Berlin and analyses some publications that focus on this annual event. The article focuses on the singer-songwriter Gerhard Schöne, who during the 1980s, took Nicaragua as a political example, as is shown in songs, and who also composed German lyrics to melodies by Violeta Parra, Atahualpa Yupanqui, and Silvio Rodríguez, transferring the songs into a new context.
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Massa, Pablo. "Musica y Scolica Enchiriadis. Hacia una representación icónica del espacio sonoro en dos tratados musicales carolingios." Anuario Musical, no. 77 (December 29, 2022): 29–49. http://dx.doi.org/10.3989/anuariomusical.2022.77.03.
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El presente artículo sistematiza algunas observaciones acerca de la diagramatología de los tratados Musica y Scolica Enchiriadis (c. 850) dentro del proceso teórico de construcción del espacio de la escritura sonora en la época carolingia. Se propone así un estatuto de las descriptiones de ambos tratados en tanto íconos-diagramas, se examinan los elementos y fases de su formalización, las metáforas espaciales y temporales que conforman sus presupuestos epistémicos, y su relación y dependencia con diagramas cuadriviales de la Antigüedad. Se examina también el uso del color como elemento cognitivo en la transmisión manuscrita de los diagramas, así como las representaciones icónicas no diagramáticas que pueden observarse en ciertas fuentes. De este análisis surge una caracterización de los diagramas de Musica y Scolica Enchiriadis como mecanismos específicos de transmisión de conocimiento, orientados por una nueva didáctica, no solo visual sino también performativa, del Ars Musica.
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Renero, Adriana. "Experiencia y conciencia: un enriquecimiento de la noción de comprensión musical." Crítica (México D. F. En línea) 41, no. 121 (January 7, 2009): 23–46. http://dx.doi.org/10.22201/iifs.18704905e.2009.963.
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En desacuerdo con la afirmación de Jerrold Levinson: que ser consciente de la forma musical a gran escala no es esencial para comprender la música, sostendré que nuestra conciencia de la estructura musical es significante para alcanzar comprensión. Mostraré que el modelo experiencial no es incompatible con el modelo analítico y que ambos pueden ser reconciliados mediante una noción de comprensión más amplia. Después de llevar a cabo está reconciliación mediante la nueva concepción que propongo, concluiré discutiendo algunas razones para aceptar una noción de comprensión musical enriquecida que incluye niveles y grados de comprensión.
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Brugarolas, Oriol, and Lluís Bertran. "La red musical atlántica: Circulación de instrumentos musicales entre España y los virreinatos de Nueva España y Nueva Granada (1778–1804)." Latin American Music Review 43, no. 1 (June 2022): 67–107. http://dx.doi.org/10.7560/lamr43103.
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