Dissertations / Theses on the topic 'Sad music'
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Taruffi, Liila [Verfasser]. "Why We Listen to Sad Music: Effects on Emotion and Cognition / Liila Taruffi." Berlin : Freie Universität Berlin, 2017. http://d-nb.info/1137509910/34.
Full textAsquith, Mark Simeon. "The 'Sad Music of Humanity' : metaphysics and musical aesthetics in the novels of Thomas Hardy." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369131.
Full textMitterschiffthaler, Martina Theresia. "The sound of music, the appeal of pictures and the colour of words : neural correlates of happy and sad affect processing in healthy and depressed individuals." Thesis, King's College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428083.
Full textAleksandra, Prodanović Stamenović. "Компаративни ефекти музичких фестивала на локалну заједницу и туризам EXIT versus SZIGET." Phd thesis, Univerzitet u Novom Sadu, Prirodno-matematički fakultet u Novom Sadu, 2015. https://www.cris.uns.ac.rs/record.jsf?recordId=95004&source=NDLTD&language=en.
Full textPo istraživanju Turističke organizacije Srbije (TOS) događaji su prvi na listi turističkih motiva za dolazak stranih turista u našu zemlju. Manifestacioni turizam je zbog toga istaknut u „Strategiji razvoja turizma Srbije“ kao veoma značajan segment razvoja turizma u Srbiji, ali i kao komparativna prednost domaćeg turizma. Prema podacima Turističke organizacije Vojvodine, u Vojvodini se godišnje održi 1382 manifestacije. Jedna od najvažnijih manifestacija je EXIT festival koji se već 15 godina održava u Novom Sadu. Ovaj festival je uvršten u 10 najboljih evropskih festivala. Marketing strategija Vojvodine predlaže da se u razvoju turizma sledi primer Mađarske. U Mađarskoj se u toku godine održi višeod 3000 festivala koji privlače 18-20 miliona posetilaca iz Mađarske iinostranstva, što govori o značaju koji turizam događaja ima na turizam Mađarske. Budimpešta je glavni grad Republike Mađarske. Nalazi se na 300 km od Novog Sada i izuzetno je posećena turistička destinacija. Jedan od značajnijih turističkih događaja u Budimpešti je muzički festival SZIGET, koji okuplja veliki broj izvođača i posetioce iz preko 70 različitih zemalja, čime doprinosi pozitivnom imidžu Budimpešte na turističkoj mapi Evrope.Lokalno stanovništvo je bitan stejkholder u razvoju turističe destinacije. U vezi sa određenim područjem i životnom sredinom, ima mnogo bolji osećaj za to št a su realne potrebe tog područja, kao i jasniju viziju budućeg razvoja, nego centralna uprava. Zbog navedenog je potrebno uključiti vizije, želje i potrebe, potencijale i entuzijazam lokalne zajednice u planove za budući razvoj S obzirom da je vrlo malo istraživanja o efektima muzičkih festivala na lokalnu zajednicu naših prostora, anketirani su stanovnici Novog Sada i Budimpešte, o efektima koje EXIT i SZIGET festivali ostvaruju, primenom modifikovane FSIAS skale. Sakupljeno je ukupno 505 validnih upitnika koji su dalje korišćeni u statističkim analizama. Primenom eksplorativne faktorske analize utvrđena je dvofaktorska struktura modifikovane FSIAS skale, a faktori su imenovani na sledeći način: F1 pozitivni efekti - društvene koristi i F2 negativni efekti -društveni troškovi festivala.Istraživanjem se došlo do saznanja da lokalno stanovništvo Novog Sada iBudimpešte više percipira pozitivne nego negativne efekte festivala na lokalnu zajednicu, pri čemu ispitanici iz Novog Sada obe grupe efekata ocenjuju višim prosečnim ocenama u odnosu na ispitanike iz Budimpešte. Takođe, istraživanjem je potvrđeno da festivali doprinose razvoju turizma, promociji i imidžu destinacije. Utvrđeno je koje su i jake tačke oba festivala, a na koje stavke bi menadžmet trebao više uticati kako bi se pozitivni efekti multiplikovali, kao i koji efekti mogu biti zanemareni po mišljenju lokalnog stanovništva, a da festival ne gubi na kvalitetu.Socijalni uticaji na lokalnu zajednicu nisu univerzalni, ono što ima važan uticaj u jednoj zajednici može imati zanemarljiv uticaj u drugoj zajednici.
According to Tourist Organization of Serbia (TOS) research events are the first motive forarrival of foreign tourists in our country. Event tourism is therefore one of the pillars in„Tourism Development Strategy of Serbia" as a very important segment, as a comparativeadvantage of domestic tourism. According to Tourist Organization of Vojvodina, 1382 events are annually held in Vojvodina. One of the most important manifestations is theEXIT festival, held in Novi Sad for 15 years. This festival has been listed as one of the top10 European festivals. In development of tourism Marketing Strategy of Vojvodina suggestsfollowing the example of Hungary. In period of one year more than 3000 festivals are heldin Hungary which are attracting 18-20 million of visitors from Hungary and abroad, that factindicates importance of events in Hungarian tourism. Budapest is the capital of Republic ofHungary. It is 300 km away from Novi Sad and it is highly visited tourist destination. Oneof the most important tourism events in Budapest is Sziget music festival, which gathers alarge number of performers and visitors from more than 70 different countries. ThereforeSziget festival is contributing to the positive image of Budapest on European tourist map.Local population is an important stakeholder in development of tourist destinations. Inrelation to specific area and environment local population can have better sense of what arereal needs, what is more sustainable and can gain more benefit in future development, thanthe central government. As result it is necessary to include vision, desires and needs,potentials and enthusiasm of local community in plans for future development.As there are no studies on effects of music festivals on local community in our area, thisscientific research investigated local population perception on effects of music festivals. Thesurvey about effects of Exit and Sziget festival sampled residents from Novi Sad andBudapest. Appropriate sampling collected total of 505 valid surveys that are used instatistical analysis. Modified FSIAS scale showed positive and negative effects of festivaland what significance these effects have on local community.The results of the study show that local population from Novi Sad and Budapest perceivesmore positive effects from festivals than negative effects. Respondents from Novi Sad gavehigher average grades for both groups of effects. Also, the results confirmed that festivalscontibute to tourism development, promotion and image of destination.Strong points or strengths of both festivals were determined as well as areas that should bemore influenced by management so positive effects could be multiplied. Also low priorityor possible overkill points are defined and can be ignored, as they are not influencingquality of festival.Social impacts on local community are not universal, those that have important impact onone community may have a negligible effect on the other.
Andersson, Sofie. "I left my scat in San Francisco : Strategier för att stärka förmågan att improvisera vokalt inom jazzgenren." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74037.
Full textVickhoff, Björn. "A perspective theory of music perception and emotion /." Göteborg : Göteborgs Universitet, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016671611&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
Full textSanoshy, Bryan. "And God Said." Digital Commons @ Butler University, 2018. https://digitalcommons.butler.edu/grtheses/499.
Full textFair, Laura. "Music, memory and meaning." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-92319.
Full textGaviola, Natalia. "De azufre y sal." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37296.pdf.
Full textMorrison, Craig. "Psychedelic music in San Francisco : style, context, and evolution." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ54392.pdf.
Full textRobinson, Jason L. "Improvising California : community and creative music in Los Angeles and San Francisco /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170218.
Full textTomić, Đorđe. ""Phantomgrenzen" in Zeiten des Umbruchs." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät I, 2015. http://dx.doi.org/10.18452/17174.
Full textThe breakup of socialist Yugoslavia led to the creation of seven new states out of its eight federal units. The only exception, until now unexplored, is the Autonomous Province of Vojvodina, which remains a part of Serbia, although with a substantially restricted autonomy. Notably questions about the quality and quantity of autonomy have been a subject of heavy political conflicts in Vojvodina since the end of the 1980s. Political differences between the „autonomists“ in the province, who also during the 1990s advocated a broad autonomy, and the central government in Belgrade, whose power was based on the idea of a strong unified Serbia, the former increasingly presented as historically predetermined cultural differences, which are explored here as “phantom borders”. The political claims for more autonomy were thus repeatedly reinforced in terms of various symbolically connected statements about the historical distinctiveness of the population, economy and culture of Vojvodina. The autonomy in turn was also represented as an instrument of protection against and alternative model to the growing Serbian nationalism during the “Milošević era”. In the course of meanwhile more than two decades these interpretations merged into a new autonomy discourse. How this emerged, i.e. which agents made how and for what purposes the phantom borders of Vojvodina reappear, as well as what relevance the idea of autonomy gained during the period of radical change in the 1990s in everyday life of the people in Vojvodina are the central research questions of the case study. It hereby offers not only new empirical findings about the history of the breakup of the Yugoslav state and the post-socialist period in Southeastern Europe, but due to the used model of “phantom borders” also permits new insights into and general conclusions about the reappearance of history and historical borders in Eastern Europe after 1989.
Bergel, Erik. "Musik i förvandling : Bibliotekens övergång av klassifikationssystem från SAB till DDK och dess inverkan på musikområdet." Thesis, Uppsala universitet, Institutionen för ABM, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297633.
Full textSwarts, Karen. "Studie van die huidige musikale gebruike onder die jeug van die !Xun en Khwe San." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1942.
Full textThis study was undertaken to determine the present state of the musical practices of the youth of the !Xun and Khwe San. The study formed part of the NRF project, Mother’s Milk Mother’s Muse, of which the objective was to document and preserve the music of South Africa’s indigenous cultures. This was done by recording the music of children during a series of mini-festivals. A further aim was to develop a renewed interest in their own traditional musical culture. The writer was chosen in 2003 as the project coordinator of the San people of Platfontein in Kimberley. That project has thus formed the basis of the present study of the current musical practices of the youth of the !Xun and Khwe San. Research was done through literature study and participatory action research. General information on these research methodologies is given in the second and third chapters. The ways in which these methodologies were put into practice in the writer’s own study are discussed in the last chapter. Teachers of the !Xunkhwesa school on Platfontein were asked to give their help with the project. These teachers, who teach the Arts and Culture learning area to various grades at the school, were responsible for completing forms with information on musical items. The children were then asked to bring traditional songs to class in the period before the mini-festival. These items were recorded during the mini-festival in September 2005. Descriptions and analyses of the songs are given in chapter five. Similarities with the characteristics of traditional San music as well as general characteristics of African music are also discussed. The conclusions and proposals are discussed in the last chapter.
Oyarzún, Sepúlveda Inti. ""Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-129190.
Full textNumera Inti Oyarzun-Jonsson.
Åberg, Ellinor. "Game music: from composer to consumer." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27285.
Full textCollazo, Carmen D. "The effect of after-school music programs in at-risk students' self-esteem and social skills in San Juan, Puerto Rico." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/2405.
Full textBoonsermsuwong, Praphai. "A Contextual Approach to Multi-dimensional Analyses of Sai Bhajan: A Vocal Genre from South India." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398093465.
Full textRabatoko, Matheanoga Fana. "San indigenous songs as cultural heritage for inclusion in Botswana music education programmes." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65599.
Full textDissertation (MMus)--University of Pretoria, 2017.
Music
MMus
Unrestricted
Grankina, Anastassia. "Transcultural Representation of Circassian Music in Mily Balakirev's Islamey: Oriental Fantasy (1869)." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32328.
Full textSamuels, David William. "A sense of the past : music, place, and history on the San Carlos Apache Reservation /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
Full textFarris, Daniel. "Intertextualization, an historical and contextual study of the battle villancico, El más augusto campeón." connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12122.
Full textYoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.
Full textKirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1." Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.
Full textPlusieurs etudes ont demontre qu'au seizieme et au dix-septieme siecle, les eglises espagnoles (metropolitaines et monacales) employaient des ensembles de musiciens utilisant des instruments "hauts" pour jouer dans de nombreuses liturgies et processions tout au long de l'annee. Ce que cette musique etait precisement, au-dela de la participation dans l'accompagnement des choeurs des messes et motets, ne reste que conjectures puisqu' au aucune note n'a ete trouvee. Cette dissertation est une etude et une edition d'un manusmt d'une importance majeure et nouvellement decouvert, identifie comme ayant fait partie du repertoire des menestrels servant le duc de Lerma, c. 1607, qui etaient engages pour jouer a l' eglise collegiale de San Pedro a Lerma. En comparant le repertoire dans le manuscrit avec les instructions des menestrels du seizieme et du dix-septieme siecle a Le6n et Palencia, il a ete possible d' etablir les responsabilites musicales liturgique des menestrels et de deduire comment toute cette collection de musique instrumentale avait pu ~e utilisee. De plus, apres l' etude des inventaires subsistants de San Pedro, on a pu reconstruire le repertoire musical polyphonique dans son entier. Ceci nous permet de voir la collection musicale disponible du chantre ou maitre de chapelle typique du temps, ainsi que la place qu' occupait le repertoire des menestrels. Finalement un nombre significatif de manuscrits et imprimes a ete retrace dans les collections modemes, nous permettant d' en connaitre. fr
Weiss, Katherine. "‘…long before the stars were torn down...: The Music of Bob Dylan and Sam Shepard." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etsu-works/2271.
Full textOlson, Ted. "Recording Review of Sam Phillips and the Sun Records Legacy." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1164.
Full textLanzoni, Pablo Alberto. "Sinfonia fílmica : aproximações entre o discurso cinematográfico e o discurso musical em 'Sal de Prata'." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/60369.
Full textThis research focuses on the relationship between cinematographic and musical discourses taking as its object the observation of Carlos Gerbase‟s „Sal de Prata‟ (2005) as a film corpus. „Sal de Prata‟ is organized through narrative intertitles that refer to a symphonic structure through their semantic content; they elicit a reflection on the rapprochement and the appropriation between the two events. The thesis discusses the notion of structure in music and movies, including the concept of film editing as it mirrors musical terminology. The discussion is complemented by cinematic biases and film examples which are followed by the introduction of the concept of „film symphony‟ [„sinfonia fílmica‟] as well as its viability as related to „Sal de Prata‟. The soundtrack of the film is discussed, as are its plan organization, its dramatic journey, and the only piece that can be heard in its entirety in the film, the Largo from the Concerto no. 5 in F minor, BWV 1056, by Johann Sebastian Bach. This piece is analyzed under a rhetorical-musical bias and the parallel procedures in film and music are highlighted. This masters‟ thesis aims at a reflection on the multifaceted usage of music in the cinematographic complex, contributing to the construction of this interdisciplinary area of study.
Galletta, Thiago Pires 1979. "Cena musical independente paulistana - início dos anos 2010 : a "música brasileira" depois da internet." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279205.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Os desenvolvimentos sócio-técnicos observados em torno da internet, ao longo dos anos 2000, são fundamentais para entendermos o processo de formação de uma nova geração produtora e consumidora de música no Brasil. Este processo é especialmente significativo quando se considera a música produzida pela chamada ?cena brasileira independente? contemporânea. Neste contexto, cada vez mais artistas partícipes desta cena, viabilizando seus trabalhos sem o aporte de grandes gravadoras, têm alcançado repercussão significativa junto a públicos segmentados, obtendo crescente reconhecimento em premiações nacionais de música e em uma gama variada de mídias especializadas, nas quais esta produção musical tem sido apontada como responsável por muitas das inovações e contribuições estéticas mais significativas no atual panorama da ?música brasileira? contemporânea. A chamada ?cena independente paulistana? do início dos anos 2010, e seus artistas, têm assumido um papel de relevo neste cenário, projetando muitos dos principais nomes associados ao que tem sido identificado e discursado, no período, como um ?novo momento da música brasileira?. O objetivo principal desta pesquisa foi identificar e analisar - a partir de vasto levantamento de dados sobre o campo enfocado e de entrevistas com artistas e produtores, realizadas presencialmente ou obtidas a partir de publicações na internet - as principais especificidades desta ?cena paulistana? responsáveis por singularizá-la, potencializar suas condições criativas e/ou de produção e a distinguir em relação a: (1) momentos anteriores da ?produção musical independente? no Brasil; (2) o conjunto da produção fonográfica contemporânea no país; (3) a ?cena independente e o novo momento da música brasileira?, mais particularmente. Com respeito aos conjuntos (1) e (2) assume importância fundamental as novidades trazidas pelas tecnologias digitais e pelos novos processos econômicos e novas políticas culturais observados no país nos últimos 15 anos. Na composição da especificidade da ?cena paulistana? em relação à ?cena independente brasileira? mais ampla (3), têm se destacado centralmente as oportunidades privilegiadas encontradas em São Paulo-SP para o desenvolvimento, sustentabilidade e repercussão de trabalhos musicais autorais independentes. Estas oportunidades serão responsáveis pela migração de um conjunto significativo de artistas independentes de outros estados brasileiros para o solo paulistano, nos últimos anos. A contribuição estética variada e diferenciada, trazida por estes músicos migrantes, se somará à peculiaridade da cultura musical paulistana e aos talentos criativos de seus artistas, bem como às vivências urbanas próprias à cidade, compondo-se, assim, a especificidade musical desta cena - cena marcada, de modo importante, por um alto nível de produção colaborativa entre seus agentes, e por trabalhos que tem buscado se afirmar para além de gêneros e categorizações musicais específicas
Abstract: The socio-technical developments related to the Internet between 2000 and 2010 are essential for an understanding of the process of formation of a new generation of music producers and consumers in Brazil. This process is especially significant when one considers the music put out by the so-called contemporary "independent Brazilian scene." Growing numbers of musicians took part in this scene and produced their work with no backing from the large recording companies and they have been very well received by segmented markets. They have won Brazilian awards in music and they have been recognized in a broad range of specialized media, where their musical output has been considered responsible for many of the innovations and significant aesthetic contributions in today's panorama of contemporary "Brazilian music." The so-called "São Paulo independent scene" of the early 2010s and its musicians have assumed an outstanding role in this context, projecting many of the most outstanding names associated with what has been described as a "new moment in Brazilian music." The main objective of the study for this paper was to identify and analyze the main specific aspects of this "São Paulo scene." The research is based on a careful collection of data about the field and on interviews with musicians and producers. Interviews were carried out in person or taken from publications found on the Internet. Several specific aspects of this "São Paulo scene" are responsible for stimulating the creativity and productivity of this phenomenon and, at the same time, distinguish it (1) from preceding historical periods of "independent musical production" in Brazil; (2) from the overall contemporary phonographic production in Brazil; and, especially, (3) from the "independent scene and new moment in Brazilian music." With respect to Items 1 and 2, new aspects brought on by digital technologies, new economic advances and new political-cultural observed in Brazil over the last 15 years have all been particularly important. The exceptional opportunities found in São Paulo for the development, continuation and repercussion of independent musical production have all stood out in the specific character of the "São Paulo scene" vis-a-vis the broader "independent Brazilian scene" (Item 3). These opportunities stimulated the migration to São Paulo of a great many independent musicians from other states in Brazil in recent years. The varied and distinct aesthetic contribution brought by these musicians has joined hands with the peculiar musical culture of São Paulo, the creative talent of its musicians, and the city's intense urban character. It is a scene strongly marked by a high level of cooperative output by its agents and by work that has sought to assert itself beyond specific musical genres and categories
Mestrado
Sociologia
Mestre em Sociologia
Clavere, Javier. "Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227221958.
Full textSalazar, Amador. "Mariachi Music in San Antonio| The Construction of Cultural and Ethnic Identity in a Hybridized City." Thesis, The University of Texas at San Antonio, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10279937.
Full textThe intent of this research is to reveal and understand the symbolic meanings of cultural and ethnic identity that cultural creators and receivers perceive through their involvement in mariachi. This study’s shows the way those involved in mariachi perceive their cultural and ethnic identity while living in a city that infuses Mexican and Texan cultural sensibilities. A mixed-method approach was taken between in-depth qualitative interviews and participant observation. Participant observation was utilized as a means to build a stratified snowball sample of the various cultural producers and receivers of mariachi. The cultivation of this sample was guided by Griswold’s cultural diamond framework. Reliance on semi-structured in-depth interviews as the primary research method of inquiry illuminated the various horizons of meaning that mariachi performers, instructors, gatekeepers, and aficionados held in regards to their efforts to preserve a long standing cultural musical art form in San Antonio, Texas. Some findings include various stories and perspectives on cultural and ethnic identity in mariachi, varying strategies undertaken to preserve mariachi music in the twenty-first century through technology, its institutionalization into a public-education setting, the varying gender dynamics among mariachi performers, the question of authenticity and hybridization in mariachi music, and cultural politics in the mariachi music scene.
Kim, Hae-Jeong. "Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278255/.
Full textBochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textMeiggs, Baldeon Enrique Javier. "Nueva sede para la Universidad Nacional de Música (Ex Conservatorio de Música) en San Borja." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652395.
Full textIn Peru there is a lack of cultural diffusion and because of this many artistic careers, as music does not have the value it deserves, this lack of concern has led to the only national house of higher music education being in a sorry state with Regarding your infrastructure. This project seeks to meet the educational needs for those interested in some of the 25 specialties offered by the National University of Music (former conservatory) and taking into account the technical specifications of the environments to be developed. The architectural party seeks a comfortable relationship between the user and the architectural object through the route and stay. The new headquarters of the National University of Music seeks to provide adequate infrastructure to all students.
Trabajo de investigación
Webster, Peter Jonathan. "The relationship between religious thought and the theory and practice of church music in England, 1603-c.1640." Thesis, University of Sheffield, 2001. http://sas-space.sas.ac.uk/3208/.
Full textPopolin, Daniela Francine Lino. "Lagrime di San Pietro de Orlando di Lasso : um estudo de preparação e execução através de uma nova edição crítica e revisada." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284519.
Full text"O segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro"
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Lagrime di San Pietro é uma das obras mais relevantes dentro da vasta produção de Orlando di Lasso, composta por um conjunto de vinte Madrigais Espirituais e um Moteto. Esta tese teve como principal objetivo um estudo sobre a preparação e a execução desta obra sob a ótica do regente, embasado por um conjunto de pesquisas adjacentes que proporcionassem um suporte teórico, como análise musical, textual e a relação entre ambos, contextualização histórica da obra e do compositor, além do levantamento das dificuldades encontradas durante o processo de execução da obra, partindo da aplicação prática da proposta apresentada. Devido à dificuldade de se encontrar uma edição ideal, foi necessário confeccionar uma nova partitura da obra que pudesse ser utilizada tanto como base para esse estudo como para a sua execução. Assim, o segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro
Abstract: Lagrime di San Pietro is among the most significant works in the huge production of Orlando di Lasso, consisting of a set of twenty Spiritual Madrigals and a Motet. This thesis aimed to a study on the preparation and performance of the work from the conductor's perspective, based on a set of adjacent researches that provide a theoretical foundation and practical implementation of the proposals, such as musical and textual analysis and the relationship between both, a historical background of the work and the composer, and a survey of the difficulties found during the performance of the work, based on the implementation of the proposal. Given the difficulty of finding a right edition, it was necessary to prepare a new score of the work which could be used both as the basis for this study and for its performance. Thus, the second volume presents a new reviewed and critical edition of Lagrime di San Pietro
Doutorado
Praticas Interpretativas
Doutora em Música
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Full textGalarvarvet is in many ways an great site for a new and prominent cultural building in Stockholm. At the same time the complexity and size of the program of an opera poses a great challenge. In this project the conflict between program and site is solved with a stretched out building that preserves environmental values and movements.
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