Bibliografías temáticas / Avant-garde (music)

Literatura académica sobre el tema "Avant-garde (music)"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 29 de julio de 2024

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Artículos de revistas sobre el tema "Avant-garde (music)"

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GRAHAM, STEPHEN. "From Microphone to the Wire: Cultural change in 1970s and 1980s music writing". Twentieth-Century Music 16, n.º 3 (30 de abril de 2019): 531–55. http://dx.doi.org/10.1017/s1478572218000336.

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AbstractIn this article I examine localized cultural change that nevertheless serves as an applied instance of broader change. Focusing mostly on British, white male musicians and music writers active in the improvised and experimental music scenes of the UK (and, to a lesser extent, United States and Europe) across the 1970s and early 1980s, I identify clear shifts in taste, attitude, and practice. These shifts arc across what Ben Piekut calls the ‘mixed avant-garde’ of the 1960s to what I describe as the ‘unpop avant-garde’ of the late 1970s and 1980s, in which influences from popular and non-Western music play more significant roles than before and liminal, quasi-popular practices such as noise are in the emergence. I trace the appearance of the unpop avant-garde through independent music publications from the period, most prominently Microphone, Musics, Collusion, Impetus, and Re/Search, using these published scene discourses as barometers of the musical atmosphere of the time.
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Calico. "Music in Avant-Garde Periodicals". Journal of Modern Periodical Studies 8, n.º 2 (2018): 157. http://dx.doi.org/10.5325/jmodeperistud.8.2.0157.

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Redhead, Lauren. "THE AVANT GARDE AS EXFORM". Tempo 72, n.º 286 (6 de septiembre de 2018): 7–16. http://dx.doi.org/10.1017/s0040298218000311.

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AbstractPeter Bürger's critique of the historical avant garde (in Theory of the Avant Garde) accounts for its ineffectual nature as a political movement because of its relationship with institutions. He argues for hermeneutics to be employed as a critique of ideology, and as a facet of the understanding of the ‘historicity of aesthetic categories’. The influence of institutions on music since 1968 has served as a central part of its critique: the work concept itself seems to enshrine political ineffectiveness and the bourgeois nature of art practice that ought to be critiqued by an avant garde. In contrast, Nicolas Bourriaud's concept of the ‘exform’ re-conceives the avant garde as outside of institutions and an idea of ‘progress’ that is aligned with a dominant capitalist ideology. He frames the task of the avant-garde artist as giving energy to ‘waste’, outside of political and ideological institutions. This type of avant-garde practice functions to ‘bring precarity to mind: to keep the notion alive that intervention in the world is possible’. This article explores the exform with respect to the work of the British composer Chris Newman and the Swiss composer Annette Schmucki, and considers how Bourriaud's approach to re-thinking the avant garde might apply specifically to contemporary and experimental music in the present.
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Medić, Ivana. "The Impossible Avant-garde of Vladan Radovanović". Musicological Annual 55, n.º 1 (20 de junio de 2019): 157–76. http://dx.doi.org/10.4312/mz.55.1.157-176.

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The term nesuđena avangarda (“undestined avant-garde”) was coined by Milorad Belančić to describe Vladan Radovanović’s unique artistic destiny. Although Radovanović was the only truly avant-garde Serbian composer in the post-World War II Yugoslavia, his output was overlooked and sidelined. In this article I discuss the circumstances that rendered Radovanović’s avant-garde unrecognised, irrelevant and invisible for many decades.
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Lipták, Michal. "Body, Music and Electronics: Pierre Schaeffer and the Phenomenology of Music". Studia Universitatis Babeș-Bolyai Philosophia 67, n.º 1 (5 de abril de 2022): 45–74. http://dx.doi.org/10.24193/subbphil.2022.1.03.

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"The article presents a phenomenological investigation of body and music, with particular emphasis on electronic music. The investigation builds on theoretical framework developed in phenomenological investigations in art by Edmund Husserl, Mikel Dufrenne and Roman Ingarden. It is guided beyond these analyses by investigations of particular musical examples in avant-garde acoustic and electronic music. In the former case it tackles music from which body is being consciously erased. In the latter case, the erasure occurs instantly. This negative approach elucidates the function of body in music. In case of electronic music, the article focuses on writings and music of pioneer of musique concrète, Pierre Schaeffer. Central argument is that electronic music always has been and still is defined by absence of body, here phenomenologically considered as Leib. As a consequence of the phenomenological elucidation, it is ultimately shown that erasure of body has been one of the avant-garde music’s crucial techniques, and that this avant-garde residue remains in electronic music as such, both experimental and mainstream. Keywords: Schaeffer, Husserl, phenomenology, music, body, aesthetics "
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Atton, Chris. "Listening to ‘difficult albums’: specialist music fans and the popular avant-garde". Popular Music 31, n.º 3 (octubre de 2012): 347–61. http://dx.doi.org/10.1017/s0261143012000281.

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AbstractDifficulty is most often associated, not with popular music, but with the avant-garde. How do popular music listeners listen to albums that present compositional, performance or conceptual elements from the avant-garde? This paper explores where difficulty lies for listeners when they listen to, situate and evaluate albums that sit on the intersection between the popular and the avant-garde. The paper focuses on the online collaborative discourse of readers of a British music magazine (The Word), to explore how, while ‘difficult albums’ might be considered sui generis and dislocated from the norms of popular music, the aesthetic discourse of The Word's readers shows that to engage with difficult albums is to explore how they are able to be connected with a range of musical histories and practices, as well as to multiple personal experiences of popular music.
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MĂNĂILESCU, Sorana. "Versions of Post Avant-Garde Music". Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), n.º 1 (20 de junio de 2020): 117–26. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.13.

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The present paper is written in response to Christopher Norris’s allegation in a famous essay, ""Post-modernism - a guide for the perplexed,"" (Norris 2000) that, unlike literary postmodernism, characterized by an appeal to intelligence and intellectual effort from the reading public, musical postmodernism is impoverished in point of language and idea. This communication attempts to shed light on the complexity of musical compositions in the generic sphere of electroacoustic, timbral or computer-generated music, whose creators are at the same time theorists of their own language which requires a key to interpretation. Far from being minimalist, this post-avant-garde music has an interest in the history of musical styles, as titles such as the New Romanticism, New Interiority or New Expressionism also indicate the intention of crossing the borders of postmodernism. To what? This paper is an attempt to identify new directions by several prominent representatives."
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Pereverzeva, M. V. "The Works of Contemporary Composers in the Teaching Repertoire of the Music Institutions: Mastering Problem". Contemporary problems of social work 6, n.º 4 (30 de diciembre de 2020): 29–35. http://dx.doi.org/10.17922/2412-5466-2020-6-4-29-35.

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the article’s subject is avant-garde music of the 20th century and problem of its mastering in educational process in music institutions. The purpose of the work is providing the methodological recommendations for the mastering of avant-garde music in the training of music educators. The results of the work are follow: there have been detailed examination of the basic concepts and artistic and aesthetic principles, as well as the expressive means of this music, the problems of perception of modern compositions and its presentation in the educational process of institutions, the analysis and performance of avant-garde music, the theory of modern composition, the evolution of the piano performing style. Novelty of this article consists of scientific and practical results of music teachers’ work achieved by researchers, develops advanced ideas of domestic and foreign authors, but first of all it is designed to solve the main dilemma of art and education: the stylistic restriction of music, mastered by future music educators; the availability of highly artistic musical works that require conventional performing skills, and their absence in the teaching and concert repertoire of musicians; insufficient use of educational potential of avant-garde music in the training of music educators. Conclusions: piano music of American minimalist composers provides a comprehensive education of future music educators in the field of history and theory of music, the evolution of the musical language and performing style, students’ mastering of special competencies, thereby contributing to the formation of students’ universal professional performing skills and abilities.
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Ferguson, John R. y Andrew R. Brown. "Fostering a Post-Digital Avant-Garde: Research-led teaching of music technology". Organised Sound 21, n.º 2 (30 de junio de 2016): 127–37. http://dx.doi.org/10.1017/s1355771816000054.

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In this article we discuss how contemporary computational and electronic music-making practices might be characterised as a post-digital avant-garde. We also discuss how practitioners within the higher education sector can play a role in leading the development of these practices through their research and teaching. A brief overview of twentieth-century avant-garde practices is provided to set the scene before a case for defining a post-digital avant-garde is made. By way of illustration, the authors describe their own post-digital creative practices and then discuss how these integrate into their academic duties. We reflect on themes that run through avant-garde practices and continue into the post-digital. Finally, we describe how these themes inform an undergraduate music technology programme such that it might be shaped to reflect these developments and prepare students for a post-digital future.
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Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music". Muzikologija, n.º 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.

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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.
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Tesis sobre el tema "Avant-garde (music)"

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Rievers, Henrique André Christiano. "Physiological Perspectives of Avant-garde Music". Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://edoc.hu-berlin.de/18452/24062.

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Obwohl die Theatralisierung der Musik ein entscheidender Aspekt der Neuen Musik ist, der im Szenario nach 1945 noch mehr an Bedeutung gewinnt, kann die aber auch als Ausdruck einer musikalischen Wende zum Leib verstanden werden. Um von einer Wende zum Leib in der Musik zu sprechen, muss man auch eine Form des Dualismus zu überwinden. Durch die Werke avantgardistischer Komponisten wird in dieser Arbeit versucht, ein Verständnis der Musikwahrnehmung aufzubauen.
It is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more prominence on the post-1945 scenario –, it is also an expression of a corporeal turn in music. To speak of a corporeal turn in music also means an attempt to overcome a form of dualism. It is an attempt to unify music making and music perception. This is what will be attempted here. Through the works of avant-garde composers, an attempt to build an understanding of music perception in the context of a corporeal turn in music will be made. From the perception of the body and corporeity to the move from “listening” to “perceiving” and, finally, in the concept of the work of music as a phenomenal field, a physiological perception of the avant-garde will be developed.
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Pitkin, Carissa. "Against Expression?: Avant-garde Aesthetics in Satie's "Parade"". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.

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Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.

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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture.
French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.
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Rievers, Henrique André Christiano [Verfasser]. "Physiological Perspectives of Avant-garde Music / Henrique André Christiano Rievers". Berlin : Humboldt-Universität zu Berlin, 2021. http://nbn-resolving.de/urn:nbn:de:kobv:11-110-18452/24062-8.

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Madrid-González, Alejandro Luis. "Writing modernist and avant-garde music in Mexico performativity, transculturation, and identity after the revolution, 1920-1930 /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xv, 238 p.; also includes music, graphics Includes bibliographical references (p. 218-238). Available online via OhioLINK's ETD Center
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Moroncini, Barbara Serena. "Experimental music after Los Angeles site, power, self, sound /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1706818091&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Sharp, Charles Michael. "Improvisation, identity and tradition experimental music communities in Los Angeles /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779690111&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Ming, Christina Tio Ee. "The Avant Garde and its 'others' orientalism in contemporary art music /". Thesis, Online version, 2000. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.364724.

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Sacau-Ferreira, Enrique. "Performing a political shift : avant-garde music in Cold War Spain". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:df601c57-c9f0-4320-9a3a-8493ecf1101a.

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In my thesis, Performing a Political Shift: Avant-Garde Music in Cold War Spain, I argue that towards the end of the 1950s the Spanish ultra-conservative regime of Francisco Franco started to promote avant-garde music. This music contrasted with the aesthetically conservative one that had been promoted since the end of the Civil War (1936-1939). I examine the causes of this shift and reveal for the first time that they are connected to specific trends in Spanish politics and policies. In terms of national politics, the second phase of the Spanish dictatorship, from the late 1950s until Franco’s death in 1975, was dominated by young ministers who wanted to distance themselves from previous cabinets, mostly controlled by ultra-nationalist fascist politicians. These younger politicians styled themselves as part of a ‘technocratic’ regime. Thanks to its supposed ‘objectivity’ and ‘purely musical’ ideology-free concerns, avant-garde music sat well with these technocrats’ views of modern Spain, that is, a country benefitting from ‘objective’, ideology-free progress. On an international level, the defeat in the 1940s of Mussolini and Hitler, Franco’s main allies, had resulted in isolation for Spain. In order to break this isolation, the Spanish regime started to make a sustained effort at the end of the 1950s to establish diplomatic relations with other Western countries. These relations resulted in cultural, economic and military agreements with European democracies and the US. I also consider why recent Spanish musicology has failed to confront the political implications of the promotion of avant-garde music under Franco. I connect this void with the Spanish transition to democracy (1975-1978), which recent historians have called an exercise in amnesia, a discourse of forgiveness meant to promote reconciliation between Spaniards. As a result of this transition, the political implications of the activities of the composers and musicologists during the Franco years have been ignored or forgotten. The results of my thesis challenge the widely accepted view of the European avant-garde as a left-leaning movement. The main contribution of my thesis is precisely its substantial consideration of the cultural and political meanings of the avant garde and its context, using Franco’s Spain as a case in point.
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Maslowiec, Anna. "Sonorism and the Polish Avant-Garde 1958-1966". Phd thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/8205.

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Libros sobre el tema "Avant-garde (music)"

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Duteurtre, Benoît. Requiem pour une avant-garde. Paris: R. Laffont, 1995.

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Robert, Adlington, ed. Otherwise engaged: Avant-garde music and the sixties. New York: Oxford University Press, 2008.

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Duteurtre, Benoît. Requiem pour une avant-garde: Essai. Paris: Les Belles Lettres, 2006.

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Larry, Austin y Kahn Douglas 1951-, eds. Source: Music of the avant-garde, 1966-1973. Berkeley: University of California Press, 2011.

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Larry, Austin y Kahn Douglas 1951-, eds. Source: Music of the avant-garde, 1966-1973. Berkeley: University of California Press, 2011.

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The new music: The avant-garde since 1945. 2a ed. Oxford [Oxfordshire]: Oxford University Press, 1987.

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Sitsky, Larry. Music of the repressed Russian avant-garde, 1900-1929. Westport, Conn: Greenwood Press, 1994.

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Cohen, Brigid Maureen. Stefan Wolpe, music and the twentieth-century avant-garde. New York: Cambridge University Press, 2012.

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Mayer, Günter. Musik-Avantgarde: Zur Dialektik von Vorhut und Nachhut ; eine Gedankensammlung für Günter Mayer zum 75. Geburtstag. Oldenburg: Bis-Verlag der Carl von Ossietzky Universität Oldenburg, 2006.

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Gallo, Guadalupe. Gestionar, mezclar, habitar: Claves en los emprendimientos musicales contemporáneos. Ciudad Autónoma de Buenos Aires: Gorla, 2017.

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Capítulos de libros sobre el tema "Avant-garde (music)"

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Braguinski, Nikita. "Avant-garde becomes pop's aide". En Mathematical Music, 103–10. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003229254-16.

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Warden, Claire. "Crossing Genres: Movement and Music". En British Avant-Garde Theatre, 147–75. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137020697_6.

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Dorf, Samuel N., Heather MacLachlan y Julia Randel. "The Classical Avant-Garde". En Anthology to Accompany Gateways to Understanding Music, 425–26. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-54.

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Čurda, Martin. "Music and avant-garde discourse in inter-war Czechoslovakia". En The Music of Pavel Haas, 29–55. New York: Routledge, 2020. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2020. http://dx.doi.org/10.4324/9780429433351-2.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde". En The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 155–64. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde". En The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 155–64. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Goldman, Jonathan. "Open Works on Record". En Revisiting the Historiography of Postwar Avant-Garde Music, 152–71. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315108162-8.

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Kuo, Tiffany. "A New Patronage Model in Postwar America". En Revisiting the Historiography of Postwar Avant-Garde Music, 111–27. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315108162-6.

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Narimoto, Rica. "Heritage within the avant-garde? Traditional and contemporary musics in post-war Japan". En Music as Heritage, 258–77. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: SOAS musicology series: Routledge, 2018. http://dx.doi.org/10.4324/9781315393865-13.

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Bolesławska, Beata. "The symphony in post-avant-garde times: 1974–1994". En The Symphony and Symphonic Thinking in Polish Music Since 1956, 149–96. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315552385-4.

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Actas de conferencias sobre el tema "Avant-garde (music)"

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Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925". En Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.

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The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.
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Danilova, A. V. "Analysis of Russian avant-garde music in the university course "Fundamentals of theoretical musicology"". En ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2019. http://dx.doi.org/10.18411/lj-02-2019-91.

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Trifan, Aurelia. "Socialist modernism – a way of disseminating a new ideology in the architecture of entertainment buildings". En Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.14.

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During the years 1955–1991, the attempts and searches meant to impose qualities corresponding to the fundamental principles of socialism on the architecture led to the realization of buildings with distinctive features, qualified today as modernist-socialist. Over a period of more than three decades, Soviet architecture turned to a synthesis of Western paradigms and its own avant-garde, largely unbuilt heritage. Theater, cinema and music, considered to be fields of culture accessible to the masses at large, are the genres of art placed at the center of the cultural policy of the Soviet state. In addition to the old buildings readapted for cultural activities, new buildings are designed based on a rigorous transposition of functional requirements. Representative for this time period are the cinemas designed to meet the requirements of a growing audience and to be expressive architectural pieces in the new micro-districts. The large number of houses of culture built in the district centers on the basis of standard projects is significant. At the same time, unique architectural programs appear functionally reflecting the social superstructure.
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Istileulova, Yelena. "STEAM Approach: SMS (Stories Based on Music about Scientists) on Artificial Intelligence Created by Jacob Bruce (1669–1735)". En Socratic lectures 10. University of Lubljana Press, 2024. http://dx.doi.org/10.55295/psl.2024.ii15.

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Abstract: The proposed theme of this paper is how "Arts" and "Science," with the inclusion of the topic of "Health", can be combined through a story based on research about innovation in the Past. The goal of this paper is threefold. First, to present a research-based story about Jacob Bruce (1669–1735), a scholar of Scottish descent born in Moscow, and his innovation – the prototype of Artificial Intelligence, humanoid robot. Second, to illustrate the new experimental interdisciplinary method of storytelling - SMS (Stories based on Music about Scientists), a novel approach that integrates Arts (Music, Poem, Digital images), Science (Historical Research about Innovations of the Past), and Culture (cultural heritage with metaphor of a philosophical soul development). Third, to explain how this method can be applied. SMS method created in 2012 uses the Avant-garde genre of Music with the integration of interdisciplinary knowledge, holistic approach, and implies a deeper level of integration of various disciplines. The theme of this SMS is a song-story about the beautiful humanoid girl-robot (but with a different technology of the 17th century), which serves as a prototype of the modern homunculus or AI created by Jacob Bruce. AI humanoid already resembled a natural human being by the end of the 17th century. The author explains and discusses how and why SMS can be used as an Innovative Teaching and Learning method, related to Science and Arts (similar to STEAM approach), with the power of Lifelong Learning (LLL), and pedagogical didactics across branches of sciences, thus stimulating innovations and discoveries. Keywords: Arts and Science; Innovations; STEAM/SMS (Stories based on Music about Scientists) method; Jacob Bruce (1669–1735); Innovative Teaching and Learning; Health
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