Literatura académica sobre el tema "Musical prescription"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Musical prescription".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Musical prescription"
1
Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)". British Journal of Music Education 37, n.º 1 (16 de noviembre de 2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.
Texto completoResumen
AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on canonic knowledge rather than skills-based learning. In musical terms, this has reinforced the value of ‘prescribed works’ in A-level music specifications.Thus far, little attention has been paid to the extent to which a kind of scholastic canon is maintained in the Western European Art Music section of the listening and appraising units in current A-level music specifications. Though directed in part by guidance from Ofqual (Office of Qualifications and Examinations Regulation, the regulatory body for qualifications in England), there is evidence of a broader cultural trend at work. The present article seeks to compare the historical evidence presented in Robert Legg's 2012 article with current A-level specifications. Such a comparison establishes points of change and similarity in the canon of composers selected for close study in current A-levels, raising questions about the purpose and function of such qualifications.
2
Lorenzoni, Valerio, Tijl De Bie, Thierry Marchant, Edith Van Dyck y Marc Leman. "The effect of (a)synchronous music on runners’ lower leg impact loading". Musicae Scientiae 23, n.º 3 (20 de julio de 2019): 332–47. http://dx.doi.org/10.1177/1029864919847496.
Texto completoResumen
Running with musical accompaniment is becoming increasingly popular and several pieces of software have been developed that match the music tempo to the exerciser’s running cadence, that is, foot strikes per minute. Synchronizing music with running cadence has been shown to affect several aspects of performance output and perception. The purpose of this study was to investigate the effect of synchronous music on runners’ foot impact loading. This represents the ground reaction force on the runner’s lower leg when the foot impacts the ground and is an important parameter for the prevention of tibial fracture injuries. Twenty-eight participants ran five times for three minutes and 30 seconds with a short break between each run. During the first 30 seconds of each running sequence, participants ran at a self-paced tempo without musical accompaniment, and running speed and cadence were measured. Subsequently, they were requested to keep their reference speed constant for the following three minutes, with the help of three monitoring screens placed along the track. During this part of the experiment, the music was either absent ( No Music), matched to the runner’s cadence ( Tempo-entrained Sync), phase-locked with foot strikes ( Phase-locked Sync), or played at a tempo 30% slower ( Minus 30%) or faster ( Plus 30%) than the initially measured running cadence. No significant differences between synchronous and asynchronous music were retrieved for impact loading. However, a non-negligible average increase of impact level could be observed for running sessions with music compared to running in silence. These findings might be especially relevant for treatment purposes, such as exercise prescription and gait retraining, and should be taken into account when designing musical (re-)training programmes.
3
Gilbert, Joel, Sylvain Maugeais y Christophe Vergez. "Minimal blowing pressure allowing periodic oscillations in a simplified reed musical instrument model: Bouasse-Benade prescription assessed through numerical continuation". Acta Acustica 4, n.º 6 (2020): 27. http://dx.doi.org/10.1051/aacus/2020026.
Texto completoResumen
A reed instrument model with N acoustical modes can be described as a 2N dimensional autonomous nonlinear dynamical system. Here, a simplified model of a reed-like instrument having two quasi-harmonic resonances, represented by a four dimensional dynamical system, is studied using the continuation and bifurcation software AUTO. Bifurcation diagrams of equilibria and periodic solutions are explored with respect to the blowing mouth pressure, with focus on amplitude and frequency evolutions along the different solution branches. Equilibria and periodic regimes are connected through Hopf bifurcations, which are found to be direct or inverse depending on the physical parameters values. Emerging periodic regimes mainly supported by either the first acoustic resonance (first register) or the second acoustic resonance (second register) are successfully identified by the model. An additional periodic branch is also found to emerge from the branch of the second register through a period-doubling bifurcation. The evolution of the oscillation frequency along each branch of the periodic regimes is also predicted by the continuation method. Stability along each branch is computed as well. Some of the results are interpreted in terms of the ease of playing of the reed instrument. The effect of the inharmonicity between the first two impedance peaks is observed both when the amplitude of the first is greater than the second, as well as the inverse case. In both cases, the blowing pressure that results in periodic oscillations has a lowest value when the two resonances are harmonic, a theoretical illustration of the Bouasse-Benade prescription.
4
Helitzer, E. y H. Moss. "Group singing for health and wellbeing in the Republic of Ireland: the first national map". Perspectives in Public Health 142, n.º 2 (marzo de 2022): 102–16. http://dx.doi.org/10.1177/17579139221081400.
Texto completoResumen
Aims: (1) To catalogue and map all singing for health and wellbeing groups in the Republic of Ireland (ROI); (2) determine how they prioritise health outcomes; (3) understand what they consider success; and (4) identify gaps in provision. Methods: A novel mixed-methods survey was distributed electronically through SING Ireland (the Choir Association of Ireland), artsandhealth.ie, and to 2736 potential stakeholders with links to singing for health and wellbeing and singing on social prescription (SSP) from October 2020 to April 2021. Thematic analysis was used to analyse four open-ended survey questions. Results: A total of 185 singing for health and wellbeing groups were identified, with varied representation in each of the ROI’s 26 counties. 35 groups were noted to have links to SSP. Gaps in provision for clinical and individual populations and for SSP were identified. Six themes related to the success of group singing for health and wellbeing programmes were determined: fostering and funding social and community connections; the people and the approach; enjoyment and atmosphere; musical and personal growth, programmatic structure and musical content; and the impact of Covid. Conclusion: The first-ever national mapping of group singing for health and wellbeing in the ROI, and one of few internationally, this study may serve as a roadmap for gathering information about existing singing for health and wellbeing provision and identifying geographical and clinical gaps internationally. Recommendations are included for future research to address gaps in provision, explore the feasibility of integrating SSP more widely and for further public health investment.
5
Kovtoniuk, Valeriya. "A performing musician’s oeuvre through the prism of phenomenology." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, n.º 50 (3 de octubre de 2018): 8–16. http://dx.doi.org/10.34064/khnum1-50.01.
Texto completoResumen
Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particular, engaging the conception of values for settlement of a question why performing art products are different with their significance: something becomes a culture phenomenon but something stays at self-actualization level. Methods. For comprehensive study the performing as separate kind of activity it is necessary to involve adjacent humanitaristics areas – psychology and philosophy, which problems of art and it’s osmosis are considered in. In particular, in philosophy art is understood as a kind of human activity aimed at creating new-look material and culture valuables. However, in our perspective more interesting and capacious definition is seem N. Berdyaev’s one: «Art is a human ability to create a new reality from valid material». That picturesque vision of the author’s work, which springs up during an interpretation, often has a wide public interest that let assign to interpretator a status of the creator. Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Sukhlenko). Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Suchlenko). Results. E. Husserl’s phenomenological conception had a great impact not only on XX th century philosophy but on many humanities science especially art history. It led to the fact that there are many definitions of phenomenon concept, which is interpreted as a reflection of world of ideas, an object that is accessible to the senses, a basic holistic unit of what can be isolated from consciousness, external properties and subject concern revealing its essence, etc. A unite part all of definitions is a sensorial perception as a base of human knowledge based on individual experience and ability of consciousness to self observation and reflection. Stickling example of this is a field of artistry, which individual sensorial perception takes such a big part in that identity of the creator, his feelings often become the centerpiece of work. In musical oeuvre, an outward subjectivization is an acoustic convergent thinking. However, musical thesaurus is enough for power of imagining wakening enabling reproducing and combination the phenomenal stored in composer-performer-hearer’s memory. Performing art based on searching the new acoustic and dramatic source material characteristics. Thereat performer’s work algorithm depends largely on personal intention based on world and mental outlook. The scale of performer identity, his internal conviction power whereby he creates the new acoustic reality is able to notably change all the elements of composer’s intention and affect our perception of musical composition. In that understanding, the special aspects of composer’s activities, its interconnection and correlation with his oeuvre are opened in other view. Brilliant performance reformatting an art space composer’s work frequently appropriates him «double authorship». As a result is a phenomenon of identification with the name of great composer: L. Beethoven’s 5th Symphony – G. Von Karajan / L. Stokowski; J. S. Bach’s Goldberg Variations – G. Gould / R. Tureck; F. Сhopin’s works – V. Sofronitsky / V. Horowitz; P. Tchaikovsky – M. Pletnev. Exactly this influence aspect of performing art on the musical culture interested B. Croce who confirmed that musical composition only exists at the time of execution. However, choice the pair «composer-performer» depends up our perception, our readiness to acceptance an alternative artistic concept. Herewith prescription, forming «set» of value orientation of some shared identity: from group of like-minded persons to mass convictions, has a great impact here. The latter’s impact differs under studying a creativity of famous musicians and soi-disant «second place» musicians who fall under external influence easier than others do. Even in the light of constant changes of public conscience, one can highlight some hard values in it that characterize certain social stratums. However, and these value systems undergo a review for a time and modern society reject what was topically a couple decades ago. The result is that fashion phenomenon on performers or performing style appears. Accordingly, to continue to be relevant performing musician needs to have a gust of latest tendencies in art and to able to save value bases of personal mental outlook. Conclusions. The phenomenological approach to the study of the creative activity of a musician-performer allows one to go beyond the theoretic analysis that is traditional for musicology. Acceptance that the product of performing creativity can be defined as a phenomenon, reflecting several vectors of personal communication (dialogue with oneself, with a composer, public, historical epoch), can help not only in understanding the “musical work of the performer”, but also in understanding the phenomenal significance of performers in modern musical culture.
6
Chernysheva, Ekaterina N. y Svetlana A. Tyaglova. "FORMATION OF CULTURAL VALUES OF STUDENTS IN THE PROCESSING OF RUSSIAN FOLK SONGS". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n.º 42 (2021): 223–30. http://dx.doi.org/10.17223/22220836/42/19.
Texto completoResumen
The article proposes the author's version of the in-depth work with the folk original source, which contributes to the formation of cultural values of students in the course of the Arrangement course of the teaching course Academic Choir at the Tyumen State Institute of Culture. A distinctive feature of the course is the regional component – Russian folk songs of the Tyumen region and the region are used as musical material for student work. As part of the study, we identified the following contradictions: – between the prescription of the State educational standards on interdisciplinary disciplines, the student's ability to navigate in the diversity of culture and the competences offered by the curriculum for the discipline “Arrangement”, which are focused on creating a new creative product; – between the student’s constant need for creative self-realization and the insufficiently high level of his creative skills; – between installations of legislation in the field of education for the education of the individual with a high level of education, morality, and value installations that are incorrectly laid down by the mass culture. Therefore, we position the processing of a folk song not as an end in itself, but as a means of personal involvement of the student in the culture of his people, the transmission of sociocultural experience between generations. The goal of the “Arrangement” course is to create a value attitude of students to Russian culture in the process of creative work with a folk original source (Russian folk song) by expanding the course’s objectives to interdisciplinary and research (problem-searching, creative, heuristic, etc.), activating cognitive and creative activity of students. Formation of students' value attitude to the Russian folk musical culture in the process of creative work with a folk song, we propose to carry out at the following stages: search, motivational-incentive, research, analytical, creative, performing. Through contact with the sample of Russian song and its transformation, a student's interest in his origins, his pedigree, and cultural norms in the way of life and art is awakened. The effectiveness of the formation of cultural values of students through the Russian folk song is determined under the condition of positive motivation and initiative of students to learn cultural values, subject-subject interaction between the teacher and the student, enhancing independent cognitive activity, introducing the student to artistic creativity, creating conditions for self-discovery.
7
Garrido, Sandra, Emery Schubert y Daniel Bangert. "Musical prescriptions for mood improvement: An experimental study". Arts in Psychotherapy 51 (noviembre de 2016): 46–53. http://dx.doi.org/10.1016/j.aip.2016.09.002.
Texto completo
8
Aguirre Dergal, Alfonso. "Enfoque prescriptivo de la educación musical instrumental". Epistemus. Revista de Estudios en Música, Cognición y Cultura 10, n.º 2 (14 de diciembre de 2022): 045. http://dx.doi.org/10.24215/18530494e045.
Texto completoResumen
Si bien en el papel los modelos de enseñanza instrumental han ido migrando paulatinamente hacia una perspectiva de corte constructivista y ecológica, la pedagogía tradicional de enfoque prescriptivo permanece vigente en las aulas de música. En esta, conceptos, teorías y procedimientos tienden a tratarse como normas universales o verdades absolutas. Teniendo como referente las ideas de Michael Polanyi sobre conocimiento tácito, en este artículo se analizan y discuten críticamente implicaciones del enfoque prescriptivo característico del modelo tradicional de enseñanza musical.
9
Fiorussi, André. "La diéresis silenciada de Julio Herrera y Reissig". Rhythmica. Revista Española de Métrica Comparada, n.º 17 (9 de enero de 2020): 35. http://dx.doi.org/10.5944/rhythmica.26314.
Texto completoResumen
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.
10
Doerksen, Paul F. "Aural-Diagnostic and Prescriptive Skills of Preservice and Expert Instrumental Music Teachers". Journal of Research in Music Education 47, n.º 1 (abril de 1999): 78–88. http://dx.doi.org/10.2307/3345830.
Texto completoResumen
This study is an investigation of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers. Specifically, the researcher sought to determine how the two groups compared with respect to evaluations for band performances of different music-difficulty and performance-quality levels. Subjects listened to an audiotape recording that comprised four types of performances: Difficult Music and Excellent Performance, Difficult Music and Average Performance, Moderate Music and Excellent Performance, and Moderate Music and Average Performance. For each performance type, subjects responded to four evaluative areas in the investigator-designed Aural-Diagnostic and Prescriptive Skills Test: performance-quality ratings of nine select music elements, rankings of the nine elements, diagnoses of performance problems associated with the weakest-ranked elements, and prescriptions of rehearsal solutions for the diagnosed performance problems. Results indicate that (a) regardless of performance types, preservice teachers rated Intonation lower than did expert teachers; (b) interactions exist among the four performance types for subjects' ratings of Tone Quality, Intonation, Articulation, and Dynamics; and (c) compared to preservice teachers, a higher proportion of expert teachers ranked Blend/Balance and Musical Interpretation as the weakest- performed music elements.
Tesis sobre el tema "Musical prescription"
1
Choquet, Anastasia. "Le métier de programmateur musical à Radio France : analyse d’un groupe professionnel d’intermédiaires culturels de service public à l’ère du numérique". Electronic Thesis or Diss., Université Paris-Panthéon-Assas, 2023. http://www.theses.fr/2023ASSA0075.
Texto completoResumen
Dans un contexte de crise de la prescription culturelle, cette thèse propose l'analyse d'un groupe professionnel d'intermédiaires culturels de service public, les programmateurs musicaux de Radio France. Face à la perte d'audience des radios musicales, à la concurrence des plateformes de streaming et à l'introduction de technologies numériques dans les pratiques professionnelles de programmation musicale à Radio France, comment évoluent les frontières d'un groupe professionnel de service public ? Soumis à des missions de service public qui leur donne un rôle a priori singulier dans l'espace radiophonique – et plus largement dans l'espace culturel – l'étude des pratiques professionnelles des programmateurs musicaux de Radio France constitue un terrain de recherche fertile pour comprendre les mutations de la prescription musicale ainsi que les enjeux contemporains du service public radiophonique. Dans une perspective interactionniste et avec une approche méthodologique inductive et compréhensive, ce travail est fondé sur une ana-lyse des « récits de pratiques » des programmateurs musicaux livrés en entretien, mais également sur des entretiens réalisés avec d'autres groupes professionnels impliqués dans la programmation musicale de Radio France. Réalisés entre 2016 et le début de l'année 2020, ces entretiens sont complétés par l'analyse d'un corpus de documents officiels contemporainsAgainst a backdrop of crisis in cultural prescription, this thesis analyzes a professional group of public service cultural intermediaries, the music programmers at Radio France. Faced with the loss of audience for music radio stations, competition from streaming platforms and the introduction of digital technologies into the professional practices of music programming at Radio France, how are the boundaries of a public service professional group evolving ? Subjected to public service missions that give them an a priori singular role in the radio space - and more broadly in the cultural space - the study of the professional practices of Radio France's music programmers constitutes a fertile field of research for understanding the mutations of music prescription as well as the contemporary stakes of public service radio. From an interactionist perspective and with an inductive and comprehensive methodological approach, this work is based on an analysis of the "narratives of practice" of music programmers delivered in interviews, but also on interviews conducted with other professional groups involved in music programming at Radio France. Conducted between 2016 and the beginning of 2020, these interviews are complemented by the analysis of a corpus of contemporary official documents
2
McAfee, Kay Roberts. "Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.
Texto completoResumen
This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for categorization of figures derive from the twentieth-century writers Timothy Albrecht, George Buelow, Lena Jacobson, and Peter Williams. Chapter I provides justification for the rhetorical approach through a brief description of the rise of the process as applied to composition during the Baroque period by relating Bach's own familiarity with the terminology and processes of rhetorical prescription, and by describing the implications for performance in observing the sonatas from the rhetorical viewpoint. Chapter II deals with the process of composition by rhetorical prescription in (1) the invention of the subject and its figural decoration and (2) the elaboration of the subject through the sixpart discourse of an entire movement. Specific figures of decoration are defined through examples of their use within the context of the sonatas. Chapter III constitutes the analysis of the six sonata movements. Chapter IV reinforces the justification of this type of analysis. The figures, as aids for inflection and punctuation, affect decisions concerning articulation of events and assist in effecting convincing performance.
3
"Exercises for Excerpts: A Prescriptive Approach for the Developing Orchestral Tubist". Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57322.
Texto completoResumen
abstract: This document details the conception and creative process of fundamental exercises intended for the refinement of orchestral repertoire for the tuba. Performance practices and study materials that relate to the orchestral tubist have evolved significantly over the instrument’s history. Although much of its current methodology is derived from the pedagogical insights of the brass family, resources intended to specifically address the unique musical and technical challenges of the tuba have become more prevalent in the past decade. This study aims to detail the conception of exercises that target the skills necessary for the realization of eight excerpts. It also begs the question: what might a new resource encompass that would differentiate its quality and intent from existing materials?
To create a resource that is reflective of current trends and standards in tuba performance, a dialogue was established with several professional tubists through the creation of an online survey. Respondents’ interpretations of each included excerpt were assessed by generalized, specific, and quantifiable feedback. This data was then utilized to directly inform the creative process of supplementary exercises for the included repertoire. The project fulfills its intent to serve as an educational resource, and has strong potential to expand its coverage to additional excerpts with further professional insights.Dissertation/Thesis
PDF of composed project materials.
Doctoral Dissertation Music 2020
Libros sobre el tema "Musical prescription"
1
Music and cancer: A prescription for healing. Sudbury, Mass: Jones and Bartlett Publishers, 2010.
Buscar texto completo
2
Constance, Chase, ed. Prescriptions for choral excellence: Tone, text, dynamic leadership. New York: Oxford University Press, 2005.
Buscar texto completo
3
Emmons, Shirlee. Prescriptions for choral excellence: Tone, text, dynamic leadership. Oxford: Oxford University Press, 2006.
Buscar texto completo
4
MacKinnon, Neil J. (Neil John), 1971-, ed. Take as directed: Your prescription for safe health care in Canada. Toronto: ECW Press, 2010.
Buscar texto completo
5
Moore, Rojay. Prescriptions for Musical Development. PublishAmerica, 2004.
Buscar texto completo
6
Chase, Constance y Shirlee Emmons. Prescriptions for Choral Excellence. Oxford University Press, 2006.
Buscar texto completo
7
Chase, Constance y Shirlee Emmons. Prescriptions for Choral Excellence. Ebsco Publishing, 2006.
Buscar texto completo
8
Wolterstorff, Nicholas. What is liturgy? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805380.003.0002.
Texto completoResumen
The nature of liturgy is explained in this chapter by first analyzing the nature of an enactment of some liturgy. The main argument is that liturgical enactments are a species of scripted activity, resembling, in that respect, games, musical performances, dramatic performances, and the like. Associated with every liturgy is a set of prescriptions for the correct enactment of that liturgy; Call that the script for that liturgy. The liturgy itself is then that sequence of act-types that is enacted when the prescriptions associated with that liturgy are faithfully followed. A liturgy is thus a universal: it can be enacted at many times and in many places. More specifically: liturgies are for being directly engaged with God in acts that can be loosely characterized as acts of worship.
9
Tim Seeligs Quick Fixes Prescriptions For Every Choral Challenge. Shawnee Press (TN), 2008.
Buscar texto completoCapítulos de libros sobre el tema "Musical prescription"
1
Garrido, Sandra. "Musical Prescriptions: Do They Work?" En Why Are We Attracted to Sad Music?, 149–69. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39666-8_9.
Texto completo
2
Jacobsen, Stine Lindahl, Helle Nystrup Lund y Lars Rye Bertelsen. "Music as an Integral Part of “Culture on Prescription”". En Music and Public Health, 201–14. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76240-1_13.
Texto completo
3
Bisaro, Xavier. "D’un concile à l’autre: aux sources des prescriptions musicales du Concile de Trente". En The Council of Trent: Reform and Controversy in Europe and Beyond (1545-1700), 145–58. Göttingen: Vandenhoeck & Ruprecht, 2018. http://dx.doi.org/10.13109/9783666551093.145.
Texto completo
4
Cook, Nicholas. "Introduction: Steps towards Analysis". En Analysing Musical Multimedia, 133–46. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198165897.003.0005.
Texto completoResumen
Abstract One conclusion seems to be insistent.’ writes Roger Parker towards the end of his article ‘Verdi through the Looking-Glass’. ‘It is that ... we can espouse no “ideal” way in which words and music will make drama together, and that we should be careful not to approach the issue with unconscious a priori assumptions.’ 1 As I tried to show in Chapter 3-and the point applies to multimedia in general, not just to opera-the traditional language for analysing the interaction of different media is thoroughly entangled with prescription, implicit valuejudgement, and unsupported generalization. One of the points of having a relatively standardized vocabulary for the description of cross-media relationships is that it makes it possible to reverse this process, so prising description apart from prescription.
5
Kivy, Peter. "Making the Codes and Breaking the Codes: Two Revolutions in Twentieth-Century Music". En New Essays on Musical Understanding, 44–67. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198250838.003.0004.
Texto completoResumen
Abstract The title of this chapter taps into two senses of the word ‘code’: the sense in which a code is a kind of language, as where one devises a code for conveying secret messages, and the sense in which a code is a prescription for behavior, as where a restaurant imposes a dress code on its patrons. Of course my subject is music, not cryptography or etiquette, so I will begin by stating briefly what it is in the musical experience that I think best exemplifies the linguistic sense of a code, and what the prescriptive sense. When I have done this I can then be more specific about the direction this chapter is going to take.
6
Juslin, Patrik N. "Setting the Stage". En Musical Emotions Explained, 3–10. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753421.003.0001.
Texto completoResumen
This chapter sets the stage by introducing the field of music and emotion. It addresses the following questions: Why do musical emotions matter? Why did Freud not enjoy music? Studies show that in both ‘primitive’ cultures and modern society, a considerable amount of time is spent on singing, music, and dance. And it is not just time: According to musicologist David Huron (2001), people in North America spend more money on music than on prescription drugs. There are a number of theories about the possible origin and function of music, for instance that music originally served a purpose in parent-infant bonding, language acquisition, work coordination, transmission of cultural knowledge, sexual courtship, or social coherence. There are also theories which claim that music served no purpose at all.
7
Williams, James. "Collaborative composition and performance in arts and health workshops". En Together in Music, 261–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860761.003.0033.
Texto completoResumen
The “Collective Music-Making as Social Interaction” (CMSI) study was conducted at Vic University, Catalonia. The project was a music-based arts and health workshop, featuring as part of the University’s Art as a Tool for Social Transformation program, aimed to explore how music and the design of bespoke notation can be used in groups to support social interaction among participants. Findings identified within the experiences of participants included discovery, expression, perception, recognition, imagination, communication, cohesiveness, confidence, and self-esteem. The project reveals how a creative, collaborative process can demonstrate a group’s capacity to learn new ways of socially interacting and communicating. The study also shows how the collective product (both composition and ensemble performance) is representative of such social interaction. It is suggested that designing musical notation in collective workshops can facilitate healthy engagement between individuals, proposing extensions of the model for use with arts on prescription and social prescribing service users.
8
Wilson, Ruth M. "Chanting Service and Double Tune". En Anglican Chant and Chanting in England, Scotland, and America 1660 to 1820, 103–24. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164241.003.0004.
Texto completoResumen
Abstract The object of saving time could have been more readily attained, and a far better effect produced, by reserving certain portions of the work to be sung in harmony; and chanting, either in unison or harmony, the rest. Such a course would have been ... more in accordance with the primitive model; and would also afford great opportunity for the development of modem genius. For Short Services, this idea may not be without value to future composers for the Church, should any such arise. The task of the church-music composer to provide suitable and acceptable liturgical music for the ‘daily round’ has often required new approaches and special techniques, whether the primary object was to respond to a historical imperative, to satisfy some theological or aesthetic prescription, or simply to save time. The chanting service and the double tune represent two quite different approaches to musical performance in the liturgy, and both had their antecedents in earlier forms of service music. Some of these developed in the sixteenth century, in the wake of the far-reaching liturgical reforms of the Reformation. .
9
Favila, Cesar D. "Sonic Thresholds". En Immaculate Sounds, 70–105. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197621899.003.0003.
Texto completoResumen
Abstract Through the interrogation of canonical, theological, mystical, acoustical, and architectural circumstances, this chapter examines prescriptions around the performance of music within nuns’ convents in New Spain. Most details of the embodied musical world of the nuns were highly regulated following an ordered monastic tradition, including the when, where, and how convent choirs would sing. Among these prescriptions, the convents’ architectural spaces, the coros, not only determined the physical disposition for the performance of music and sometimes the veiling of its source but also were a manifestation of the rules of obedience, institutional hierarchy, and enclosure. Immaculate sounds could also bolster a mystic experience, thus prompting authorities to control another embodied sonic sphere of the nuns’ lives. Within this systematized realm of female sounds, the regulated lips of musician nuns circumvented the commonplace idea that women singing signaled unchastity.
10
Campbell, Patricia Shehan. "For Children: Prospects for Their Musical Education". En Songs in Their Heads, 167–224. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195111002.003.0004.
Texto completoResumen
Abstract This third section reflects on the dialogues and descriptions of children’s musical repertoire, practices, and thoughts and looks ahead to possible interventions: school music practices, training through lessons, and parent-guided musical enrichment for children. It considers who the children musically are au naturel—in their natural state—and suggests possibilities for all that they can musically become. Thus, this is prescriptive as well as descriptive, in that it acknowledges the voices of children and recommends channels for their development in and through music. It is important for me to reiterate that my thoughts here emanate not only from experiences of the children whose tales have been recounted here but also from a conglomerate of my experiences as a longtime teacher of children, and to emphasize my belief in the great benefits to be had from making moments to talk with children, to watch them at musical play, and to listen to their songs.
Actas de conferencias sobre el tema "Musical prescription"
1
Hishida, Hirotoshi, Shigehiro Hashimoto, Kaito Saeki, Hikaru Kono y Keiko Hishida. "Basic Research on Music Prescriptions - Second Experiment With Classical Music". En ASME 2023 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2023. http://dx.doi.org/10.1115/imece2023-113358.
Texto completoResumen
Abstract The authors assume that the stress state can be expressed by a value, SMB, and are trying to develop a method to change the value in an appropriate direction by music. This paper compares the results of the music therapy experiment conducted in 2022 with those in 2020. Subjects are recruited and classified into four groups according to whether they know the pieces played and whether they like the music. Some subjects wear the pulse oximeter throughout the concert. Other methods are employed to measure the stress states of all subjects at the beginning, the intermission, and the end of the concert. Based on the experiment, the possibility of prescribing classical music to patients is recognized. The same music has different effects on the subjects, depending on the type of music and the subject’s characteristics such as gender and whether he/she likes the music. The effects also differ depending on the piano player. In other words, prescribing music would not be simply selecting songs according to the symptoms. In the future, the music database will be grown up and the experimental methods using public concerts will be improved. Some of the stress measurement methods employed in this experiment may be combined to determine SMD.
2
Landry, Steven, Yuangjing Sun, Darnishia Slade y Myounghoon Jeon. "Tempo-Fit Heart Rate App: Using Heart Rate Sonification As Exercise Performance Feedback". En The 22nd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.018.
Texto completoResumen
Physical inactivity is a worldwide issue causing a variety of health problems. Exploring novel ways to encourage people to engage in physical activity is a topic at the forefront of research for countless stakeholders. Based upon a review of the literature, a pilot study, and exit interviews, we propose an app prototype that utilizes music tempo manipulation to guide users into a target heart rate zone during an exercise session. A study was conducted with 26 participants in a fifteenminute cycling session using different sonification mappings and combinations of audiovisual feedback based on the user’s current heart rate. Results suggest manipulating the playback speed of music in real time based on heart rate zone departures can be an effective motivational tool for increasing or decreasing activity levels of the listener. Participants vastly preferred prescriptive sonifications mappings over descriptive mappings, due to people’s natural inclination to follow the tempo of music.
3
Ezzaidi, Hassan y Jean Rouat. "Automatic music genre classification using second-order statistical measures for the prescriptive approach". En Interspeech 2005. ISCA: ISCA, 2005. http://dx.doi.org/10.21437/interspeech.2005-88.
Texto completo
4
Churakov, A. A. "КОМБИНИРОВАННАЯ ЭРИКСОНОВСКАЯ ПСИХОТЕРАПИЯ В КОМПЛЕКСНОМ ЛЕЧЕНИИ КОМОРБИДНОГО ПАЦИЕНТА". En ПЕРВЫЙ МЕЖКОНТИНЕНТАЛЬНЫЙ ЭКСТЕРРИТОРИАЛЬНЫЙ КОНГРЕСС «ПЛАНЕТА ПСИХОТЕРАПИИ 2022: ДЕТИ. СЕМЬЯ. ОБЩЕСТВО. БУДУЩЕЕ». Crossref, 2022. http://dx.doi.org/10.54775/ppl.2022.78.49.001.
Texto completoResumen
Patient «C», 51 years old, works as an oncologist in a hospital, mostly night duties. Complaints of anxiety; reduced mood; hopelessness, “all is bad: health, work, family”; guilt; weakness; apathy, suicidal thoughts; sleep disturbance; chronic back pain; feeling of incomplete bladder emptying. He associates the complaints with high stress at work and with the fact that he does not have time to recover from night duty, with a sense of hopelessness due to his inability to help some patients. He was observed by an interdisciplinary team of specialists including a psychotherapist, a urologist and a neurologist. Diagnosis: Emotional burnout syndrome (Z 73.0), Mixed anxiety and depressive reaction (F 43.22), Neurogenic bladder weakness (N 31.2), Dorsopathy at lumbarsacral level (М 51.1). Prescription: alfuzosin (alfuprost, Vertex, Russia) 10 mg per 24 hours, 3 months; tolperison hydrochloride (mydocalm, GEDEON RICHTER, Plc., Hungary), per os 150 mg in the evening, for 1 month; psychotherapy in Erickson's hypnosis modality: 2 in-person sessions – “Resource Vase” and “Compassion meditation”, and 10 sessions of neuro audio modules (NAM): Psychosomatic Session, Good Memory, House Building, Bird Flight, Body Comfort Bird, Health Bridge, Diaphragmatic Breathing, Transformation, Garden, Circulation of Transformations, River of Desire, they were held daily or every other day. NAM was broadcast against the background of meditative music and sounds of nature. Methods of self-regulation of psycho-emotional state are recommended. One month later after the beginning of the treatment: the level of anxiety decreased from 16 till 6 points, the level of depression – from 12 till 5 points (HADS). Back pains dimineshed from 8 till 3 points according to Visual Analog scale, 55% residual urine. The patient noted a significant improvement in the background mood, a surge of energy, increased working capacity, improvement in the relations with his loved ones. Thus, the clinical effectiveness of inclusion in the treatment of comorbid patient of combined Erickson's psychotherapy with the predominant use of NAM has been demonstrated. This approach increases the availability of psychotherapy, reduces labour efforts of a therapist and financial burden on a patient. Пациент «C», 51 г., работает врачом-онкологом в стационаре, преимущественно ночные дежурства. Обратился с жалобами: чувство тревоги; пониженный фон настроения; ощущение безнадежности, «все плохо: здоровье, работа, семья»; чувство вины; упадок сил; апатия, суицидальные мысли; нарушение ночного сна; хроническая боль в спине; чувство неполного опорожнения мочевого пузыря. Жалобы связывает с выраженным стрессом на работе и тем, что не успевает восстанавливаться после ночных дежурств, ощущением безысходности из-за невозможности помочь некоторым пациентам. Наблюдался междисциплинарной командой специалистов, включающей психотерапевта, уролога, невролога. Диагноз: Синдром эмоционального выгорания (Z 73.0), Смешанная тревожная и депрессивная реакция (F 43.22), Нейрогенная слабость мочевого пузыря (N 31.2), Дорсопатия на пояснично-крестцовом уровне (М 51.1). Назначения: алфузозин (алфупрост, Вертекс, Россия) 10 мг в сутки, 3 месяца; толперизона гидрохлорид (мидокалм, GEDEON RICHTER, Plc., Венгрия), внутрь 150 мг вечером, 1 месяц; психотерапия в модальности Эриксоновский гипноз: 2 сеанса очно – «Ваза 163 ресурсов» и «Медитация сострадания», и 10 сеансов нейроаудиомодулей (НАМ): Психосоматический сеанс, Приятное воспоминание, Строительство дома, Полет птицы, Птица телесного комфорта, Оздоровительный мост, Диафрагмальное дыхание, Трансформация, Сад, Круговорот преобразований, Река желания, которые проводили ежедневно или через день. НАМ транслировался на фоне медитативной музыки и звуков природы. Рекомендованы приемы саморегуляции психоэмоционального состояния. Через 1 месяц от начала лечения: уровень тревоги снизился с 16 до 6 баллов, депрессии – с 12 до 5 баллов (ГШТД). Уменьшились боль в спине по ВАШ с 8 до 3 баллов, объем остаточной мочи на 55%. Пациент отметил значительное улучшение фона настроения, прилив сил, повысилась работоспособность, улучшились отношения с близкими. Таким образом, продемонстрирована клиническая эффективность включения в курс лечения коморбидного пациента комбинированной эриксоновской психотерапии с преимущественным использованием НАМ. Данный подход повышает доступность к психотерапии, сокращает трудозатраты врача-психотерапевта и финансовую нагрузку на пациента.