Bibliographies thématiques / Humanities -> music -> musicals

Littérature scientifique sur le sujet « Humanities -> music -> musicals »

Auteur : Grafiati
Publié le 26 juillet 2024
Mis à jour le 27 juillet 2024

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Articles de revues sur le sujet "Humanities -> music -> musicals"

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Łubocki, Jakub Maciej. « Musical sources – meaning of the term in bibliology and museology ». Z Badań nad Książką i Księgozbiorami Historycznymi 17, no 1 (27 juillet 2023) : 103–25. http://dx.doi.org/10.33077/uw.25448730.zbkh.2023.759.

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Although it may seem improbable, various types of musical sources can also be found in the collection of the Publishing Art Department of the National Museum in Wrocław. They are not only music sheets and songbooks, but also written documents related to musical works or people of music, and in the future, they could be even printed elements of sound documents or ephemeras related to music life. This was the reason for the general reflection on the understanding of the term “musical sources” (“musicals”) and its meaning in relation to the universes of music and publishing art. Then, basic categories of museum objects that are simultaneously from both universes – music and publishing art – were presented (with examples).
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Gabbard, Krin. « La La Land Is a Hit, but Is It Good for Jazz ? » Daedalus 148, no 2 (avril 2019) : 92–103. http://dx.doi.org/10.1162/daed_a_01745.

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The debates around La La Land (2016) tell us a great deal about the state of jazz today and perhaps even in the near future. Many critics have charged that the film has very little real jazz, while others have emphasized the racial problematics of making the white hero a devout jazz purist while characterizing the music of the one prominent African American performer (John Legend) as all glitz and tacky dance moves. And finally, there is the speech in which Seb (Ryan Gosling) blithely announces that “jazz is dead.” But the place of jazz in La La Land makes more sense if we view the film as a response to and celebration of several film musicals, including New York, New York (1977), the Fred Astaire and Ginger Rogers films, and especially Jacques Demy's The Young Girls of Rochefort (1967). Both La La Land and Demy's film connect utopian moments with jazz, and push the boundaries of the classical Hollywood musical in order to celebrate the music.
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Schmid, Wolfgang. « MusicALS : home-based music therapy for individuals with amyotrophic lateral sclerosis (ALS) and their caring families ». Nordic Journal of Music Therapy 25, sup1 (30 mai 2016) : 66. http://dx.doi.org/10.1080/08098131.2016.1179985.

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Omojola, Olabode F. « Contemporary art music in Nigeria : an introductory note on the works of Ayo Bankole (1935–76) ». Africa 64, no 4 (octobre 1994) : 533–43. http://dx.doi.org/10.2307/1161372.

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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.
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Park, Juyong. « Networks of Contemporary Popular Musicians ». Leonardo 45, no 1 (février 2012) : 78–79. http://dx.doi.org/10.1162/leon_a_00341.

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The Internet has enabled easy storage and retrieval of various network data, including data showing the relationship between music professionals. “High-Throughput Humanities” is a new way of thought that aims to bring analysis of such large-scale data to the study of traditional humanities subjects including music. Here we present how networks of musical professionals can help us understand the process of collective music production and the human perception of musical similarity.
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Narmour, Eugene. « Our Varying Histories and Future Potential : Models and Maps in Science, the Humanities, and in Music Theory ». Music Perception 29, no 1 (1 septembre 2011) : 1–21. http://dx.doi.org/10.1525/mp.2011.29.1.1.

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part 1 briefly recounts the influence of social unrest and the explosion of knowledge in both psychology and the humanities circa 1970-1990. As the sciences rely on explicit top-down theories connected to bottom-up maps and models, and whereas the humanities build on bottom-up differences within malleable top-down “theories” (approaches, themes, theses, programs, methods, etc.), the changes in the sciences during this period contrasted sharply with the changes in the humanities. Part 2 discusses in detail how these two social transformations affected the histories of music theory and cognitive music theory. The former fractiously withdrew from its parent organization (AMS), whereas the latter was welcomed into SMPC. Inasmuch as both music theory and cognitive music theory rely on maps and models, Part 3 examines the metatheoretical importance of these terms for music cognition, music theory, and cognitive music theory. Part 4 speculates about the future—how music cognition, cognitive music theory, and music theory contribute to the structure of musical knowledge. The intellectual potential of this unique triadic collaboration is discussed: psychology provides a commanding empirical framework of the human mind, while music theory and cognitive music theory logically model moment-to-moment temporal emotions and the auditory intellections at the core of musical art.
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Efremenko, Alexey P., et Mukadas Gabdiyev. « Specifics of the Formation of Musical Culture of Modern Adolescents in the System of Additional Education ». Uchenye Zapiski RGSU 20, no 1 (30 mars 2021) : 122–30. http://dx.doi.org/10.17922/2071-5323-2021-20-1-122-130.

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The study of musical culture, various aspects of it is traditionally engaged in humanities – art science, cultural studies and a number of social disciplines. The most significant science is musicology, which includes the history of music, the philosophy of music (section of aesthetics) and musical ethnology. Music culture at different levels of development is also the object of a study of music pedagogy, one of the current tasks of which today is the formation of the musical culture of modern adolescents. The specifics of this process, carried out in the system of additional education, are devoted to the article. It reveals the main conditions, factors and methods that contribute to the effective formation of the musical culture of adolescents.
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Dirksen, Rebecca, Kendy Vérilus et Samuel Vicière (Samy-Gee). « “Desitire fatra” (Get rid of trash) : Lyrics and Stills from an Eco-musical Film Collaboration ». Journal of Haitian Studies 29, no 1 (mars 2023) : 185–90. http://dx.doi.org/10.1353/jhs.2023.a922864.

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Abstract: The music video for “Desitire fatra” (Get rid of trash), by Samy-Gee, was a component of the project “Field to Media: Applied Musicology for a Changing Climate” supported by the Mellon Foundation and Humanities without Walls consortium initiative on “The Work of the Humanities in a Changing Climate.” Haiti team leaders for this music video were Rebecca Dirksen (co-PI), Kendy Vérilus, and Samuel Vicière (Samy-Gee).
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Grandy, David. « The Musical Roots of Western Mathematics ». Journal of Interdisciplinary Studies 5, no 1 (1993) : 3–24. http://dx.doi.org/10.5840/jis199351/22.

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Alfred North Whtiehead stated that mathematics and music compete with each other for the honor of being the most novel achievement of the human imagination. Actually, there is no rivalry or competition, for the two enterprises interpenetrate once the investigation is pursued far enough. Though on opposite ends of the science-humanities spectrum, each discipline points toward the other and elicits the same sort of reverential puzzlement. This essay considers the seminal interconnection between music and mathematics and concludes that this unexpected conjunction of opposites bespeaks a higher, unseen reality. Music cum mathematics is an optics that allows us to discover, celebrate, and participate in God's ongoing Creation.
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Grandy, David. « The Musical Roots of Western Mathematics ». Journal of Interdisciplinary Studies 5, no 1 (1993) : 3–24. http://dx.doi.org/10.5840/jis199351/22.

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Alfred North Whtiehead stated that mathematics and music compete with each other for the honor of being the most novel achievement of the human imagination. Actually, there is no rivalry or competition, for the two enterprises interpenetrate once the investigation is pursued far enough. Though on opposite ends of the science-humanities spectrum, each discipline points toward the other and elicits the same sort of reverential puzzlement. This essay considers the seminal interconnection between music and mathematics and concludes that this unexpected conjunction of opposites bespeaks a higher, unseen reality. Music cum mathematics is an optics that allows us to discover, celebrate, and participate in God's ongoing Creation.
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Thèses sur le sujet "Humanities -> music -> musicals"

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Dvorin-Spross, Miriam. « Tune, tot and kin : constructing music praxis in a humanities course for undergraduate nonmusic majors / ». Thesis, Connect to this title online ; UW restricted, 2005. http://hdl.handle.net/1773/11405.

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Walker, Seth. « Musical Spirituality : The Transformative Power of Popular Music ». Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1050.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Humanities
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Mariottini, Filippo. « The Passacaglia by Johann Sebastian Bach Interpretation perspectives : How the Bach score can lead to such different musical results ». Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2874.

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Stedman, Kyle D. « Musical Rhetoric and Sonic Composing Processes ». Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4229.

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This project is a study of musical rhetoric and music composition processes. It asks the questions, "How does the nature of music as sound-in-time affect its rhetorical functions, production, and delivery?" and "How do composers approach the task of communicating with audiences through instrumental music?" I answer these questions by turning to the history of musical rhetoric as practiced in the field of musicology and by interviewing composers themselves about their composition practices--approaches that are both underused in the rhetoric and composition community. I frame my research participants' responses with a discussion of the different degrees to which composers try to control the eventual meaning made from their compositions and the different ways that they try to identify with their audiences. While some composers express a desire to control audiences' emotions and experiences through the use of forms and careful predictions about an audience's reactions to certain genres and influences, other composers express a comfort with audiences composing their own meanings from musical sounds, perhaps eschewing or transforming traditional forms and traditional performance practices. Throughout, I argue for the importance of considering all of these perspectives in the context of actually hearing music, as opposed to taming and solidifying it into a score on a page. These composers' insights suggest the importance of understanding musical rhetoric as an act based in sound and time that guides meaning but can never control it. They also suggest new ways of teaching English composition courses that are inspired by the experiences and practices of music composition students. Specifically, I argue that English composition courses should better rely on the self-sponsored literacies that students bring to classrooms, stretch the ways these courses approach traditional rules of composing, and approach digital tools, collaboration, and delivery in ways that mirror the experiences of music students.
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Shea, Nicholas Jordan. « Ecological Models of Musical Structure in Pop-rock, 1950–2019 ». The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158755665247824.

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Stervinou, Adeline. « La perception structurelle et temporelle d'extraits de musiques contemporaines par les adolescents musiciens et non-musiciens ». Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00664451.

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Ce travail propose d'observer l'effet de différentes structures musicales, extraites du courant musical minimaliste, sur la perception auditive temporelle d'adolescents musiciens et non-musiciens. Pour entreprendre cette recherche, nous avons dû d'abord définir notre conception du temps musical ainsi que son impact supposé sur la perception auditive.Une fois le corpus d'œuvres minimalistes sélectionné, une analyse musicale des extraits sonores retenus pour l'élaboration de deux expérimentations a été réalisée. Elle est destinée à justifier le choix de ces extraits et à définir les procédés d'écriture mis en œuvre, susceptibles d'altérer la perception de la durée chez les sujets. Deux expériences, une tâche de catégorisation libre et une tâche d'évaluation de durées, sont présentées sous la forme de protocoles expérimentaux, permettant d'exposer le déroulement de chacune, de commenter les résultats obtenus et d'expliquer les méthodes de calcul afin de formuler une interprétation des résultats.D'après les résultats observés, seulement certains procédés d'écriture utilisés par les compositeurs minimalistes semblent avoir un effet sur la perception des structures musicales et sur l'estimation de leur durée. Ces résultats sont valables pour les deux groupes de sujets, ce qui prouve que l'expérience musicale antérieure n'a pas d'effet majeur sur la perception de la durée dans un contexte musical.
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Clark, Alan. « Brown study an original musical recording ». Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/673.

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For a year and a spring semester, I have been in the works of a school music project. I set out to make a record of ten self-penned songs. Along the length of the project, I would discover musicians and recording artists. I notated my songs on a staff and recorded demos to assist players of drums, electric bass, French horn, and violin. I play guitar, percussion, synthesized instruments, and do all of the singing on Brown Study, the record's title. The technology used to create the songs include a Tascam 2488 (home digital recording device), computers, printers, cell phones and i-phones, amplifiers, microphones and headphones, and a drum machine. This is my first attempt at collaborating with other musicians. At the defense I will be presenting 4 songs: "Runaway," "Lonely Heart," "Topsy Turvy," and "Friendliest Advice." Each song has a particular history and story to tell containing influences and aesthetic philosophies. My gift is to be shared with whoever will listen upon completing and distributing the full-length album.
B.A.
Bachelors
Arts and Humanities
Music Education
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Pendley, James. « Visualizing sound : a musical composition of aural architecture ». [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003152.

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Eriksson, Karin. « Sensing Traditional Music Through Sweden's Zorn Badge : Precarious Musical Value and Ritual Orientation ». Doctoral thesis, Uppsala universitet, Institutionen för musikvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-319842.

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This thesis investigates the multiple and contested spaces of belonging that may be evoked by ritualised musical performance. It makes an ethnographic case study of the Zorn Badge Auditions in Sweden, in which musicians play before a jury in the hope of being awarded a Zorn Badge and a prestigious but also contested title: Riksspelman. Building on theories of ritual and performance in combination with Sara Ahmed’s theorisation of orientation, the thesis attends to sensory ways of experiencing and knowing music while tracing the various ways in which Swedish traditional music is performed, felt, heard, sensed and understood in audition spaces. It draws on interviews with players and jury members, participant observations of music auditions and the jury’s deliberations, showing how musical value is negotiated through processes of inclusion and exclusion of repertoires, instruments and performance practices. The study also illuminates how anxiety and uncertainties are felt on both sides of the adjudication table. The auditions trigger feelings of belonging and harmony, but also rupture and distance. A brimming of felt qualities contributes to the sensing of history, tradition, memory, place and geography, as well as close emotional connections between music and individual performers. The thesis reveals how gradual adaptation, and the lived experiences of time within tradition, allow the Zorn institution to negotiate change and thereby maintain its position within Swedish society.
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Henry, Lucas Aaron. « Freedom Now ! : Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964 ». [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.
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Livres sur le sujet "Humanities -> music -> musicals"

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R, Aldecoa Ena Maria, et Dioquino Corazon, dir. Compendium of the humanities of the Philippines : Musical arts. Taguig, Metro Manila : National Research Council of the Philippines, 1998.

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Shipovskaya, Lyudmila. Music as an element of spiritual culture is a powerful factor of integration and universalization of the entire spiritual life of society. ru : INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/2052437.

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The monograph is devoted to the ability of music in different phases of its functioning (creation, performance, perception) to convincingly demonstrate the associative and code principles of consciousness — mutual connection, induction and "translation" (encoding and decoding) of its various aspects, structures (in particular, emotional and rational) and levels (for example, individual and general, concrete and abstract). It is highlighted that music unites people, helps to resist disunity, indifference, feelings of loss and uselessness in the big world. It is revealed that the unifying power of music is manifested not only when a huge auditorium lives in one breath, when it freezes at once or suddenly bursts into a storm of applause in a single burst; a person feels this power, even if the sounds flow from a television or radio receiver. Spiritual culture should be addressed only to a person, it has a beneficial effect on a person's behavior, his work activity and the whole way of life. The socio-cultural significance of musical art is dramatically increasing in the context of a radical transformation of our society. It should ensure the assimilation of spiritual values that form the foundation of human life. It is intended for the widest audience of readers — from students of children's music schools and art schools to students of humanities faculties of universities and lovers of musical art.
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Russkoe strochnoe mnogogolosie XV-XVII vekov : Tekstologii︠a︡, stilʹ, kulʹturnyĭ kontekst. Moskva : Kompozitor, 2005.

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Bird, Frederick Charles, et Diane Skipper. Seaspell Performers' Edition : Reproduction Masters (Cambridge Young Musicals). Cambridge University Press, 1990.

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The Secret Life of the American Musical : How Broadway Shows Are Built. Tantor and Blackstone Publishing, 2021.

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Cassidy Parker, Elizabeth. Adolescents on Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.001.0001.

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Adolescents on Music foregrounds the voices of 30 American adolescent musicians, ages 12–18. Adolescent singer-songwriters, studio and solo musicians, rappers, composers and arrangers, and band, choir, and orchestra members tell about their musical development and what it is like to make music by themselves and others. Situated in these 30 adolescents’ experiences is a theory of adolescent musical development—a theory that will help music educators support adolescents in their lives. The book is structured in three parts: Part I focuses on “who I am” with an in-depth look at musical identities; Part II explores “the social self” by investigating adolescent experiences of belonging, community, and social identity; Part III looks toward “a future vision” focusing on adolescent perspectives on their future and their advice for music educators. In the last chapter, Parker proposes one philosophy of adolescent music-making. Throughout the book, research from the arts, social and natural sciences, humanities, and education dimensionalize adolescent perspectives. Special features of this book include “Step Back” locations, reflective spaces for the reader to draw connections with adolescents’ experience and their own experiences. At the end of each chapter, the “Wrap Up” allows additional spaces for topics, questions, and possibilities for effective teaching interactions. Between each chapter are “Interludes” written by one or more of the 30 adolescent contributors.
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Music in the Body –The Body in Music. Georg Olms Verlag, 2022. http://dx.doi.org/10.25366/2022.84.

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The body matters in the humanities and within social and cultural studies. It is variously understood as a knowledge store and transmitter, as a node of perception and cognition, as a site of discipline and power and as a locus of identity and agency. But how is the body integral to our concept of music? With increasing interest, Musicology is discovering the epistemological role of the body and its potential as analytical tool, pursuing avenues such as affect studies, performance studies, gender in music and musical perception and cognition. This volume of collected works draws on an international conference, held at the Department of Musicology at the University of Göttingen in 2019, that aimed to bring together various theoretical perspectives relating to the body and evaluating its present musicological relevance. It explores pathways into a fundamental debate on the body as a central musicological category and reflects on the relevance of this category in the application of diverse musical objects and practices. Composition and performance, aesthetic discourse and sociological analysis, perception and production are all discussed in relation to bodily knowledge, bodily practice and bodily norms. Historical, contemporary, analytical, ethnographic and artistic-experimental approaches reflect the richness of the musicological discipline and its forays into the musical body. The publication contains twelve different approaches to the body in music in German and English by Sylvain Brétéché, Max Ischebeck, Werner Jauk, Jasna Jovicevic, Moritz Kelber, Tobias Knickmann, Ina Knoth, Madeleine Le Bouteiller, Alastair White, Martin Winter, Stefanie Schroedter and Martin Zenck.
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Kim, Youn, et Sander L. Gilman, dir. The Oxford Handbook of Music and the Body. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190636234.001.0001.

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The presence of the phenomenological body is central to music in all of its varieties and contradictions. With the explosion of scholarly works on the body in virtually every field in the humanities, the social as well as the biomedical sciences, the question of how such a complex understanding of the body is related to music, with its own complexity, has been investigated within specific disciplinary perspectives. The Oxford Handbook of Music and the Body brings together these particular aspects of such relationships in a broad context and provides a platform for the discussion of the multidimensional interfaces of music and the body. It is organized into six sections, each discussing the topics that define the field: the moving and performing body; the musical brain and psyche; embodied mind, embodied rhythm; the disabled and sexual body; music as medicine; and the multimodal body. Connecting a wide array of diverse perspectives and presenting a survey of research and practice highlighting different facets, the Handbook provides an introduction into the rich world of music and the body.
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Aldo Parisot, the Cellist : The Importance of the Circle. Pendragon Press, 2018.

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Aldo Parisot, the Cellist : The Importance of the Circle. Pendragon Pr, 2018.

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Chapitres de livres sur le sujet "Humanities -> music -> musicals"

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Kroonenberg, Pieter M. « Musical stylometry : Characterisation of music ». Dans Multivariate Humanities, 347–70. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69150-9_18.

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Varankaitė, Ulrika. « Music and Associations : Cultural Impact on Musical Perception ». Dans Numanities - Arts and Humanities in Progress, 47–56. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47060-3_4.

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Guerra López, Gerard. « Musitecture : Musical Space, Spatial Music. Sonorous Thresholds in Time-Space Intersections ». Dans Numanities - Arts and Humanities in Progress, 157–75. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47060-3_12.

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Martinelli, Riccardo. « 7.2. Melting Musics, Fusing Sounds Stumpf, Hornbostel, and Comparative Musicology in Berlin ». Dans The Making of the Humanities, sous la direction de Rens Bod, Thijs Weststeijn et Jaap Maat, 391–402. Amsterdam : Amsterdam University Press, 2014. http://dx.doi.org/10.1515/9789048518449-026.

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Povilionienė, Rima. « Music as National Identity Manifesto : The Musical Repertoire of Lithuanian Evenings at the Beginning of the 20th Century ». Dans Numanities - Arts and Humanities in Progress, 75–88. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47060-3_6.

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Lubet, Alex. « Music, Music Therapy, Disability Studies, Bioethics, and Health Humanities ». Dans Teaching Health Humanities, sous la direction de Olivia Banner, Nathan Carlin et Thomas R. Cole, 338–52. Oxford University Press, 2019. http://dx.doi.org/10.1093/med/9780190636890.003.0020.

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This essay describes two disability-related courses—Disability Ethics and Music, Disability, and Society—which have become de facto requirements (one or both courses) for graduate students in music therapy. Music therapists comprise much of the majority of students in these courses who come from healthcare fields. This essay contemplates, in Disability Ethics, the roles of music/musicians/music therapists in bioethics and the role of bioethics in music therapy. In Music, Disability, and Society, students learn that music-making—presumably a talent or hyperability—offers a uniquely valuable perspective on disability. Disability Ethics proposes that mainstream bioethics takes too narrow a view of its potential reach. It marginalizes those professionals beyond doctors, nurses, policymakers, and administrators, such as health workers and other practitioners in mind–body praxis—including, for example, music teachers—who might benefit from its teachings, methods, and research and who at the same time themselves might have a beneficial impact on those teachings and methods. Music, Disability, and Society proposes that, through contemplating the place of talent in culture, the socially constructed aspects of disability are illuminated.
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Decker, Todd. « The Music Scholar as a Type of Non-Musician ». Dans Music and Human Flourishing, 96—C6P42. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197646748.003.0007.

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Abstract This chapter posits a predicament specific to music scholars: loss of one’s status as a musician in the shift from the applied pursuit of music (creating musical sound) to the academic study of music as a humanities discipline (researching, writing, and speaking about musical sound). The identity of most music scholars is forged in childhood as performers. But this identity is often set aside when career-defining choices concerning post-graduate education and professionalization are made. Consequently, the music scholar’s identity as a type of non-musician has become a condition of the academic discipline of music studies. This chapter seeks to describe the contours of this condition, arguing that the identities of musician and humanities scholar are incompatible. Once theorized, this incompatibility leads to a questioning of the ultimate utility of music scholarship and a remediation of the music scholar’s non-musician status.
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Margulis, Elizabeth Hellmuth. « 8. The future ». Dans The Psychology of Music : A Very Short Introduction, 109–22. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190640156.003.0008.

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From its disparate roots in diverse fields, the psychology of music has coalesced since the 1980s into a cohesive research area. Yet some of music’s most compelling mysteries remain elusive. “The future” explores how the psychology of music occupies an intriguing nexus among the arts, the humanities, and the sciences. This capacity for interplay and flexible thinking seems ever more critical to the broad challenges of the twenty-first century. Current and future areas of research include corpus studies using digital tools to identify patterns in large repertoires of music, harnessing the increasing power of neuroscience to understand the circuitry that underlies musical memory in greater detail, and more sophisticated cross-cultural approaches.
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Spitzer, Michael. « Introduction ». Dans A History of Emotion in Western Music, 1–4. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190061753.003.0001.

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The introduction asks the important question of why music studies have been left behind by the affective turn informing the humanities and social sciences. It outlines the main themes explored by the book’s nine chapters, and contextualizes the book within the author’s long-running development of a concept of musical style. The broad aim is to tell a history both of musical emotion across a thousand years of European music; and to unfold the genealogies of individual emotions, including emotions embedded within specific historical and socio-cultural contexts. The introduction also disposes of some early objections to writing a history of musical emotion. And it frames the enterprise within the resurgence of interest in Charles Darwin and of the impact of biology over the humanities.
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Madrid, Alejandro L. « Understanding Music Studies, Well-Being, and the Humanities in Times of Neoliberalism ». Dans Music and Human Flourishing, 81—C5P43. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197646748.003.0006.

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Abstract This chapter asserts that a transdisciplinary approach to the study of music that enables scholars to transcend the narrow sets of questions that musicology and music theory have traditionally privileged—concerns with aesthetic value and a perceived intrinsic worthiness of specific musical texts and practices—is essential in defining music studies as an endeavor relevant to larger intellectual projects in the humanities and social sciences. This transdisciplinary approach resonates with James Pawelski’s call for an alliance between the humanities and the science of well-being that would make “humanities scholarship more informed and more relevant to contemporary debates.” Pawelski’s definition of well-being in relation to “a society based on individual freedom and self-realization” and his attempts to engage quantitative evaluative methods, however, have neoliberal overtones. In response, this chapter offers an assessment of neoliberalism’s take on human flourishing and proposes alternative well-being strategies that privilege collective realization and avoid giving in to economic, political, and philosophical models that thrive on human precarity and conflict.
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Actes de conférences sur le sujet "Humanities -> music -> musicals"

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Cividini, Iacopo. « Zwischen klassischer Musikphilologie und angewandter Informatik : Die Digitale Mozart-Edition (DME) der Stiftung Mozarteum Salzburg ». Dans 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/10.25366/2020.51.

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With the Digital Mozart-Edition (DME), the Salzburg Mozarteum Foundation and the Packard Humanities Institute, Los Altos (California), intend to build a bridge between music philology and informatics using the example of Wolfgang Amadé Mozart’s oeuvre. The aim of the project is to edit Mozart’s complete works as well as letters, documents and text sources according to scholarly criteria and in a fully digital format available free of charge on the internet. The core project of the DME, the Digital Interactive Mozart Edition (DIME), is conceived as a further development of the Neue Mozart-Ausgabe (NMA). Following the principle “code equals edition”, all musical texts and their critical documentation are encoded in the XML-based format by the Music Encoding Initiative (MEI). All variants and editorial interventions of the music can be made visible through The Digital Mozart Score Viewer (MoVi), a visualisation tool built around the Verovio music engraving library.
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Rovenko, Elena. « ON THE PHENOMENON OF THE �WAGNERIAN PAINTING� : THE DIALECTICS OF SENSE-MAKING, PERCEPTION AND INTERPRETATION ». Dans 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.13.

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Having given the concept of �absolute music� a negative connotation in 1846, Richard Wagner not only inspired discussions about the correlation of form and content in music, but also affected painters, who were looking for the ideal of non-mimetic meaning-generating strategies in music, and whose art was specified as the �Wagnerian painting� by French critic Theodore de Wyzewa. Using the historical and the comparative approaches, as well as the semantic and structural analysis of the expressive means in music and painting, the paper: 1) considers Wyzewa�s programme with regard to certain correlations of his ideas with the thoughts of his predecessors; 2) interprets three steps of Wyzewa�s gnoseological algorithm (from �reality� to �consciousness�) as the correlate to components of sense-making in Wagnerian dramas: the �sensation� is generated by the pure sense of musical material, the �notion� is similar to the extra-musical meaning of leitmotifs, the �emotion� is the essence of an artwork; 3) projects this algorithm onto the Wagnerian painter�s creative process; 4) demonstrates various non-mimetic strategies of the meaning formation in painting, close to the algorithm for connecting extra-musical and immanent musical meanings in Wagnerian dramas; 5) discusses the epistemological mechanism in the process of perceiving the �Wagnerian painting�: from a purely visual impression (like �sensation�) � through actualizing cultural memory and an artist�s intentions (intellectual mediation, �notion�) � to super-intellectual reflection (synthetic �emotion�). The paper will specifically concern itself with the creative process in the fin de siecle era and to renew the ideas about the basis of synthesis of arts. As it is the art of Henri Fantin-Latour that is considered as the example of the Wagnerian painting by Wyzewa himself, the article will focus on this oeuvre in particular.
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Rovenko, Elena. « ERWIN PANOFSKY�S ICONOLOGY AND THE ANALYSIS OF MUSICAL COMPOSITION : ON SEARCHING NEW SEMANTIC STRATEGIES ». Dans 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.08.

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The paper offers a renewed interest for Erwin Panofsky�s iconology, which consists of the applying of this concept and analytical method to musical art per se. Although Panofsky himself did not intend to introduce his methodology into the sphere of music, he establishes correlations between some musical compositions and painting. Thus, Panofsky felt the presence of certain general laws of the formation of structure of the artistic whole in painting and music. In terms of iconology, music, like painting, presupposes the original hermeneutic algorithm, which consists of three steps. Firstly, the �purely formal perception� generates the factual meaning and consists of primary ordering of expressive means and unconscious establishing of their relations; and the �emphatic� perception produces the expressional meaning that is induced by the modality of an artwork and properties of expressive means. Secondly, the intelligible signification depends on conventional meanings assigned to expressive means. Thirdly, the aesthetic synthesis depends on an author�s intention, causes the content and consists of considering each of constructive and expressive means (strokes, color areas, lines, sounds, chords, modes) as a sense-generating unit. In the same epoch and in the same style these units have the equal intentional characteristics within the boundaries of a concrete art because of transmitting the same symbolic values (Ernst Cassirer) relating to space, time, mentality and world perception. This paper presents the applying of this three-step algorithm to musical artworks in total.
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« The Practice of Postmodern Musical Culture in Chinese Vocal Music ». Dans 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.79.

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« Analysis on Conservatory of Music and Musical Intangible Cultural Heritage ». Dans 2018 4th International Conference on Economics, Management and Humanities Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ecomhs.2018.093.

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« Study on the Concept of Pluralistic Musical Culture in Chinese Vocal Music ». Dans 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.23.

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Dubowy, Norbert. « Vom Kritischen Bericht zur Kritischen Dokumentation am Beispiel der Digital-interaktiven Mozart-Edition ». Dans 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/10.25366/2020.53.

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A digital music edition that follows the principles implemented in the fully-digital, MEI-coded Digital Interactive Mozart Edition, pursued by the Mozarteum Foundation and the Packard Humanities Institute, has many advantages over conventional analog editions. One advantage is greater transparency, which is achieved not only at the level of the material, e. g. the inclusion of digital images of the sources, but above all by making editorial processes and decisions visible in the edition itself. In the digital edition, the Critical Report, a defining component of any critical edition and often physically separate from the edited musical text, becomes part of the overall digital code. The philological findings and editorial processes reported encompass the entire range of forms of expression, from verbal comments and annotations to pure code and non-verbal, largely visual communication strategies. Therefore, the format of the traditional printed Critical Report, which is mainly made up of text and tables, dissolves and is replaced by an immaterial, non-delimitable field of data, information, references and media for which the term Critical Documentation is more appropriate.
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Gao, Jia, et Chunmei Yu. « Practice and Research on Cultivating English Ability of Music Majors Students taking English Musical Movies as Carriers ». Dans 2017 International Conference on Humanities Science, Management and Education Technology (HSMET 2017). Paris, France : Atlantis Press, 2017. http://dx.doi.org/10.2991/hsmet-17.2017.196.

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Guo, Xiaoyi, Yalan Qin et Xinhuan Wu. « Does Absolute Music Help Chinese College Students Improve the Study Performance ? A Test of Absolute Musical Influence ». Dans 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Paris, France : Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211220.427.

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Szymanska-Stulka, Katarzyna. « SPACE PERFORMS FOR SACRED AMONG MUSIC AND ARCHITECTURE. THE CASE OF STABAT MATER??S MOTIF IN POLISH CONTEMPORARY MUSICAL WORKS BY PAWEL LUKASZEWSKI AND IGNACY ZALEWSKI ». Dans 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.09.

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In sacred musical works we find structures and composing solutions that introduce a specific action, similar to visual elements. What are the means for the architectural and sound space that create a sacred space? Are there playing in common? I answer this question on the basis of contemporary architecture (e.g. Church of Light by Tadao Ando in Ibaraki/Japan, Fritz Hoger�s Kirke in Berlin/Germany, Basilica Sanctuary of Our Lady of Tears by Stephane Aboudaram in Syracuse/Italy) confronted with music dedicated to the sacred sphere. In accordance with the currently developed cognitive interpretation, I will guide towards the sphere of experience and define a sacred place as an area where you can feel safe, surrounded by somewhat mysterious; calm down, focused on, forget about reality. At this place you can also be moved, sublimed and touched by presence of eternity, and share or express the fullness of life emotions. I present a musical analysis of sacred elements on the examples of works by contemporary Polish composers focused on the image of the suffering Mother of God under the cross of her son: Luctus Mariae by Pawel Lukaszewski from 2010 based on the Latin version of the Stabat Mater sequence, referring to the convention of the Italian madrigal theater from the 18th century and representing a severe beauty of the contemporary vision of meditation, and Stabat Mater by Ignacy Zalewski from 2018 making the suffering of the Mother of God more �real� basing on the contemporary version of a medieval sequence in a current experience of symbolic performative and vivid image that can be shared by the recipient.
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