Littérature scientifique sur le sujet « Musicano »
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Articles de revues sur le sujet "Musicano"
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Weijkamp, Janne, et Makiko Sadakata. « Attention to affective audio-visual information : Comparison between musicians and non-musicians ». Psychology of Music 45, no 2 (7 juillet 2016) : 204–15. http://dx.doi.org/10.1177/0305735616654216.
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Individuals with more musical training repeatedly demonstrate enhanced auditory perception abilities. The current study examined how these enhanced auditory skills interact with attention to affective audio-visual stimuli. A total of 16 participants with more than 5 years of musical training (musician group) and 16 participants with less than 2 years of musical training (non-musician group) took part in a version of the audio-visual emotional Stroop test, using happy, neutral, and sad emotions. Participants were presented with congruent and incongruent combinations of face and voice stimuli while judging the emotion of either the face or the voice. As predicted, musicians were less susceptible to interference from visual information on auditory emotion judgments than non-musicians, as evidenced by musicians being more accurate when judging auditory emotions when presented with congruent and incongruent visual information. Musicians were also more accurate than non-musicians at identifying visual emotions when presented with concurrent auditory information. Thus, musicians were less influenced by congruent/incongruent information in a non-target modality compared to non-musicians. The results suggest that musical training influences audio-visual information processing.
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Wöllner, Clemens. « Call and response : Musical and bodily interactions in jazz improvisation duos ». Musicae Scientiae 24, no 1 (8 mai 2018) : 44–59. http://dx.doi.org/10.1177/1029864918772004.
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When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Twelve jazz musicians were paired into six duos of an e-guitar and a saxophone. Balanced across duos, one musician was asked to play a series of improvisations expressing the emotions happy, sad or neutral. The second musician responded to each improvisation without knowing the emotional intention of the first musician. Call and response roles were then exchanged. While musicians improvised or listened to their duo partner, they were both recorded with an optical motion capture system. Results indicate correspondences between call and response musicians in movement variability and cumulative distance of head motion. There were marked differences between happy and sad emotional expressions both in movement parameters and musical features including mean intensity, mode, and, albeit to a lesser extent, tempo. Retrospective verbal decoding of the call musicians’ emotional intentions was correct in 76.5% of all cases. Independently of explicit decoding success and even for the first encounters, musicians spontaneously tuned into each other’s performances by means of their body movements and the musical characteristics of the improvisations.
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Zhang, J. Diana, Marco Susino, Gary E. McPherson et Emery Schubert. « The definition of a musician in music psychology : A literature review and the six-year rule ». Psychology of Music 48, no 3 (22 octobre 2018) : 389–409. http://dx.doi.org/10.1177/0305735618804038.
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The aim of this paper was to investigate if a general consensus could be established for the term “musician.” Research papers ( N = 730) published between 2011 and 2017 were searched. Of these, 95 papers were identified as investigating relationships of any sort connected with a musician-like category ( e.g., comparison of musically trained vs. non-musically trained people), of which 39 papers detailing comparative studies exclusively between musicians and non-musicians were analyzed. Within this literature, a variety of musical expertise criteria were used to define musicians, with years of music training (51% of papers) and years of music lessons (13% of papers) being the most commonly used criteria. Findings confirm a general consensus in the literature, namely, that a musician, whether or not selected a priori, has at least six years of musical expertise (IQR = 4.0–10.0 years). Other factors such as practice time and recruiting location of musicians were also analyzed, as well as the implications of how this definition fits in relation to the complexities surrounding the construct of the musician. The “six-year rule,” however, was robust overall.
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Koniari, Dimitra, Sandrine Predazzer et Marc Méélen. « Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children ». Music Perception 18, no 3 (2001) : 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.
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This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece into the appropriate category and to evaluate the segments' degree of similarity. Experiment 3 investigated the segmentation process, which underlies the organization of musical events into groups. Experiment 4 explored children's ability to reconstruct a piece of music after hearing it. The influence of musical training is investigated by comparing musician and nonmusician children. In addition, the effects of different musical features are explored. La préésente éétude porte sur le méécanisme d'extraction d'indices dans le cadre des processus cognitifs sous-tendant l'éécoute d'un morceau de musique chez des enfants de 10-11 ans. Les diverses procéédures utiliséées dans les quatre expéériences portent sur trois processus: a) la catéégorisation de caractééristiques musicales, b) la segmentation du discours musical et c) l'éélaboration d'un schééma mental de la pièèce. Deux courtes pièèces du réépertoire classique pour piano ont servi de matéériel expéérimental. Les expéériences 1 et 2 éévaluent la capacitéé des enfants àà classer des segments issus d'un mêême pièèce musicale dans leur catéégorie respective et àà appréécier leur degréé de similaritéé. L'expéérience 3 éétudie le processus de segmentation qui sous-tend l'organisation des éévéénements musicaux en groupes. L'expéérience 4 explore l'aptitude des enfants àà reconstruire la pièèce aprèès l'avoir entendue. L'influence de la formation musicale est prise en compte àà travers une comparaison d'enfants musiciens et non-musiciens. De plus, l'effet de difféérents traits musicaux est exploréé.
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Grašytė, Toma. « Traditional Musician in the Nowadays Lithuanian Village or Small Town’s Community ». Tautosakos darbai 52 (30 décembre 2016) : 213–30. http://dx.doi.org/10.51554/td.2016.28874.
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Folk musicians belonging to the older generations and playing various instruments have been subject to rather exhaustive research in Lithuania since the end of the 20th century until the present. Various aspects of their music making, including the repertoire, changes in the style of their performance, the musician’s image, role and place in the community have also received considerable attention. However, traditional musicians belonging to the younger generation and their music making have scarcely fallen into the focus of study so far. The modern ethnomusicologists researching and appreciating the traditional music making devote considerable attention to the perspectives of the musicians and their surrounding community. Such a two-fold research, taking into consideration both the musician’s and the community’s approach, enables evaluating the general situation of the traditional instrumental and vocal instrumental music making in the community. By comparing the expressed views of the Lithuanian traditional musicians belonging to the younger generation and the perspectives of the surrounding community, the author of the article attempts establishing the kind of musicians that is in demand in the Lithuanian villages and small towns of the end of the 20th – beginning of the 21st century. The author of the article combines qualitative research (the in-depth partly structured multiple interviews) with documentary and biographical methods.According to the analysis, not only the roles of the traditional musician and the community, but also their mutual relationship has suffered considerable shifts in the nowadays culture. The functions of the musician as bearer, promoter and reviver of the tradition have become much more prominent. By adapting to the altering wedding traditions, the musician does not decline performing not only the functions of the former main participants of the wedding, but also those of the presenter of the whole event. The individual musical faculties and skills do not bear such importance in the eyes of the community members, as they do to the musicians themselves. The community mostly appreciates the universal capacities of the traditional musician, also ascribing importance to his tight relationship with the local traditions. The latter quality is important to the musicians as well; it includes the inherent feeling of the local music and its appreciation (from instrumentation and familiarity with the traditional local repertoire, to the live music making, and to the knowledge of customs and rituals, which are particularly important during various festive events and weddings). Since the tradition of the ritual communal singing is increasingly in decline, the capacity of the musicians to sing well and to start the appropriate songs as means of preserving and supporting this tradition is especially meaningful. It is safe to maintain that traditional musicians are currently people sensitively reacting to the changes in the traditional musical culture and actively participating in the local musical life until nowadays. To the contrary, rejection of the musical innovations renders the traditional musician incapable of competing with the requirements of the modern musical market. In such case, the musician may even have to stop playing and surrender his place to the professional or semi-professional wedding musicians with virtually no knowledge of the local musical customs, or even to the sound recordings.
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Holtz, Peter. « What's your music ? Subjective theories of music-creating artists ». Musicae Scientiae 13, no 2 (septembre 2009) : 207–30. http://dx.doi.org/10.1177/102986490901300202.
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In an interview study with 17 music-creating artists (composers of contemporary “classical” music, electronic music, musicals, movie scores, and jazz musicians) from Southern Germany, three types of music-creating artists could be discerned: the avant-gardists, the neo-romantics, and the self-disclosing artists. These types represent social groups that are prone to typical intergroup conflicts. The different types of music-creating artists adhere to different aesthetic ideals: the avant-gardists emphasize the abstract beauty of musical structures and try to develop their music from within the music itself, the neo-romantics view music as the true language of the heart and try to express something through their music, and the self-disclosing artists feel the drive to express their feelings and sensations by means of music. As a consequence, different dimensions of musical communication are pivotal: formal aspects, the relationship between the musician and the listener, and self-disclosure. The three types of music-creating artists resemble the types of composers analyzed by Julius Bahle in the 1930s ( e.g. Bahle, 1930). Regarding their modus operandi, the musicians differ on a continuum between a purely rational creative work and the creation of music in an unconscious outburst of inspiration. Nevertheless, most musicians experience an alternation between phases of intuitive inspiration and phases of deliberate rational construction during the creative process. Therefore, a typology of musicians based on their modus operandi seems unhelpful.
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Rohwer, Debbie. « A narrative investigation of adult music engagement ». International Journal of Music Education 35, no 3 (19 septembre 2016) : 369–80. http://dx.doi.org/10.1177/0255761416667466.
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The purpose of the current study was to describe the musical life experiences of an active, adult community musician through a narrative investigation. Jon is a musically-engaged retired instrumentalist who shares a trust and respect relationship with the researcher. Through data sources of observations, interviews, emails, journals, and pictures, the story of Jon’s musical past and present was portrayed. Jon has a past as a developing musician who had an extensive family background and support system in music; his present represents a dedicated musician who takes on varied roles across ensembles, and who collaborates with others in musical relationships. This story of an engaged musician in the community may have implications for community musicians and teachers.
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Kappen, P. R., J. van den Brink, J. Jeekel, C. M. F. Dirven, M. Klimek, M. Kamphuis, C. S. Docter-Kerkhof et al. « P01.13.A The effect of musicality on language recovery after awake glioma surgery ». Neuro-Oncology 24, Supplement_2 (1 septembre 2022) : ii26. http://dx.doi.org/10.1093/neuonc/noac174.085.
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Abstract Background Awake craniotomy is used to resect tumor while preserving language. However, differences between patients in post-operative speech/language outcome are observed despite careful intra-operative monitoring. Literature describes improved performance in language tasks during cognitive tests in musicians. Moreover increased white matter connectivity properties in the corpus callosum are described in musicians compared to non-musicians. We hypothesize better recovery of language in musical patients after awake glioma surgery, caused by higher connectivity properties from the corpus callosum. Material and Methods Adult patients undergoing resection for glioma with an awake resection procedure at two neurosurgical centers were prospectively included. Patients without standardized language tests at pre- and post-operative level, with a glioblastoma multiforme (WHO grade 4) or undergoing re-resection were excluded. Language was assessed with the Diagnostic Instrument for Mild Aphasia (DIMA) and corrected for age and education years from a healthy population. The patients’ musical skill was assessed through questionnaires, and divided in groups based on the Musical Expertise Criterion (MEC) which defines musicality based the duration and intensity of musical training. Volumetric measures of the corpus callosum, corrected for total brain volumes, was calculated of each included patient based on the pre-operative structural MRI. Results Forty-six patients, enrolled between June 2015 and September 2019, were followed-up (mean/SD; 240/174 days after craniotomy) and divided in: non-musician (41.3%, n = 19), amateur-musician (34.8%, n=16) and trained-musician (23.9%, n = 11). Overall a decrease in language was observed after craniotomy (mean/SD) of -0.361/0.771. Musical abilities correlated with less decrease in language (mean/SD) when comparing non-musicians (-0.543/0.683) to amateur (-0.272/0.910) and trained (-0.176/0.693) musicians. An increased but non-significant trend (p=0.28) between musicality and corpus callosum / brain ratio (mean/SD) was observed in non-musicians (0.763, 0.718;0.808), amateur musicians (0.792, 0.745;0.838) and trained musicians (0.835, 0.778;0.891). Conclusion Musicality seemed to improve language outcome after awake glioma surgery, possibly attributed due to a higher white matter connectivity in the corpus callosum. Future studies with larger sample sizes are needed to confirm our findings.
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Ivaldi, Antonia, et Susan O'Neill. « Talking ‘Privilege’ : barriers to musical attainment in adolescents’ talk of musical role models ». British Journal of Music Education 26, no 1 (mars 2009) : 43–56. http://dx.doi.org/10.1017/s0265051708008267.
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Using a discursive approach, this study explores the ways that adolescents construct the notion of social status and ‘being privileged’ through their talk about musician role models. Drawing on social identity theory (see Tajfel, 1978), we examined how adolescents moved between the relational ‘in’ and ‘out’ groups of being privileged versus being disadvantaged as a framework for discussing classical and popular musician role models. Seven focus groups were conducted, each composed of male and female adolescent musicians and non-musicians aged 14–15 years. Participants were asked to discuss 19 pictures of famous classical and popular musicians, commenting on whether they were familiar or unfamiliar figures, and whether they were liked or disliked and the reasons why. Through their talk, the adolescents constructed and negotiated a complex understanding of musical subcultures, whereby high levels of expertise and success were perceived within the notion of privilege. Findings suggest that adolescents' perceptions of privilege may act as a barrier or constraint to their exploration of alternative conceptualisations of musical expertise and success, thereby limiting their own musical aspirations.
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Bianchi, Eric. « Scholars, Friends, Plagiarists : The Musician as Author in the Seventeenth Century ». Journal of the American Musicological Society 70, no 1 (2017) : 61–128. http://dx.doi.org/10.1525/jams.2017.70.1.61.
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This paper treats plagiarism as performance and Angelo Berardi as a virtuoso. Berardi (1636–94), an active composer and musician, is remembered for his half dozen musical writings. Beginning with a discussion of previously lost or unknown writings by Berardi and his mentor Marco Scacchi, I demonstrate that Berardi composed his prose works through a highly self-conscious process of borrowing. More broadly, Berardi's case opens a window onto the construction of musical texts and simultaneously complicates them as straightforward sources of musical information. Musicians used—and appropriated—the written word to craft and project personae in response to epistemological and social disadvantages: theory outranked practice and theorists outranked practitioners. In style, technique, and content Berardi is representative of musician-authors who presented themselves as gentlemen rather than musicians, adopted the style and tone of Italian academies and erudites, and favored more speculative matters (musical science, antiquarianism, friendship, combinatorics), sometimes at the expense of practical ones. They pursued metaphysical and quadrivial questions now disregarded as irrelevant. I argue that, on the contrary, such writings reveal most precisely, at their most “irrelevant” and derivative, a musical and even mental world not quite congruent with current interest in its musical artifacts.
Thèses sur le sujet "Musicano"
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Renfrew, Mary Claire. « Exploring the 'I' in musician : investigating musical identities of professional orchestral musicians ». Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/29570.
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The lived experiences of professional orchestral musicians are under-‐researched by scholars in both music and psychology, who are interested in the world of the professional orchestra and the careers of classical musicians. Framed within a Social Constructionist paradigm, the research in this thesis is concerned with investigating the subjective meanings and individual experiences of a group of ten classical orchestral musicians. Interpretative Phenomenological Analysis was the methodological framework chosen to design and analyse a set of open-‐ ended interviews with the musicians, which allowed reflexivity and flexibility throughout the research process. Three superordinate themes were identified from a close reading and IPA analysis of the interview data: ‘Musical Foundations’, ‘Struggle: “The Never Ending Quest”’ and ‘Thank You For The Music’. ‘Musical Foundations’ examines the process of musical identity construction for the ten participants, from its early beginnings in childhood, through adolescence and their time in the professional orchestra. Different facets of musical identity construction are outlined and becoming an orchestral musician is viewed as essentially a social process shaped by social interactions, building on a sense of possessing certain ‘innate’ characteristics. ‘Struggle: ‘The Never Ending Quest”’ illustrates the challenges the musicians encountered within the profession and the impact that being a professional orchestral musician had on other aspects of their lives (e.g. personal and social). The fear and conflict the ten musicians experienced is outlined and how the musicians coped and ‘survived’ within the professional orchestra is demonstrated. In addition, the central importance of the identity of ‘orchestral musician’ within the participants’ lives is illustrated. The last theme, ‘Thank You For The Music’ outlines why the musicians continued within the profession despite the struggles summarised by the previous theme. This chapter highlights the autonomy and control the musicians felt they gained within their orchestras and the physiological and emotional connections they experienced with both the profession and classic music itself. Common to all three superordinate themes is their reported power struggle between the musicians and the orchestra, and between the individual and the collective. Another common issue was how central the identity of ‘orchestral musician’ was for all participants, impacting all aspects of their lives. The professional musicians constructed, negotiated and maintained their musical identities in accordance with both their own expectations and those of the classical music genre itself. The research in this thesis raises awareness of the importance of the orchestral musician identity in the musicians’ lives and how an understanding of this can help gain an insight into other aspects of the participants’ lives. Recommendations are made for further research regarding: the lived experiences of classical music students, investigation of current teaching practices in conservatoires and further exploration of the professional structures within an orchestra.
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Miranda, Simone de. « A formação do pianista no curso de bacharelado em piano da Universidade Federal de Goiás ». Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4740.
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This dissertation aims to verify how does the formation of the pianist in the course of Bachelor of Music Qualification in Instrument - Piano, the School of Music and Performing Arts at the Federal University of Goiás (EMAC/UFG), keeping in view the demands of the current job market. For this, some issues that permeate the main theme have been described, including: the contemporary musician labor market, the various Pianist possibilities of action and competencies/skills, the objectives of higher education in music and some specific information about course in question, such as: history of the institution, physical space, Political Pedagogical Project, faculty evaluation to enter the course and graduate's profile. In addition to the literature was carried out field research, with questionnaires and observation of some subjects in order to see how the musical education of these students happens in practice throughout the course. This step included the participation of teachers and students of Bachelor of Music Qualification in Instrument - Piano EMAC/UFG. It was found that the labor market for the pianist is increasingly expanded, since these professionals can come to work in different ways and many different contexts to be in as a performer and/or as a teacher. In addition, it was observed that the course in question is also aware of demand in this market, however some changes in the performance of the student and the teacher will be necessary for the proposal of the Pedagogical Project politico does occur.
Esta dissertação de mestrado tem por objetivo verificar como ocorre a formação do pianista no curso de Bacharelado em Música Habilitação em Instrumento – Piano, da Escola de Música e Artes Cênicas da Universidade Federal de Goiás (EMAC/UFG), tendo em vista as demandas do mercado de trabalho atual. Para isso, alguns assuntos que permeiam o tema principal foram explanados, entre eles: o mercado de trabalho do músico contemporâneo, as diversas possibilidades de atuação do pianista e suas competências/habilidades, os objetivos do ensino superior em música e algumas informações específicas sobre o curso em questão, tais como: história da instituição, espaço físico, Projeto Político Pedagógico, corpo docente, avaliação para ingressar no curso e perfil do egresso. Além do levantamento bibliográfico foi realizada uma pesquisa de campo, com a aplicação de questionários e a observação de algumas disciplinas, com o intuito de verificar como a formação musical destes alunos acontece na prática ao longo do curso. Tal etapa contou com a participação de professores e alunos do curso de Bacharelado em Música Habilitação em Instrumento - Piano da EMAC/UFG. Foi possível constatar que o mercado de trabalho para o pianista está cada vez mais expandido, já que este profissional pode vir a atuar de diversas maneiras e nos mais diversos contextos, seja como performer e/ou como professor. Além disso, observou-se que o curso em questão também está atento a demanda deste mercado, entretanto, algumas mudanças na atuação do aluno e do professor serão necessárias para que a proposta do Projeto Político Pedagógico ocorra de fato.
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Bagés, i. Rubí Joan. « Systèmes musicaux interactifs et création sonore musicale ». Paris 8, 2012. http://www.theses.fr/2012PA084188.
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The present work of thesis proposes an examination of the notion of interactive musical system and makes a description of a personal approach for the conception of interactive musical systems. The first part displays a state of the art of the new musical technologies. In this same part, is presented an approach based on the building of a network of elements where the artist is the main actor. It is the artist, in view of the numerous exploratory interactions and in front of appropriating technology, must make a necessary critique of these tools that stir up his imagination. I defend that it is the experimental attitude the more interesting approach to use these technologies in the artistic field. Roberto Barbanti opposes the notion of the Ultramedium to the traditional conception of Ultramedium. This notion is confronted with the musical theories of the composer Horacio Vaggione, which are based on the concept of networks of computer objects. In the second part, I present several personal works that have been realized with the aid of interactive musical systems. In the third part, I present a very particular project around the interactive musical systems and the handicap, within the APPC of Tarragone (Spain). The project consists in the creation and to the development of applications and of interactive activities for affected people of a strong and severe cerebral palsy. The whole of the present document ends with a suggestion of a model for the conception and the elaboration of interactive musical systemsLe présent travail de thèse propose un examen de la notion de système musical interactif et fait la description d’une approche personnelle pour la conception de tels systèmes. La première partie expose un état de l’art des nouvelles technologies musicales. Dans cette même partie, est présentée une approche basée sur la construction d'un réseau d’éléments ou l’artiste est l’acteur principal. C'est l'artiste, face aux multiples interactions exploratoires et devant s’approprier une technologie prégnante, doit faire une nécessaire critique de ces outils qui excitent son propre imaginaire. Je défends que c'est l’attitude expérimentale qui se veut la plus en phase avec une utilisation de ces technologies dans le champ artistique. Roberto Barbanti oppose à la conception traditionnelle la notion de l’Ultramédia. Cette notion est confrontée aux théories musicales du compositeur Horacio Vaggione, qui se fondent sur le concept de réseaux d'objets informatiques. Dans la deuxième partie, je présente plusieurs travaux personnels qui ont été réalisés à l’aide de systèmes musicaux interactifs. Dans la troisième partie, je présente un projet très particulier autour les systèmes musicaux interactifs et du handicap médicalisé, au sein de l’APPC de Tarragone (Espagne). Le projet consiste en la création et au développement d’applications et d’activités interactives pour des personnes atteintes d’un fort et sévère handicap cérébral. L’ensemble du présent document s’achève avec une proposition d’un modèle pour la conception et l’élaboration de systèmes musicaux interactifs
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Rodger, Matthew William MacDonald. « Musicians' body movements in musical skill acquisition ». Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527950.
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DAVANZO, NICOLA. « ACCESSIBLE DIGITAL MUSICAL INSTRUMENTS FOR QUADRIPLEGIC MUSICIANS ». Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/920339.
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This thesis explores a particular research topic in the field of Sound and Music Computing, dedicated to the creation of Accessible Digital Musical Instruments (ADMIs) designed for users affected by quadriplegia or similar motor impairments. With such conditions an user is completely paralyzed from the neck down.
The impossibility to control the upper and lower limbs, particularly fingers, makes it impossible for such users to play conventional musical instruments, both acoustic and digital. This makes it necessary to introduce specific and non-trivial design and development solutions.
A first part of the work is dedicated to the analysis of the related context. After defining the pertinent jargon, an analysis of different physical interaction channels available to people with quadriplegic disabilities is provided, with a review of the sensors suitable for their detection. Some of these channels are then evaluated through an experimental methodology. Further chapters provide an analysis of the state of the art in ADMIs for quadriplegic users, as well as design tools dedicated to ADMIs in general. A chapter is dedicated to the design of musical interfaces controlled through gaze, one of the most employed channels in this context.
The second part describes the design, development and testing of new ADMIs suitable for quadriplegic users. The implementation of a software library for developing or fast-prototyping software instruments is described, as well as two Open-Source Hardware sensor peripherals developed ad-hoc for the detection of breath and head rotation. The remaining chapters describe the design, implementation and evaluation of Netytar, Netychords and Resin, three ADMIs that are played through the detection of gaze, breath, head movement, and stimulated resonances in the upper vocal tract, therefore playable hands-free.
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Ramos, Danilo. « Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não-músicos ? » Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-08102008-013413/.
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RAMOS, Danilo. Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não músicos? 2008, 268 p. Tese (Doutorado). Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto. Universidade de São Paulo, Ribeirão Preto, 2008. Esta pesquisa teve como objetivo verificar o papel das emoções desencadeadas pela música na percepção temporal de músicos e não músicos. Quatro experimentos foram realizados: no Experimento I, músicos e não músicos realizaram tarefas de associações emocionais a trechos musicais de 36 segundos de duração, pertencentes ao repertório erudito ocidental. A tarefa consistia em escutar cada trecho musical e associá-lo às categorias emocionais Alegria, Serenidade, Tristeza, Medo ou Raiva. Os resultados mostraram que a maioria dos trechos musicais desencadeou uma única emoção específica nos ouvintes; além disso, as associações emocionais dos músicos foram semelhantes às associações emocionais dos não músicos para a maioria dos trechos musicais apresentados. No Experimento II, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais mais representativos de cada emoção, utilizados no Experimento I. Assim, os trechos musicais eram apresentados e os participantes deveriam associar cada um deles a durações de 16, 18, 20, 22 ou 24 segundos. Os resultados mostraram que, para o grupo Músicos, os três trechos musicais associados à Tristeza foram subestimados em relação às suas durações reais; nenhuma outra categoria emocional apresentou mais do que um trecho musical sendo subestimado ou superestimado em relação a suas durações reais, para ambos os grupos. Pesquisas recentes em Psicologia da Música têm mostrado duas propriedades estruturais como sendo moduladoras da percepção de emoções específicas durante uma escuta musical: o modo (organização das notas dentro de uma escala musical) e o andamento (número de batidas por minuto). Assim, no Experimento III, músicos e não músicos realizaram tarefas de associações emocionais a composições musicais construídas em sete modos (Jônio, Dórico, Frígio, Lídio, Mixolídio, Eólio e Lócrio) e três andamentos (adágio, moderato e presto). O procedimento foi o mesmo utilizado no Experimento I. Os resultados mostraram que o modo musical modulou a valência afetiva desencadeada pelos trechos musicais: trechos musicais apresentados em modos maiores obtiveram índices positivos de valência afetiva e trechos musicais apresentados em modos menores obtiveram índices negativos de valência afetiva; além disso, o andamento musical modulou o arousal desencadeado pelos trechos musicais: quanto mais rápido o andamento do trecho musical, maiores os níveis de arousal desencadeados e vice-versa. No Experimento IV, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais modais utilizados no Experimento III. O procedimento foi o mesmo utilizado no Experimento II. Os resultados mostraram que manipulações, principalmente no arousal, afetaram a percepção temporal dos ouvintes: para ambos os grupos, foram encontradas subestimações temporais para trechos musicais desencadeadores de baixos índices de arousal; além disso, para o grupo Não Músicos, foram encontradas superestimações temporais para trechos musicais desencadeadores de altos índices de arousal. Estes resultados mostraram que, no caso dos músicos, a percepção temporal foi afetada por atmosferas emocionais relacionadas à Tristeza; no caso dos Não Músicos, a percepção temporal foi afetada por fatores relacionados ao nível do arousal dos eventos musicais apreciados.RAMOS, Danilo. Do emotional factors during music listening tasks affect time perception of musicians and nonmusicians? 2008, 268 pages. Thesis (PhD). Faculty of Philosophy, Sciences and Letters of Ribeirão Preto. University of São Paulo, Ribeirão Preto, 2008. This study aimed to verify the role of emotions triggered by music on time perception of musicians and nonmusicians. Four experiments were conducted: In Experiment I, musicians and nonmusicians performed emotional association tasks for musical excerpts of 36 seconds duration belonging to the Western classic repertoire. The tasks required to listen to each musical excerpt and to associate it with emotional categories: Joy, Serenity, Sadness, or Fear/Anger. The results showed that most musical excerpts triggered a specific single emotion in listeners; moreover, the emotional associations of musicians were similar to the emotional associations of nonmusicians for most musical excerpts presented. In Experiment II, musicians and nonmusicians performed temporal association tasks for the three most representative excerpts of each emotion used in Experiment I. Thus, the participants had to associate each of such musical excerpts with the following durations: 16, 18, 20, 22 or 24 seconds. The results showed that for the musicians, the three musical excerpts associated with Sadness were underestimated in relation to their real time; moreover, no other emotional category was associated with more than one musical excerpt whether being underestimated or overestimated, regarding their real time, for both groups. Recent researches in Psychology of Music have shown two structural properties as the modulators of specific emotions perceived during a music listening task: the mode (the organization of the notes in a musical scale) and tempo (the number of beats per minute). Thus, in Experiment III, musicians and nonmusicians carried out emotional association tasks with musical compositions constructed in seven modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) and three tempi (adagio, moderato, and presto). The procedure was the same used in Experiment I. The results showed that the musical mode modulated the affective valence triggered by the excerpts: musical excerpts based on major modes obtained positive affective valence indexes and musical excerpts based on minor modes obtained negative affective valence indexes; moreover, the musical tempo modulated the arousal triggered by the excerpts: the faster the tempo of the musical excerpts, the higher the arousal levels and vice versa, for both groups. In Experiment IV, musicians and nonmusicians performed temporal association tasks for those modal musical excerpts used in Experiment III. The procedure was the same used in Experiment II. The results showed that manipulations concerning arousal affected the time perception of the listeners: time underestimations due to low arousal excerpts were found for both groups; moreover, time underestimations due to high arousal excerpts were found only for nonmusicians. These results showed that in the case of musicians, time perception was affected by emotional atmospheres related to Sadness; in the case of nonmusicians, time perception was affected by factors related to the level of arousal of music events appreciated.
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Gérard, Élizabeth. « L'oreille musicale, une institution symbolique du sens musical ». Montpellier 3, 2000. http://www.theses.fr/2000MON30027.
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Clauss, Greg. « Ficino's Musica Humana musico-astrological improvisation / ». Connect to this title, 2008. http://scholarworks.umass.edu/theses/109/.
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Baily, John Sebastian. « Music, musicians and musical performance in Herat, 1973-1977 ». Thesis, Queen's University Belfast, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356885.
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Copini, Guilherme de Cesaro 1985. « Musica espectral = o tempo musical conforme Gerard Grisey ». [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283993.
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Orientador: Silvio Ferraz Mello FilhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação, que teve como foco a filosofia composicional de Grisey, e a composição da peça original, baseadas nas características e técnicas identificadas na primeira etapa da pesquisa
Abstract: Music is a temporal art, and its primary object, the sound, can only exist and be noticed when the dimension time is considered. Then, one believes that the discussion about sound-time relation in music is important for the contemporary composer.Gérard Grisey, composer and cofounder of one of the most important schools of composition of the second half of the 20th century (the Spectral Music), shows a singular understanding toward the musical phenomenon, especially about its development over time. His understanding is mainly based in researches in the field of acoustics and psychoacoustics, in other words, in the physical structure of sound and how it is perceived, respectively. The main objective of this research is to expose the thinking about musical time by Grisey. Another objective is to compose an original musical piece based on this thinking. This outline is justified by the evident attention that important composers of the 20th century (as Messiaen, Boulez and Grisey) gave to the subject "time in music". Such importance can be verified either in their musical and theoretical works. Initially, a study of the main bibliography produced by the leading composers and experts in Spectral Music was accomplished. Then the writing process of the thesis began, which was focused on the compositional philosophy of Grisey, and the composition of the original musical piece, based on the characteristics and techniques identified in the first part of this research
Mestrado
Musica
Mestre em Música
Livres sur le sujet "Musicano"
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Joanne, Bogart, dir. The musical of musicals : The musical ! New York : Samuel French, 2005.
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Marques, Henrique de Oliveira. Dicionário de termos musicais = : Dictionnaire de termes musicaux = Dictionary of musical terms. Lisboa : Estampa, 1986.
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Farkas, Kiko. Cartazes musicais : Musical posters. São Paulo, SP : Cosac Naify, 2009.
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The enraged musician : Hogarth's musical imagery. Burlington, VT : Ashgate, 2005.
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Barlow, Jeremy. The enraged musician : Hogarth's musical imagery. Aldershot, Hampshire, England : Ashgate, 2005.
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The musical : A research and information guide. New York : Routledge, 2004.
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Genève, Musée d'ethnographie de la ville de. Pianeta musicale : Strumenti musicali dei cinque continenti. Ivrea, Italy : Priuli & Verlucca, 1991.
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Planet musician : The world music sourcebook for musicians. Milwaukee, WI : Hal Leonard, 1998.
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Sadaï, Yizhak. Traité de sujets musicaux : Vers une épistémologie musicale. Paris : Harmattan ; Itinéraire, 2004.
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Topicality of musical universals : Actualité des universaux musicaux. Paris : Archives contemporaines, 2013.
Trouver le texte intégralChapitres de livres sur le sujet "Musicano"
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Kenny, Ailbhe, et Catharina Christophersen. « Musical Alterations : Possibilities for Musician–Teacher Collaborations ». Dans Musician–Teacher Collaborations, 3–12. New York : Routledge, 2018. : Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-1.
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Nijs, Luc. « The Merging of Musician and Musical Instrument ». Dans The Routledge Companion to Embodied Music Interaction, 49–57. New York ; London : Routledge, 2017. : Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-6.
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Smith, Dana. « A Bavarian Musical Department without Bavarian Musicians ». Dans Jewish Art in Nazi Germany, 132–48. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-9.
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Zappi, Victor, Dario Mazzanti et Florent Berthaut. « From the Lab to the Stage : Practical Considerations on Designing Performances with Immersive Virtual Musical Instruments ». Dans Sonic Interactions in Virtual Environments, 383–424. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04021-4_13.
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AbstractImmersive virtual musical instruments (IVMIs) lie at the intersection between music technology and virtual reality. Being both digital musical instruments (DMIs) and elements of virtual environments (VEs), IVMIs have the potential to transport the musician into a world of imagination and unprecedented musical expression. But when the final aim is to perform live on stage, the employment of these technologies is anything but straightforward, for sharing the virtual musical experience with the audience gets quite arduous. In this chapter, we assess in detail the several technical and conceptual challenges linked to the composition of IVMI performances on stage, i.e., their scenography, providing a new critical perspective on IVMI performance and design. We first propose a set of dimensions meant to analyse IVMI scenographies, as well as to evaluate their compatibility with different instrument metaphors and performance rationales. Such dimensions are built from the specifics and constraints of DMIs and VEs; they include the level of immersion of musicians and spectators and provide an insight into the interaction techniques afforded by 3D user interfaces in the context of musical expression. We then analyse a number of existing IVMIs and stage setups, and finally suggest new ones, with the aim to facilitate the design of future immersive performances.
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Solis, Jorge, Klaus Petersen et Atsuo Takanishi. « Interactive Musical System for Multimodal Musician-Humanoid Interaction ». Dans Springer Tracts in Advanced Robotics, 253–68. Berlin, Heidelberg : Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22291-7_15.
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Smith, Gareth Dylan. « Musicians as Musician–Teacher Collaborators : Towards Punk Pedagogical Perspectives ». Dans Musician–Teacher Collaborations, 39–49. New York : Routledge, 2018. : Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-4.
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Marsh, Kathryn, Catherine Ingram et Samantha Dieckmann. « Bridging Musical Worlds : Musical Collaboration Between Student Musician-Educators and South Sudanese Australian Youth ». Dans Visions for Intercultural Music Teacher Education, 115–34. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21029-8_8.
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Ghosh, Dipak, Ranjan Sengupta, Shankha Sanyal et Archi Banerjee. « Musical Perception and Visual Imagery : Do Musicians visualize while Performing ? » Dans Musicality of Human Brain through Fractal Analytics, 73–102. Singapore : Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-6511-8_4.
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Feuer, Jane. « The International Art Musical : Defining and Periodising Post-1980s Musicals ». Dans The Sound of Musicals, 54–63. London : British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-84457-579-4_5.
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Babiloni, Claudio, Claudio Del Percio, Ivo Bruni et Daniela Perani. « Empathy of the musical brain in musicians playing in ensemble ». Dans Music and Empathy, 209–29. Abingdon, Oxon ; New York : Routledge, 2017. : Routledge, 2017. http://dx.doi.org/10.4324/9781315596587-11.
Texte intégralActes de conférences sur le sujet "Musicano"
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Gomes, Cláudio, Josue Da Silva, Marco Leal et Thiago Nascimento. « 3A : mAchine learning Algorithm Applied to emotions in melodies ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10450.
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At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.
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Gonçalves, Luan, et Flávio Luiz Schiavoni. « The development of libmosaic-sound : a library for sound design and an extension for the Mosaicode Programming Environment ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10429.
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Music has been influenced by digital technology over the last few decades. With the computer, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications, several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Language (VPL) for audio applications in the Mosaicode programming environment, simplifying sound design and making the synthesis and manipulation of audio more accessible to digital artists. It is also presented the implementation of libmosaic-sound library for the specific domain of Music Computing, which supported the VPL development.
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Moura, Rute, Giordano Cabral, Horhanna Almeida et Ricardo Scholz. « Mandrit : a system for automatic generation of musical visualizations for rhythm analysis ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19422.
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Faced with the representational challenge of visually communicating musical information, we developed Mandrit: a system for automatic generation of musical visualizations for rhythm analysis. It uses data extracted from MIDI files to plot graphs for different songs, representing their rhythmic signatures. The system is customizable and presents new ways to visualize pace through different metrics. We aim to encourage the discussion in this field and the development of tools to generate musical visualizations, as a means to help musicians and scholars in musical analysis, teaching, composing and complementing musical performances.
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Silva, Gisele Bernardes da, et Ronaldo dos Santos Mello. « Uma Análise de Soluções para Busca de Dados Musicais ». Dans Escola Regional de Banco de Dados. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/erbd.2022.223522.
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A representação de dados musicais e a construção de sistemas de processamento e recuperação musicais agrava-se com a necessidade de desenvolvimento de sistemas os mais compatíveis possíveis com as visões ou desejos dos usuários. Este trabalho contribui com um estudo sobre recuperação da informação musical que auxilia no desenvolvimento futuro de soluções para busca de dados musicais. Analisa-se soluções que não apenas buscam dados musicais através do casamento direto de parâmetros de entrada, como palavras-chave ou um áudio com parte da música, mas também através da busca por similaridade destes parâmetros.
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Loureiro, Maurício, Tairone Magalhaes, Davi Mota, Thiago Campolina et Aluizio Oliveira. « A retrospective of the research on musical expression conducted at CEGeME ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10440.
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CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.
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Araújo, João, Avner De Paulo, Igino Silva Junior, Flávio Luiz Schiavoni, Mauro César Fachina Canito et Rômulo Augusto Costa. « A technical approach of the audience participation in the performance 'O Chaos das 5' ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10419.
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Since HTML 5 and web audio were released, we have seen several initiatives to construct web based instruments and musical applications based on this technology. Web based instruments involved composers, musicians and the audience in musical performances based in the fact that a web instrument embedded in a web page can be accessed by everyone. Nonetheless, despite the fact that these applications are accessible by the network, it is not easy to use the network and these technologies to synchronize the participants of a musical performance and control the level of interaction in a collaborative musical creation scenario. Based on a multimedia performance created in our research group, O Chaos das 5, we present in this paper some scenarios of interaction and control between musicians and the audience that can be reached using a server side programming infrastructure along with the HTML5. In this performance, the audience took part of the musical soundscape using a cellphone to access a set of digital instruments. These scenarios and the proposed solutions brought up a set of possibilities to balance control and interaction of audience participation into live performance using web instruments.
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Silva, Douglas, Lucas Zampar, Felipe Rodrigues et Cláudio Gomes. « Modelo automático de classificação de gêneros musicais amazônicos ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19453.
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A globalização afeta a preferência musical da sociedade atual, que apresenta continua estima por ou gêneros musicais internacionais em detrimento aos nacionais ou locais. A música é dos meios de comunicação utilizados para a construção e organização da estrutura social influenciando o estilo de vida, gostos e convivência interpessoal. Portanto, cada manifestação de gênero musical apresenta função distinta para um ouvinte, como por exemplo, para dançar, festejar, descançar, ajudar na solidão, na tristeza etc. Diversos aplicativos como spotify e soundcloud, utilizam-se de classificadores de gêneros musicais para indicar, prever ou sugerir novas músicas para seus ouvintes. Por diversos motivos, a maioria dos classificadores não possui informações de gêneros musicais regionais. Este trabalho propõem um modelo de classificação automático de gêneros musicais populares amazônicos. Inicialmente, confeccionou-se uma base de dados contendo os gêneros musicais: andino, brega, carimbó, cúmbia, marabaixo, pasillo, salsa e vaqueirada, oriundos da região da Amazônia Legal dos países: Brasil, Guiana Francesa, Venezuela, Colômbia, Equador, Bolívia e Peru. Para a construção da base de dados, extraiu-se diversas características de cada música ao total de 64 parâmetros. Analisou-se os modelos de aprendizado de máquina na qual XGB, KNN, SVM e MLP obtiveram acurácia de 67.62%, 74.12%, 71.35%, 76.13%, respectivamente.
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Ribeiro, Estela, et Carlos Eduardo Thomaz. « A multivariate statistical analysis of EEG signals for differentiation of musicians and non-musicians ». Dans XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4442.
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It is possible to reveal whether a subject received musical training through the neural activation patterns induced in response to music listening. We are particularly interested in analyzing the brain data on a global level, considering its activity registered in electroencephalogram electrodes signals. Our experiments results, with 13 musicians and 12 non-musicians who listened the song Hungarian Dance No 5 from Johannes Brahms, have shown that is possible to differentiate musicians and non-musicians with high classification accuracy (88%). Given this multivariate statistical framework, it has also been possible to highlight the most expressive and discriminant changes in the participants brain according to the acoustic features extracted from the audio.
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Beer, Axel, Martin Bierwisch et Kristina Krämer. « Das MMM2 – Ein regionalgeschichtliches Onlinelexikon der Arbeitsgemeinschaft für mittelrheinische Musikgeschichte ». 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/10.25366/2020.108.
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Based on two printed volumes Musik und Musiker am Mittelrhein (1974, 1981), the online encyclopaedia MMM2 (published in 2018) continues the original idea of a biographical and bibliographical documentation of musicians and musical sources in the middle rhine region. Exploring local music history often means to venture off the beaten track of well-known names and institutions. While perhaps not considered a worthwhile undertaking by some, the 570 articles on musicians, composers, publishers etc. that can currently be found in MMM2 are proof of networks that have hitherto been unknown or disregarded. Filling the gaps in our knowledge of musical life and culture in this area also enables us to improve data such as catalogue entries and name authority files in the RISM database.
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Fernandes, Marco Antonio dos Santos, Estela Ribeiro et Carlos Eduardo Thomaz. « Análise de características acústicas para identificação de triggers em gêneros e áudios musicais distintos ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19450.
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Este trabalho analisa em detalhes uma base pública internacional de áudios musicais acerca das características acústicas presentes nas amostras existentes. Ao todo mil áudios classificados em dez gêneros musicais foram analisados em relação às suas características acústicas, com objetivo de buscar padrões nos triggers presentes nas amostras de cada gênero musical e a quantidade destes para aplicação em estudos subsequentes de ativações cerebrais geradas pela escuta destas músicas. Os resultados mostram que dentre os dez gêneros musicais presentes na base de áudios, dois desses (Disco e Metal) não apresentam número de triggers suficiente para tal aplicação.
Rapports d'organisations sur le sujet "Musicano"
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, août 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Cai, Wenjie, et Hwan-Ching Tai. String Theories : Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, novembre 2020. http://dx.doi.org/10.51167/acm00006.
Texte intégralRésumé :
The most valuable musical instruments in the world are 17-18th century violins from Cremona, Italy (made by Stradivari and Guarneri), and Chinese guqins (7-string zithers) from the 8-13th century. Today, musicians still prefer these antique instruments for their superior acoustic qualities that cannot be reproduced by later makers. Over the centuries, many theories have been proposed to explain the unique playing properties of famous violins and guqins, but most are based on conjectures rather than factual evidence.
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Pedro, Mombiedro Sandoval. ATLAS. De musica spirituali. Ediciones de la Universidad de Castilla-La Mancha, décembre 2021. http://dx.doi.org/10.18239/caleidoscopio_2021.18.01.
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Gentry, Jonathan. Memory and hypnotism in Wagner's musical discourse. Portland State University Library, janvier 2000. http://dx.doi.org/10.15760/etd.5544.
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Goldin, Claudia, et Cecilia Rouse. Orchestrating Impartiality : The Impact of "Blind" Auditions on Female Musicians. Cambridge, MA : National Bureau of Economic Research, janvier 1997. http://dx.doi.org/10.3386/w5903.
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Creswell, Megan. A Study Comparing Musical Abilities of Stutterers and Nonstutterers. Portland State University Library, janvier 2000. http://dx.doi.org/10.15760/etd.7123.
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse et Mariz Tadros. Alternative Expressions of Citizen Voices : The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), novembre 2020. http://dx.doi.org/10.19088/ids.2020.001.
Texte intégralRésumé :
This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Banducci, Naomi. Teaching hearing-impaired children language through the use of musical rhythm. Portland State University Library, janvier 2000. http://dx.doi.org/10.15760/etd.1281.
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Arnsdorf, Jeffrey. New Perspectives on Johannes de Muris and his Notitia artis musicae. Portland State University Library, janvier 2000. http://dx.doi.org/10.15760/etd.7496.
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Frojdh, P., U. Lindgren et M. Westerlund. Media Type Registrations for Downloadable Sounds for Musical Instrument Digital Interface (MIDI). RFC Editor, septembre 2006. http://dx.doi.org/10.17487/rfc4613.
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