Littérature scientifique sur le sujet « Televisioni musicali »
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Articles de revues sur le sujet "Televisioni musicali"
Brown, Julie. « Ally McBeal's Postmodern Soundtrack ». Journal of the Royal Musical Association 126, no 2 (2001) : 275–303. http://dx.doi.org/10.1093/jrma/126.2.275.
Texte intégralOcaña-Fernández, Almudena, et María-Luisa Reyes-López. « The sonic imagination of children in Andalusia : A musical analysis of the TV programme «The Band» ». Comunicar 18, no 35 (1 octobre 2010) : 193–200. http://dx.doi.org/10.3916/c35-2010-03-13.
Texte intégralGuerrero Pérez, Enrique, et Patricia Diego. « La producción de programas musicales en la televisión pública española (1990-2010) ». Estudios sobre el Mensaje Periodístico 26, no 2 (4 avril 2020) : 597–609. http://dx.doi.org/10.5209/esmp.67935.
Texte intégralLorenzo-Quiles, Oswaldo, et Lucía Herrera. « Análisis educativo-musical del medio televisión ». Comunicar 8, no 15 (1 octobre 2000) : 169–74. http://dx.doi.org/10.3916/c15-2000-26.
Texte intégralKnapp, Raymond, et Zelda Knapp. « Musicals and the envoicing of mental illness and madness : From Lady in the Dark to Man of La Mancha (and beyond) ». Journal of Interdisciplinary Voice Studies 4, no 2 (1 octobre 2019) : 209–23. http://dx.doi.org/10.1386/jivs_00006_1.
Texte intégralPorta-Navarro, Amparo. « The Musical Offers of Children’s Programming on «Televisión Española» as its Hearing Universe ». Comunicar 19, no 37 (1 octobre 2011) : 177–85. http://dx.doi.org/10.3916/c37-2011-03-10.
Texte intégralOcasio-Russe, Lizbette. « Purpose and Innovation in Family Guy’s Musical Numbers ». English Language Teaching and Linguistics Studies 1, no 1 (3 mai 2019) : 30. http://dx.doi.org/10.22158/eltls.v1n1p30.
Texte intégralFandos-Igado, Manuel. « El vídeo-clip musical ». Comunicar 1, no 1 (1 octobre 1993) : 96–99. http://dx.doi.org/10.3916/c01-1993-13.
Texte intégralFrith, Simon. « Look ! Hear ! The uneasy relationship of music and television ». Popular Music 21, no 3 (octobre 2002) : 277–90. http://dx.doi.org/10.1017/s0261143002002180.
Texte intégralRodman. « Television Genre / Musical Genre / Expressive Genre ». American Music 37, no 4 (2019) : 435. http://dx.doi.org/10.5406/americanmusic.37.4.0435.
Texte intégralThèses sur le sujet "Televisioni musicali"
Pozzobon, Patrizia. « L’industria musicale e la musica classica nello scenario dei media digitali ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23558/.
Texte intégralMathias-Baker, Ian. « The musical object in consumer culture ». Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327584.
Texte intégralPhillips, Dara L. « Dancing Through Film Musicals : Narratives in Motion / ». Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
Texte intégralBochanty-Aguero, Erica Jean. « Music that moves television music, industrial travel, and consumer agency in contemporary media culture / ». Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Texte intégralPierce, Kelley J. « Dance-10 : a historical investigation of musical theatre dance styles in film ». Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.
Texte intégralAlves, Rafael Paiva [UNESP]. « O som livre na TV Cultura : o programa A Fábrica do Som na difusão da música jovem, 1983-1984 ». Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150677.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Essa dissertação tem por objetivo central analisar historicamente as interseções entre as indústrias fonográfica e televisiva, bem como, as possibilidades de abertura e manutenção de espaços na TV para a música mais alternativa as lógicas do mercado, tendo como eixo-central as relações sociais que tornaram possível a criação do programa musical televisivo A Fábrica do Som. Esta pesquisa buscou comprovar a hipótese de que A Fábrica do Som foi uma experiência televisiva contracultural e experimental que contribuiu para a difusão da música fora do mainstream, que só foi possível, devido ao contexto político cultural da época, bem como, por ter sido um projeto realizado entre duas instituições culturais sem interferências do mercado: a TV Cultura e o SESC. Contracultural, no sentido em deu espaço na TV Cultura às manifestações contra culturais, sejam elas através dos músicos, do público nas gravações ou mesmo da produção por levarem o produto ao ar, bem como se posicionarem, em diversas vezes, através de seu apresentador Tadeu Jungle, de maneira crítica frente à cultura dominante e aos valores de mercado nas artes e mídia predominantes do período. Experimental, na medida em que o musical iria romper com os valores de ordem estética na televisão propondo uma linguagem altamente criativa. O contexto político contribuiu ao musical uma vez que o processo de abertura trouxe esperanças democráticas às manifestações artísticas e midiáticas, e no âmbito cultural, conseguiu captar parte da produção musical alternativa e efetivar o projeto, via emissora pública com expertise nas produções musicais, sem incorrer às pressões comerciais de índices de audiência, e de formato televisivo, além do apoio da unidade do SESC Fábrica da Pompéia, que buscava legitimar-se, neste período, em São Paulo, enquanto instituição fomentadora de projetos alternativos. Nesta direção, esta pesquisa reflete sobre o campo televisivo brasileiro no início dos anos 80. Historia o gênero musical na história da televisão, quer em emissora pública, quer privada. Analisa as relações da TV Cultura tanto com o SESC Fábrica da Pompéia, com a Fundação Padre Anchieta, bem como com as gestões estaduais, enfatizando as continuidades e diferenças durante os governos escolhidos por eleição indireta segundo normas da ditadura militar, e o governo de Franco Montoro, eleito pelo voto direto em decorrência de medidas oficiais consonantes ao processo de abertura do regime militar. Aborda aspectos tanto da produção como do contexto social da recepção do musical. E por fim, objetiva analisar o material audiovisual propriamente dito do musical.
This dissertation aims to analyze historically the intersections between the phonographic and television industries, as well as the possibilities of opening and maintaining spaces in the TV for music more alternative to the logics of the market, having as central axis the social relations that have made possible to create the television program A Fábrica do Som. This research sought to prove the hypothesis that A Fábrica do Som was a countercultural and experimental television experience that contributed to the diffusion of music outside the mainstream, which was only possible due to the context cultural politics of the time, as well as being a project carried out between two cultural institutions without market interference: TV Cultura and SESC. Contracultural, in the sense in gave space in the TV Cultura to the manifestations against cultural, be they through the musicians, the public in the recordings or even of the production for taking the product to the air, as well as position themselves, in several times, through its presenter Tadeu Jungle, critically in the face of the dominant culture and market values in the prevailing arts and media of the period. Experimental, insofar as the musical would break with the values of aesthetic order on television proposing a highly creative language. The political context contributed to the musical since the process of openness brought democratic hopes to the artistic and mediatic manifestations, and in the cultural scope, managed to capture part of the alternative musical production and to effect the project, via public broadcaster with expertise in musical productions, without incurring commercial pressures of audience ratings and television format, as well as the support of the SESC Fábrica da Pompéia unit, which sought to legitimize, in this period, in São Paulo, as an institution that promotes alternative projects. In this direction, this research reflects on the Brazilian television field in the early 80's. History the musical genre in the history of television, whether in public or private broadcasters. It analyzes TV Cultura's relations with SESC Fábrica da Pompéia, with the Fundação Padre Anchieta, as well as with the state administrations, emphasizing the continuities and differences during the governments chosen by indirect election according to norms of the military dictatorship, and the government of Franco Montoro, elected by direct vote as a result of official measures consonant with the process of opening the military regime. It addresses aspects of both the production and the social context of the reception of the musical. And finally, it aims to analyze the audiovisual material proper of the musical.
Croatto, Leonardo Ivan <1959>. « Musica, Cinema e identità nel Río de la Plata ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/8723/1/Croatto_Leonardo_tesi.pdf.
Texte intégralCultural identity as a central problem in peripheral geographic contexts, from the perspective that emerges at the intersection of music and film production in the Río de la Plata region, bounded by the two capital cities of Argentina and Uruguay. Three specific situations will be considered: the usage of tango in cinema, as a strongly identifying local element, focusing on the production of Argentinian musician Astor Piazzolla, author of the linguistic renewal of tango, and composer of numerous soundtracks. Starting from the cultural context in which his musical biography is inserted, two emblematic films will be analyzed, regarding the historical transition from the last dictatorship to the current democracy in Argentina: TangosEl exilio de Gardel and Sur (Fernando Solanas, 1985, 1988). The arrival of rock as a foreign musical genre in the context of Rio de la Plata in the sixties, the cultural transformations that it involved seen through its cinematographic presence, and the birth of "the young" as a new subject, central in the development of mass culture in the origins of globalization. The local/global relationship in the construction of a "Rock Nacional" with its own identity characteristics, poised between artistic production and cultural industry. We will analyze two films representative of this shifting point, which account for several key elements in this process: Nacidos para cantar (Emilio Gomez Muriel, 1965), El extraño de pelo largo (Julio Porter, 1969). The interaction between music and cinema in the context of national cinematography in Uruguay, its particular characteristics and its cultural function within a country conditioned by its small size, identity peculiarities and economic limitations which, despite this, form a particular cultural profile that affects the rioplatense and Latinamerican contexts. In this regard, a documentary film based on Uruguay's author song will be analyzed: Hit (Claudia Abend, Adriana Loeff, 2009).
Foroni, Andrea. « L'influenza del videoclip nel linguaggio cinematografico degli anni Ottanta ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
Trouver le texte intégralNichols, Donald Nealson. « Investigating percussion through television news : an analysis of the Breaking news program / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307167.
Texte intégralTitle from first page of PDF file (viewed July 7, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 104-105.
Álvarez, Vaquero Alicia. « Cuando la música desapareció de televisión. Historia, evolución y análisis narrativo del periodismo musical en TVE y TV3 ». Doctoral thesis, Universitat Ramon Llull, 2017. http://hdl.handle.net/10803/404735.
Texte intégralLa tesis que aquí se presenta está basada en una investigación sobre la evolución en la narrativa audiovisual de los programas musicales periodísticos en televisión para la cual hemos aplicado una plantilla de análisis narrativa que nos ofreciera una visión cronológica de los cambios y transformaciones por las que ha pasado el formato en las televisiones públicas española y catalana. Antes de llevar a cabo dicho análisis se ha construido un marco teórico que abarca dos terrenos fundamentales para hablar del periodismo musical en televisión: por un lado, la historia de la música popular urbana (internacional, nacional y catalana) desde la llegada del medio y, por otro, las relaciones entre música e imagen. En esta segunda parte de la teoría no sólo hemos querido hablar de la importancia de la televisión en la divulgación de la música popular urbana sino también en la influencia que han tenido otros medios y formatos (tales como los fanzines, la radio, el videoclip o el cine) en la historia de los programas musicales de televisión; una historia que hemos escrito prácticamente desde cero (puesto que no existe ningún libro o investigación previa que se ocupe de ello más allá de alguna etapa de la historia) aportando una clasificación o tipología de dichos programas. De esta forma hemos dividido los programas musicales en televisión en diversas categorías englobadas en dos grandes grupos: programas periodísticos y programas no periodísticos, estableciendo en este último grupo diferentes subcategorías que van de los shows de variedades a los programas dedicados íntegramente a la emisión de videoclips, la retransmisión de conciertos y una serie de “inclasificables” que hemos estimado suficientemente relevantes en cuanto a la relación de la música popular urbana y la televisión.
This PhD dissertation is a research about the evolution in the audiovisual narrative of television musical programs. We have applied a template of narrative analysis that offers us a chronological view of the changes and transformations the format has experimented. Our study is limited to Catalan and Spanish public television. Before carrying out this analysis, we constructed a theoretical framework that covers two fundamental areas for talking about musical journalism on television: on the one hand, the history of urban popular music (international, national and Catalan) since the arrival of the medium. On the other hand, the relations between music and image. In this second part of the theory, we do not only talk about the importance of television in the popular urban music, but also in the influence of other media (such as fanzines, radio, music videos or cinema) in the history of television. Much of this research has been written from scratch -since there is no book or previous research that deals with it beyond some stage of history- by providing a classification or typology of such programs. In this way we have divided the musical programs in television in diverse categories encompassed in two great groups: journalistic programs and non-journalistic programs, establishing in this last group different subcategories that go of the shows of varieties to the programs dedicated entirely to the emission of music videos. It also includes the retransmission of concerts and a series of "unclassifiable" that we have considered sufficiently relevant in relation to urban popular music and television.
Livres sur le sujet "Televisioni musicali"
Kenrick, John. Musicals 101.com : The cyber encyclopedia of musical theatre, TV, and film. [New York?] : J. Kenrick, 1996.
Trouver le texte intégralHischak, Thomas S. The Oxford companion to the American musical : Theatre, film, and television. New York : Oxford University Press, 2008.
Trouver le texte intégral1937-, Deutsch Didier C., dir. VideoHound's soundtracks : Music from the movies, Broadway, and television. Detroit : Visible Ink Press, 1998.
Trouver le texte intégralLynch, Richard Chigley. TV and studio cast musicals on record : A discography of television musicals and studio recordings of stage and film musicals. New York : Greenwood Press, 1990.
Trouver le texte intégralBroadway, movie, TV, and studio cast musicals on record : A discography of recordings, 1985-1995. Westport, Conn : Greenwood Press, 1996.
Trouver le texte intégralOtt, Dorothee. Musical- und Tanzfilm. Stuttgart : Reclam, 2014.
Trouver le texte intégralThomas, Scott. All in This Together : The Unofficial Story of High School Musical. Toronto : ECW Press, 2007.
Trouver le texte intégralTelevision musicals : Plots, critiques, casts, and credits for 222 shows written for and presented on television, 1944-1996. Jefferson, N.C : McFarland, 1997.
Trouver le texte intégralKoeppel, Ruth. Hannah Montana : Fabulous friends : storybook & musical microphone. Pleasantville, N.Y : Reader's Digest Children's Books, 2008.
Trouver le texte intégralKarim, Haryati Abdul. Malaysian adolescents and MTV : A search for identity. Kota Kinabalu, Sabah : Penerbit UMS, 2007.
Trouver le texte intégralChapitres de livres sur le sujet "Televisioni musicali"
Driver, Emma, et Sarah Attfield. « Sketching Out Portlandia’s Musical Layers ». Dans Music in Comedy Television, 142–56. New York, NY : Routledge, 2017. | Series : Routledge music and screen media series : Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-11.
Texte intégralMora-Rioja, Arturo. « Musical Paratexts : Song Lyrics in Television Series ». Dans Television Series as Literature, 241–58. Singapore : Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-4720-1_14.
Texte intégralOstrofsky, Kathryn A. « Sesame Street as a Musical Comedy-Variety Show ». Dans Music in Comedy Television, 15–30. New York, NY : Routledge, 2017. | Series : Routledge music and screen media series : Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-2.
Texte intégralStokes, Jane. « Having a Ball in your Hall : Television in the Musical ». Dans On Screen Rivals, 59–76. London : Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27796-4_4.
Texte intégralBunch, Ryan. « “You Can’t Stop the Tweet” : Social Media and Networks of Participation in the Live Television Musical ». Dans iBroadway, 173–205. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64876-7_8.
Texte intégralIbrahim, Nihad. « Nelly : The Eternal Pyramid of Acting, Film, Theater and Television Musicals in Egypt and the Middle East ». Dans Female Pioneers from Ancient Egypt and the Middle East, 69–94. Singapore : Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1413-2_6.
Texte intégralKessler, Kelly. « Primetime Goes Hammerstein ». Dans Broadway in the Box, 162–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190674014.003.0006.
Texte intégralFeuer, Jane. « Musical Television ». Dans The Oxford Handbook of the Hollywood Musical, 549—C24.N38. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197503423.013.31.
Texte intégralKessler, Kelly. « Sequins and Songs on the Small Screen ». Dans Broadway in the Box, 82–122. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190674014.003.0004.
Texte intégralHarrison, Jack. « The Television Musical ». Dans Time in Television Narrative, 257–70. University Press of Mississippi, 2012. http://dx.doi.org/10.14325/mississippi/9781617032936.003.0019.
Texte intégralActes de conférences sur le sujet "Televisioni musicali"
Chen, Oscal T. C., Jhen Jhan Gu, Chih-Chang Chen et Ping-Tsung Lu. « Affective perception of Musical Television ». Dans 2012 4th International Conference on Awareness Science and Technology (iCAST). IEEE, 2012. http://dx.doi.org/10.1109/icawst.2012.6469597.
Texte intégralGolubovskaya, S. P., et E. S. Sherstneva. « The speech portrait of the main character of the American musical television series «Empire» (phonetic aspect) ». Dans XXV REGIONAL SCIENTIFIC CONFERENCE STUDENTS, APPLICANTS AND YOUNG RESEARCHERS. Знание-М, 2020. http://dx.doi.org/10.38006/907345-63-8.2020.95.102.
Texte intégralJedidi, Anis, Faiez Gargouri, Fahmi Bellalouna et Mika Luimula. « VR-App for a Virtual Perception of Memory Impairment in Alzheimer’s Patients ». Dans 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002088.
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