Bibliografie tematiche / Funk (Music)

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Letteratura scientifica selezionata sul tema "Funk (Music)"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 agosto 2024

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Articoli di riviste sul tema "Funk (Music)"

Youngman, Angela. "Junk funk music!" 5 to 7 Educator 2008, n. 43 (luglio 2008): xv1—xv2. http://dx.doi.org/10.12968/ftse.2008.7.7.29538.

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Valnes. "“Make It Funky”: Funk, Live Performance, and the Concept “Genre Works”". American Music 38, n. 3 (2020): 353. http://dx.doi.org/10.5406/americanmusic.38.3.0353.

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Brinck, Lars. "Funk jamming in New Orleans: Musical interaction in practice and theory". International Journal of Music Education 36, n. 3 (19 maggio 2018): 430–46. http://dx.doi.org/10.1177/0255761418771994.

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This article reports long-term fieldwork on jamming funk musicians’ interaction from a combined anthropological, ethnographic, and grounded theory perspective. The study draws from over 20 years of data collection through personal interviews with New Orleans funk musicians, personal experiences with jamming and second-lining, and participant observation of funk jam sessions and second line parades. Also the author’s personal funk jam teaching experiences are included. The article is in four parts to mark the historical phases in the longitudinal research process towards a theoretical, empirical argument for how funk musicians think and act when they jam. The final theory suggests funk jamming to be guided by overarching notions of “making the music feel good” and “making them dance” and in an iterative spiral process of “open approach,” “prioritized focusing,” “categorical reflection,” and “artistic realization.” Based on this, some educational implications for learning and teaching how to jam conclude the article.

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Cook, Terence, Ashlin R. K. Roy e Keith M. Welker. "Music as an emotion regulation strategy: An examination of genres of music and their roles in emotion regulation". Psychology of Music 47, n. 1 (26 ottobre 2017): 144–54. http://dx.doi.org/10.1177/0305735617734627.

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Research suggests that people frequently use music to regulate their emotions. However, little is known about what kinds of music may regulate affective states. To investigate this, we examined how the music preferences of 794 university students were associated with their use of music to regulate emotions. We found that preferences for pop, rap/hip-hop, soul/funk, and electronica/dance music were positively associated with using music to increase emotional arousal. Soul/funk music preferences were also positively associated with using music for up-regulating positive emotionality and down-regulating negative emotionality. More broadly, energetic and rhythmic music was positively associated with using all examined forms of musical emotion regulation, suggesting this dimension of music is especially useful in modulating emotions. These results highlight the potential use of music as a tool for emotion regulation. Future research can extend our findings by examining the efficacy of different types of music at modulating emotional states.

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Resende, Sara Pimenta, e Marcelo De Rezende Pinto. "Cool Identity Construction in the Context of Young Funk Music Consumers". CBR - Consumer Behavior Review 6, n. 1 (11 ottobre 2022): 253353. http://dx.doi.org/10.51359/2526-7884.2022.253353.

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Objective: This paper reports the results of a research that aimed to understand the articulation between sociocultural practices and symbolic processes in the construction of a cool identity by young people inserted in the funk environment. Method: Fieldwork focused on participant observation at funk events and dances and in-depth interviews with 3 MCs and 26 young people. To analyze the data, the content analysis methodology proposed by Bardin (1995) was used. Results: Among the results, it is noteworthy that, because funk is part of the daily lives of young people, their diverse experiences with funk enhance the creation of a cool identity that makes these individuals find a place in this universe of signs and meanings. Originality: The article discusses the concept of cool identity in order to understand the (re)construction of the identity of a group of urban young people supported by and in consumption.

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Sá, Simone Pereira, e Gabriela Oliveira Miranda. "Brazilian Popular Music Economy Aspects: The Baile Funk Circuit". IASPM Journal 3, n. 1 (17 gennaio 2013): 9–18. http://dx.doi.org/10.5429/596.

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The paper aims to deepen the discussion of the production, circulation, and consumption Brazilian’s musical genre funk carioca, identifying its main in the music field, besides the figures and the practices that move their businesses. Since its consolidation, funk has created a both sustainable and autonomous pioneer circuit in relation with the major’s label model, which allows us to sketch a model of the popular music economy in Brazil, based on practices such as technological appropriation, authorship flexibilization, emphasis on the live performance instead of selling material supports.

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Coutinho, Paulo, e Inês Rocha. "“Funk não é música”: faces da diferença, diversidade e discriminação". Opus 27, n. 3 (7 novembre 2021): 1–13. http://dx.doi.org/10.20504/opus2021c2709.

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O funk como expressão musical se constitui em um contrassenso binário entre o seu apogeu midiático e, ao mesmo tempo, o imaginário social discriminatório atribuído por heranças preconceituosas que se perpetuam no horizonte da vida social das pessoas. A expressão “funk não é música” é facilmente ventilada em uma roda de conversa entre amigos e, muitas vezes, naturalizada pelo senso comum. Tal expressão é o mote deste estudo, que busca propor uma reflexão sobre o valor discriminatório atribuído ao funk, entendendo tal fenômeno como elemento indispensável nas discussões sobre práticas de ensino diante da diversidade em música. Para esta reflexão, buscamos suporte teórico em estudos do campo da educação e cultura e do campo da educação musical em suas interfaces com a etnomusicologia. O estudo contou, como procedimento de coleta de dados, com a observação de aulas e o uso de entrevistas semiestruturadas com cinco estudantes e dois professores de música que participaram deste estudo. A análise crítica dos dados, apresentada ao longo de duas seções no presente texto, problematiza as formas como o funk atravessa o imaginário social cotidiano, a partir das narrativas dos participantes do estudo. Nas considerações, apontamos questões que podem se tornar pontes reflexivas para pensarmos a complexidade da diversidade musical como fenômeno inerente à sala de aula e, ao mesmo tempo, problematizarmos diversidade e diferença como conceitos fundamentais para pensarmos práticas educativo-musicais contemporâneas.

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Valnes, Matthew. "Janelle Monáe and Afro-Sonic Feminist Funk". Journal of Popular Music Studies 29, n. 3 (settembre 2017): e12224. http://dx.doi.org/10.1111/jpms.12224.

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Oshio, Atsushi. "THE RELATIONSHIP BETWEEN DICHOTOMOUS THINKING AND MUSIC PREFERENCES AMONG JAPANESE UNDERGRADUATES". Social Behavior and Personality: an international journal 40, n. 4 (1 maggio 2012): 567–74. http://dx.doi.org/10.2224/sbp.2012.40.4.567.

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The relationship between dichotomous thinking and music preferences was investigated with a sample of 176 Japanese undergraduates (111 males, 65 females). Participants completed the Dichotomous Thinking Inventory (Oshio, 2009) and the Short Test of Music Preferences (Rentfrow & Gosling, 2003). Individuals who thought dichotomously preferred intense and rebellious, energetic and rhythmic, and fast and contemporary music rather than music that was complex and conventional. Specifically, they most liked rock, alternative, soul, funk, and heavy metal and disliked classical music.

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Toop, Richard. "Beyond the ‘crisis of material’: Chris Dench's “Funk”". Contemporary Music Review 13, n. 1 (gennaio 1995): 85–115. http://dx.doi.org/10.1080/07494469500640301.

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Tesi sul tema "Funk (Music)"

Lacy, Travis K. ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2008. http://digitalcommons.auctr.edu/dissertations/22.

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This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era.

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MOLLO, MICHAEL JOHN. "FUNK-IN-THE-BOX FOR SAXOPHONE QUARTET". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115990255.

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Sangemark, Viktor. "Vad är groove? : En studie om hur groove inom funk kan appliceras på rockmusik". Thesis, Örebro universitet, Musikhögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-94553.

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Whitman, Kevin. "Reconstructing the Mothership: Meaning and History in the Music of P-Funk". Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22760.

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During the 1970s, the Parliament-Funkadelic collective, or P-Funk, performed a unique type of funk music that impacted the lives and culture of generations of fans. Their music has been a vital force in the developments of popular music, redefining the limits of concept albums and performances, and opened the doors to funk rock, hip hop, and neo-soul. I address the ways in which P-Funk has been received, interpreted, and reconstructed by the diverse constituents of American popular culture from the 1960s to the present. Each chapter explores a discrete interpretive community that has granted meaning to the collective from perspectives of history, music, iconography, consumer culture, and popular entertainment media. The resulting study unifies these threads through their engagement with history and the evolution of P-Funk through time. Ultimately, this thesis seek to shed light on a group that has lacked thorough scholarly attention.

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GUEDES, MAURICIO DA SILVA. "THIS MUSIC IS FROM OUR COMMAND: A STUDY OF FORBIDDEN FUNK". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9975@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O funk proibido ou proibidão é um subgênero da música funk, produzido, sobretudo nos morros e nas favelas do Rio de Janeiro. Esta dissertação analisa o conteúdo das letras do proibidão e mostra que este fenômeno musical é resultado do encontro do funk com as facções do tráfico de drogas que dominam esses territórios. Essa produção musical parece ser usada pelo narcotráfico para divulgar suas idéias, exaltar as suas façanhas, fortalecer a identidade dos membros da facção e expressar o ódio e o terror aos inimigos. Esses grupos criminosos usam duas formas para difundir suas pretensões: a reprodução e venda de CDs de funk proibido e a promoção do baile de comunidade, que serve tanto para diversão da juventude local, como para venda de drogas. Nos dois casos o papel dos MCs é imprescindível para essa produção. O funk proibido, peculiar pela agressividade simbólica, além de adorado pelos jovens, apresenta-se como uma arma a serviço dos narcotraficantes, usado como cartão de visita e porta-voz de seus interesses.
Forbidden funk or proibidão is a subclass of funk music, produced mainly in the slums and hills of Rio de Janeiro. The present dissertation analyses the contents of proibidão lyrics and shows that this musical phenomena is a product of the joining of funk with drug dealing groups which dominate those territories. Such production seems to be used by drug dealers in broadcasting their ideas and exalting their actions, strengthening the faction members´ identity, expressing their hatred and causing terror to their enemies. Such criminal groups use two strategies to spread their purposes: producing and selling forbidden funk CDs and promoting community dance parties, which serve as much as entertainment for the local youth as for selling drugs. In both cases, the role of MCs is indispensable for issuing such product. Forbidden funk, peculiar by the symbolic aggressiveness, besides being adored by young people, presents-itself as a weapon at the service of drug dealers, used as business card and speaker on behalf of their interests.

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Hughes, Timothy Stephen. "Groove and flow : six analytical essays on the music of Stevie Wonder /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11410.

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Pedro, Thomaz Marcondes Garcia. "Funk brasileiro: música, comunicação e cultura". Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4712.

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This research focus the phenomenon of Brazilian funk in the Brazilian popular music as a complex sociocultural practice, and recognizing it as a mixture of various musical and non musical elements. It is an investigation that, beside reconstructing one perspective of the development of this music, tried to establish intersections between funk and many others elements that are part of it's context and ambient. To be able to accomplish that, the theoretical ground is based on researchers from the Communication field (Martín-Barbero, Pinheiro, Souza Santos) and from the Popular Music field (Wisnik, Vargas, Rivera) that try to comprehend the cultural practices of Latin America as a complex process, hybrids and mestizos in constant movement, transformation, translation and adaptation between themselves, always avoiding comprehensions marked by dichotomy, which are typical on those fields of study. Are also a part of the theoretical basis of this work researchers that developed studies specifically about Brazilian funk (Lopes, Palombini, Facina, Sá), beside the field researches, that have resulted in reports about those experiences. The results of the research allow a deeper comprehension of funk in the Communication and popular music fields and confirm our spectating that funk is a complex phenomenon that can only be understood in the context and ambient that it has been developed. Beside some musical aspects we fuscous on the relation of funk with market, violence and sexuality. Our approach allowed "listen" to Brazilian funk in a unheard way, free from prejudice and dualist points of view, that have market a way of looking at it, typical of the conservative sectors of society that were able to criminalize this cultural practice
A presente pesquisa focaliza o fenômeno do funk na música popular brasileira como uma prática sociocultural complexa, marcada pela mistura de diversos elementos musicais e não musicais. Trata-se de uma investigação que, além de realizar uma retomada da história do desenvolvimento do estilo, buscou estabelecer intersecções entre o funk e elementos próprios do ambiente e contexto em que é praticado. Para tanto, foram utilizados pesquisadores da área de comunicação (Martín-Barbero, Pinheiro, Souza Santos) e da música popular (Wisnik, Vargas, Rivera) que buscam compreender as práticas culturais da América Latina como processos complexos, híbridos e mestiços em constante transformação, troca, tradução e adaptação entre si, sempre se distanciando de visões dicotômicas que costumam pautar esses campos de estudo. Também balizaram a pesquisa, os trabalhos teóricos que se debruçaram especificamente sobre o funk (Lopes, Palombini, Facina, Sá), além de pesquisas de campo que tiveram como resultados relatos criados a partir dessas experiências. As reflexões realizadas permitiram ampliar a compreensão do funk nos estudos da Comunicação e da música popular brasileira e confirmar nossa hipótese de que o funk é um fenômeno complexo que só pode ser compreendido quando se leva em conta a relação que mantém com seu contexto, já que sua música é fortemente atravessada por questões ligadas à violência, à sexualidade, ao mercado e à grande mídia. A abordagem permitiu escutar o funk de forma inédita, livre de tendências dualistas e preconceituosas, próprias de setores conservadores da sociedade que criminalizam essa prática cultural

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Emerson, Jason D. "THE JAMBALAYA THAT IS MY BRAIN". University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin992441841.

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Gonçalves, Eloá Gabriele. "Banda Black Rio = o soul no Brasil da década de 1970". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284466.

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Orientador: José Roberto Zan
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho estuda a trajetória da Banda Black Rio, formada em meados dos anos de 1970, cuja produção caracteriza--?se por fusões de múltiplas musicalidades. Através da análise musical de uma amostragem do repertório gravado pela banda, verificou?se nessa produção a presença de elementos característicos de gêneros brasileiros como o samba, o choro e o baião, mesclados aos do jazz, do soul e do funk. A pesquisa revelou que procedimentos adotados pelos músicos nas composições, releituras, arranjos e instrumentação produziram resultados sonoros peculiares. Trata--?se de uma sonoridade híbrida, que, de certa forma, expressa a emergência de uma nova sensibilidade num contexto histórico brasileiro marcado pela presença de um regime político autoritário, do desenvolvimento e da integração da indústria cultural e do advento de novas identidades geracionais e étnicas
Abstract: This work studies the history of the band Black Rio, formed in the mid 1970s, whose production is characterized by a fusion of multiple musicalities. Through musical analysis of a sample of the repertoire recorded by the band, it was verified the presence of characteristic elements of Brazilian genres such as samba, choro and baião, merged with components of jazz, soul and funk. The research found that the procedures adopted by the musicians in compositions, re--?readings, arrangements and instrumentations produced a peculiar sound result. It is a hybrid sonority that, in a certain way, expresses the emergence of a new sensibility in a Brazilian historical context marked by the presence of an authoritarian political regime, by the development and integration of the cultural industry and by the advent of new generational and ethnical identities
Mestrado
Fundamentos Teoricos
Mestre em Música

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Sermet, Vincent. "Les musiques soul et funk : la France qui groove des années 1960 à nos jours /". Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412854703.

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Libri sul tema "Funk (Music)"

Mayfield, Curtis. Millennium funk party. Los Angeles: Rhino Entertainment Company, 1998.

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Thompson, Dave. Funk. San Francisco: Backbeat Books, 2001.

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7 Days of Funk (Musical group). 7 Days of Funk. S.l.]: Stones Throw Records, 2013.

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Faglioni, Gino. What the Funk: Eine Einführung in funky music. Köln: Büro.9, 2008.

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Terremoto, Dolores Vargas la. Anana Funk hip, 1970-1975. [Place of publication not identified]: Pharaway Sounds, 2018.

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Sly & the Family Stone (Musical group). Fresh. New York: Epic/Legacy, 2007.

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Ertl, Franz. Rap, Funk, Soul: Ein Nachschlagewerk. 2^a ed. Koln: W. Herbst, 1993.

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Martin, James. Fatboy Slim: Funk soul brother. London: Sanctuary, 2002.

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Cathus, Olivier. L' âme-sueur: Le funk et les musiques populaires du XXe siècle. Paris: Desclée De Brouwer, 1998.

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Lopes, Adriana Carvalho. Funk-se quem quiser: No batidão negro da cidade carioca. Rio de Janeiro: FAPERJ, 2011.

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Capitoli di libri sul tema "Funk (Music)"

D’Angelo, Sandra. "Sampling the Sense of Place in Baile Funk Music". In Relocating Popular Music, 44–62. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463388_3.

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Michailowsky, Alexei. "Shaping the pancadão: Improvisation and Studio Creativity on Rio Funk Independent Recordings from the Early 1990s". In Popular Music Studies Today, 203–12. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_21.

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Dodds, Phil. "Musical Metropolis: Janelle Monáe’s Scalar Agility". In Music and the Cultural Production of Scale, 19–29. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_2.

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AbstractJanelle Monáe—whose output spans the genres of R&B, psychedelic soul, hip-hop and Afrofuturist funk—is a prime example of a musician with scalar agility. Through a range of simple and complex musical techniques in a series of ‘Metropolis’ concept records, she has produced a multi-scalar ‘sonic fiction’. The scalar qualities and relations of this musical world—and her ability to musically subvert, split and reimagine the relationships between scales such as the body, the metropolitan, the global and the universal in tracks such as ‘Dance or Die’ and ‘Cold War’—make her work politically transgressive and capable of unsettling the present scaled reality.

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Halberstam, Jack. "9 The Sounds of Violence: Screams and Wild Sounds in Punk, Funk and Women’s Music". In Transkulturelle Erkundungen, 147–58. Wien: Böhlau Verlag, 2018. http://dx.doi.org/10.7767/9783205232704.147.

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Jansen, Lisette, Betsy van Dijk e José Retra. "A Music Educational Entertainment Environment for Preschoolers". In Fun and Games, 194–202. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-88322-7_19.

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Hudak, Paul. "Describing and interpreting music in Haskell". In The Fun of Programming, 61–78. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-1-349-91518-7_4.

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D’Adamo, Amedeo. "That Junky Funky Folk Vibe". In Music in Comedy Television, 43–58. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-4.

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Collins, Nicolas, e Simon Lonergan. "On/Off (More Fun With Photo Resistors)". In Handmade Electronic Music, 171–84. Third edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429264818-21.

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Mannone, Maria. "Have Fun with Math and Music!" In Mathematics and Computation in Music, 379–82. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21392-3_33.

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van der Spuy, Rex. "Make It Fun! Sound, Music, and AI". In AdvancED Game Design with Flash, 445–501. Berkeley, CA: Apress, 2010. http://dx.doi.org/10.1007/978-1-4302-2740-3_7.

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Atti di convegni sul tema "Funk (Music)"

Krakowski, Sergio, Luiz Velho e Francois Pachet. "Pandeiro funk". In ACM SIGGRAPH 2009: Music & Audio. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1597983.1597984.

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Блинова, Екатерина Алексеевна. "CLASSIFICATION OF MUSIC LIBRARIES IN RUSSIA AND THEIR FEATURES". In Перспективные исследования в сфере образования, культуры и общества: сборник статей международной научной конференции (Вологда, Октябрь 2023). Crossref, 2023. http://dx.doi.org/10.58351/231019.2023.90.57.002.

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В статье характеризуются разновидности музыкальных библиотек России и их особенности. Изучается проблема классификации (типологии) музыкальных библиотек. Представлена многоаспектная классификация музыкальных библиотек по вхождению в состав организаций культуры и образования, по функциям, по доступности фонда пользователям. Анализируется каждый из видов музыкальных библиотек и их функции. Рассматривается сеть специальных (музыкальных) библиотек России. The article characterizes the varieties of music libraries in Russia and their features. The problem of classification (typology) of music libraries is studied. A multidimensional classification of music libraries by membership in cultural and educational organizations, by functions, and by accessibility of the fund to users is presented. Each of the types of music libraries and their functions are analyzed. The network of special (musical) libraries of Russia is considered.

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Shmuelof, Shoshan, e Michal Hefer. "THE LOST ART OF LISTENING". In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end029.

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"One of the functions of education is the transmission of culture from generation to generation. (Taba, 1962). Yet it is questionable whether music educators are fulfilling this mission... Listeners at concerts of classical music (whether of Western or other traditions) are dwindling and the crowd that frequents the concert halls is mostly older. It seems that educational policy does not invest enough to preserve the gifts of previous generations. In many schools, teachers prefer to please their students by focusing on music that the students listen to (with great enjoyment and expertise without any need for guidance from their teachers) rather than challenging them to become acquainted with musical worlds that are not closed to them and thus complex, classical music is pushed to the margins. Yes, the ones who composed this music were mostly men, mostly white and are mostly dead. However, these unfortunate facts do not negate the fact that the music they created is a gift. In this paper/presentation we will argue that what prevents teachers from introducing their pupils to this music is not political correctness but rather the absence of teaching methods that make listening to unfamiliar music challenging, engaging and fun. This introduce pedagogies for teaching classical music in primary schools and preschool. The rationale behind the methods will be discussed while looking at the applications in teaching complex music among elementary and preschool children. One of the innovative methods for teaching is the ""Musical Mirror Method"" which was developed by Veronika Cohen (Cohen, 1997). This method is a tool for teaching music listening using simple movements. Based on the principle that movement gestures are the source of musical gestures, the movements project into space, make visible the underlying source of the musical events. The children observe, and join in the movements of the mirror which to evoke an intuitive and spontaneous understanding of the music. As children develop their own musical mirrors, they learn to reflect deeply about their own musical experience, their hearing of the particular piece. Alternatively, graphic representations are presented to the children and later developed by them. Children play, sing compose in these lessons – all develop familiarity with great music and some feel a deep connection which can enrich their lives. They learn how to construct music out of sound."

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CARUGO, D., K. HALYATLEH, J. LIDGEY e D. SHARP. "PLAY THAT FUNKY MUSIC MAKING 3D ACOUSTIC MEASUREMENTS OF INSTRUMENTS UNDER PERFORMANCE CONDITIONS". In ACOUSTICS 2015. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16083.

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Jenko, Matija, e Barbara Kopačin. "Povezivanje životnog okruženja dece i njihovog uključivanja u horove". In Nauka, nastava, učenje u izmenjenom društvenom kontekstu. University of Kragujevac, Faculty of Education in Uzice, 2021. http://dx.doi.org/10.46793/nnu21.577j.

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Many studies have been conducted in the field of research on the stimulating domestic music environment, which show that the decision to engage children in music, in addition to internal factors in the family, can be influenced by external factors, such as the environment in which families live, too. Active inclusion of Slovenes in choirs is one of the most widespread free activities in the Republic of Slovenia, because according to the Public Fund of the Republic of Slovenia for Culture, more than 64.000 people sing in choirs. However, given that Slovenia is a very diverse country, especially in geographical terms, the mentality of people in different environments is very different, although in Slovenia creative people live in both rural and urban areas. Since in the article we discover, whether singing activity is higher in rural than in urban areas, we will define what both is and what are the characteristics of choirs in Slovenia, and then explore the differences between the above activities of parents and children in both areas. In this paper, we find that there are more active singing groups in urban areas, which include families, where both – children and parents – sing in a choir, than in rural areas, which we attribute to “rurbanization”, which blurs the boundaries between rural and urban settlements and their functions. The paper also confirms the assumption that the stimulating domestic music environment (singing at home, attending concerts with parents and parents' opinion that the stimulating musical environment offered to children at home strongly influences their participation in choirs) is related children's singing in choirs.

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Trocinel, Daniela. "Compositional incursions into the didactic repertoire and music for children by the composer Alexandr Mulear". In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.12.

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Composer A. Mulear is among the notable personalities who actively participated in the development, and completion of the local musical didactic fund with compositions of various genres and forms, from small and simple to extensive works. The instructive works for piano, violin, and voice are among the most well-known and performed by students. The author subtly feels the universe of children and knows in detail the possibilities of learning instruments at the primary stages of study. Thus, significantly contributing to the amplification and expansion of the children's musical-spiritual world, he managed to familiarize them with an entire diversity of local musical literature, by embodying the popular images and genres in his didactic compositions.

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Guarda, Graziela Ferreira, Ilma Rodrigues de Souza Fausto, Julián Alberto García-García, Ruth Maria Mariani Braz, Fabiana Rodrigues Leta e Sérgio Crespo Coelho da Silva Pinto. "The Makey Makey Inclusive Tangible Interface and its Educational Perspectives". In Simpósio Brasileiro de Informática na Educação. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/sbie.2022.225641.

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Traditional human-computer interaction using a keyboard and mouse attached to a computer has been modified with the emergence of technologies that incorporate resources into clothing, furniture and everyday objects. These technologies open up new opportunities for designers to create innovative forms of interaction based on gestures, body movements or physical manipulation of real objects. One such innovation is the tangible interface, which allows computer users to interact with digital systems through the manipulation of physical objects. The Makey Makey interface, for example, is a printed circuit with a microcontroller that allows everyday objects to be used as computer keys. This paper presents a literature review of reported experiences with Makey Makey, the objective being to explore new educational and inclusive perspectives. For that, the main researches related to Makey Makey from 2012. The methodology used is characterized by the Goal-Question-Metric (GQM) protocol and included 14 articles in total. The results showed that the circuit can be used in several contexts, with important reports from the medical field with patients with cerebral palsy from the perspective of inclusion and motivational activities with the elderly. In addition, it was possible to verify that the contexts are varied, including entertainment, fun, games and a multitude of possibilities in the pedagogical area, especially if we consider their insertion in Early Childhood Education, integrating music and stimulating inventiveness.

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Buicabelciu, Oana. "BLENDED LEARNING USING MULTITOUCH AND SENSORY RESPONSIVE TECHNOLOGIES IN KINDERGARTEN: THE FUNLAB PROJECT, BUCHAREST, 2014". In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-106.

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E-learning has been spreading more and more in the Romanian schools in order to support the traditional teaching process. Computer-assisted instruction has many advantages, such as active learning strategies, students' involvement in learning, and development of more complex technical skills in tune with greater demands for social and societal insertion. However, there are still many controversies related to the phenomenon of human alienation, reduction of basic interpersonal relations, therefore having negative effects upon the emotional-affective dimension of personal and interpersonal relationships. Referring to persons with disabilities, it is commonly agreed that technology is not just their ally, but often the only chance to compensate their natural induced impairments. People with disabilities use technology to communicate, move, fulfill their basic needs, and self-care, overcoming the 'assisted-person' status and gaining more independence and greater control upon the quality of their lives. Still, questions remain: can or will technology ever help them decisively to overcome social barriers, those last challenges to social progress and the emergence of societies showing an inclusive frame of mind? Those 'walls of discrimination' created between ignorance and tolerance can actually be torn down, at some point, so that disability may be addressed as a sample of human diversity and not as a disadvantage? How can we use technology to get a positive answer to this issue sooner? Using these questions for starters, a project dedicated to the training of inclusive mindsets through play and teamwork from the early age has begun in Bucharest at the Special Kindergarten for the Hard of Hearing no. 65 in March 2014. Fun Lab is a project that combines latest learning technologies through sensory stimulation using cutting-edge equipment with problem-solving strategy based on mutual interaction and support in order to solve amusing tasks, which brings persons with sensory disabilities and regular people of all ages together. We wish to reform the way of looking at disability within the community, to prevent indifference or intolerance, discrimination (even the positive one). We wish to reform the way of thinking of persons with disabilities, both with or without sensory impairments, but having "ignoring or indifference disabilities", in the way of a common effort to real equal opportunities and rights to life and education of all those involved. And because communication between these dramatically different communities is often difficult or impossible, we chose a universal way, so to speak, to communicate, at local, international or even intergalactic level... what else could unite us more tightly and make us interact to each other than technology? We bet on technology, this gigantic destroyer of humanity, as it was often described, to reverse it against its long standing meaning, that is to maim and extinct human relationships and human in generally in the favor of the machine. We plan to reverse the poles and use technological systems to close different communities, to make them interact and know each other, to accept each other and to support each other, completing to one each other in order to achieve a common goal - progress. Project Goal Our goal is a kind of "domino" relationship between the progress of approach and education strategies for rehabilitation of preschoolers with sensory and associated multi-sensory disabilities and the social progress of the community within they will find their place. Non-acceptance and indifference come from ignorance and lack of relationship; by offering a common "toy", we hope to improve not only the life of persons with deficiencies, but the personal progress desire of those from the greater community, referring to attitude toward deficiency in general, toward impairment and limits, even physical ones, toward knowledge or relationship. Activities and results What we plan for ourselves through this project is offering work techniques and abilities for teachers, students and parents, as education partners, by organizing of interactive workshops "Sensory-lab"-like, in which we blend fun, relaxation and out of daily routines with a subtle and positive learning process through play and fun. We use multi-touch technologies and sensory responsive equipments, such as: multi-touch 27" monitor computer charged with hundreds of apps and games from the mains AppStores (sensory training, speech therapy apps, deaf signs apps, sport and motric coordination games, music, team play games, memory and attention games, cognitive and communication development games using virtual realities), 3D archive library and also sound, light and movement responsive equipments. Through participation at "sensory-lab" workshops, the life of the school community will improve and the mutual interactions between the two categories of persons: those who can hear and those who cannot, even if we talk about preschoolers or their parents. As a result of "sensory-lab" activities we expect an increase of the interest in common events and an increased involvement in education and extra-curricular activities of parents and local community.

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