Bibliografie tematiche / Humanities -> music -> music history

Letteratura scientifica selezionata sul tema "Humanities -> music -> music history"

Autore: Grafiati

Pubblicato: 25 luglio 2024

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Humanities -> music -> music history"

Jeon, Seonkoo. "A Study on the Practical Humanities Potential of Music Humanities". Korean Society of Culture and Convergence 45, n. 11 (30 novembre 2023): 837–48. http://dx.doi.org/10.33645/cnc.2023.11.45.11.837.

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This study proposed Music Humanities as a methodological model for the social realization of practical humanities. Music humanities is text-based journalistic content based on a convergent approach between the fields of music and humanities.. In order to examine the possibility and usefulness of practical humanities implied in Music Humanities, based on interpretive research methods based on grounded theory of the text of Music Humanities and related research literature, first, text recognition according to discussion system restructuring We analyzed the text linguistics and social psychological standards and values reflected in the environment construction process, and derived practical humanities significance through them. Second, the musicological value of key text areas according to the structuring of music's media nature was illuminated and the practical humanities implications implied in the conceptualization process of music were derived. Lastly, the possibility of creating social messages in the humanities through music was specified by analyzing the discourse process of key text areas that surfaced the humanities value of music. This study can provide an opportunity to further solidify the social tone and line of practical humanities.

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Schroeder-Sheker, Therese. "The Chalice of Repose Project’s Music-Thanatology History and Praxis". Music and Medicine 9, n. 2 (16 aprile 2017): 128. http://dx.doi.org/10.47513/mmd.v9i2.573.

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Abstract The palliative medical modality of music-thanatology as developed by the author and pioneered at the Chalice of Repose Project is an evidence-based practice-vocation-profession, and maintains a singular focus and orientation: the physical and spiritual care of the dying with prescriptive music. Music-thanatology palliative care is delivered in every psychosocial setting and serves every patient constituency, pediatric to geriatric. The music-thanatology delivery of prescriptive music occurs live, at the bedside; is responsive to the patient’s unique, dynamic medical and interior conditions, and features quiet reception rather than clinician-patient interaction. This historical report provides a condensed overview of forty-four years of music-thanatology development, history and clinical practice. This includes a description of the historical and current curricula, excerpts from clinical field notes and an example of a spiritual practice that can sensitively orient musician-clinicians toward the existential patient experience. The bibliographical resources cited reflect the methodologies of a variety of scholarly disciplines in the biomedical and nursing arts and sciences and a full range of the humanities, all of which are integrated into music-thanatology education, formation and praxis. Recent population studies [1] report that there are currently over 46 million Americans aged 65 and older, and this number is expected to double by 2060. Life expectancy has generally increased and with it the need for excellent end-of-life palliative care programs. A full array of dedicated and competent practitioners skilled in a variety of end-of-life arts and sciences has never been so greatly needed in the USA. When interventional modalities have been exhausted, music-thanatology offers effective pain relief and meaningful, effective, cost-effective supportive care options during the final days and hours of life. Keywords: Music-thanatology, palliative care, prescriptive music, narrative medicine, spirituality, transitus, monastic medicine, contemplative practice, letting go.

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Morgan, Frances. "Pioneer Spirits: New media representations of women in electronic music history". Organised Sound 22, n. 2 (12 luglio 2017): 238–49. http://dx.doi.org/10.1017/s1355771817000140.

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The Alternative Histories of Electronic Music conference in 2016 reflected a rise in research that explores new and alternative directions in electronic music historiography. Accordingly, attention has been focused on practitioners previously either ignored or thought to be marginal; a significant number of these figures are women. This fact has caught the attention of print and online media and the independent recording industry and, as a result, historical narratives of female electronic musicians have become part of the modern music media discourse. While this has many positive aspects, some media representations of the female electronic musician raise concerns for feminist scholars of electronic music history. Following the work of Tara Rodgers, Sally MacArthur and others, I consider some new media representations of electronic music’s female ‘pioneers’, situate them in relation to both feminist musicology and media studies, and propose readings from digital humanities that might be used to examine and critique them. This article expands on a talk given at AHEM and was first conceived as a presentation for the Fawcett Society event Sound Synthesis and the Female Musician, in 2014.

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Howe, Sondra Wieland. "A History of American Music Education". Journal of Aesthetic Education 42, n. 4 (1 dicembre 2008): 115–20. http://dx.doi.org/10.2307/25160308.

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Efremenko, Alexey P., e Mukadas Gabdiyev. "Specifics of the Formation of Musical Culture of Modern Adolescents in the System of Additional Education". Uchenye Zapiski RGSU 20, n. 1 (30 marzo 2021): 122–30. http://dx.doi.org/10.17922/2071-5323-2021-20-1-122-130.

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The study of musical culture, various aspects of it is traditionally engaged in humanities – art science, cultural studies and a number of social disciplines. The most significant science is musicology, which includes the history of music, the philosophy of music (section of aesthetics) and musical ethnology. Music culture at different levels of development is also the object of a study of music pedagogy, one of the current tasks of which today is the formation of the musical culture of modern adolescents. The specifics of this process, carried out in the system of additional education, are devoted to the article. It reveals the main conditions, factors and methods that contribute to the effective formation of the musical culture of adolescents.

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Scherzinger, Martin. "African Music and the History of Time". History of Humanities 6, n. 2 (1 ottobre 2021): 397–426. http://dx.doi.org/10.1086/715864.

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Li, Ang. "Historical Evolution of the Popularization of Classical Music and the Development of the Fusion of Multiple Musical Styles". Herança 7, n. 1 (21 dicembre 2023): 113–25. http://dx.doi.org/10.52152/heranca.v7i1.810.

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The historical evolution of classical music and its fusion with different musical genres is an important phenomenon in the field of music. The aim of this thesis is to explore the historical evolution of the popularization of classical music and its fusion with a variety of musical genres. First, we define the characteristics of classical and popular music. Then, we examine the development of classical music in the history of popular music, including its relationship to blues, jazz, and American country music. Next, we summarize the history of the fusion of classical and popular music and analyze contemporary examples. Finally, we discuss the impact and future trends of the popularization of classical music. By examining this topic, we can better understand trends in musical preferences and the role of classical music in music culture.

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Steinberg, Michael P. "Music Drama and the End of History". New German Critique, n. 69 (1996): 163. http://dx.doi.org/10.2307/488613.

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Do Thi, Thach. "Adapting literature works taught in schools into music". Journal of Science Social Science 66, n. 2 (maggio 2021): 54–63. http://dx.doi.org/10.18173/2354-1067.2021-0025.

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Thanks to the interference and encounter with many arts, literary texts can be “recreated” to new forms of art which include music. This article will deal with the concept of adaptation, the formation history and the process of adaptation, the close relationship between music and literature, which is the basic of literary adaptation. In terms of music adaptation activitities in schools this article points out the pros and cons, thereby proposing some matters involving in methods of adapting literature to music.

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Schiavio, Andrea, Nikki Moran, Mihailo Antović e Dylan van der Schyff. "Grounding Creativity in Music Perception? A Multidisciplinary Conceptual Analysis". Music & Science 5 (gennaio 2022): 205920432211229. http://dx.doi.org/10.1177/20592043221122949.

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To what extent can we understand and account for music perception as a creative process? In this paper we draw on recent work in music, creativity, and the cognitive humanities to suggest that the fundamentally creative aspect of music perception is not yet satisfactorily examined in existing research. We briefly review the state of scholarship into both creativity and music perception, and identify key points of convergence, which are prominent in work that investigates the mutuality of action and perception, and the exploratory bases of the latter, among others. Inspired by a growing number of contributions in 4E music cognition research, we argue that listening to music can involve mechanisms of active bodily engagement, along with the imaginative exploration of novel possibilities for thought and action. We put forward the view that this approach is important because of the way in which it can bring to the analytical centre stage a creative dimension that may not otherwise be apparent. The contribution of this paper involves this presentation of a multidisciplinary framework for the study of music perception, highlighting the integration of perception and action, and foregrounding this conception of creative cognition as a central aspect of music perception.

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Tesi sul tema "Humanities -> music -> music history"

Rice, Albert R. "A History of the Clarinet to 1820". Scholarship @ Claremont, 1987. http://scholarship.claremont.edu/cgu_etd/106.

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This study presents a detailed history of the clarinet from its ancient origins to 1820. It is divided into three parts: 1) origins, 2) the baroque clarinet, and 3) the classical clarinet. In the first part the ancestor of the modern instrument is traces to the memet of Ancient Egypt (2700 B.C.), and evidence is reviewed for the existence of a wind instrument having a single reed during the sixteenth century. Three chapters are then devoted to the Mock Trumpet and the seventeenth- and eighteenth-century chalumeau. The baroque clarinet is discussed in the second part. This part consists of four chapters concerning design and construction, playing techniques, music, and use by amateurs and professionals. The last part is devoted to the classical clarinet. It consists of three chapters concerning design and construction, playing techniques, and music.

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Cepero, Laura. "The Afro-American Slave Music Project: Building a Case for Digital History". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5615.

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This public history thesis project experimented with the application of new technology in creating an educational resource aimed at twenty-first century public audiences. The project presents the history, musicology, and historiography of Afro-American slave music in the United States. In doing so, the project utilizes two digital media tools: VuVox, to create interactive collages; and VisualEyes, to create digital visualizations. The purpose of this thesis is to assess how the project balances the goals of digital history, public history, and academic history. During the production of the Afro-American Slave Music Project, a number of the promises of digital history were highlighted, along with several of the potential challenges of digital history. In designing the project, compensations had to be made in order to minimize the challenges while maximizing the benefits. In effect, this thesis argues for the utility of digital history in a public setting as an alternative to traditional, prose-based academic history.
M.A.
Masters
History
Arts and Humanities
History; Public History

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Army, Priscilla W. "Background music : National Socialist propaganda and the reinforcement of German virtue". Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/59514.

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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Humanities, Arts, and Social Sciences [SHASS], History Section, June 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 66-69).
This thesis examines the implementation of official propaganda issued by the National Socialist regime during the years following Adolf Hitler's rise to power in 1933 up through 1945. By analyzing two very different mediums of propaganda used by the National Socialist party, film and advertising in a middle-class German periodical, I compare subtle and overt propaganda methods, as well as the differing approaches the Reich Ministry for Propaganda took when targeting varying audiences. My first chapter is an in depth analysis of the German Film industry under the Third Reich. I looked at three Nazi propaganda films: Triumph des Willens (1934), a film created in order to establish Hitler's role as the leader of the Third Reich, der ewige Jude (1940), a crude, documentary style, anti-Semitic film, and Jud Siij3 (1940), a feature length entertainment film. A comparison of the content of these films and their respective box office results point out the strengths and weaknesses of different approaches to propaganda films. In my second chapter I explore women's advertisements in the popular German periodical die Gartenlaube. By looking at the evolving depiction of women in advertisements for products such as Nivea-Creme and Nur Blond (a women's hair product), and the imagery of women on the covers of the magazine, I attempt to show the ways in which the National Socialist party attempted to connect the standards of beauty to political and ideological goals, thereby redefining them. The political and ideological propaganda of the party was the "background music" to everyday life, regardless of whether its German viewers were political supporters of the Nazi Party. I argue that the goal of the Reich Ministry for Propaganda and Public Enlightenment was never to transform or mold the minds of the masses, but to reiterate and reinforce pervasive beliefs and to encourage passive acceptance of, or even just minimize opposition to, Nazi ideology and legislation.
by Priscilla W. Army.
S.B.

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Bernard, Ryan Carlson. "The Rise and Fall of the Hillbilly Music Genre, A History, 1922-1939". Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2059.

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This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy. Chapter 1 examines the origins of traditional music and how instrumental the fiddle and banjo were in that development. Chapter 2 looks closely into the careers of recording artists who recorded what would later be called hillbilly music. Chapter 3 examines the string band and the naming of the hillbilly genre. Chapters 4 and 5 look at the aspect of radio programming and stereotypes. Chapter 6 discusses the homogenization of the hillbilly genre and the replacement of the hillbilly with the cowboy. This research will clarify the appeal of the hillbilly and highlight the negative stereotypes that started the genre and ultimately ended it leading into the Second World War.

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Wright, Gary K. "Parody songs of the California Gold Rush, 1849-1860 : the music and lyrics of Mart Taylor, John A. Stone and Dr. David G. 'Yankee' Robinson". Scholarly Commons, 1992. https://scholarlycommons.pacific.edu/uop_etds/2232.

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A search of music history texts on American music, such as American Music: A Panorama, by Daniel Kingman, seems to ignore the music of 19th-century California. In Kingman's text, music of the Indians and of mission life is discussed, but music of California and, indeed, much of the western United States is left unexplored. I have found this to be the case in other texts as well. In fact, I have never found a text that discusses or even mentions music of the Gold Rush in California. Two reasons for this omission seem likely: the first is the paucity of information available and the second may be that the authors incorrectly assumed that, because all miners were emigrants, the music would not be original. The area of music I have chosen to discuss was, in fact, unique to the mining country of California in the first decade of the Gold Rush. It is my hope that this thesis will be the starting point for further research on the music of the Gold Rush.

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Watkins, Trinae. "Panther Power: A Look Inside the Political Hip Hop Music of Tupac Amaru Shakur". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2018. http://digitalcommons.auctr.edu/cauetds/165.

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In this study, seven rap songs by hip hop icon Tupac Shakur were examined to determine if the ideology of the Black Panther Party exists within the song lyrics of his politically oriented music. The study used content analysis as its methodology. Key among the Ten Point Program tenets reflected in Tupac’s song lyrics were for self-determination, full employment, ending exploitation of Blacks by Whites (or Capitalists), decent housing, police brutality, education, liberation of Black prisoners, and the demand for land, bread, housing, education, clothing, justice, peace, and a United Nations plebiscite.

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Hillion, Toulcanon Marie-Muriel. "Maloya dance and music: Réunionese Créole togetherness". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2532.

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La Réunion is a former French colony where the coffee, vanilla — and later the sugarcane industry — brought together the mostly enslaved and indentured people from Madagascar, Africa, India, China and France. A quintessential part of this hybrid culture has been the development of maloya, an improvised music-and-dance form that so alienated French colonial authorities and landowners that it was unofficially banned until 1981. While maloya music has been taught since 1987 at Conservatoire de La Réunion and has reached international stages, maloya dance itself has rarely been explored academically, often relegated to the rank of superficial entertainment. The aim of the present research is to interrogate maloya: what it means to me as a practitioner of maloya and what it means as a culturally embodied art form. Using the principles of practice-led research methodology and the research methods of a/r/tography (including qualitative interview methods, as well as studio practice, performance creation, teaching activities and narrative writing familiar with autoethnography), the research interrogates my subjective experience as a maloya artist, researcher and teacher in Australia. As an art form, the research identifies the improvised technique of maloya dance. The research argues that maloya is comprised of elements of La Réunion’s history: dislocation, slavery, ‘third space’, hybridization and freedom. Thus, analysing the teaching of maloya in Australia is the teaching of Réunionese identity. The different spaces, the different audiences and the different intentions of the dancer all play into how the dancer moves. When performed at an International Arts Festival, maloya is different to its presence at a backyard neighbourhood party or in a sacred ritual honouring the ancestors. The research is neither definitive nor interested in providing a generalisable formula for a transnational theory on adapting dance for different audiences or for different purposes (such as for performance or for teaching), rather the motivation behind the research is to fully interrogate an underexplored dance form and to better understand the origins and composition of a dance form that I carry in every step of my feet. Maloya is the conceptualisation and representation of who I am and how key Réunionese artists see themselves through maloya. The research argues that maloya contributes to identity formation, maintenance and evolution and that the history of surviving dispossession and oppression informs a certain type of cultural, linguistic and artistic identity, similar to the powerful idea of batarsité. As a teacher of maloya in Australia, it became clear that the dance as an artistic representation informs the negotiation of intersecting identities and that this perspective — in conjunction with the participant observation, field trips and interviews with maloya artists and experts — sits comfortably alongside my subjective experience of teaching and performing maloya. The research is an important critical yet subjective interrogation of a dance form that is embraced by its people as not only a powerful symbol of freedom from oppression, but also emblematic of everyday life on a post-colonial island.

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Sundberg, David. "Chopin Sonat i h-moll 1a sats : Historia och analys". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3665.

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Chopins tredje pianosonat i h-moll op.58 är inte alls lika spelad som hans andra sonat i b♭-moll. Anledningen är kanske att det finns en djupare historia bakom hans andra sonat medan den tredje är ett verk som han komponerade för att tysta vissa kritiker men också för att tillägna verket sin släkt. Chopins tredje sonat kan uppfattas som ett av de mest fantastiska och berättande verken inom pianolitteraturen och om man jämför med andra sonater från samma epok så anser jag att även denna sonat förtjänar mer uppmärksamhet. En av anledningarna till att den inte är så spelad kan nog vara att det är ett av Chopins mest krävande verk.

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Story, Brandon H. "Gospel According to Bristol: The Life, Music, and Ministry of Ernest Phipps". [Johnson City, Tenn. : East Tennessee State University], 2003. https://dc.etsu.edu/etd/766.

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Thesis (M.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-0331103-141813. Includes bibliographical references. Also available via Internet at the UMI web site.

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Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/101.

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This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of Blacks in America as the sole theme.

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Più fonti

Libri sul tema "Humanities -> music -> music history"

Dave, Oliphant, Zigal Thomas e University of Texas at Austin. Humanities Research Center., a cura di. Perspectives on music: Essays on collections at the Humanities Research Center. [Austin]: The Center, University of Texas at Austin, 1985.

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Andrew, Maddocks, e Somerset Music Education Programme, a cura di. Growing with music: Key stage 1 : teacher's book. Harlow, Essex: Longman, 1992.

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service), SpringerLink (Online, a cura di. Pianeti tra le note: Appunti di un astronomo divulgatore. Milano: Springer-Verlag Milan, 2010.

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Chŏng, Kyŏng-nyang. Inmunhak, norae ro ssŭda: Tongmun hakcha Chŏng Kyŏng-nyang ŭi si wa ŭmak sanch'aek = Writing humanities through song. Kyŏnggi-do P'aju-si: T'aehaksa, 2012.

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Andrew, Maddocks, e Somerset Music Education Programme, a cura di. Growing with music: Key stage 2 : teacher's book A. Harlow, Essex: Longman, 1992.

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Stocks, Michael. Growing with music: Key stage 2 : teacher's book B. Harlow, Essex: Longman, 1992.

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Louise, Switten Margaret, a cura di. The Medieval lyric: A project supported by the National endowment for the Humanities and Mount Holyoke College. South Hadley, MA: Mount Holyoke College, 1988.

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M, Kuznet︠s︡ov A., a cura di. Vy spasetesʹ cherez muzyku: Literaturnoe nasledie. Moskva: Klassika-XXI, 2005.

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Guenther, Roy J. AMS saluts NEH on the twentieth anniversary of the National Endowment for the Humanities: A representative listing of projects in music, 1966-1986. [New York: American Musicological Society, 1986.

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Winn, James Anderson. The pale of words: Reflections on the humanities and performance. New Haven: Yale University Press, 1998.

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Capitoli di libri sul tema "Humanities -> music -> music history"

Piotrowska, Anna G. "The Concept of Race in Musicological Thought: From General Remarks to a Case Study of So-called Gypsy Music in European Culture". In Ideas of 'Race' in the History of the Humanities, 215–34. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49953-6_8.

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Standen, John. "Music". In Handbook for History Teachers, 483–87. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-63.

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Leslie, Orrey. "Music". In Handbook for History Teachers, 1014–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-176.

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

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Kroonenberg, Pieter M. "Music appreciation: The Chopin Preludes". In Multivariate Humanities, 327–45. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69150-9_17.

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Williams, Carol J. "Music". In The Routledge History of Emotions in Europe, 390–405. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: The Routledge histories: Routledge, 2019. http://dx.doi.org/10.4324/9781315190778-31.

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Burgoyne, John Ashley, Ichiro Fujinaga e J. Stephen Downie. "Music Information Retrieval". In A New Companion to Digital Humanities, 213–28. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118680605.ch15.

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Fubini, Enrico. "Music Aesthetics and Sociology of Music". In The History of Music Aesthetics, 413–55. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-09689-3_16.

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Borgeson, Kevin, e Robin Maria Valeri. "Skinhead Music". In Skinhead History, Identity, and Culture, 91–118. 1 Edition. | New York: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315474816-5.

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de Alencar, Marcelo Sampaio. "History and Evolution of Music". In Music Science, 21–28. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003338895-2.

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Atti di convegni sul tema "Humanities -> music -> music history"

Castillo, Francisco. "EVOLUTIONISM IN MUSIC HISTORY: TOWARD RECONCILIATION". In 5th Arts & Humanities Conference, Copenhagen. International Institute of Social and Economic Sciences, 2019. http://dx.doi.org/10.20472/ahc.2019.005.004.

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"The Concept and Its Practice of Western Music History". In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29173.

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Pasdzierny, Matthias. "How much is the glitch? Das digitale Paradigma als Herausforderung und Chance für die historische Musikwissenschaft". In 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/10.25366/2020.104.

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Musicology has long since been established as central part of the so-called Digital Humanities. For many areas of music culture as a whole, digitization is considered the central paradigm of our time. But what exactly does this mean, and is it not unusual for technical and cultural developments to be thrown through and into each other? In literary studies as well as in cultural and contemporary history, a critical discussion has already begun on the multiple narratives and projections about „(post)digitality“, which are particularly common in science itself. Against this background, the article pleads for taking digitality seriously as an object of investigation in historical musicology (and possibly also in the history of musicology) and for initiating a corresponding field of research. For example, what promises and debates about loss associated with digitality can be observed within music culture at different times and in different contexts, but also what sources could provide information about this. The introduction of the CD in the 1980s and the emergence of the EDM sub-genre Glitch in the mid-1990s serve as starting examples for such a critical-historical view of and on digitality.

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Dimitrakopoulou, Georgia. "�NOVELLA GRECA.� ?. SERAO�S 19TH CENTURY GREECE. ITS REALITIES AND ITS ANTITHESES". In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.17.

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In the short story Novella Greca, in her book: Fior di Passione, 1888, the author M. Serao narrates the true story of Calliope Stavro, the heroine (Calliopi Stavrou in Greek), in Leucade - Santa Maura (Lefkada - Agia Mavra in Greek), an island of the Ionian Sea, in 19th century Greece. At that time, the country was just freed from the Turkish occupation, trying to recover from more than 400 years of slavery and subjugation to the Ottoman Empire. Calliope Stavro represents the woman of her time, imprisoned in the small society of her island, suffocated, asphyxiated, disillusioned and unfulfilled. Thus, she decides to commit suicide not having a way out in her island, which although it is a naturally beautiful place due to its greenery, it is a barren rock �thrown� into the Ionian Sea without any promising future for its inhabitants. Serao realistically exposes the true story of the heroine�s female identity, whose death signifies her suffocation within the patriarchal society of her time. The writer presents the outlets of human existence, the small society of the island, the negative influence of the heroine�s microcosm, which mostly depends on the raisin trade, its production and export, with which almost all the males of the island are preoccupied, since it provided a profitable income in that time. Faced with the crushing reality of her life, the non-existence of love, no romance, male dominance, and indifference, even misogynism, she chooses death, she surrenders to her doomed destiny and the futility of existence, because she is not allowed to live a free life according to her will. Her fatal fall from Lefkata�s cape, where in ancient times there was a temple of god Apollo, god of music, light, and patron of the arts and divination, signifies the death of the gods of Olympus. Their place has been taken by a harsh reality, the revelation of the demands of the human soul, its desires, and its dead ends. Greece will need and still needs a long way to go to find the place it deserves in history, free from patriarchal structures, prejudices, and the impasses that they entail. The story of Calliope Stavro proves in practice the predicament of the female under the patriarchal standards of her era and the unsatisfied desires of the human psyche, which are sacrificed for the sake of survival, most times with unpredictable, unpleasant and unhappy results.

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Dias, Ricardo, Manuel J. Fonseca e Daniel Gonçalves. "Music listening history explorer". In the 2012 ACM international conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2166966.2167013.

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Sharma, Manish. "Relationships Between Music Genre, Human Moods-Based Music and Digital Music Playlist Exploration System: Case Study". In The IAFOR International Conference on Arts & Humanities – Hawaii 2024. The International Academic Forum(IAFOR), 2024. http://dx.doi.org/10.22492/issn.2432-4604.2024.2.

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"On Characteristic Music Teaching in Kindergartens with National Music". In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.111.

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Istrakova, Maria A., Taisia I. Larkina e Yulia V. Zubkova. "TEACHING SPANISH THROUGH MUSIC". In Current Issues in Modern Linguistics and Humanities. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/09321-2019-239-255.

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Irawati, Eli. "Ethnomusicology and Music Ecosystem". In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008546200880094.

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Sinegubova, Kapitalina V. "Educational potential of music journalism". In Communication and Cultural Studies: History and Modernity. Novosibirsk State University, 2021. http://dx.doi.org/10.25205/978-5-4437-1258-1-210-215.

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Rapporti di organizzazioni sul tema "Humanities -> music -> music history"

Anzillotti Zamorano, Marta. ECMI Minorities Blog. The Cultural Appropriation of Flamenco: Views of Gitanos from Jerez de la Frontera. European Centre for Minority Issues, maggio 2023. http://dx.doi.org/10.53779/aapl9656.

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With discussions surrounding cultural appropriation ongoing in numerous spheres including music, fashion, and language, this blogpost explores the ever-changing nature of culture through the first-hand accounts of Gitanos from Jerez de la Frontera. The presence of the Gitano minority in Jerez has historically had – and continues to have – a significant impact on the city. This is especially true regarding flamenco, an artform encompassing centuries of history and culture. In this blogpost, the author uses interviews and a survey conducted for her MA thesis, as well as two case studies (namely that of Lola Flores and Rosalía), to explore the various ways of approaching and contextualizing theoretical understandings of cultural appropriation.

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Nucera, Diana J., e Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, febbraio 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."

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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, agosto 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.

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