Letteratura scientifica selezionata sul tema "Musical"
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Articoli di riviste sul tema "Musical"
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Cherry, James M. "The Musical of Musicals (The Musical!) (review)." Theatre Journal 56, no. 4 (2004): 705–6. http://dx.doi.org/10.1353/tj.2004.0156.
Testo completo
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Yanuar, Dani. "Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 10–18. http://dx.doi.org/10.33153/dewaruci.v14i1.2532.
Testo completoAbstract (sommario):
Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.
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Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (September 2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.
Testo completoAbstract (sommario):
This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.
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Mellers, Wilfrid. "Platform: Are Musicals Musical?" Musical Times 132, no. 1782 (August 1991): 380. http://dx.doi.org/10.2307/965879.
Testo completo
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Restani, Donatella. "Aldrovandi’s Musical Legacy: not just Aristoxenus. Towards New Research Horizons." Aldrovandiana. Historical Studies in Natural History 3, no. 1 (July 12, 2024): 48–57. http://dx.doi.org/10.30682/aldro2401e.
Testo completoAbstract (sommario):
L’interesse di Aldrovandi per la musica come cultura, come mezzo per comprendere il mondo e i suoi abitanti, come nutrimento insostituibile per la curiosità intellettuale dello scienziato, è una pagina ancora da scrivere nella storia dei rapporti tra musica e scienza, nel XVI e nel primo XVII secolo. Concentrandosi sull’edizione a stampa della traduzione latina del trattato musicale di Aristosseno presente nella sua biblioteca, questo articolo delinea alcune altre direzioni di un progetto di ricerca sull’eredità musicale di Aldrovandi che esplorerà i trattati musicali antichi e contemporanei, nonché i suoni e la musica dei nativi trasmessi nelle narrazioni dei viaggiatori ed esploratori del Nuovo Mondo.
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BOMBOLA, GINA. "FromThere's Magic in MusictoThe Hard-Boiled Canary: Promoting “Good Music” in Prewar Musical Films." Journal of the Society for American Music 12, no. 2 (April 5, 2018): 151–78. http://dx.doi.org/10.1017/s1752196318000068.
Testo completoAbstract (sommario):
AbstractIn 1941, Paramount releasedThere's Magic in Music, a film about a soprano who sings opera in burlesque and wins a scholarship to attend Interlochen. The movie's utopian view of art music, however, caused difficulties for the studio in regard to marketing, leading to a studio-wide debate over the film's title. Archival documents positionThere's Magic in Musicas a valuable case study for investigating the transitional period of musical film production between the Great Depression and the onset of World War II, particularly with respect to operatic musicals. Just prior to the United States’ entry into the war, Hollywood moved away from the escapist fantasy of 1930s cinema toward the realism that would mark the 1940s. To reboot fading interest in musicals, studios toyed with the formula of the backstage musical to focus more on dramatic narratives and star power.There's Magic in Musicthus serves as a lens through which we might examine changes both in musical film production and in notions of “good music” at the eve of World War II.
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Boffone, Trevor. "From Heathers to Six: Stealth musicals and the TikTok Broadway archive." Studies in Musical Theatre 15, no. 3 (December 1, 2021): 175–89. http://dx.doi.org/10.1386/smt_00070_1.
Testo completoAbstract (sommario):
This article explores two popular TikTok trends that use sound bites from the original cast recordings of Heathers: The Musical and Six. The ‘Martha Dumptruck in the Flesh’ challenge from Heathers: The Musical and the ‘Yeah That Didn’t Work Out’ challenge from Six were, by and large, completely detached from the musicals. TikTokers who engaged with these trends, therefore, likely did not even know that the sound bites came from musicals. These musicals became what I term ‘stealth musicals’, or undercover musicals that proliferate on TikTok in ways that are completely removed from the show’s dramaturgy. As stealth musicals, Heathers: The Musical and Six did not just go viral but stayed viral on TikTok. I argue, therefore, that these two musicals became canonical pieces of Gen Z culture. With viral canonization, Heathers: The Musical and Six demonstrate how cultural capital accrues in digital spaces and, as a result, sound bites such as ‘Martha Dumptruck in the flesh’ enter into a public life that extends beyond the musicals themselves. Indeed, as I propose, quoting ‘Martha Dumptruck in the flesh’ is as synonymous with Gen Z culture as it is with the musical Heathers.
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Feng, Yizhang, and Kexu Chen. "On the inspiration of Lin-Manur-Miranda musical Hamilton." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 152–54. http://dx.doi.org/10.54097/6dyf4743.
Testo completoAbstract (sommario):
Lin-manuel-Miranda's musical "Hamilton" as the fastest in the history of Broadway music costs and began to profitable musical with its pioneer music style and the core values of drama structure in the world stage, the success of the Broadway musical is not only in the history, also for the development of world musical provides unprecedented possibilities.the success of Lin-Manuel Miranda's musical "Hamilton" has had a profound impact on the world of theater, particularly in the realm of musicals. Its pioneering music style and the core values of drama structure have opened up new possibilities for the development of musicals worldwide. The widespread appeal and profitability of "Hamilton" have inspired artists to experiment with different genres and storytelling techniques, pushing the boundaries of what is considered traditional musical theater. Furthermore, the global interest in historical and biographical musicals that "Hamilton" has generated has enriched the cultural landscape of musical theater, offering audiences a diverse range of stories and perspectives. Overall, "Hamilton" has left an indelible mark on the world stage, paving the way for future innovations in the field of musical theater.
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Greenspan, Charlotte. "Death Comes to the Broadway Musical." Daedalus 141, no. 1 (January 2012): 154–59. http://dx.doi.org/10.1162/daed_a_00137.
Testo completoAbstract (sommario):
The Broadway musical is an excellent prism for viewing the narrative of American life – as it is, has been, and perhaps should be. In the first part of the twentieth century, musicals viewed life through rose-colored glasses; musicals were equivalent to musical comedy. Starting in the 1940s, the mood of musicals darkened. One indication of the new, serious tone was that characters in musicals died in the course of the show. This essay examines several questions relating to death in the Broadway musical, such as who dies, when in the course of the drama the death occurs, and how the death is marked musically. It concludes with a look at musicals involving the deaths of historical characters and at AIDS-related musicals, works whose assumptions and ideals are very far from those of the musical comedies of the early twentieth century.
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Achille, Rosaria Anna. "AMY MARCY BEACH." Civitas et Lex 44, no. 4 (December 18, 2024): 45–54. https://doi.org/10.31648/cetl.10675.
Testo completoAbstract (sommario):
L’articolo è incentrato sulla figura di Amy Marcy Beach, artista talentuosa ed emancipata che, grazie alla sua determinazione e alla forza delle sue produzioni musicali, riuscì a superare le diffidenze e i pregiudizi che permeavano il mondo musicale dell’America puritana e conservatrice di fine Ottocento, riguardo alla possibilità per una donna di avvicinarsi alla composizione. The article focuses on the figure of Amy Marcy Beach, a talented and emancipated artist who, thanks to her determination and the strength of her musical productions, managed to overcome the mistrust and prejudices that permeated the musical world of puritan and conservative America of the late nineteenth century, regarding the possibility for a woman to approach composition.
Tesi sul tema "Musical"
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Lascabettes, Paul. "Mathematical Models for the Discovery of Musical Patterns, Structures and for Performances Analysis." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS578.
Testo completoAbstract (sommario):
L'objectif de cette thèse est de fournir des modèles mathématiques pour la compréhension et l'analyse de représentations symboliques de la musique. En particulier, cette thèse se décompose en trois parties : comment découvrir les motifs musicaux~? Comment ces motifs sont-ils organisés avec la structure musicale ? Et finalement, comment ces motifs sont-ils joués durant la performance musicale ? Tout d'abord, cette thèse se focalise sur la tâche de découverte de motifs musicaux. Les travaux antérieurs permettent de distinguer deux approches : l'approche séquentielle et l'approche multidimensionnelle. Nous proposons une méthode pour développer l'approche multidimensionnelle. En particulier, nous montrons que la théorie de la morphologie mathématique s'adapte très bien à l'approche géométrique, ce qui permet d'obtenir des résultats mathématiques pour la découverte de motifs musicaux. En seconde partie, nous nous intéressons à la tâche de segmentation musicale. Nous proposons deux méthodes, l'une reposant sur l'homogénéité et l'autre sur la répétition, qui sont les deux caractéristiques principales à étudier pour découvrir la segmentation d'une pièce. La méthode reposant sur l'homogénéité utilise les filtres morphologiques pour détecter les blocs sur la diagonale de la matrice d'auto-similarité. Nous développons aussi une méthode reposant sur la quasi-répétition sans intersection pour obtenir la segmentation hiérarchique d'une pièce. La troisième partie est dédiée à l'analyse de la performance musicale avec des outils informatiques. Nous nous focalisons sur la base de données MazurkaBL qui contient des annotations de plus de 2000 performances de 46 Mazurkas de Chopin. Pour analyser cette base de données, nous proposons de représenter une performance musicale dans un 2-simplexe, ce qui permet de caractériser et d'interpréter l'expressivité musicale d'une performance. Ensuite, nous montrons comment la théorie du transport optimal peut être utilisée pour comparer des performances musicales<br>The purpose of this thesis is to provide mathematical models for the understanding and analysis of symbolic representations of music. In particular, this thesis is divided into three parts. How to discover musical patterns? How are these patterns organized within the musical structure? And finally, how are these patterns performed during musical performance? First, this thesis focuses on the musical pattern discovery task. Previous work identifies two different approaches: the sequential and geometric approaches. We propose a method for each of these two approaches. We propose a method for developing the multidimensional approach. In particular, we show that the theory of mathematical morphology is well suited to the geometrical approach, making it possible to obtain mathematical results for the discovery of musical patterns. In the second part, we focus on the musical segmentation task. We propose a method based on homogeneity and one based on repetition, which are the two main features to be studied in order to discover the segmentation of a piece. The homogeneity-based method uses morphological filters to detect blocks on the diagonal of the self-similarity matrix. We also develop a method based on almost repetition without overlaps to obtain the hierarchical segmentation of a musical piece. The third part is dedicated to the computational models for music performances. We focus on the MazurkaBL dataset, which contains annotations of over 2000 recorded performances of 46 Chopin Mazurkas. To analyze this dataset, we propose to represent a musical performance in a 2-simplex, allowing us to characterize and interpret the expressivity of a performance. Then, we show how the theory of optimal transport can be used to compare musical performances
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Gérard, Élizabeth. "L'oreille musicale, une institution symbolique du sens musical." Montpellier 3, 2000. http://www.theses.fr/2000MON30027.
Testo completo
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Copini, Guilherme de Cesaro 1985. "Musica espectral = o tempo musical conforme Gerard Grisey." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283993.
Testo completoAbstract (sommario):
Orientador: Silvio Ferraz Mello Filho<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-15T06:08:20Z (GMT). No. of bitstreams: 1
Copini_GuilhermedeCesaro_M.pdf: 72399274 bytes, checksum: b14afa1acbdd94ff753cf3f23123d8d2 (MD5)
Previous issue date: 2010<br>Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação, que teve como foco a filosofia composicional de Grisey, e a composição da peça original, baseadas nas características e técnicas identificadas na primeira etapa da pesquisa<br>Abstract: Music is a temporal art, and its primary object, the sound, can only exist and be noticed when the dimension time is considered. Then, one believes that the discussion about sound-time relation in music is important for the contemporary composer.Gérard Grisey, composer and cofounder of one of the most important schools of composition of the second half of the 20th century (the Spectral Music), shows a singular understanding toward the musical phenomenon, especially about its development over time. His understanding is mainly based in researches in the field of acoustics and psychoacoustics, in other words, in the physical structure of sound and how it is perceived, respectively. The main objective of this research is to expose the thinking about musical time by Grisey. Another objective is to compose an original musical piece based on this thinking. This outline is justified by the evident attention that important composers of the 20th century (as Messiaen, Boulez and Grisey) gave to the subject "time in music". Such importance can be verified either in their musical and theoretical works. Initially, a study of the main bibliography produced by the leading composers and experts in Spectral Music was accomplished. Then the writing process of the thesis began, which was focused on the compositional philosophy of Grisey, and the composition of the original musical piece, based on the characteristics and techniques identified in the first part of this research<br>Mestrado<br>Musica<br>Mestre em Música
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Ramos, Danilo. "Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não-músicos?" Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-08102008-013413/.
Testo completoAbstract (sommario):
RAMOS, Danilo. Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não músicos? 2008, 268 p. Tese (Doutorado). Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto. Universidade de São Paulo, Ribeirão Preto, 2008. Esta pesquisa teve como objetivo verificar o papel das emoções desencadeadas pela música na percepção temporal de músicos e não músicos. Quatro experimentos foram realizados: no Experimento I, músicos e não músicos realizaram tarefas de associações emocionais a trechos musicais de 36 segundos de duração, pertencentes ao repertório erudito ocidental. A tarefa consistia em escutar cada trecho musical e associá-lo às categorias emocionais Alegria, Serenidade, Tristeza, Medo ou Raiva. Os resultados mostraram que a maioria dos trechos musicais desencadeou uma única emoção específica nos ouvintes; além disso, as associações emocionais dos músicos foram semelhantes às associações emocionais dos não músicos para a maioria dos trechos musicais apresentados. No Experimento II, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais mais representativos de cada emoção, utilizados no Experimento I. Assim, os trechos musicais eram apresentados e os participantes deveriam associar cada um deles a durações de 16, 18, 20, 22 ou 24 segundos. Os resultados mostraram que, para o grupo Músicos, os três trechos musicais associados à Tristeza foram subestimados em relação às suas durações reais; nenhuma outra categoria emocional apresentou mais do que um trecho musical sendo subestimado ou superestimado em relação a suas durações reais, para ambos os grupos. Pesquisas recentes em Psicologia da Música têm mostrado duas propriedades estruturais como sendo moduladoras da percepção de emoções específicas durante uma escuta musical: o modo (organização das notas dentro de uma escala musical) e o andamento (número de batidas por minuto). Assim, no Experimento III, músicos e não músicos realizaram tarefas de associações emocionais a composições musicais construídas em sete modos (Jônio, Dórico, Frígio, Lídio, Mixolídio, Eólio e Lócrio) e três andamentos (adágio, moderato e presto). O procedimento foi o mesmo utilizado no Experimento I. Os resultados mostraram que o modo musical modulou a valência afetiva desencadeada pelos trechos musicais: trechos musicais apresentados em modos maiores obtiveram índices positivos de valência afetiva e trechos musicais apresentados em modos menores obtiveram índices negativos de valência afetiva; além disso, o andamento musical modulou o arousal desencadeado pelos trechos musicais: quanto mais rápido o andamento do trecho musical, maiores os níveis de arousal desencadeados e vice-versa. No Experimento IV, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais modais utilizados no Experimento III. O procedimento foi o mesmo utilizado no Experimento II. Os resultados mostraram que manipulações, principalmente no arousal, afetaram a percepção temporal dos ouvintes: para ambos os grupos, foram encontradas subestimações temporais para trechos musicais desencadeadores de baixos índices de arousal; além disso, para o grupo Não Músicos, foram encontradas superestimações temporais para trechos musicais desencadeadores de altos índices de arousal. Estes resultados mostraram que, no caso dos músicos, a percepção temporal foi afetada por atmosferas emocionais relacionadas à Tristeza; no caso dos Não Músicos, a percepção temporal foi afetada por fatores relacionados ao nível do arousal dos eventos musicais apreciados.<br>RAMOS, Danilo. Do emotional factors during music listening tasks affect time perception of musicians and nonmusicians? 2008, 268 pages. Thesis (PhD). Faculty of Philosophy, Sciences and Letters of Ribeirão Preto. University of São Paulo, Ribeirão Preto, 2008. This study aimed to verify the role of emotions triggered by music on time perception of musicians and nonmusicians. Four experiments were conducted: In Experiment I, musicians and nonmusicians performed emotional association tasks for musical excerpts of 36 seconds duration belonging to the Western classic repertoire. The tasks required to listen to each musical excerpt and to associate it with emotional categories: Joy, Serenity, Sadness, or Fear/Anger. The results showed that most musical excerpts triggered a specific single emotion in listeners; moreover, the emotional associations of musicians were similar to the emotional associations of nonmusicians for most musical excerpts presented. In Experiment II, musicians and nonmusicians performed temporal association tasks for the three most representative excerpts of each emotion used in Experiment I. Thus, the participants had to associate each of such musical excerpts with the following durations: 16, 18, 20, 22 or 24 seconds. The results showed that for the musicians, the three musical excerpts associated with Sadness were underestimated in relation to their real time; moreover, no other emotional category was associated with more than one musical excerpt whether being underestimated or overestimated, regarding their real time, for both groups. Recent researches in Psychology of Music have shown two structural properties as the modulators of specific emotions perceived during a music listening task: the mode (the organization of the notes in a musical scale) and tempo (the number of beats per minute). Thus, in Experiment III, musicians and nonmusicians carried out emotional association tasks with musical compositions constructed in seven modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) and three tempi (adagio, moderato, and presto). The procedure was the same used in Experiment I. The results showed that the musical mode modulated the affective valence triggered by the excerpts: musical excerpts based on major modes obtained positive affective valence indexes and musical excerpts based on minor modes obtained negative affective valence indexes; moreover, the musical tempo modulated the arousal triggered by the excerpts: the faster the tempo of the musical excerpts, the higher the arousal levels and vice versa, for both groups. In Experiment IV, musicians and nonmusicians performed temporal association tasks for those modal musical excerpts used in Experiment III. The procedure was the same used in Experiment II. The results showed that manipulations concerning arousal affected the time perception of the listeners: time underestimations due to low arousal excerpts were found for both groups; moreover, time underestimations due to high arousal excerpts were found only for nonmusicians. These results showed that in the case of musicians, time perception was affected by emotional atmospheres related to Sadness; in the case of nonmusicians, time perception was affected by factors related to the level of arousal of music events appreciated.
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Gambassi, Veronica. "Tutta un'altra musica La singing translation per il musical." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
Cerca il testo completoAbstract (sommario):
Il presente elaborato ha l’obiettivo di approfondire la singing translation, vale a dire la traduzione di testi musicali “cantabili”, ambito della traduzione per molte ragioni ancora poco osservato dal mondo accademico. Per farlo e per comprendere al meglio tutte le caratteristiche di questa atipica disciplina traduttiva, l’analizzeremo in relazione al mondo del musical, realtà in cui l’intervento del traduttore è quasi sempre essenziale. Dopo un primo capitolo dedicato interamente alla descrizione del genere e alla sua storia, illustreremo le ragioni per cui è necessario tradurre un musical e le diverse strategie traduttive applicabili a seconda del mezzo attraverso cui viene portato al pubblico (cinema, televisione, teatro). Nel terzo capitolo, approfondiremo la singing translation, descrivendo le sue numerose insidie, spesso dovute alla presenza della musica, e alcune delle teorie più autorevoli elaborate a riguardo. In ultimo, nella parte pratica di questa tesi, presenteremo una proposta di traduzione di tre liriche di un musical francese per bambini, Le Soldat Rose, la cui analisi ci permetterà di mettere in luce le problematiche di questo tipo di traduzione e le astuzie che il traduttore può implementare per risolverle.
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Axtell, Katherine Leigh. "Maiden voyage : the genesis and reception of Show boat, 1926-1932 /." Digitized version, 2009. http://hdl.handle.net/1802/10968.
Testo completoAbstract (sommario):
Thesis (Ph. D)--University of Rochester, 2009.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10968
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Matare, Joseph. "The nature of musical intelligence / musical abilities." Thesis, University of Exeter, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407292.
Testo completo
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Johnson, Daniel S. "Musical Motif Discovery in Non-Musical Media." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4081.
Testo completoAbstract (sommario):
Many music composition algorithms attempt to compose music in a particular style. The resulting music is often impressive and indistinguishable from the style of the training data, but it tends to lack significant innovation. In an effort to increase innovation in the selection of pitches and rhythms, we present a system that discovers musical motifs by coupling machine learning techniques with an inspirational component. The inspirational component allows for the discovery of musical motifs that are unlikely to be produced by a generative model, while the machine learning component harnesses innovation. Candidate motifs are extracted from non-musical media such as images and audio. Machine learning algorithms select the motifs that best comply with patterns learned from training data. This process is validated by extracting motifs from real music scores, identifying themes in the piece according to a theme database, and measuring the probability of discovering thematic motifs verses non-thematic motifs. We examine the information content of the discovered motifs by comparing the entropy of the discovered motifs, candidate motifs, and training data. We measure innovation by comparing the probability of the training data and the probability of the discovered motifs given the model. We also compare the probabilities of media-inspired motifs with random motifs and find that media inspiration is more efficient than random generation.
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Trindade, Alexandra Sofia Monteiro da Silva. "A iniciação em violino e a introdução do método Suzuki em Portugal." Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3822.
Testo completoAbstract (sommario):
Mestrado em Música - Ensino Vocacional<br>A formação inicial pode ser determinante para o sucesso académico de um indivíduo. Através deste projecto pretende-se compreender de que forma este princípio se aplica à aprendizagem do violino. Passados dezassete anos após a introdução e aplicação do método Suzuki em Portugal no ensino particular e cooperativo, é importante avaliar os resultados obtidos e a validade da metodologia. Actualmente, assiste-se à democratização do ensino da música e à comparticipação integral por parte do Estado para que a aprendizagem de um instrumento se inicie aos dez anos de idade. Questiona-se se esta será a idade mais apropriada para iniciar a aprendizagem do violino. Os dados recolhidos comprovam o incremento do número de alunos nas escolas de ensino artístico especializado da música, sobretudo na Iniciação e no Básico. As entrevistas e questionários aos intervenientes no processo educativo, quer do ensino público como do particular e cooperativo, reflectem o estado do ensino desta arte em Portugal.<br>Education in Preparatory school has a decisive influence in future academic success of the individual. With this research I wish to understand how this principle applies to violin education. Seventeen years have passed after the introduction and application of Suzuki method in Portuguese private schools with partial financial State support and, thus, it is now important to evaluate the outcomes and the validity of this methodology. Presently, we assist to a process of music education democratization since Portuguese Education Ministry established full financial support for students who start learning a musical instrument at the age of ten years old. Questions arise as to whether this is the right age to start learning the violin. Data confirm that the number of students at music schools has been increasing, especially at Preparatory and Basic levels. Interviews and questionnaires to participants of the education process, public and private, reflect the actual state of music education in Portugal.
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Afonso, Ludovic do Nascimento. "A implementação do método Suzuki para violino em Portugal : três estudos de caso." Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/1236.
Testo completoAbstract (sommario):
Mestrado em Música para o Ensino Vocacional<br>Este estudo pretende ser um contributo para os músicos
portugueses, professores e violinistas de forma a levá-los
para uma reflexão acerca desta prestigiada via de ensino: O
Método Suzuki.
Perceber todo o conteúdo envolvente do método, como:
críticas, respostas, soluções, técnicas de ensino,
apresentações de emoções pelos diferentes membros da
triangulação – pais-professores-entidades pedagógicas – é
sem dúvida algo de muito ambicioso. Por outro lado, é
importante salientar de que forma os alunos encaram este
processo de ensino, se realmente a motivação faz parte do
seu quotidiano enquanto indivíduos e instrumentistas.
ABSTRACT: This study attempts to make a contribution to Portuguese
musicians, teachers, and violinists in order to get them to
reflect on this prestigious way of teaching: the Suzuki method.
To perceive the entire content contained in this method, such
as: critiques, answers, solutions, teaching techniques,
emotional presentations by the different triangular members –
parents-teachers-pedagogical institutions – is certainly
something very ambitious. On the other hand, it is important to
note how the students see this teaching process, if indeed
motivation is part of their everyday life, as individuals and
instrumentalists.
Libri sul tema "Musical"
1
Joanne, Bogart, ed. The musical of musicals: The musical! New York: Samuel French, 2005.
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2
Farkas, Kiko. Cartazes musicais: Musical posters. São Paulo, SP: Cosac Naify, 2009.
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Ord-Hume, Arthur W. J. G. Restoring musical boxes & musical clocks. Mayfield, Ashbourne, Derbyshire, England: Mayfield Books, 1997.
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7
Hellaby, Julian. Musical Topics and Musical Performance. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003218340.
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1952-, Briggs Tom, and Hammerstein Oscar 1895-1960, eds. Musical scene study: The musicals of Rodgers & Hammerstein. New York: Applause Theatre and Cinema Books, 2007.
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Beth, Bullard, ed. Musica getutscht: A treatise on musical instruments (1511). Cambridge: Cambridge University Press, 1993.
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Moyer, Ann E. Musica scientia: Musical scholarship in the Italian Renaissance. Ithaca: Cornell University Press, 1992.
Cerca il testo completoCapitoli di libri sul tema "Musical"
1
Sykes, Jim. "Musical Labor, Musical Value." In Critical Themes in World Music, 71–84. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429424717-8.
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2
Gafni, Eli, and Sergio Rajsbaum. "Musical Benches." In Lecture Notes in Computer Science, 63–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11561927_7.
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Lindemann, Anna, and Eric Lindemann. "Musical Organisms." In Computational Intelligence in Music, Sound, Art and Design, 128–44. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77583-8_9.
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Sacks, Oliver W., and Jan Dirk Blom. "Musical Hallucinations." In Hallucinations, 133–42. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4614-0959-5_11.
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Sloboda, John. "Musical Ability." In Ciba Foundation Symposium 178 - The Origins and Development of High Ability, 106–18. Chichester, UK: John Wiley & Sons, Ltd., 2007. http://dx.doi.org/10.1002/9780470514498.ch7.
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Sethares, William A. "Musical Scales." In Tuning, Timbre, Spectrum, Scale, 49–71. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-4177-8_3.
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Shintel, Hadas. "Musical Protolanguage." In Encyclopedia of Evolutionary Psychological Science, 1–3. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-16999-6_2856-1.
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Bader, Rolf. "Musical Instruments." In Nonlinearities and Synchronization in Musical Acoustics and Music Psychology, 157–284. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36098-5_7.
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Frohlich, David M. "Musical Photographs." In Fast Design, Slow Innovation, 41–69. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21939-4_3.
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Tröger, Cornelia. "Das Musical." In Handbuch Filmgenre, 609–20. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-09017-3_31.
Testo completoAtti di convegni sul tema "Musical"
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Weizmann, Cláudio. "RESPONSABILIDADE MUSICAL." In 3º Fórum ABM de responsabilidade Social, 133–42. São Paulo: Editora Blucher, 2007. https://doi.org/10.5151/5463-5463-2009-14694-0016.
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Ungur, Marian. "New classical — a trend of the musical-cultural industry." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.21.
Testo completoAbstract (sommario):
The modern sound environment is characterized by stylistic diversity. The article discusses some aspects of the current musical phenomenon New Classical or New Classics which is deciphered as "accessible" classical music, reflecting a certain trend in the field of music consumption. The author approaches the phenomenon in question from a postmodernist perspective, considering it a manifestation of certain postmodern tendencies and, at the same time, a sign of the transformation of the modern music industry in the direction of bringing classical music closer to listeners — consumers of musical products. The activity of the Japanese musician Nobuo Uematsu and especially of the Welsh composer Karl Jenkins was chosen as a case study.
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Moshugi, Kgomotso. "A Musical History Through Vocal Expressions at the Abbey Cindi Cosmology Concert." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35900.
Testo completoAbstract (sommario):
This paper reports on a research project that culminated in a concert honoring South African musician and activist Bra Abbey Cindi. The project involved reissuing Cindi’s album, forming a band of young musicians to perform his music, and creating a vocal group called No Limits to reinterpret Cindi’s earlier South African choral works. The paper proposes the use of music to explore the past, present, and future, linking generations and addressing social issues. It discusses specific compositions, their lyrical and musical merits, and the process of arranging them for vocal performance. The paper also highlights the role of community engagement and the value of reimagining historical musical works.
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Poon Chong, Peter, and Terrence Lalla. "APPLYING FUZZY QFD MCDM TO EVALUATE MUSICAL INSTRUMENTS." In International Conference on Emerging Trends in Engineering & Technology (IConETech-2020). Faculty of Engineering, The University of the West Indies, St. Augustine, 2020. http://dx.doi.org/10.47412/bgmj4037.
Testo completoAbstract (sommario):
This paper exhibits a method to improve the quality of musical instruments with the application of two Multi-Criteria Decision Making models, Technique of Order Preference by Similarity to Ideal Solution (TOPSIS) and Analytic Hierarchy Process (AHP) in a Quality Function Deployment (QFD) Environment. A fuzzy analysis approach was also included to accommodate qualitative data in music. The QFD was constructed with literature based on optimizing the manufacture of musical instruments. At this phase of the research, the paper focused on the physical parameters and perceived qualities of musical instruments. The proposed modified QFD was developed to identify the product features chosen by the market and aid the manufacture of musical instruments. A standard QFD recognized and scored factors to develop and manufacture musical instruments. It accommodated some core engineering variables for the musical instruments but overlooked some feature stakeholder needs. For example, the musician may not have 100% gratification while playing the instrument as the manufacturer fails to capture acoustic features to psychologically satisfy the musician’s audience. Using fuzzy logic, QFD and MCDM increased the model performance by expanding the data set. It offered the manufacturer of musical instruments a mode to capture and analyse behavioural linguistic data covering more customer requirements. Hence, the approach increased the range to correlate the physical features and psychological behaviours of musical instruments. It allowed non-technical persons to provide an improved form of reliable information. This modified QFD can also be applied to develop other products involving linguistic data.
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Hincu, Ionela. "Musical-interpretative skills and their role in teacher music education training." In Condiții pedagogice de optimizare a învățării în post criză pandemică prin prisma dezvoltării gândirii științifice. "Ion Creanga" State Pedagogical University, 2021. http://dx.doi.org/10.46728/c.18-06-2021.p274-277.
Testo completoAbstract (sommario):
This article reflects the professional and moral values of the Music Education teacher: abilities, skills, aptitudes, organisational skills, and abilities, etc. that have a special place in the formation of pedagogical mastery. Performing activity reinforces the teacher’s authority as a propagandist musician of all that is best, transforming him or her into a genuine teacher of the 21st century. Thus, in the training of the Music Education teacher, the mutual relationship between the vocal, instrumental, vocal-instrumental performance and musical-theoretical knowledge is of great importance.
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Gonçalves, Luan, and Flávio Luiz Schiavoni. "The development of libmosaic-sound: a library for sound design and an extension for the Mosaicode Programming Environment." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10429.
Testo completoAbstract (sommario):
Music has been influenced by digital technology over the last few decades. With the computer, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications, several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Language (VPL) for audio applications in the Mosaicode programming environment, simplifying sound design and making the synthesis and manipulation of audio more accessible to digital artists. It is also presented the implementation of libmosaic-sound library for the specific domain of Music Computing, which supported the VPL development.
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Ghilas, Victor. "Musical Chisinau. History Pages (1812-1918)." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.01.
Testo completoAbstract (sommario):
The article subjects to observation some coordinates of Chisinau’s musical life over the course of about a hundred years after the annexation of Bessarabia to the Russian Empire. The sources that served as documentary support for achieving this goal are: historical, literary, and scientific writings, sketches, notes, travel memoirs of some people, passing through our lands, testimonies little known or more difficult to reach the reader. From the synthesis of the most eloquent data and information, inserted in the reference sources, we try to outline a general picture of music in the administrative center of Moldavia on the left bank of the Prut during the years 1812- 1918. The view, resulting from the reconstruction of the musical landscape in the researched urban environment, offers a rich palette of events. Following the chronology of the presence of music in society, we highlight its main forms of expression, including folk music, music of boyar salons (fashionable), religious music, military music, concert activities, musical-theatrical performances. Through the prism of the musical components recorded within the specified time interval, we identify different styles, influences, artistic tastes, as well as the share of music in the urban society. We also draw attention to the social functions that music fulfilled in the Chisinau cultural environment at that time. The undertaken radiography leads us to the finding that European music is beginning to gain more and more ground for assertion in the cultural life of Chisinau with a wider openness to Western civilization and the assimilation of new artistic forms of manifestation.
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Götte, Ulli. "Nik Bärtsch’s Special Fusion Approach to Minimal Music: Analysis of His Works and Aesthetic Evaluation." In Ninth International Conference on Music and Minimalism, 177–200. Institute of Musicology SASA, 2024. https://doi.org/10.46793/mininters.177g.
Testo completoAbstract (sommario):
The Swiss musician and composer Nik Bärtsch personifies a current form of musical minimalism similar to that developed by the Swiss saxophonist and composer Don Li in the 1990s. With his formation Ronin, with which he has been giving concerts worldwide since 2001, Bärtsch develops repetitive processes that are unthinkable without the model of minimal music; but he deliberately avoids this term so as not to evoke the continuation of a tradition on which one is resting, as it were. Bärtsch’s music, which he characteristically calls ‘Zen Funk’ or ‘Ritual Groove Music’, avoiding the term ‘minimal music’ revolves around the aesthetic and compositional values of reduction, repetition, pattern and module. Bärtsch focuses on the concept of reduction which he regards as a philosophically connoted guideline, which is very decidedly reflected in his music. Bärtsch’s music can also be described as a combination of complex rhythmic patterns. The fact that (the pianist) Bärtsch presents his music primarily in the band line-up: piano, electric bass, bass clarinet and drums, is to be understood less as a localisation in the genre of ‘popular’ music, but rather as an expression of an extremely collective way of playing. In this chapter, Bärtsch’s music will be presented analytically in order to substantiate the thesis that a specific further development of musical minimalism has been established here, especially in the aesthetic sense of repetition as a strategy for making musical depth perceptible.
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Costalonga, Leandro, Daniel Coura, Marcus Vinícius Das Neves, Fabiano Costa, and Helder Rocha. "NESCoM Research Report (2019)." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10437.
Testo completoAbstract (sommario):
The NESCoM is a multidisciplinary research center formed by musicians, engineers and computer scientists. The main research interest lies with sonology, audiotacticle musical analysis, ubiquitous music, interactive multimedia installations, and the design of computer music technology in general. Overall, the common ground for the NESCoM projects lies with the human-aspects, both cognitive and motor, behind a musical activity. This can come, for instance, in the shape of an audiotactile analysis of musical interaction applied to a new digital musical interface designed to overcome human physical constraints or the composition of a cinema soundtrack based on perceptual models of the audience. In this paper, it is reported a short description of the ongoing projects of the NESCoM and the future works.
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Araújo, João, Rogerio Constante, Flávio Luiz Schiavoni, and Octávio Deluchi. "Harmonia: a MuseScore's plugin to teach music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10447.
Testo completoAbstract (sommario):
Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.
Rapporti di organizzazioni sul tema "Musical"
1
Osorio, John. Noted: Musical affordances for collective exploratory music-making. Ames (Iowa): Iowa State University, January 2019. http://dx.doi.org/10.31274/cc-20240624-1067.
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Feller-Simmons, Paul G., and Cesar D. Favila. The Virgin Mary's Essence in New Spanish Song. Society for Seventeenth-Century Music, February 2025. https://doi.org/10.53610/bdlm1317.
Testo completoAbstract (sommario):
This edition features thirteen villancicos transcribed from the Sánchez Garza Collection held in Mexico City’s Centro Nacional de Investigación, Documentación e Información Musical Carlos Chávez (CENIDIM). Their publication provides ensembles music for performance that was originally notated for and performed by women, in this case the nuns of Puebla’s Santísima Trinidad convent. This convent was founded in the seventeenth century in colonial Mexico (New Spain) and left behind the largest collection of women’s notated music from New Spain. The novel organization of this edition, featuring villancicos for various Marian feasts, highlights the Virgin Mary’s life as an exciting narrative possibility for contemporary ensembles. In addition, because seventeenth- and eighteenth-century music from the Ibero-American world remains marginalized in US American early music performance circles, this edition heeds the global turn in music history deliberately to consider the musical legacies of the European imperial endeavor outside of Europe.
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Gentry, Jonathan. Memory and hypnotism in Wagner's musical discourse. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5544.
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Islam, Wajid, and Hafsa Hina. Electoral musical chairs makes a mockery of democracy. Edited by Reece Hooker. Monash University, February 2024. http://dx.doi.org/10.54377/3e57-0d1f.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
Testo completoAbstract (sommario):
We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Creswell, Megan. A Study Comparing Musical Abilities of Stutterers and Nonstutterers. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7123.
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Volta, Erica, and Nicola Di Stefano. Studying musical experience with wearable devices: a systematic review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, July 2024. http://dx.doi.org/10.37766/inplasy2024.7.0098.
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Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, October 2021. http://dx.doi.org/10.1553/oeai_ambh_3.
Testo completoAbstract (sommario):
Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.
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Abdulkhaliq, Zubeida S. Kakai Religion and the Place of Music and the Tanbur. Institute of Development Studies, January 2023. http://dx.doi.org/10.19088/creid.2023.001.
Testo completoAbstract (sommario):
This paper discusses the historical context and mythic framework of the Kakai religion. While some information regarding Kakai theological views and beliefs may be known to outsiders, many facets of their religious life, customs and traditions remain undisclosed. Much secrecy surrounds this religion, and non-believers are not encouraged to engage in or witness most Kakai rites. Geopolitical instability in the Kurdistan region also makes access difficult. Throughout this paper we will look at the relationship between Kakai beliefs and music (tanburo), and how the tanbur (a sacred lute) is not merely a musical instrument but is seen as a symbol of Kakai identity, with the music preserving language and legend.
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Banducci, Naomi. Teaching hearing-impaired children language through the use of musical rhythm. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1281.
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