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Artykuły w czasopismach na temat "Gruppo Amici della Musica"
Spitzer, Jaclyn B., Dean Mancuso i Min-Yu Cheng. "Development of a Clinical Test of Musical Perception: Appreciation of Music in Cochlear Implantees (AMICI)". Journal of the American Academy of Audiology 19, nr 01 (styczeń 2008): 056–81. http://dx.doi.org/10.3766/jaaa.19.1.6.
Pełny tekst źródłaLagattolla, Fulvia, Carla Costanzo, Francesca Romito, Francesco Giotta i Vittorio Mattioli. "Musica, canto ed espressione emozionale durante la chemioterapia. Fanno stare meglio?" PSICOLOGIA DELLA SALUTE, nr 3 (grudzień 2012): 115–25. http://dx.doi.org/10.3280/pds2012-003007.
Pełny tekst źródłaSchmitter, Philippe. "UNA BIOGRAFIA INTELLETTUALE E DI VITA DEL «MAESTRO-COMPOSITORE» JUAN J. LINZ". Italian Political Science Review/Rivista Italiana di Scienza Politica 33, nr 3 (grudzień 2003): 515–38. http://dx.doi.org/10.1017/s0048840200027441.
Pełny tekst źródłaVivo, Eleonora, Davide Mazzoni, Pamela Monteverdi i Elvira Cicognani. "Stili di assunzione e motivazioni all'uso di alcol in un gruppo di studenti universitari italiani. Uno studio qualitativo". PSICOLOGIA DELLA SALUTE, nr 1 (marzec 2012): 133–55. http://dx.doi.org/10.3280/pds2012-001008.
Pełny tekst źródłaMeneghini, Anna Maria, i Riccardo Sartori. "Il ruolo della tendenza empatica nel motivare il nonobligatory helping: una ricerca su un gruppo di volontari". PSICOLOGIA DI COMUNITA', nr 2 (marzec 2012): 95–106. http://dx.doi.org/10.3280/psc2011-002009.
Pełny tekst źródłaTomatis, Jacopo. "“This Is Our Music”: Italian Teen Pop Press and Genres in the 1960s". IASPM Journal 4, nr 2 (31.12.2014): 24–42. http://dx.doi.org/10.5429/ij.v4i2.674.
Pełny tekst źródłaSartori, Riccardo. "Le ragioni per non dirlo. Studio su 17 pazienti maschi adulti omosessuali non dichiarati della provincia di Verona". RIVISTA DI SESSUOLOGIA CLINICA, nr 2 (styczeń 2011): 19–34. http://dx.doi.org/10.3280/rsc2010-002002.
Pełny tekst źródłaBartoli, Gabriella. "Psicologia, arte, attività espressive". RICERCHE DI PSICOLOGIA, nr 2 (październik 2021): 203–15. http://dx.doi.org/10.3280/rip2021oa12607.
Pełny tekst źródłaForti, Dario, i Paola Scalari. "Cantieri. Un maestro con lo sguardo bambino. Generare l'inedito". EDUCAZIONE SENTIMENTALE, nr 34 (styczeń 2021): 123–35. http://dx.doi.org/10.3280/eds2020-034012.
Pełny tekst źródłaColombo, Maddalena. "Apprendimenti non formali ed informali in un contesto educativo formale integrato con le arti performative in quattro scuole elementari del Canton Ticino". Swiss Journal of Educational Research 36, nr 3 (20.09.2018): 407–34. http://dx.doi.org/10.24452/sjer.36.3.5105.
Pełny tekst źródłaRozprawy doktorskie na temat "Gruppo Amici della Musica"
TAMPLENIZZA, CECILIA. "DO CANTO AO GESTO, DO CORPO AO TEXTO: DIALOGOS COM O GRUPPO DE COPOEIRA ANGOLA PELOURINHO". Doctoral thesis, Università degli Studi di Milano-Bicocca, 2017. http://hdl.handle.net/10281/180895.
Pełny tekst źródłaQuesta tesi è il risultato di una ricerca etnografica condotta frequentando le attività del Grupo de Capoeira Angola Pelourinho - GCAP - a Salvador (Bahia/Brasile) e a Cremona (Italia). É una narrativa centrata in un’esperienza d’autore nomade, che è diventata l'occasione per indagare i processi culturali e artistici, così come le dinamiche politiche e sociali che l’operato di diversi attori, della fine del XIX secolo ad oggi, ha prodotto sulla capoeira, cambiando il suo status: da pratica criminalizzata (e sempre marginalizzata) a simbolo del Patrimonio Immateriale dell'Umanità. Critico nei confronti di questo progetto di istituzionalizzazione, il GCAP, orientato da Mestre Moraes, Pedro Moraes Trindade, sviluppa un progetto interessato a comprendere, nel contesto attuale, narrazioni orali e corporali, portando avanti principi e pratiche che contraddistinguono quest’arte nella loro complessità. Como trasmessa nel GCAP, la capoeira angola suggerisce un pensiero del intermezzo (in-between), stimolando la costante ricerca di altre verità, ancorato in un processo di apprendimento privo di punto finale. Per sottolineare questo aspetto, la narrazione della mia esperienza etnografica non ha affrontato solo gli aspetti visibili della capoeira - materializzazione che le persone con i loro corpi fanno della capoeira -, ma di come questa pratica stimola emozioni, interessi e conoscenze. La mia esperienza, in dialogo con gli altri membri del GCAP e le sue produzioni, ha fatto emergere anche l'esistenza di una tradizione poetica della Capoeira Angola, che ho chiamato poetica mandinga, sottolineando la sua ascendenza africana. É importante accentuare che, dal XX secolo, questa manifestazione poetica ha iniziato ad essere registrata, sviluppando una conseguente produzione discografica accessibile a persone provenienti da diverse parti del mondo.
CAVENAGO, MARCO. "ARTE SACRA IN ITALIA: LA SCUOLA BEATO ANGELICO DI MILANO (1921-1950)". Doctoral thesis, Università degli Studi di Milano, 2021. http://hdl.handle.net/2434/829725.
Pełny tekst źródłaIn October 1921, the Beato Angelico Higher School of Christian Art was born in Milan. Responsible for the initiative: Don Giuseppe Polvara, the architect Angelo Banfi, the painter Vanni Rossi, flanked by the sculptor Franco Lombardi, by the priests Adriano and Domenico Bernareggi, by the engineer Giovanni Dedè, by professor Giovanni Mamone and by the lawyer Carlo Antonio Vianello . There were nine pupils in the first school year, two of whom (the architects Don Giacomo Bettoli and Fortunato De Angeli) destined to remain in the School for many years as teachers: this also happened with the painter Ernesto Bergagna, who enrolled the following year. Starting from that event, the Italian context of sacred art was able to count on an element of indisputable novelty, destined within a few years to a rapid, widespread and stubborn affirmation in the Peninsula. The foundation of the Beato Angelico School put a stop to the age-old debate on the general decline of sacred art that had been staged for a long time in Italy as well as in major European countries. The formula conceived by Don Polvara put his personal, artistic and professional experiences into a system with the knowledge of the international context, some exemplary models and the comparison with groups and individual figures (artists, critics, men of the Church) animated by the common desire to contribute to the rebirth of sacred art. One hundred years after its birth - and seventy after the death of its founder - the Beato Angelico School (with the workshops of Architecture, Cesello, Embroidery, Painting and Restoration) still continues in the task of serving the Church through the creation of distinctive sacred furnishings and vestments. from a particular care of the artistic and liturgical aspect, object of repeated attestations of merit and acknowledgments in the ecclesiastical sphere. What is missing from the appeal so far is an organic attempt to reconstruct the historical events that marked the genesis and developments of this singular artistic and religious reality. The purpose of this thesis is therefore the return of a profile as detailed and reasoned as possible of the history of the Beato Angelico School, such as to bring this story back to the center of a historical situation and a complex cultural context, through an original work perspective conducted on thread of clarifications and rediscoveries. Given the "pioneering" nature of this research, the vastness of the materials and sources available and the consequent need to assign a recognizable chronological cut to the work, it was decided to limit the survey to the decades between 1921 and 1950, or between the foundation of Beato Angelico and the death of Giuseppe Polvara. As will be seen, the initial term is in a certain sense anticipated by the need to better outline the background and context from which the School originates (between the end of the 19th and the first decades of the 20th century). The year assumed at the end of the research, on the other hand, seemed an almost obligatory choice, coinciding with the first change in the direction of Beato Angelico as well as the desire to exclude from the discussion what started in the 1950s and 1960s, that is a new and different season in the field of sacred art (destined, among other things, to pass through the junction represented by the Second Vatican Council and by the action of St. Paul VI), which is however much investigated by historical-artistic studies. What made the drafting of this thesis possible is the fact that it relies, in large part, on unpublished archival materials or, at least, never examined before in a structured way. Access to the most historicized archive materials and their consultation (thanks to the availability shown by the direction of the Beato Angelico School) have decisively conditioned the discussion of the topics, the reconstruction of which, in some cases, is supported exclusively by documents found. The birth of the Beato Angelico School was not an isolated event in the panorama of European artistic production of the time nor an episode unrelated to what was being debated in the ecclesiastical world at the same time. The Polvara School was born in an era marked by great ecclesial ferment: think of the Ateliers d'Art Sacré founded by Maurice Denis and George Desvallières in Paris in 1919, only two years before the Milanese School, whose adherents - all lay people - they professed an intense and devoted religiosity. But, above all, the decisive and best known model by Polvara was the Beuron School (Beuroner Kunstschule), born in the homonymous German Benedictine abbey in the last quarter of the nineteenth century by father Desiderius Lenz and on whose example workshops specialized in the production of sacred art (furnishings and vestments for liturgical use) in many Benedictine communities in central Europe. Polvara's affinity with Benedictine spirituality is a key element of the School he founded: in fact, the (analogous) concept of "represented prayer" (orando labora) derived from the rule of the ora et labora. The very organization of the School, set up as in an ideal medieval workshop where teachers, apprentices and pupils collaborate and coexist, takes up the monastic lifestyle of the Benedictine monasteries. Precisely in order to preserve the character of the medieval workshop as much as possible, the number of students admitted to the School was never too high, so as to maintain an adequate and effective numerical ratio between disciples and masters. Again, from Beuron Fra Angelico drew the particular and unmistakable graphic form of the letter "e", recognizable in the numerous and long epigraphs present in many of his works. The last element in common between the Milanese and the German schools - but which can be attributed to the more general fascination for the medieval era - is the unity of purpose that must animate all the workers involved in creating a collective and anonymous work ad maiorem. Dei gloriam, where the contribution of the single author remains deliberately hidden in favor of the name of the School. What still differentiates the School from similar centers of production of sacred art is the fact that it rests its foundations on a religious congregation, the Beato Angelico Family, an idea long cultivated by Polvara and officially approved by the diocesan authority between the thirties and forties. From the common vocation to sacred artistic creation (the artist's "priestly mission") descend the practice of community life, the participation in the sacraments and the various daily moments of prayer by master priests, brothers and sisters artists, apprentices, pupils and pupils . The spiritual direction traced by the founder for his family still acts today as a guarantee of a strenuous fidelity in the continuity of a unique artistic and liturgical project, put into practice by a community of men and women linked together by the canonical vows of poverty, chastity. and obedience but above all from a common and higher intent. Precisely to ensure a prospect of survival and future development of his creature, Polvara always had a clear need to keep the training aspect (and therefore the teaching for students, adolescents and young people) united with that of production (due to the work of collaboration between teachers, apprentices and students). From an operational point of view, the artistic disciplines, practiced in the various laboratories in which the School is divided, contribute, without any exception and in the aforementioned anonymous and collective form, to create an organic and unitary artistic product, a "total work of art" which must respond to the address given by the master architect (Polvara himself), to whom devotion, respect and obedience are due. The architectural design is therefore assigned great importance and this means that the best representative works of the Beato Angelico School are those sacred buildings entirely made with the intervention of its laboratories for all or almost all the decorations, furnishings, furnishings and Milanese churches of S. Maria Beltrade, S. Vito al Giambellino, S. MM. Nabore and Felice, or the church of S. Eusebio in Agrate Brianza and the chapel of the religious institute of the daughters of S. Eusebio in Vercelli). As for the expressive languages used by the School (the so-called "style"), the preference for modern architectural rationalism is highlighted - a topic of stringent topicality, to which Polvara did not fail to give his personal theoretical and practical contribution - and that for Divisionism in painting, indebted to the ancient admiration for the work of Gaetano Previati. The interaction of these two forms gives rise to a recognizable language, modern and spiritual at the same time, verifiable in the buildings as in the individual works, the result of a profound sensitivity that combines the thoughtful recovery of some forms of the past (for example early Christian iconography reused in the decorative motifs of the vestments or in the shape of some artifacts, from the chalice to the tabernacle, to the chasuble-chasuble) with the impetus for a modern and functional style appropriate to the times but respectful of tradition.
VALENTE, LAURA. "GREGORIO NAZIANZENO Eij" ejpiskovpou" [carm. II,1,13. II,1,10] Introduzione, testo critico, commento e appendici". Doctoral thesis, 2018. http://hdl.handle.net/11393/251619.
Pełny tekst źródłaKsiążki na temat "Gruppo Amici della Musica"
Mainardi, Matteo. Achille Cattaneo e i concerti nella Varese fascista: " ... e così si scrive la storia". Varese (Italy): Zecchini editore, 2015.
Znajdź pełny tekst źródłaAlbani, Emiliano. Musica ad litteras: Lettermusica. Arquata del Tronto, [Ascoli Piceno]: Museo d'arte immanente, 1998.
Znajdź pełny tekst źródłaMüller, Johannes U. L' Associazione "Amici della musica" e l'origine delle istituzioni musicali fiorentine. [Fiesole?]: Cadmo, 2003.
Znajdź pełny tekst źródłaIsotta, Paolo. La virtù dell'elefante: La musica, i libri, gli amici e San Gennaro. Venezia: Marsilio, 2014.
Znajdź pełny tekst źródłaBertoglio, Chiara. Voi suonate, amici cari: La musica di Mozart fra palcoscenico e tastiera. Torino: M. Valerio, 2005.
Znajdź pełny tekst źródłaHeine, E. W. Chi ha ucciso Mozart?: Chi a decapitato Haydn? Delitti per amici della musica. Roma-Napoli: Edizioni Theoria, 1989.
Znajdź pełny tekst źródłaDessì, Giuseppe, i Mario Pinna. Tre amici tra la Sardegna e Ferrara. Redaktor Costanza Chimirri. Florence: Firenze University Press, 2013. http://dx.doi.org/10.36253/978-88-6655-478-3.
Pełny tekst źródłaPequeno, Guè, red. La legge del cane. Wyd. 2. Torino: Add, 2010.
Znajdź pełny tekst źródłaRupi, Jolanda. Sfogliando, sfogliando--: I programmi del Concorso polifonico nazionale e internazionale Guido d'Arezzo. Cortona (Arezzo): Calosci, 1997.
Znajdź pełny tekst źródłaInchingolo, Ruggiero. Luigi Stifani e la pizzica tarantata: Studi sugli strumenti musicali, sulla musica numerica e sulle musiche eseguite dal gruppo di Luigi Stifani durante le cure rituali del morso della mitica taranta. Nardò (Lecce): Besa, 2003.
Znajdź pełny tekst źródłaCzęści książek na temat "Gruppo Amici della Musica"
Forgetta, Emanuela. "2 • Natalia Ginzburg". W La città e la casa Spazi urbani e domestici in Maria Aurèlia Capmany, Natalia Ginzburg, Elsa Morante e Mercè Rodoreda. Venice: Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-586-5/003.
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