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Artykuły w czasopismach na temat "Musica e Religione"
Lortat-Jacob, Bernard, i Daniele Sestili. "La voce degli dèi [la voix des dieux], Musica e religione nel rito giapponese del kagura". Cahiers de musiques traditionnelles 14 (2001): 328. http://dx.doi.org/10.2307/40240425.
Pełny tekst źródłaSarti, Tommaso. "Quel legame tra Islam e hip-hop: un urlo di rivalsa e di resistenza". MONDI MIGRANTI, nr 1 (maj 2024): 195–210. http://dx.doi.org/10.3280/mm2024-001011.
Pełny tekst źródłaGersh, Stephen. "The First Principles of Latin Neoplatonism: Augustine, Macrobius, Boethius". Vivarium 50, nr 2 (2012): 113–38. http://dx.doi.org/10.1163/15685349-12341236.
Pełny tekst źródłaBeck, Guy L. "Theology of Music and Hindu Religion: From Divine Origins to Classical Songs". Religions 12, nr 8 (19.08.2021): 663. http://dx.doi.org/10.3390/rel12080663.
Pełny tekst źródłaMacLachlan, Heather. "Introduction to Special Issue, Music in World Religions: A Response to Isabel Laack". Religions 12, nr 12 (25.11.2021): 1044. http://dx.doi.org/10.3390/rel12121044.
Pełny tekst źródłaPerigo, Jeremy. "Beyond Translated vs. Indigenous: Turkish Protestant Christian Hymnody as Global and Local Identity". Religions 12, nr 11 (20.10.2021): 905. http://dx.doi.org/10.3390/rel12110905.
Pełny tekst źródłaBaruah, Sudarshana. "Indian Devotional Music: Its Relation with the Religious Concept of People and Iconography". BL College Journal 4, nr 2 (1.12.2022): 129–34. http://dx.doi.org/10.62106/blc2022v4i2e5.
Pełny tekst źródłaDemmrich, Sarah. "Music as a trigger of religious experience: What role does culture play?" Psychology of Music 48, nr 1 (27.06.2018): 35–49. http://dx.doi.org/10.1177/0305735618779681.
Pełny tekst źródłaLe Roux, Frances Hendriëhetta, i Christof Sauer. "Integration of Spirituality, Music and Emotions in Health Care". Music and Medicine 8, nr 4 (26.10.2016): 162. http://dx.doi.org/10.47513/mmd.v8i4.424.
Pełny tekst źródłaAquila, Dominic A. "Music as a Liberal Art: The Poetry of the Universe". Religions 13, nr 9 (29.08.2022): 792. http://dx.doi.org/10.3390/rel13090792.
Pełny tekst źródłaRozprawy doktorskie na temat "Musica e Religione"
Mugenyi, Moses. "Fiascos Religion : -en studie om religionen i Lupe Fiascos Musik". Thesis, Uppsala universitet, Religionssociologi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260981.
Pełny tekst źródłaWalker, Seth. "Musical Spirituality: The Transformative Power of Popular Music". Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1050.
Pełny tekst źródłaBachelors
Arts and Humanities
Humanities
Engelhardt, Jeffers. "Religious and social change in Estonian musical life and music scholarship:". Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2008. https://ul.qucosa.de/id/qucosa%3A16014.
Pełny tekst źródłaDalzell, Victoria Marie. "Freedom, Margins and Music| Musical Discourses of Tharu Ethnicity in Nepal". Thesis, University of California, Riverside, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3731835.
Pełny tekst źródłaThe Tharu are reportedly the fourth largest minority group in Nepal. Yet despite their numerical strength, their social experience in modern Nepal largely consists of marginalization. A culturally and linguistically diverse people indigenous to the flat, southern Terai region of Nepal, the Tharu have claimed an ethnic group identity in the past sixty years in light of their shared geographic location and state exploitation, as well as the rise of ethnic politics in Nepal. I examine how performance practices and musical experiences are central to the Tharu’s group identity formation. First, I examine how the Tharu combat their social exploitation largely through musical means. I focus on the role of sociomusical practices in community ritual, its transformation through folkloricization, and extension as tools for activism. The cultural significance of these practices shift as the Tharu come into contact not only with Nepal’s changing political, social and economic scenes, but also paradigms of global indigenism and human rights. However, even as a marginalized people, the Tharu have their own internal politics. Second, I examine how musical practices are locations for productive friction within Tharu communities. Musical performances constitute intense community negotiation and contestation concerning Tharu womanhood and religious identity, and are places where the Tharu produce situated knowledge about development and modernity. While not ignoring political, historical, and global frameworks, my focus on sociomusical practices brings attention to how an ethnic identity is generated and embodied on a local level.
Massol, James. "Reading religion a music and text approach to religious Themes tn Tosca and Suor Angelica /". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1196129960.
Pełny tekst źródłaAdvisor: Mary Sue Morrow. Title from electronic thesis title page (viewed Feb. 8, 2008). Includes abstract. Keywords: Puccini; Opera; Religion; Tosca; Suor Angelica. Includes bibliographical references.
Wickham, Anna. "That Old Time Religion: The Influence of West and Central African Religious Culture on the Music of the Azusa Street Revival". Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/323242.
Pełny tekst źródłaNovo, José Alessandro Dantas Dias. "Educação musical do espaço religioso: um estudo sobre a formação musical na Primeira Igreja Presbiteriana de João Pessoa – Paraíba". Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8422.
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This study deals with a master's research in the music education area in the subject field of music education and religion. The overall objective of the research is to understand the ways in which the musical training of the individuals surveyed is concretized at the First Presbyterian Church of João Pessoa - Paraiba. The chosen method was the case study in a qualitative approach, using as techniques for the collection of data: document sources, interviews and observations. The research has as theoretical basis the conception of musical practices as social practices supported in the music sociology (KRAMER, 2000; SOUZA, 2000, 2014, etc). The Church, locus of this investigation, has four musical groups: the Youth Choir, Camerata, the Coral Society and Band. From a total of eighty-one participants in these groups, twelve people were interviewed . The results reveal that the songs practices that take place in the Church offer different possibilities and strategies of musical learning, which are established starting from the relationship between the group members. It is a musical learning that is intertwined with the other spaces, such as family, school, friends, Internet and media. Regarding the value assigned to the musical experience, in the interviewees reports three points emerged : strengthening of interpersonal relations among group participants; consider that musical practices contribute to a rapprochement with the divine; the pleasure of communicating with yourself and with one another through music.
O presente estudo versa sobre uma pesquisa de mestrado na área de educação musical no campo temático da educação musical e religiosidade. O objetivo geral da pesquisa consiste em compreender as formas pelas quais a formação musical dos sujeitos pesquisados se concretiza na Primeira Igreja Presbiteriana de João Pessoa - Paraíba. O método escolhido foi o estudo de caso em uma abordagem qualitativa, utilizando como técnicas para o levantamento dos dados: fonte documental, entrevistas e observações. A pesquisa tem como fundamentação teórica a concepção de práticas musicais como práticas sociais apoiadas na sociologia da música (KRAMER, 2000; SOUZA, 2000, 2014, entre outros). A Igreja, locus dessa investigação, tem quatro grupos musicais: o Coral Jovem, a Camerata, a Sociedade Coral e a Banda. De um total de oitenta e um participantes desses grupos, foram entrevistados doze pessoas. Os resultados revelam que as práticas musicas que acontecem na Igreja oferecem diferentes possibilidades e estratégias de aprendizagens musicais, que se estabelecem a partir das relações entre os integrantes dos grupos. É uma aprendizagem musical que está imbricada com os outros espaços, como a família, escola, amigos, Internet e as mídias. Em relação ao valor atribuído à experiência musical, nos relatos dos sujeitos entrevistados emergiram três pontos: fortalecimento das relações interpessoais entre os participantes dos grupos; considerar que as práticas musicais contribuem para uma aproximação com o divino; o prazer de se comunicar consigo e com o outro através da música.
Vasconcelos, Jorge Luiz Ribeiro de. "Axé, orixá, xirê e música = estudo da música e performance no candomblé queto na Baixada Santista". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284924.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Através deste estudo pretendo trazer à discussão alguns elementos da relação entre música e ritual no candomblé queto. Tal estudo foi centrado na manifestação desta religião em casas de culto da Baixada Santista, principalmente no Ilé Asè Alaketú Omo Oyá Asè Osun, localizado na cidade de São Vicente. O enfoque na relação citada foi principalmente efetuado na maneira como ela se apresenta nas festas públicas desta religião afro-brasileira, cuja teologia se baseia nos conceitos de orixá - suas divindades; e de axé - seu fundamento principal, princípio dinâmico que estrutura a religião. Para tanto, uma das bases teóricas é a etnomusicologia e, desdobrando as relações entre antropologia e etnografia com o enfoque musicológico, propõe-se que esta base se articule com a antropologia interpretativista de Clifford Geertz, encaminhando-se para uma etnomusicologia interpretativista em que a base é a transcrição densa. Além disso, busca-se suporte na antropologia da performance para estudar estas manifestações culturais em que ritual, expressões sonoras e musicais articulam-se com narrativas míticas, gerando vívidas exteriorizações de conteúdos cujos significados são vividos religiosamente pelos devotos. Com base nestes aportes pode-se concluir que os sons são utilizados no candomblé queto como um conjunto de elementos significativos que se articulam em discurso no fluxo da performance, incorporando sonoridades múltiplas de forma integrada à totalidade ritual e mítica. Dessa maneira, busco contribuir para demonstração da existência de uma linguagem de sonoridades, através da descrição de algumas formas em que ela se efetua em discurso ritual, com base na proposta de Cardoso (2006) de estudar a música ritual como linguagem
Abstract: By means of this study, I intent to bring to discussion some elements found in the interaction between music and ritual in the afro-Brazilian religion called candomblé queto. The study was carried focusing forms of such religiosity in cult places in the region of São Paulo state called Baixada Santista, mainly in the religious house Ilè Asè Alaketú Omo Oyá Asè Osun, in the city of São Vicente. The approach to the relations of music and religiosity was mainly carried on the way they appear in the public ceremonies of a long cycle of "parties" that make part of the religion, whose theology is based on the concepts of "orixá" - their deities - and of "axé" - the fundamental and dynamic principle that structures the religion. For this, one of the basic theoretical lines is ethnomusicology. Unfolding the relation between Anthropology and Ethnography with the musicological approach, we propose an articulation of this basis with Clifford Geertz Interpretative Anthropology in such a way we go for an Interpretative Ethnomusicology, whose basis is the thick transcription. One more support to study these cultural manifestations was found in the Anthropology of Performance, for their traces in which ritual, sound and musical expressions are articulated with mythical narratives, showing vivid contents whose meanings are lived religiously by the believers, called "povo-de-santo". Based on these approaches we can conclude that sounds are used in the candomblé queto as a set of meaning elements that articulate themselves in the flow of discourse during performances, embodying multiple sonorities in an integrated way to the ritual and mythic totality. This is an attempt to contribute for the demonstration of the existence of an articulate language of multiple sounds in that form of religion, by the description of forms of realizations of a "musical grammar" in ritual discourse, based on the proposals of Cardoso (2006) when studding ritual music as a language
Doutorado
Doutor em Música
McCabe, Juhnke Austin. "Music and the Mennonite Ethnic Imagination". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523973344572562.
Pełny tekst źródłaWise, Raymond. "Defining African American gospel music by tracing its historical and musical development from 1900 to 2000". Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243519734.
Pełny tekst źródłaKsiążki na temat "Musica e Religione"
Venturelli, Domenico. Nobiltà e sofferenza: Musica, religione, filosofia in F. Nietzsche. Genova: Il melangolo, 2006.
Znajdź pełny tekst źródłaFossi, Giordano. La psicoanalisi applicata: Arte, letteratura, musica, cinema, storia e religione. Torino: UTET, 1994.
Znajdź pełny tekst źródłaSatragni, Giangiorgio. Il Parsifal di Wagner: Testo, musica, teologia. Torino: EDT, 2017.
Znajdź pełny tekst źródłaPirner, Manfred L. Musik und Religion in der Schule: Historisch-systematische Studien in religions- und musikpädagogischer Perspektive. Göttingen: Vandenhoeck & Rup., 1999.
Znajdź pełny tekst źródłaGarrett, Greg. U2 We get to carry each other: The Gospel according to U2. Louisville, KY: Westminster John Knox Press, 2009.
Znajdź pełny tekst źródłaPiro, Pietro. Le prime luci dell'alba: Materiali di storia delle religioni. Palermo (PA) Sicilia: Navarra Editore, 2009.
Znajdź pełny tekst źródłaSchroeter-Wittke, Harald. Musik in Religion - Religion in Musik. Jena: Garamond, 2013.
Znajdź pełny tekst źródłaBody, Jack. Sex, politics, religion- and music. Palmerston North, New Zealand: Massey University Music, 1999.
Znajdź pełny tekst źródłaLara, Jaime. Colloquium: Music, worship, arts. New Haven, CT: Yale Institute of Sacred Music, 2007.
Znajdź pełny tekst źródłaSpinks, Bryan D. Colloquium: Music, worship, arts. New Haven, CT: Yale Institute of Sacred Music, 2005.
Znajdź pełny tekst źródłaCzęści książek na temat "Musica e Religione"
Puri, Bindu. "Religion and Religions: Making Space for Modesty and Music". W Re-thinking Religious Pluralism, 171–77. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-9540-0_15.
Pełny tekst źródłaTheorell, Töres. "Music in Religion". W SpringerBriefs in Psychology, 29–32. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8920-2_4.
Pełny tekst źródłade Rosen, Laurence. "Music and Religion". W Encyclopedia of Psychology and Religion, 1537–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_447.
Pełny tekst źródłaRosen, Laurence. "Music and Religion". W Encyclopedia of Psychology and Religion, 1156–60. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_447.
Pełny tekst źródłaPettis, Jeffrey B., Mark Popovsky, Annette Peterson, Lee W. Bailey, Fredrica R. Halligan, Daniel J. Gaztambide, Regina A. Fredrickson i in. "Music and Religion". W Encyclopedia of Psychology and Religion, 588–91. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_447.
Pełny tekst źródłaBeck, Guy L. "Music". W Hinduism and Tribal Religions, 1009–19. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_1419.
Pełny tekst źródłaBrown, David, i Gavin Hopps. "Spilt Religion". W The Extravagance of Music, 229–95. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91818-1_6.
Pełny tekst źródłaBowles, Meg. "Music Thanatology". W Encyclopedia of Psychology and Religion, 1541–42. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_819.
Pełny tekst źródłaBowles, Meg. "Music Thanatology". W Encyclopedia of Psychology and Religion, 1160–62. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_819.
Pełny tekst źródłaPettis, Jeffrey B., Mark Popovsky, Annette Peterson, Lee W. Bailey, Fredrica R. Halligan, Daniel J. Gaztambide, Regina A. Fredrickson i in. "Music Thanatology". W Encyclopedia of Psychology and Religion, 591–93. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_819.
Pełny tekst źródłaStreszczenia konferencji na temat "Musica e Religione"
Ghilas, Victor. "Musical Chisinau. History Pages (1812-1918)". W 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.
Pełny tekst źródłaBlount, PJ, i Jake X. Fussell. "Musical Counter Narratives: Space, Skepticism, and Religion in American Music". W 52nd Aerospace Sciences Meeting. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2014. http://dx.doi.org/10.2514/6.2014-0670.
Pełny tekst źródłaBarber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung". W 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/10.25366/2020.47.
Pełny tekst źródłaNarynskaia, Anna Antonovna. "Non-traditional religious organizations in the modern society of the Republic of Korea". W All-Russian Scientific Conference. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99342.
Pełny tekst źródłaMirea, Ruxandra. "Marks of Music Reception through Moral Dimension". W Religion & Society: Agreements & Controversies. EDIS - Publishing Institution of the University of Zilina, Slovak Republic, 2016. http://dx.doi.org/10.18638/dialogo.2016.3.1.2.
Pełny tekst źródłaMirea, Ruxandra. "Rediscovering Musical Bessarabia, in the Lexicon of Musicologist Mariana Popescu". W Religion & Society: Agreements & Controversies. EDIS - Publishing Institution of the University of Zilina, Slovak Republic, 2016. http://dx.doi.org/10.18638/dialogo.2016.3.1.8.
Pełny tekst źródłaAgafita, Mihail. "Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.
Pełny tekst źródłaHaiawi, Maryam. "Das Oratorium im Spannungsfeld der Konfessionen: Zum interkonfessionellen Austausch von Oratorien im 18. Jahrhundert". W 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/10.25366/2020.55.
Pełny tekst źródłaCarvalho, Fabio, Flávio Luiz Schiavoni i João Araújo. "Per(sino)ficação". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10456.
Pełny tekst źródłaGalaicu, Violina. "Byzantine religious chanting between oral and written tradition". W Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.15.
Pełny tekst źródłaRaporty organizacyjne na temat "Musica e Religione"
Abdulkhaliq, Zubeida S. Kakai Religion and the Place of Music and the Tanbur. Institute of Development Studies, styczeń 2023. http://dx.doi.org/10.19088/creid.2023.001.
Pełny tekst źródłaPedro, Mombiedro Sandoval. ATLAS. De musica spirituali. Ediciones de la Universidad de Castilla-La Mancha, grudzień 2021. http://dx.doi.org/10.18239/caleidoscopio_2021.18.01.
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