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Observing music as a form of communication within the creative industries we notice that it connects with other fields, especially non-musical ones. The role of modern popular music in this work is twofold: on the one hand, as a branch of cultural diplomacy and, on the other, as a form of economic progress within creative industries. The objective of this work is to show the synthesis of elements of these two roles of music from the perspective of popular modern music in Spain. The qualitative approach includes the musical examples of Rosalía, a singer who in her art shows an exceptional ability to combine elements of the flamenco tradition with modern musical expression. The ways in which the singer communicates with her audience are carried out on three levels: visual, auditory, and musical and this work represents an investigation of the cultural references that she uses.
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The exploration of traditional architecture reveals its capacity to convey the values and cultural identity of communities, far exceeding its initial role of providing shelter. This approach highlights the need to create buildings - in addition to being useful - integrated with their environment, cultural context, history, and traditions. This ensures the creation of future spaces that are meaningful, high-quality, and above all, sustainable.
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This paper aims to identify and summarise the challenges of preserving the outputs of design universities in institutional repositories (IRs) and share the developments and lessons learned from similar fields’ successful projects. For traditional academic disciplines, metadata models and standards are well-developed for publication and preservation practices. Research in this area is presently underrepresented in academia; furthermore, the collections tend to be scattered or hidden. In the last fifteen years, preserving works in repositories has become one of the central issues in design institutions. This study examines the problems and other collections' responses to these challenges — observations which can be utilised in the field of design where it is difficult to make visible and present the values created in design.
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In this paper, I shall explore the relationship between predictive text2image technology and art. To do this, I shall navigate the discursive landscape that facilitates the consideration of this cultural phenomenon within a rational framework. This is necessary because public discourse is mostly dominated by unrealistic expectations resulting from identifying this technology as “Artificial Intelligence.” The theoretical frame is posthumanism, which affords us the necessary intellectual tools to scrutinise the genesis of what Manovich calls “predictive media.” Equipped with the appropriate terminology, I will explore the process of the creation of images with a special focus on prompt engineering and curation to showcase the collaborative effort of the artist and the application. Furthermore, I shall refer to the competitions (Sony, Főfotó) wherein this technology plays a consequential role, to traditional art forms that share some crucial features with this technology, and some concerns related to predictive media will be raised. Through this analysis, I argue that contrary to early responses, predictive media applications bear the hallmark of art, and their creators rightfully merit the designation of artists.
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This quartet was composed in 1946 and followed a Symphony censored by the Soviet authorities, Symphony no. 9. The first audition took place on December 16, 1946, in the Small Hall of the Moscow Conservatory, by the Beethoven Quartet, to whom the work was dedicated. The composition has been brutally denounced as a result of the horrors it portrays and also for the fact that it ends in an unclear, unusual way.
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In this study, we aim to decode and highlight one of the most important works in the study of the clarinet, Introduction, Theme, and Variations for Clarinet and Orchestra, by Gioachino Rossini. In this variation-type piece, G. Rossini optimally combines the problems of virtuosity that unfold over the entire range of the clarinet, with his usual cantability, of a perfect lyricism.With its ambitus, large intervals, and passages of virtuosity in various rhythmic formulas, the work falls into the category of great difficulty and represents a challenge for the soloist. Without being modest, if the piece is studied seriously, with the directions you will find in this study, the work can help clarinetists in their quest for perfection.
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The article explores some aspects of interdisciplinarity in the teaching of Music Education. Interdisciplinarity is the highest degree of integration of curriculum specific to artistic fields, often going to fusion. Merging is therefore the most complex and radical phase of integration. The interdisciplinary approach is inclined towards a complete “decomposition” of the study subjects involved. The merging of knowledge, specific to the various disciplines leads to the emergence of investigative fields, the development
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Through this study we aim to analyze the musical and dramaturgical aspects of Gaetano Donizetti's creation. Through this lyric work, representative of the romantic creation of Italian opera in the 19th century, we have a reference representation from a musicological perspective.
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IncluMusic is a project aimed at promoting the inclusion of students with special educational needs (SEN) and disadvantaged backgrounds in Higher Music Education. Starting from the analysis of the „state of the art” that shows a lack of specialised support and a poor practical implementation of inclusive policies for these students in most EU countries, the IncluMusic project envisages the creation of a pilot programme to train music teachers, administrative staff and tutors specialised in inclusive music education. The ultimate goal is to develop new approaches for the education of students with special educational needs in higher music education institutions and to create a community committed to inclusive teaching practices within the AFAM sector.
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The art of conducting presents various typologies and characteristics that belong to the structure and personality of each individual conductor - the foundation of defining artistic individuality. Opera creation forces us to pay more attention to the technical aspects of the individual study of the conducting-interpretive gesture, which must always be correlated and complemented by the dramaturgical and psychological course of the characters.
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The present paper reprezent an analysis of the characteristic features of naţional folklore that allow the cultivation of the musical feeling in students through the folkloric musical discourse wilthin the music education lessons. Through popular music, we offer the opportunitz tho reflect on sone earlz stages in the evolution of musical folklore. This fact can lead us to some important aspects regarding the origin of popular music, the discoverz of the charactristic features of the musical language. By cultivating musical frrlings in students during music education classes, we develop a favorable behavioral attitude towareds Romanian spirituality, expressed in its multiple historical valoues. On this value component, we take into account the human perceptive capacity, and the forms of musical manifestation. The students will be trained in music education classes, through the folkloric musical discourse, which will allow a direct development of the students personality in the national spirit.
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Didactic strategies combine all the elements of the educational process, being a way of combining and chronologically organizing the set of methods and means chosen to achieve certain didactic objectives. This way,, the didactic strategy is expressed in organic units of methods, procedures, educational means and ways of organizing/achieving the learning process, i.e. head-on, in groups and individually [Potolea, D. The teacher and the strategies of learning management. Bucharest: Academy Publishing House, 1989, p. 146]. From the given perspective, we would like to mention that the didactic strategy unifies, integrates and brings together learning tasks with learning situations, creating a complex and logical system structured by means, methods, materials and other educational resources aimed at achieving certain objectives, which constitute a extremely necessary aspect in any pedagogical action, which finds its central place in the educational process. This is due to the fact that the design and organization of a lesson takes place in close connection with the strategic decision of the teaching staff and, therefore, it is designed as a complex didactic scenario, in which the actors of the educational act - of teaching-learning are involved, the conditions in which it is carried out, the objectives and the proposed methods. This way, the strategy determines the most appropriate, logical and efficient methodical itinerary for approaching a concrete teaching-learning situation, avoiding some errors, risks and unwanted events that may appear in the activity of the teaching staff.
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This article elucidates the principles and methods of developing melodic intonation for teaching piano students in the music school setting. The training of the student-pianist in the music school will be focused not only on the formation and development of technical musical-interpretive skills, but also on the perception and penetration of the intonation and semantic content of the performed music.
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Part of the academic and musical world still blames the peripheral sociological role of “contemporary music” on the laziness of the audience. Yet, there is evidence to realise that the audience is not precisely the only entity to refer to in order to have an exhaustive view-point on the role of post-WW2 avant-garde on our musical horizon. In fact, what, in the last 60 years, most performers of the highest level have shown through their approach -or lack thereof- to new music, clearly reminds us of the necessity to scrutinise the reason of this stalemate from the joint perspective of two different and equally competent musical figures: performer and composer.
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The creation of the contrabass throughout the history of music and the evolution of musical instruments is quite limited. In the 20th century, the attention of composers was also towards this instrument, as evidenced by new and original creations.
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