O terceiro volume da edição comemorativa dos XX anos de implantação do PPG em Música do IA-UNESP contempla, além dos textos de discentes e docentes, artigos de egressos que nos últimos cinco anos têm

"O II volume da coletânea do Programa de Pós-Graduação em Música do IA-UNESP, comemorando os XX anos de implantação do Programa, além de trazer textos de discentes contempla artigos produzidos pelos

Esta coletânea contempla os textos de egressos e discentes do Programa de Pós-Graduação em Música do IA-UNESP indicados pelos docentes, em comemoração aos XX anos de implantação do Programa. Os arti

In "Why We Love Music," Carl E. Seashore presents a compelling exploration of the multifaceted relationship between humans and music. Drawing on an array of disciplines, including psychology, anthropology, and musicology, Seashore articulates how music serves as a unique mode of expression that transcends cultural boundaries and personal experiences. His prose is both accessible and richly informative, blending scientific insight with lyrical reflection, thus situating the book within the flourishing field of music psychology and cultural studies. By delving into the emotional, cognitive, and social dimensions of music, Seashore invites readers to appreciate music not merely as an art form but as a fundamental aspect of human existence. Carl E. Seashore, a prominent psychologist and one of the pioneering figures in the study of music perception, draws upon his extensive background in experimental psychology to elucidate why individuals are captivated by music. His academic journey, which melds rigorous scientific methodology with a passion for the arts, informs his analysis and enhances his credibility as an author. Seashores personal love for music further enriches his writing, granting readers insight into his worldview and the importance of music in fostering emotional resilience and social connection. "Why We Love Music" is an essential read for anyone eager to understand the profound impact of music in shaping human emotions and cultures. Both scholars and general readers will find value in Seashores thoughtful integration of theory and personal narrative, making it a landmark work that encourages reflection on the universal resonance of music in our lives.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

In "Whistling as an Art," Agnes Woodward delves into the intricate craft of whistling, elevating it from a mere pastime to a respected form of artistic expression. Drawing upon a rich tapestry of historical references and personal anecdotes, Woodward explores various techniques, styles, and cultural significances of whistling across different societies. The literary style is characterized by its lyrical prose and vibrant imagery, immersing readers in the sounds and rhythms of this often-overlooked art form, while its context situates whistling within broader discussions of music and performance in contemporary society. Agnes Woodward, a passionate musician and cultural historian, has dedicated her career to exploring the intersections of sound and society. Her extensive research into folk traditions and the anthropology of sound has provided her with unique insights into the nuances of auditory expression. Woodwards personal journey with whistlingstemming from her childhood experiences and evolving through her formal musical traininghas instilled in her a profound respect for this simple yet complex form of vocalization, which she now shares with readers through her work. For anyone intrigued by the subtleties of music, performance, or the overlooked corners of cultural expression, "Whistling as an Art" is a must-read. Woodwards engaging exploration not only informs but also inspires readers to appreciate the beauty and skill inherent in whistling, encouraging a reevaluation of its place in the pantheon of artistic endeavors.

In "Whistling as an Art," Agnes Woodward meticulously explores the intricate relationship between whistling and musical expression, illuminating its historical and cultural significance. Through a compelling blend of narrative and analysis, Woodward delves into various whistling techniques, from folk traditions to contemporary interpretations, employing rich descriptions and a lyrical style that captivates the readers imagination. The book situates whistling within broader artistic trends, engaging with themes of identity, innovation, and the evolving nature of music, facilitating a deeper understanding of this often-overlooked vocal art form. Agnes Woodward, a prominent ethnomusicologist and musician, draws upon her extensive background in folk music and acoustic traditions to inform her writing. Her travels across diverse cultures have allowed her to gather firsthand experiences of whistling in various contexts, inspiring her to write this comprehensive treatise. Woodwards academic rigor, combined with her personal passion for the art, infuses the book with authenticity and depth, inviting readers to appreciate whistling beyond its surface charm. "Whistling as an Art" is an essential read for musicians, cultural enthusiasts, and lay readers alike. Woodwards engaging prose not only educates but also invites a newfound appreciation for whistling as a legitimate form of artistic expression, making the book a valuable addition to both personal libraries and cultural studies curricula.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- An Author Biography reveals milestones in the authors life, illuminating the personal insights behind the text.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

Seit wann gibt es Musikwissenschaft als akademische Disziplin in Landern wie Italien, Schweden, Chile oder Sudkorea? Welche Fachkonzeptionen wurden dort jeweils zugrunde gelegt? Welche nationalen oder gesellschaftspolitischen Motivationen waren dabei ausschlaggebend?In 12 Beitragen arbeiten internationale Forscherinnen und Forscher erstmals vergleichend die Etablierung der Musikwissenschaft in zahlreichen Landern Europas, Amerikas und Asiens vom ausgehenden 19. Jahrhundert bis in die jungere Vergangenheit auf.Personelle, institutionelle und inhaltlich-methodische Aspekte kommen dabei ebenso zur Sprache wie die Frage, welche Bedeutung das Fach fur national(istisch)e und kulturpolitische Diskurse hatte. Die Beitrage sind auf deutsch bzw. englisch verfasst und haben jeweils ein Abstract in beiden Sprachen.

Un apasionante ensayo sobre la influencia de Wagner, en ocasiones luminosa, otras veces nefasta, en la literatura, las artes, el cine, la vida intelectual y la política.Para bien o para mal, Wagner es la figura mas influyente en la historia de la musica. Creaciones tan colosales como El anillo del Nibelungo, Tristan e Isolda y Parsifal sirvieron en el arte como modelos de obras osadas en la forma, como ejemplos en la creacion de mitos, la libertad erotica y especulacion mistica. En Wagnerismo, Alex Ross restaura la magnifica confusion de lo que significa ser wagneriano: un pandemonio de genios, locos y profetas que luchan por el legado multifacetico del compositor, y convierte la experiencia de lectura en un constante descubrimiento a traves de esas figuras, de Nietzsche, Van Gogh, Dali y Buñuel a Baudelaire, Virginia Woolf o Proust.En muchos sentidos, Wagnerismo cuenta una historia tragica. Un artista que podria haber rivalizado con Shakespeare en alcance universal se ve arruinado por una ideologia de odio. Aun asi, su sombra perdura sobre la cultura del siglo XXI y sus motivos miticos recorren peliculas de superheroes y fantasia. Ni una apologia ni una condena, Wagnerismo es una obra de apasionante descubrimiento, que nos ofrece una idea mas honesta de como actua el arte en el mundo.

Sé que no inventamos el sonido en el encuentro, porque existe de siempre. Lo que hicimos fue adquirir la franquicia, hacernos con su magia para maximizarlo hacia un universo irreconocible. Con modestia añadire que tuvimos superavit en todos los frentes. Si la vida no es creativa, entonces... ¿que es? Si ella carece de sonoridad, la existencia se viste de dama esquizofrenica, con cara enmascarada y finaliza en el desague... ¿Cuantos corazones se enamoran cuando no resuenan las partituras de la vida? ¿Como transcurre una jornada cuando no oimos, definitivamente, ningun canto de sirena?

This volume deals with a generation of composers that has often been overshadowed by previous music historiography: the generation between the Viennese classics and the Romantics born around 1810. To this day, piano music of the stile brillante is sometimes regarded as superficially displaying virtuosity, but musically uninspired. However, the achievements of the pianistes compositeurs and compositeurs pianistes such as Carl Czerny (17911857), Friedrich Kalkbrenner (17841849), and Henri Herz (18031888) not only pertained to influencing the next generation, including such famous musicians as Fryderyk Chopin (18101849) and Franz Liszt (18111886), but also they can be measured in their very own musical efforts. On this topic the volume provides an overview of the current state of international research in a multi-layered and wide-ranging manner. Both musicological and music-analytical contributions attempt to give a compositional uvre, in many cases of very high quality and in some cases only recently rediscovered, a deservedly more central place in the specialist discourse.

Este libro se plantea como un viaje para visitar distintas evoluciones que ha tenido la forma de crear, interpretar y escuchar música en Occidente, en especial, cuando el acento creativo se ha puesto en la relacion de la escucha con el espacio.Para la revision teorica de estos temas, la autora toma como punto de partida los aportes de Aaron Copland y Theodor W. Adorno en torno a la "escucha experta", en discusion con las nuevas nociones de una fenomenologia de la audicion de Peter Sloterdijk y Jean-Luc Nancy.

Traducción de Nicolás Lamuralgia. Bas define, ejemplifica y desarrolla todas las grandes formas musicales de uso y aplicación desde la tipificación musical para su estudio académico. Un compendio completo de uno de los ejes del entendimiento y apreciacion musical. La morfologia musical. Con aplicacion en las estructuras de composicion de los siglos XVII a Siglo XX y su revision en cada una de las formas expuestas. Desde el canto llano y la monofonia hasta las obras de gran envergadura, Misas, operas, y obras de concierto.Contenidos: Principios generales del ritmo, ritmo y compas, formacion de los motivos, Periodo musical, El ritmo en la polifonia, Coeficientes del ritmo, El periodo musical, Forma de cancion o de himno de estrofas iguales, piezas liturgicas en general y la misa, Forma binaria o ternaria de cancion o de himno, La suite, El preludio y sus afines, Variaciones, Minue de tipo ternario y sus afines, Recitativo, Arioso, Aria, Nociones sobre la forma del Melodrama, El Rondo en sus acepcion propia y en las diversas composiciones sinfonicas Afines, Forma de la Sonata, Rondo-Sonata, El conjunto de la sonata, Obertura Concierto Fantasia - Poema sinfonico.

Indagar en la isla de Granada y otras más del archipiélago que conforma esa nación en la década de 1980, fue el inicio de una investigación realizada por un grupo de especialistas del Cidmuc. Sus frutos, recogidos en este libro, reflejan la riqueza y diversidad de las expresiones musicales en esa isla asi como en Carriacou y Petite Martinique. La autora no solo describe algunos de los generos tipicos de la region sino que los enriquece con ejemplos grabados in situ y la transcripcion musical de los mismos, material inedito hasta el momento atesorado en el Archivo Patrimonial del Cidmuc. Una valiosa seleccion fotografica complementa la informacion, para que el lector pueda disponer en toda su magnitud del acervo objeto de la investigacion.

Tonality Since 1950 documents the debate of one of the most basic technical and artistic resources of music in the later 20th century. The flourishing of tonality a return to key, pitch center, and consonance in recent decades has undermined the common belief of its disintegration or collapse ca. 1910, intensifying the discussion of musics acoustical-theoretical bases, and of its broader cultural and metaphysical meanings. While historians of 20th-century music have often marginalized tonal practices, the present volume offers a new perspective on emergent historical continuities. Musicians as diverse as Hindemith, the Beatles, Reich, and Saariaho have approached tonality from many different angles: as a figure of nostalgic longing, or as a universal law; as a quoted artefact of musics sedimented stylistic past, or as a timeless harmonic resource. Essays by 15 leading researchers cover a wide repertoire of concert and pop/rock music composed in Europe and America over the past half-century.

Tonality or the feeling of key in music achieved crisp theoretical definition in the early 20th century, even as the musical avant-garde pronounced it obsolete. The notion of a general collapse or loss of tonality, ca. 1910, remains influential within music historiography, and yet the textbook narrative sits uneasily with a continued flourishing of tonal music throughout the past century. Tonality, from an early 21st-century perspective, never did fade from cultural attention; but it remains a prismatic formation, defined as much by ideological-cultural valences as by its role in technical understandings of musical practice. Tonality 19001950: Concept and Practice brings together new essays by 15 leading American and European scholars.

Carlos Vicente Guastavino (Santa Fe, 5 de abril de 1912 - ibídem, 29 de octubre de 2000) fue un compositor y pianista argentino. Su vasta obra, se reparte en obras para piano, guitarra, música de cámara para diversas formaciones, obras para orquesta, coro a capella o con piano y una enorme cantidad de canciones para voz y acompañamiento. Ademas es notable la cantidad de arreglos de obras ya existentes para otras formaciones.Una amplia mayoria de su obra es para ser cantada. Guastavino amaba la voz, y amaba cantar. Es por ello que incluso cuando escribio para piano lo hizo de un modo "coral", polifonicamenteEn esta edicion compartimos varias partituras de este gran maestro.¡Descargue ya este libro y comience a aprender sobre este maravilloso mundo!

Dieses Buch fur die Tuba ist ein Wegbegleiter fur Komponisten und Instrumentalisten. Es vertieft das Verstandnis fur diese eher wenig beachtete Instrumentenfamilie. Fur Tubisten bietet das Handbuch die Moglichkeit, neue Klangtechniken ihres Instrumentes naher kennenzulernen und diese besonders im Bereich der Neuen Musik spezifisch einzusetzen.Jack Adler-McKean gibt hilfreiche Anleitungen zu verschiedenen Stimmmechanismen, zu Resonanzeigenschaften, neuen Notationsprinzipien und zeitgenossischen Praktiken. Mit Hilfe neuer Forschungstechniken werden Klangerzeugungs- und -modifikationsprozesse segmentiert und neu aufgebaut, um die breite Palette der klanglichen Besonderheiten der Tubafamilie darzustellen. Viele davon sind auch fur andere Blechblasinstrumente anwendbar.Zahlreiche Notenbeispiele und Grafiken erlautern den Text, der zudem durch instruktive Klangbeispiele, herunterladbar von der Barenreiter-Website, ausgestattet ist.

Der renommierte Schlagzeuger Christian Dierstein hat zusammen mit einer Forschungsgruppe der Hochschule fur Musik Basel die Spieltechniken auf dem Schlagzeug aus neuartiger Perspektive erforscht. Im Zentrum stehen nicht die Schlaginstrumente, sondern ihre Anreger: Schlagel, Hammer, Bogen, spezifische Handtechniken bis hin zu elektronischen Impulsgebern. Sie alle werden im Buch detailliert beschrieben und ihr Anwendungsspektrum in sorgfaltig ausgewahlten und kommentierten Literaturbeispielen dargestellt.Zahlreiche Essays von Gastautoren wie Nicolaus A. Huber, Steven Schick, Fritz Hauser und Bernhard Wulff verankern die spieltechnischen Beschreibungen im zeitgenossischen asthetischen Diskurs. Sie verdeutlichen, dass im aktuellen Komponieren und seinem erweiterten Material- und Performancebegriff gerade die Frage der Anregung und der Interaktion mit Klangobjekten ins Zentrum ruckt. Entstanden ist ein umfassendes Nachschlagewerk fur Komponisten und Interpreten, das sich auch als Inspiration fur zukunftige und innovative Herangehensweisen ans Schlagzeugspiel versteht.Die AutorenChristian Dierstein absolvierte sein Musikstudium bei Bernhard Wulff in Freiburg, bei Gaston Sylvestre in Paris und bei Wassilios Papadopulus in Mannheim. Er ist Preistrager zahlreicher Wettbewerbe. Seit 1988 ist er Schlagzeuger des "ensemble recherche", seit 1994 des "Trio accanto" zusammen mit Nic Hodges und Marcus Weiss und seit 2001 Professor fur Schlagzeug und neue Kammermusik an der Hochschule fur Musik in Basel.Michel Roth ist Professor fur Komposition und Musiktheorie an der Hochschule fur Musik Basel und Mitglied der dortigen Forschungsabteilung. Als Komponist ist er regelmaiger Gast bei internationalen Musikfestivals, in jungerer Zeit besonders im Bereich Musiktheater. Zusammen mit Mike Svoboda veroffentlichte er 2017 bei Barenreiter den Band "Die Spieltechniken der Posaune".Jens Ruland studierte von 2007 bis 2012 bei Carlos Tarcha an der HfMT Koln Schlagzeug und schloss das kunstlerische und padagogische Diplom mit Auszeichnung ab. Seit 2012 vertieft er seine Studien in Basel bei Christian Dierstein. Er ist Grundungsmitglied bei "handwerk" (Koln), "232 percussion" (Koln), "Ensemble New4Art" (Schweiz) und dem Musiktheaterduo "Akt-tkA" (Spanien/Schweiz).

Wonderful... as erudite as it is enjoyable; as riveting as it is revelatoryClemency Burton-HillAlthough music is as intrinsic to human life as the air we breathe, we must never fall for the line that it is a universal language. Music is neither universal, nor a language.From an infants first experimental sounds to the voice of Elvis via Hildegard of Bingen, Beethoven and bebop The Shortest History of Music sets out to understand what exactly music is, and why humans are irresistibly drawn to making it.Ranging across millennia, Andrew Ford explores musics great themes: writing it down and recording it; paying for it and making it modern. With brilliant insight, he traces the story of the symphony and the opera, blues and jazz; the oral traditions of folk singers and chain gangs; and the lives of the greats Bach and Mozart, Clara Schumann and Schoenberg, Charlie Parker and Nina Simone.From lullabies to national anthems, songlines to streaming, this is a sparkling account of what music has meant at different times and in different places.