Music

A R u r a l i d a d e " Os observadores citadinos parecem todos convencidos da 'idiotia da vida rural'. (...) Somos levados a suspeitar que o chamados valores rurais incluem muitos valores e savoirs-faires, tais como a 'esperteza camponesa'. (...) parece evidente que os novos m igrantes para a cidade mudam algumas coisas muito rapidam ente (...), transform am -se rapidam ente em urbanos" (pp. 94 e 95). São a fir mações dos " brazilianistas" Anthony e Elizabeth Leeds ainda nas páginas iniciais de " O Brasil e o M ito da Ruralidade Urbana: Ex periência Urbana, Trabalho e Valores nas 'Áreas Invadidas' do R io

Barely four years after arriving in Spain in 1836, the Cuban-born writer Gertrudis Gómez de Avellaneda (Camagüey 1814-Madrid 1873) had become Madrid's greatest literary celebrity. By the early 1840s, Avellaneda had reached the highest echelons of Romantic Spain's growing circles of women writers, and her premieres filled the most popular theaters in the capital for 15 years. 1 Garnering extraordinary publicity and criticism, Avellaneda stood out among writers in Spain. She embodied the liberal remaking of the "illustrious woman," a theme in circulation since the 15th century that referred to exceptional intellectual women across diverse and overlapping religious, literary, and scientific traditions. Avellaneda, following in the footsteps of French literary figures such as Madame de Staël and George Sand, represented the Romantic idea that lyrical and literary expression liberated the inner emotional self. This emancipated self, I will argue, exacerbated the tensions within enlightened codes of sensibility that implied "reasonable sentiments" while holding on to these codes. 2 With the "soul of a poet and the heart of a woman," Avellaneda struggled to reconcile her image as a talented, free, and passionate woman with a liberal respectability that set reason against sentiment, public against private, and masculinity against femininity. 3 By investigating her life and work as a female literary celebrity, I also highlight the discursive contexts in which modern female subjectivities and feminisms were forged through Romanticism. 4 Avellaneda embodied the contradictions inherent in the transition to female affective individualism; that is, the belief in women's capacity, as free and equal individuals, to feel and discern who they want to love and to whom they wish to commit, a tenet of modern feminisms. As Luisa Passerini has shown, the romantic remaking of medieval courtly love played an essential role in creating assumptions about European and Western civilizing and moral superiority in the world. 5 Conceptions of love and love culture also shaped Christian narratives about women's emancipation throughout post-revolutionary Spain. 6 Christian narratives about women drew on enlightened Eurocentric discourses about religion's redemption that pitted Western civilization against the uncivilized, enslaving East and the notion that women's status defined a nation's progress and modernity. 7 This chapter has been made available under a CC-BY-ND license.

Este trabalho tem como objetivo dialogar com alguns conceitos propostos por Edgar Morin e suas relacoes com a escola e a Educacao Ambiental. Busca a contribuicao de importantes pensadores da educacao para a complexidade e educacao, acreditando que o encontro de ideias pode potencializar essas relacoes e, ao mesmo tempo, provocar outras possibilidades de pensar a Educacao Ambiental dentro do contexto escolar. Propoe visualizar a Educacao Ambiental como potencia aos processos educativos, de forma a favorecer um espaco que permita a troca de experiencias contextualizadas com o proprio cotidiano do sujeito, atravessando-o com possibilidades de contribuir para o estabelecimento de novas relacoes com o meio. Palavras chave: Educacao Ambiental. Complexidade. Escola. Environmental education and complexity: enhancing relations Abstract This article aims to engage with some of the concepts proposed by Edgar Morin and his relationship with the school and environmental education. It searches fo...

En un trabajo anterior publicado en la Revista de Antropología Iberoamericana titulado: “Narrativas del paisaje andino colombiano: visión ecológica en la música carranguera de Jorge Velosa” (Cárdenas y Montes, 2009) se indagó en las nociones hermenéuticas, semióticas y en el análisis del discurso que expresan las canciones del álbum En cantos verdes. En esta oportunidad, desde un proceso de categorización etnográfica basado también en el análisis del discurso, se profundizará en dos asuntos centrales: los aspectos teóricos, metodológicos, y los resultados obtenidos en el proceso de investigación haciendo un énfasis particular en la utilización del video y la fotografía como medios y filosofía de indagación etnográfica. Los resultados del presente documento permiten comprender que la canción carranguera expresa razones prácticas (moral) dirigidas a replantear y a configurar una experiencia de orden tanto subjetiva, intersubjetiva, como objetiva en las relaciones cultura-ecosistema qu...

ilsa lópez-Vallés or perhaps more to blame goes unscathed. Trinidad still remains largely sexist. Klien surmises that her three informants challenge the concept of symbolic womanhood that defines the identity of the Indo-Trinidadian woman. Hibridity must be considered in these identity constructions if female role models are to be portrayed legitimately. To conclude, these interesting proceedings account for the hybridization that has inevitably transformed and formed the identity of the diasporic Indo-Caribbean communities. Although Indo-Caribbean people acknowledge their ties to India, they nonetheless recognize a new identity has originated from the mix of races that resulted from the diaspora. Hassankham provides a complete historical background based on the accounts of indentured servants, folksongs and letters that reveal the state of mind of the migrants as well as the relatives left behind. Toussant covers all angles of the reasons why the indentured servants fled to Spanish countries and specifies the Spanish countries that housed them and that contributed to the Indian diaspora. Gooptar offers a thorough analysis of onomastics and their transformations and varieties that resulted from the diasporic phenomenon and Klien presents a clear and holistic portrait of the identity of the hybrid Indo-Trinidadian female. 1 Recruiters.

The musical traditions of the southern Ewe of Ghana; particularly the Anlo, have been subject to a substantial amount of research. Existing research has focused on Anlo musical traditions as practiced in its original context. Comparably little is known about these musical traditions as performed by Anlo migrants living and working among a linguistically and culturally different ethnic group. Furthermore, fishing songs of the Anlo, even at home, have escaped most academic research. In this article, I address both shortcomings by focusing on Anlo fishing songs as performed by a migrant Anlo community living among the Fante in Cape Coast. Employing a variety of qualitative research techniques such as in-depth interviews, participant observation and a two-way inter-subjectivity, I explore the extent to which these fishing songs serve purposes beyond their perceived role of accompanying and easing work. Specifically, I examine how the fishing songs of the migrant Ewe community provide a ...

Background: The use of simple preparatory methods, such as listening to relaxing music, may decrease negative emotions and enhance performance. The purpose of this research was to explore whether certain types of music, as a preparatory task, could enhance motor performance. Method: Fifty-six participants were randomly assigned to a condition before completing a pre and postdexterity test using the Purdue Pegboard Test (PPT). Performance was assessed with the PPT and arousal of mood was assessed with the Affect Grid. During the postdexterity test, the participants heard no music or specific music based on their condition. The experimental conditions included listening to an uptempo Mozart sonata to elicit a high arousal, positive valence mood, or a down-tempo version of the same sonata to achieve a low arousal, positive valence mood. Results: ANOVAs showed a significant increase between pre and posttests over time in participant arousal and performance. In addition, there was a significant interaction term between performance and gender, where women improved significantly more than men. The results suggest that the up-tempo and down-tempo Mozart sonatas do not play a significant role in motor performance, yet gender significantly affects performance, regardless of the type of music. The authors report no conflicts of interest to disclose.

En este trabajo se expone cómo se evaluó la competencia en el trabajo de equipo a través de un instrumento de coevaluación/autoevaluación elaborado por el profesorado implicado en una propuesta coordinada para el 3º curso del Grado de Maestro en Educación Infantil. Los principales resultados indican que la mayoría de los estudiantes se identificaron en un nivel de competencia en el que colaboran activamente en el equipo, contribuyendo en su consolidación y desarrollo, facilitando la comunicación e integración de los miembros del equipo. No obstante, no tuvieron una visión global y continuada en la consecución de los niveles de competencia. Por otro lado, las valoraciones de los alumnos hacia sus compañeros fueron significativamente inferiores a las que hicieron de sí mismos.

1. Pese a la importancia de las actividades teatrales en el Toledo del Siglo de Oro son pocos los estudios que se han realizado sobre un tema tan apasionante. Los mejores, además, son bastante antiguos y remiten a metodologías ya sobrepasadas pero que proporcionan gran cantidad de datos al investigador actual. Francisco Asenjo Barbieri publicó una serie de noticias, aunque sin sistematización alguna, en una revista toledana de fines del siglo xix 1 , datos que aprovechó Julio Milego para un libro en el que se dedicó sobre todo a seguir la pista de los autores de teatro nacidos en Toledo, sin apenas realizar trabajo de archivo 2 . Más sólido desde este punto de vista y de la novedad de las aportaciones es la obra de Francisco de Borja San Román, que exploró la información que los protocolos notariales proporcionan en abundancia sobre el mundo de las fiestas y de las compañías teatrales, si bien se circunscribió a los años finales del siglo xvi y a los primeros quince años del xvn, pues su interés primordial era F. M. GIL, M. G. RUIPÉREZ, F. CROSAS Criticón, 91, 2004 el de rastrear la presencia en Toledo de Lope de Vega 3 . Aportaciones más recientes nos ofrecen datos de un gran valor sobre los autos representados en la Catedral de Toledo a fines del siglo xv, el texto de uno de los cuales, el Auto de la Pasión, atribuido al racionero Alonso del Campo, fue descubierto por Carmen Torroja y María Rivas en los libros de Obra y Fábrica del templo catedralicio 4 . Por lo demás, existe abundante información sobre los autos que solían representarse en el marco del Corpus Christi, fiesta que, como se sabe, alcanzó un gran relieve en la vida social y religiosa de la ciudad del Tajo ya desde el siglo xiv 5 y especialmente en las épocas del Renacimiento y el Barroco 6 . Lo que motiva este trabajo es la presentación y contextualización de una carta autógrafa de Pedro Calderón de la Barca a los comisarios municipales de la fiesta del Corpus Christi que Toledo celebró en 1640. Entre otras cosas, dicha misiva muestra la estrecha vinculación que Calderón tuvo con esa ciudad en la difícil década de los años 40, cuando escribió varios autos por encargo del Ayuntamiento para ser representados el día del Corpus. Según nuestro documento, el mismo día que los segadores entraban en Barcelona dando inicio en ese Corpus de Sangre a la rebelión de Cataluña, se representaba en Toledo, con todo lujo de apariencias, su auto Psiquis y Cupido, basado en una antigua fábula contenida en El asno de oro de Apuleyo y que ya había llamado la atención de otros autores, como el toledano José de Valdivielso. Conservado su texto en la Biblioteca Nacional de Madrid, hoy podemos conocer además, gracias a este documento inédito, las indicaciones que el propio autor remitió a los organizadores de la fiesta para que se construyeran las apariencias que la trama del auto exigía.

No Brasil ha uma grande demanda por pesquisas que tenham como principal objeto o estudo sobre o adolescente em fase de mudanca vocal. Com relacao ao estudo do canto destes jovens, tanto solo, como em corais, o que se observa e a utilizacao de praticas pedagogicas apropriadas para as vozes maduras dos adultos. O professor de canto, assim como o regente, devem ser conhecedores dos estagios de desenvolvimento vocal, previsiveis e sucessivos, que ocorrem com os jovens no momento de transicao entre a infância e a fase adulta. Alem destes estagios, faz-se necessario conhecer as questoes emocionais, fisiologicas, sociologicas e cognitivas dos adolescentes. De posse destes conhecimentos, o professor e o regente poderao acompanhar e desenvolver as vozes de seus alunos/cantores a partir do principio da saude vocal e emocional. O tratamento inadequado destas vozes em fase de amadurecimento pode provocar problemas vocais e psicologicos muitas vezes irreversiveis. Sob a luz de teorias contemporâ...

This paper describes the Lattice Harp, a new musical instrument which functions simultaneously as an acoustic instrument and a hardware controller. The Lattice Harp consists of two overlaid, perpendicular planes of strings which are electrically connected to a microcontroller. The microcontroller detects when two strings are touching and treats this data as a button being pressed. Furthermore, each string has an individual piezoelectric pickup, which allows for the strings to be separately amplified and processed ...

Vocal treatises of the 18th c. and recent research suggest that Mozart\u27s concert arias should be embellished with restraint. Appropriate ornaments include turns, filling-in patterns, appoggiaturas, and short cadences at elongated fermatas. Two arias--Alcandro lo confesso...Non so d\u27onde viene, K.294, and Bella mia fiamma...Resta, o cara, K.528--are discussed in more detail

Analysis of the impact of human resources management, marketing, human resources and in the light of its effects on the competitiveness of the enterprise becomes a theme increasingly widely researched in the scientific literature. Modern marketing is considered crucial for the success of today's organization, the miraculous solution resolves its problems, the basic tool in achieving great performance and maintaining the competitiveness of the enterprise. At the present time became, as it influences the lives of everyone, being the means by which it gives people the standard of living.

Grime is a genre of Black British music originating from London at the turn of the twenty-first century. In this article, I explore responses to moments of Grime music making and engagement in live performance settings. I make connections between Grime, Black music streams (Lena), Black Atlantic (Gilroy) practices, the Black Public Sphere (Baker) AND how engagements at these intersections are connected to spiritual practice in the context of live performance. The power in Grime live performance settings; where the spiritual is found, connects to the sonic characteristics deployed, embodied and emotive responses and cultural practice. Spirituality, through cultural practice, is an Africanised religious/spiritual outlook that remains with the African diaspora over time and space (Mbiti). Smith’s work shows how African derived religious and spiritual practice continues in diasporic religious practice contemporarily. Through live performance (raving/club culture), I explore and theorise...

In a postwar world that was configured increasingly along the lines of gender binaries, masculinity had become invested with renewed cultural capital, especially in an artistic field such as music that was defined by its competitive relationship with the enemy in that war. If--following its defeat at the hand of Prussia in 1870--France was to maintain its status as the capital of world culture, it needed to assert the superior and hence masculine quality of its national artistic output. Discursive strategies ranged widely in this ideological enterprise, from calls for a masculinizing of opéra comique and for a healthier musical education of the nation's citizens to a reinterpretation along gendered lines both of French traditional music and of the nation's music history. They all shared, however, their blatant value judgments when it came to gendering art: that which was considered feminine carried the stigma of triviality and superficiality.

La concesión de este premio ha despertado en mí una serie de interrogantes, que la nebulosa del correr del tiempo, en todo lo transcurrido hasta ahora, en el lento destilar de una obra escrita tras otra a lo largo de mi vida, no me permite responder fácilmente. De modo que puesto, hoy, ante la prueba de tener que formular una explicación, me encuentro de algún modo trabado y con la aturdidora sensación de ser objeto de una suerte de encantamiento. Un hechizo indescifrable, como si me hubiera tocado súbitamente una vara mágica, dejándome con una sensación muy pariente del susto. Y las preguntas gotean inexorablemente de mi mente. ¿Qué es lo que he hecho, para merecer esto que hoy me emociona? ¿Es este el resultado de lo que no ha sido otra cosa que una serie interrumpida de decisiones tomadas casi inconscientemente, casi como un acto reflejo, de sentarme tantas mañanas febriles ante mi máquina, a dejar que me acosaran mis obsesiones para ver si desde ellas era capaz de elaborar algo plausible, algo que tuviera sentido y que fuera fiel testimonio de mis inquietudes y que me permitieran hacer contacto con mi público?

This study evaluated the relationship between primitive and scheme-driven grouping (A. S. by comparing the ability of different listeners to detect single note changes in 3-voice musical compositions. Primitive grouping was manipulated by the use of 2 distinctly different compositional styles (homophony and polyphony). The effects of scheme-driven processes were tested by comparing performance of 2 groups of listeners (musicians and nonmusicians) and by varying task demands (integrative and selective listening). Following previous studies, which had tested only musically trained participants, several variables were manipulated within each compositional style. The results indicated that, although musicians demonstrated a higher sensitivity to changes than did nonmusicians, the 2 groups exhibited similar patterns of sensitivity under a variety of conditions.

This study examined three assumptions of the theory of deliberate practice for practice playing music on an electronic keyboard. 40 undergraduate students, divided into two separate groups, practiced one of two music sequences and rated the relevance of practice for improving performance on the sequences, the amount of effort needed to learn the sequences, and the inherent enjoyment of practice sessions. Findings for each assumption were consistent with those suggested by theory but also showed that perceptions are affected by the amount of practice completed and performance of the skill.

Prior to the 1980s the music curriculum consisted of class-singing, sol-fah deciphering and music appreciation. Typical resources were the piano, the Curwen modulator, numerous sets of song and sight-reading books (to suit single gender class groupings) and a record player. More enlightened teachers would have some percussion instruments or recorders in the classroom and, from the 1970s, the odd guitar. The Scottish Examination Board 'O' Grade examination at the end of year 4 was designed to be overtaken by pupils who had expertise on an instrument or voice to the equivalent of Associated Board Grade 5, tuition on which was given outwith the classroom while the teacher concentrated on historical study, rudiments and analysis. Such elitism fuelled growing disillusionment in pupils and many teachers who experienced a different world of music in their private lives (Witkin, 1974). Significant and effective change came in 1978 with the publication by the Scottish Education Depar...

Este artigo demonstrará como o processo de edição do manuscrito da Sonata para Violino e Piano da compositora americana Blythe Owen (1898–2000) revelou informações a respeito da vida musical do início do século XX, os desafios encontrados pela compositora para obter formação musical, seu processo composicional, a busca por performance e a luta por publicações.

Recently, we attended a professional development workshop on instructional strategies to integrate literacy and mathematics. At the workshop we heard a math teacher, Vonda Stamm, sing a variation of the Duckworth Chant, also known as "Sound Off," to demonstrate how chants can be used as a strategy to teach mathematics. She wrote this variation and titled it "Zero.

ABSTRACTSchubert's song Ganymed has attracted a great deal of interest from analysts on account of its progressive tonal plan, which is often seen as a challenge to Schenkerian theories of tonal structure, as well as its evocative text. This article draws upon a spatial theory of tonal meaning which helps both to resolve the epistemological impasse faced by reductive theories of tonal structure and to better access Schubert's interpretation of Goethe's text through spatial metaphors that derive from the harmony of the song. It also highlights an allusion to Beethoven's ‘Waldstein’ Sonata in the song, which has previously gone unremarked, and identifies this as part of a network of references to Beethoven's Sonata that act both as homage to and critique of his middle‐period style. These serve as a window both into the song and into Schubert's aesthetic stance vis‐à‐vis his musical forebear. It realises latent directional metaphors in the diatonic sharp‐flat an...

The lack of attention given to Schenkerian theory by empirical research in music is striking when compared to its status in music theory as a standard account of tonality. In this paper I advocate a different way of thinking of Schenkerian theory that can lead to empirically testable claims, and report on an experiment that shows how hypotheses derived from Schenker’s theories explain features of listener’s perception of key relationships. To be relevant to empirical research, Schenker’s theory must be treated as a collection of interrelated but independent theoretical claims rather than a comprehensive analytical method. These discrete theoretical claims can then lead to hypotheses that we can test through empirical methods. This makes it possible for Schenkerian theory improve our scientific understanding of how listeners understand tonal music. At the same time, it opens the possibility of challenging the usefulness of certain aspects of the theory. This paper exemplifies the emp...

JMM's recent special issue (7/2) reveals substantial common ground between mathematical theories of harmony advanced by Tymoczko, Hook, Plotkin, and Douthett. This paper develops a theory of scalar inflection as a kind of voiceleading distance using quantization in voice-leading geometries, which combines the best features of different approaches represented in the special issue: it is grounded in the concrete sense of voice-leading distance promoted by Tymoczko, invokes scalar contexts in a similar way as filtered point-symmetry, and abstracts the circle of fifths like Hook's signature transformations. The paper expands upon Tymoczko's "generalized signature transform" showing the deep significance of generalized circles of fifths to voice-leading properties of all collections. Analysis of Schubert's Notturno for Piano Trio and "Nacht und Träume" demonstrate the musical significance of inflection as a kind of voice leading, and the value of a robust geometrical understanding of it.

Version 2025 revue et corrigée par l'auteur, comprenant des coupes et des mises à jour JEAN DURING © LA MUSIQUE SACREE DES AHL-E HAQQ KURDES
Le présent ouvrage repose sur des recherches effectuées en Iran entre 1973 et 1983. Il est tiré d'un chapitre d'une thèse de doctorat d'État d'un millier de pages, sur les relations entre la musique et la mystique dans les cultures iraniennes.  C'est de cette thèse que sont tirés les chapitres sur les Ahl-e haqq, mais dans une version dûment révisée. Ces chapitres avaient été traduits en persan et publiés en 1999 /1378 sous le titre Musiqi va 'erfân. Sonnat-e shi'i ahl-e haqq. L'ouvrage étant épuisé depuis au moins dix ans, un éditeur s'est proposé de le rééditer, ce qui impliquait pour l'auteur d'en réviser le contenu, et notamment la traduction persane initiale.  Par rapport à l'édition de 1989, cette réédition comporte de nombreuses mises à jour, coupes, corrections et améliorations. Il n'est pas prévu de la reproduire et de la publier en version papier. Elle reste pour l'instant en version électronique, et sous la propriété de l'auteur (©).

Hélio Rebello Cardoso Jr * A fi losofi a cria conceitos, sendo essa sua atividade distintiva em face das demais formas de pensamento, segundo Deleuze e Guattari. Assim, o próprio estatuto do conceito deve caracterizar essa criação, qualifi cando a multiplicidade fi losófi ca. Deleuze já encontrara em Nietzsche uma fi losofi a que era definida pela sua potência de criação. O fi lósofo, de fato, ao criar conceitos, cria também valores. Mas o que caracteriza uma fi losofi a, defi nitivamente, é se esses valores são realmente novos ou se eles vêm confi rmar valores estabelecidos em outros domínios. A criação, o caráter da vontade de que se imbui uma fi losofi a, é seu próprio elemento crítico (DELEUZE, 1962, p. 96-98; DELEUZE, 1965, p. 19-20). Por isso, a história, bem como qualquer tipo de referência espaço-temporal, é insufi ciente para explicar a criação de um conceito. O que interessa é qual a novidade, que acontecimento o conceito desencadeia a fi m de contra-efetuar suas condições históricas, e, portanto, renová-las. Em suma, a criação de conceitos é também uma criação de "novas possibilidades de vida", afi rma Mengue (1994, p. 7-8). Um conceito, conforme nos informam Deleuze e Guattari, é formado por pelo menos dois componentes heterogêneos. Em princípio, a heterogênese que preside à criação fi losófi ca já permite qualifi car o conceito como multiplicidade, visto que "todo conceito tem componentes e se defi ne por eles. É uma multiplicidade, embora nem toda multiplicidade seja conceptual" (1991, p. 21). Naturalmente, desde que se identifi quem os componentes de um conceito é possível traçar sua história, isto é, entender como cada um de seus componentes está retrospectivamente incluído em outro conceito, oriundo de um sistema fi losófi co anterior. No entanto, o que importa para defi ni-lo não é sua diacronia, o que importa é que cada nova criação fi losófi ca compõe um todo fragmentário que consegue se suster em sua heterogeneidade, como uma unidade do múltiplo. Ou seja, o essencial é a novidade que cada conceito apresenta ao 50 Hélio Rebello Cardoso Jr defi nir-se por uma "zona de vizinhança" de todos os seus componentes compondo uma multiplicidade, cuja origem somente importa secundariamente (ibid., p. 21, 87, 90, 92). Deleuze viu, com Nietzsche, que a associação da criação fi losófi ca com a historicidade da fi losofi a não esgotava a potência de um conceito, assim como essa associação era perniciosa para o pensamento fi losófi co de um modo geral. Sempre que há uma historicização da fi losofi a, os conceitos ou métodos desta acabam por elevar ao estatuto de verdade abstrata um valor temporal. Assim, por exemplo, o fi lósofo socrático já submisso ao "Divino", ao "Belo", à "Verdade" e ao "Bem"; o criticismo kantiano do "fi lósofo legislador", que nos alerta para a heteronomia que confunde os interesses da razão, mas não se questiona sobre a origem e a natureza dos valores que fundamentam esses interesses, e por isso continua a pregar o "verdadeiro conhecimento", a "verdadeira moral", a "verdadeira religião"; mesmo na dialética, ao propor o "retorno ao Espírito", o papel da consciência de si na defi nição do homem como ser genérico, não deixa de ser fi el, a seu modo, à Reforma. Todos esses compromissos, muitas vezes velados, com a história e com os valores superiores nela estabelecidos, impediriam o fi lósofo de agir contra o seu tempo, de ser um verdadeiro criador (DELEUZE, 1965, p. 20-23). Mas, afi nal, de onde parte o fi lósofo para criar um conceito, conectando seus componentes, de modo que se possa afi rmar que ele é uma multiplicidade que não pode ser explicada pela origem de seus componentes, neste ou naquele sistema fi losófi co? Todo conceito, ou melhor, a vizinhança que se estabelece entre seus componentes corresponde à solução de um problema fi losófi co como condição de sua criação. De fato, se, em geral, diz-se que conceitos anteriores preparam a emergência de um novo, isto signifi ca tão somente que os conceitos supostamente originários tinham como ponto de partida um determinado problema e que eles aparecem no novo conceito de acordo com um problema que se modifi cou. O conceito, enfi m, submete suas condições, ou dados históricos, a uma distribuição que acaba por renová-las. Como afi rma o próprio Deleuze, "em fi losofi a, a questão e a crítica da questão são idênticas, ou, melhor, não há crítica de soluções, mas somente uma crítica dos problemas" (DELEUZE, 1953, p. 119). Assim, o problema é o fator que diz respeito ao domínio do conceito onde os componentes estão juntos, não em virtude de sua história, mas em virtude de sua heterogeneidade. Claro, um conceito pode dividir com outros um mesmo domínio, um espaço de "cocriação", porém, mesmo aí, trata-se de problemas diversos em cada caso, ainda que se suponha que esses problemas estejam interconectados. Nesse caso, é possível afi rmarmos, com Deleuze e Guattari, que um conceito nasce a partir de uma "encruzilhada de problemas", cada um determinando uma multiplicidade conceitual (1991, p. 24). A solução de um problema fi losófi co, em primeiro lugar, permite compreender a complexidade de um conceito, pois se trata de dispor novos componentes. Em segundo lugar, a solução de um pro-

Il corno è uno degli strumenti musicali più antichi che l’umanità abbia creato. Questo elaborato si pone come obiettivo di esplorare l’evoluzione dello strumento sin dalle sue origini, ben più antiche della sua apparizione in orchestra a inizio Settecento, e anche del cosiddetto “corno da caccia”, solo di pochi decenni più antico. Le origini del corno, che si addentrano fin nella Preistoria, risultano indagabili con buona precisione soltanto a partire da circa tremila anni fa in piena Età del Bronzo, periodo in cui già veniva utilizzato come mezzo per comunicare a distanza. Indagando sugli usi dei vari tipi di corni creati, si è potuto constatare che, nel corso dei secoli, in certi casi si arrivava a creare un vero e proprio linguaggio in codice tra chi lo utilizzava per inviare un messaggio e chi dall’altra parte stava in ascolto o rispondeva. Si indagheranno strumenti celtici, romani, rinascimentali; strumenti popolari e strumenti “colti”, trovando non solo antenati ma progenitori comuni.
Proseguendo il discorso verso strumenti più affini al corno moderno, si è potuto analizzare l’evoluzione del corno in un ambiente meno rustico e più aristocratico quali erano le corti nobiliari delle casate europee, in cui si praticava la caccia. I compositori utilizzavano da una parte sequenze di derivazione antecedente, dall’altra ne ideavano di nuove. In pratica, si consolidò l’idea di uno strumento con una “doppia anima”: da una parte squillante e battagliera come quella del dord celtico, dall’altra lirica e melodica come quella del corno delle Alpi.
Indagato infine l’uso che alcuni grandi compositori hanno fatto di questa eredità millenaria, si è giunti alla conclusione che il corno è diventato una sorta di ponte di collegamento tra epoche, popoli ed estrazioni sociali diverse, i quali, attraverso la musica creata per questo strumento, hanno potuto entrare in contatto in modo viscerale e profondo, seppure magari non consapevolmente, e auspicabilmente continueranno a farlo.

Theories of musical listening are well established in the fields of music cognition and, increasingly, of music theory. Historical musicologists, however, tend to take it for granted: while we mostly believe in Historically Informed Performance, we assume that our ears can take care of themselves once attuned to contextual referents and stylistic difference. But making music sound as it might have done at any given time is one thing, and making it heard as such is quite another. Here we find ourselves at unexplored intersections of theory and practice, and of “drastic” and “gnostic” approaches to musical experience grounded within, rather than beyond, its history. I also ask a simple question: what precisely did Italian composers and performers around 1600 do to make people listen to music in new ways?

Claudio Monteverdi revived his second opera, "Arianna" (Mantua, 1608; now mostly lost) for performance in the new public opera houses of Venice in 1640. A close examination of the sources reveals what he added and removed, and also prompts consideration of how the opera was first staged some thirty years before.

Any attempt to write a history of the libretto is fraught with paradox. Almost without exception, a text is the starting point for any opera. Indeed, before Mozart, and often after, the libretto was normally complete before the composer put pen to paper, for all that it might then be revised according to the musical and other demands made upon it. As we shall see, its poetry usually had quite precise musical implications. Moreover, in early opera the poet was normally the prime mover in the operatic enterprise, not just by devising the subject and fleshing it out with appropriate words, but also given his often standard role as director of the production. The libretto was itself the public face of opera in terms of the artefacts that survive to record a given performance: libretti were usually printed for general consumption inside or outside the theatre, whereas musical scores were, on the whole, regarded as more ephemeral performance materials, to be adopted, adapted, and disposed of at will. Poets also acted as the chief ideologues of opera, promoting and defending the genre against its detractors and inserting it into broader literary and cultural debates. In a very real sense, the history of the libretto is the history of opera tout court.

"42nd Street" brought Busby Berkeley into the Warner Bros. fold, and initiated a series of highly successful musicals that rescued the studio's financial fortunes. The grittily realistic approach to the "backstage" formula, plus attractive diegetic songs by Harry Warren and Al Dubin, are also distinctive, as are its broader political messages in the context of Franklin D. Roosevelt's victory in the 1932 US presidential election.

Il s'agit en premier lieu de présenter brièvement la dyspraxie visuo-spatiale : les troubles qu'elle induit, ses conséquences fonctionnelles, son retentissement émotionnel, ainsi que les ressources dont peuvent disposer les enfants et adolescents qui en sont atteints. Une meilleure connaissance de ces jeunes permet de dégager des principes d'action pédagogique d'ordre général. Au-delà, elle oriente l'action de l'enseignant vers des adaptations didactiques qui sont illustrées en mathématiques et en EPS. Dans chacune de ces disciplines, deux domaines principaux sont abordés : l'adaptation des tâches et l'apprentissage de connaissances et de compétences, disciplinaires ou non, qui sont à privilégier. Mots-clés : troubles praxiques, troubles du regard, handicap moteur, enfants cérébrolésés, apprentissages, mathématiques, EPS, pédagogie adaptée Après avoir été pris en charge dès l'âge de trois ans et demi pour " graves troubles du comportement ", Thibault n'est diagnostiqué comme porteur d'une dyspraxie visuo-spatiale que dix ans plus tard environ. " Dix ans ! s'exclame sa mère, il a fallu attendre dix ans ! dix ans de non écoute, dix ans de culpabilité, dix ans d'incompréhension, dix ans de mauvais jugements, dix ans de souffrance inutile, dix ans de mésestime de soi, dix ans de vie perdue ! Je pense, ajoute-t-elle, qu'on a beaucoup abîmé Thibault, on l'a rendu encore plus handicapé, il se sentait tellement exclu, rejeté ! " Quant à Julie, ce n'est qu'à dix-neuf ans qu'elle vient d'apprendre qu'elle était dyspraxique. Elle écrit que ce diagnostic est pour elle un " gros soulagement ", car à l'école elle avait " d'énormes difficultés qui étaient incomprises par les professeurs. Tout le monde, dit-elle, me prenait pour une fille bête et bonne à rien et n'hésitait pas à me le faire comprendre. J'en ai beaucoup souffert." Ces deux témoignages, exprimés sur le site , résument bien les difficultés considérables trop souvent rencontrées par des jeunes présentant une dyspraxie visuo-spatiale et par leurs familles. Ils ne manquent pas d'interpeller l'enseignant : quel peut être son rôle pour favoriser la réussite de ces jeunes ? Afin de contribuer à répondre à cette question, nous illustrerons les stratégies préconisées à partir de deux disciplines qui ont en commun d'être à l'origine de grandes difficultés pour les enfants dyspraxiques : les mathématiques et l'EPS (éducation physique et sportive). La pertinence de l'approche didactique et pédagogique nécessitant de prendre en compte les caractéristiques des élèves, il convient au préalable de les connaître suffisamment. Comme la dyspraxie visuo-spatiale n'est pas suffisamment connue, ses symptômes donnent lieu à des interprétations erronées : les difficultés d'apprentissage qu'elle induit sont parfois imputées à une déficience intellectuelle ou réduites à des explications de nature psycho-affective. Il s'agit en fait d'une pathologie qui associe des troubles du regard et des troubles praxiques. Elle concerne notamment nombre d'enfants anciens prématurés qui ont été victimes de lésions cérébrales. Une distinction neurologique est établie entre les voies de la vision, qui sont des voies afférentes, conduisant l'information des images rétiniennes vers le cortex pour qu'elle y soit analysée et décodée, et les voies du regard, qui sont des voies efférentes. Lorsque nous avons le projet de regarder un objet déterminé, les effecteurs de ce projet sont les muscles oculo-moteurs, dont les mouvements coordonnés orientent les globes oculaires pour favoriser une " saisie fovéale " de l'objet, en d'autres termes pour amener l'image rétinienne de l'objet sur la fovéa -zone centrale de la rétine. Pour mener à bien ce projet, la commande de saisie fovéale a son origine dans le cortex cérébral et se transmet aux muscles de l'oeil par les nerfs oculo-moteurs. Chez l'enfant dyspraxique, différents domaines de la motricité oculaire sont plus ou moins altérés : -la fixation. Elle consiste à saisir du regard un objet/cible pour en maintenir l'image sur la fovéa ; -les saccades. Ce sont des mouvements rapides, qui contribuent à suivre du regard la trajectoire d'un objet animé d'un mouvement brusque, bref et rapide ; -le nystagmus optocinétique. C'est un mouvement oculaire réflexe qui peut être déclenché par le suivi d'une scène se déplaçant rapidement, par exemple le défilement d'un paysage vu de la fenêtre d'un train ; -la poursuite. C'est un mouvement volontaire, qui vise à fixer une cible mobile et à maintenir le regard fixé sur elle en la suivant de façon régulière, sans à-coups ; -l'exploration. Il s'agit là de parcourir volontairement du regard un espace déterminé, à la recherche d'un ou de plusieurs éléments. Ce qui met en jeu une coordination complexe de mouvements lents et réguliers, de saccades et de fixations.

This paper reports the findings of a transdisciplinary project undertaken between Coventry University, Manchester Camerata and a small group of older adults. Participants were given the opportunity to compose music interactively with professional musicians. The impact of this on the participants was investigated using an action research process (Roth and Esdaile 2001) and an interpretive interactionism approach (Denzin 2001). In keeping with the empowerment principles of the project, the resultant thematic findings were represented in a group composition written by the participants and performed by Manchester Camerata. The findings demonstrate that group music composition had contributed to a sense of well-being through control over musical materials, opportunities for creativity and identity-making, validation of life experience and social engagement with other participants and professional musicians. It is the focus on music composition as an arts-in-health activity for older peop...

The article proposes a survey on the adoption of perspective on historiography and dance studies informed by gender studies, showing how, although it has struggled to achieve full academic validation in Italy, it has achieved important results, bringing out new genealogies and epistemologies at the same time.
Gender is thus understood not as a substratum (biological or cultural), but as a doing that shapes bodies and their interactions. If, therefore, ‘the ways of dancing and seeing dancing are deeply rooted in the cultural construction of the body’ (Nordera 2001), the article intends to demonstrate how, starting from a recognition of the specificity of gender positioning, the feminist perspective can constitute a productive background for contemporary choreographic practices, and vice versa.
A first part of the article will therefore be dedicated to analysing the theoretical advantages in reconstructing a genealogy of contemporary Italian dance based on a gender perspective, also underlining how dance and choreography entail interesting spin-offs on gender studies. The second part, on the other hand, will consist of a critical examination of some choreographic experiences in which feminist thought acts as a propulsive substratum for composition and aesthetic production in an emblematic way.

Recientes avances de la flamencología han puesto de relieve el sofisticado e intrincado lenguaje musical del flamenco, basado en su propia gramática y sintaxis. El análisis de este lenguaje, regido por pautas y códigos generalmente tácitos, requiere un conocimiento desde dentro. Este artículo presenta los resultados de combinar la perspectiva y los criterios de los profesionales del flamenco con un análisis en niveles de pulso de acuerdo con el modelo presentado en 1983 por el musicólogo Fred Lerdahl y el lingüista Ray Jackendoff.

Este método de análisis dual, aplicado sistemáticamente a cada género o palo, culmina en una clasificación exhaustiva del flamenco acompasado distribuida en cinco grupos de acuerdo con el tipo de tensión métrica que contienen. A partir de esta clasificación, el artículo desvela la presencia en el flamenco de dos matrices métricas, ambas con carácter hemiólico, que apoyan la hipótesis del flamenco como una música íntegramente hispanoamericana.

Así, la priorización del análisis musicológico a la hora de definir los rasgos esenciales y los orígenes del flamenco, en vez de poner el acento en aspectos no musicales como el nombre, la letra o el tono emocional de cada palo, pretende también abrir un nuevo camino en la investigación filogenética del flamenco.

Inscrit en 2021 au Patrimoine culturel immatériel de l'Unesco, le moutya des Seychelles est défini comme une pratique chantée, tambourinée et dansée issue du contexte esclavagiste, dont on peut repérer des traces à partir de la seconde moitié du XVIIIe siècle. Cet ouvrage, fruit de plusieurs terrains menés dans les années 2010, propose une première analyse systémique du moutya. Il invite à revisiter son histoire et ses développements en tant que mode d'expression créole et décrit le moutya dit « authentique », une notion associée à la genèse d'un processus de patrimonialisation entamé au tournant de la Révolution de 1977. Les espaces contemporains de production et de diffusion des musiques aux Seychelles ont également été abordés afin de faire ressortir la place accordée au moutya et ses modalités d'expression et de ne pas le figer dans une forme fixe ou idéale dont on craindrait la perte ou l'oubli. Le moutya est alors envisagé en tant que forme relationnelle, dans laquelle la négociation des transferts d'une identité musicale à l'autre va jusqu'à construire de nouvelles identités. Cette démarche permet de le mettre en relation avec d'autres phénomènes culturels, notamment créoles. Ainsi, bien qu'il ait été institutionnalisé à des fins nationalistes, il continue d'être l'expression d'une culture en transition, en transformation, toujours en quête de repères identitaires.

This article examines how police officers in the United States use a racialized and gendered way of speaking called ‘cop voice’ to provoke fear and extreme forms of compliance from people of colour. Through autoethnographic analysis coupled with sonic attention to how Jay-Z (‘99 Problems’), Public Enemy (‘Get the Fuck Out of Dodge’) and Prince Paul (‘The Men in Blue’) represent ‘cop voice’ through shifts in their rapping flow or by using white guest rappers, ‘Doing 55 in a 54’ argues that police weaponize their voices. Identifying and listening closely to these examples of cop voice reveal how people who are raced as ‘white’ in the United States mobilize this subject position in their voices through particular cadences that audibly signify racial authority, while at the same time, never hearing themselves as doing so.

LOCATED IN THE INDIAN OCEAN, NORTHEAST OF THE island of Madagascar and about a thousand miles from the East African coast, the Seychelles archipelago was uninhabited until its colonization in 1770 by French settlers then by the British from 1811. During the very first years of colonization, a plantation system was set up and enslaved people were brought from La Réunion and Mauritius islands (then named Bourbon and Île de France, also colonized by the French), Mozambique and Madagascar, to work not only on the main islands of Mahé, Praslin and La Digue, but also on the outer islands. The British administration prohibited slavery in 1835, but African and some Asian workers (mostly Chinese, Indian and Malay) continued to immigrate to Seychelles. Nowadays, all the natives from Seychelles consider themselves Creole, no matter their backgrounds . For this population -estimated at 107,740 inhabitants in 2023 -(World Population Review. n.d. "Seychelles Population 2023 (Live)". Accessed August 21, 2023) Creole traditional culture developed in the Seychelles territory from the meeting of diverse populations and strengthened as a national culture from the independence of the country, is a landmark and contributes to their sense of identity.

Docente e Investigadora en el campo de la cognición y desarrollo musical aplicado a la Educación. Autora de obras de la Pedagogía musical, artículos publicados en revistas nacionales y extranjeras, canciones, cuentos y espectáculos musicales para niños.