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Open access

Tamara Constantinescu

Abstract

A performance is a common adventure, the result of the “confrontation” of several creators who meet, each of them bringing the perspective of their own domain, in order to decipher a play that is meant to be represented on stage. The musical satisfies the contemporary audience’s need for novelty and dynamism, as its main characteristic is the bringing together of arts: theatre – through acting, literature – through the libretto, music – through scores and vocal interpretation, dance, and painting – through scenography. The 13th edition of Gala Vedetelor – VedeTEatru, 2016, the Festival organized by George Ciprian Theatre in Buzău, had MUSIC as its main celebrity. The audiences could attend some of the best performances of dance theatre, concert-theatre, or musicals, such as: ArtOrchestra, directed by Horia Suru, Zic Zac, performed by its young creators Andrea Gavriliu and Ştefan Lupu, or West Side Story, created by the choreographer-director Răzvan Mazilu.

Open access

Yumiko Nunokawa

: Faber and Faber, 2002. Stravinsky, Igor, & Robert Craft. Stravinsky, selected correspondence, 3 vols. London: Faber and Faber, 2008. Stravinsky, Igor. Le Sacre du Printemps: Facsimile of the autograph full score. Basel: Paul Sacher Foundation; London: Boosey & Hawkes, 2013. Stravinsky, Igor., & Viktor P. Varunts. Perepiska s russkimi korrespondentami: Materialy k biografii [Talks with Russian reporters: Materials for the biography]. Moscow: Kompozitor, 1998. Taruskin, Richard. Defining Russia Musically

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Cristina Simionescu

Abstract

A musical inspiration, Don Pasqule by Gaetano Donizetti offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal scores - areas, duets, recitatives and vocal ensembles and to emphasize their musical achievement.

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Loredana Viorica Iațeșen

Abstract

By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.

Open access

Consuela Radu-Țaga

References 1. Bentoiu, P. (1972). Hamlet , canto-piano score. Milano: Edizioni Suvini Zerboni. 2. Constantinescu, G. (1974). Hamlet by Pascal Bentoiu , in Journal Muzica , nr. 3/1974. Bucharest: Musical Publishing House. 3. Constantinescu, G. (1979). Cântecul lui Orfeu . Bucharest: Eminescu Publishing House. 4. Constantinescu, G. (2008). Splendorile operei . Dicționar de teatru liric . Bucharest: Didactic and Pedagogical Publishing House. 5. Cosma, M. (2001). Opera în România privită în context european. Bucharest: Musical

Open access

Loredana Viorica Iațeșen

Abstract

In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musical compositions of the last decades of the 20th century. Once with the return to the functional system, either through minimalism or through neo-romanticism, the artist has successfully covered a potential sonority path of modern opposites, also evoking references to creative models of the past. We are referring to the musical valorizing of the sacred in a synthetic vision between tradition and innovation, in the works included in the Adiemus cycle, in the opus choir Missa for Peace and, more particularly, in the Requiem (2005), a significant score in the contemporaneity. The manner in which the composer, while resorting to a musical genre originating from the Roman Catholic cult and drawing on the liturgical text of the Mass for the dead, inserted Japanese poetry, written following the structure of haiku, belonging to representative authors - Gozan Koshigaya, Issho Kosughi, Hokusai Katsushika, Kaga-no-Chiyo, is highly surprising. This study aims to highlight the interweaving imagined by Karl Jenkins between the two cultures as well as to conduct a semantic analysis of an opus in which the relationships between music and words entail a highly emotional response.

Open access

Iwona Murawska, Beata Przyborowska, Violetta Kopińska and Piotr Błajet

are divided into the types indicated in Table 2 . (3) Table 1 Kujawsko-Pomorskie Voivodeship. Education compared to place of residence Village City Education % % Higher 8.8 18.6 Secondary and vocational 24.6 35.2 Source: http://www.polskawliczbach.pl/kujawsko_pomorskie (2017.09.05) Table 2 School type based on the EVA index School type Description Neutral schools Average scores + average effectiveness Supportive schools Low scores + high effectiveness Successful schools High

Open access

Ali Soltani, Rasoul Balaghi Inaloo, Mohammad Rezaei, Fatemeh Shaer and M. Akbari Riyabi

itself gives a score of 1 (equivalent priority). Therefore, 1 is assigned to all elements on the diagonal of the pair-wise comparison matrix ( Mahmoodzadeh, 2010 : 92). B. Calculation of criteria weighting: This stage includes the following operations: a) adding up the values of each column of the pair-wise comparison matrix; b) dividing each element of the matrix by its column total (the resulting matrix is called normalised pair-wise comparison matrix); (c) computing the average of the elements in each row of the normalised matrix. These averages will give an

Open access

Alessandro Ciasullo

., Gánem-Gutiérrez, A., Scott, J., Horan, B., & Callaghan, V. I. C. (2011). Immersive education spaces using Open Wonderland from pedagogy through to practice. In Multi-user virtual environments for the classroom: Practical approaches to teaching in virtual worlds (pp. 190-205). IGI Global. Ghedin, E., &Mazzocut, S. (2017). Universal Design for Learning to value differencies: An explorative reasearch considering teachers’ perceptions. ITALIAN JOURNAL OF EDUCATIONAL RESEARCH , (18), 145-162. Goldberg, H. R., &McKhann, G. M. (2000). Student test scores are

Open access

Fiona Drummond and Jen Snowball

household’s score, where assets that are more unequally distributed will have a higher weight. The relative ranking of households using their scores is then used as a measure of SES ( Filmer and Pritchett, 2001 ). However, PCA is designed to be used on continuous, normally-distributed data and so its application to data sets that contain categorical variables, as is often the case with census data, is considered to be inappropriate ( Booysen et al., 2008 ; Howe et al., 2008 ). Multiple Correspondence Analysis (MCA) is more appropriate, as it is the only multivariate