Synchron und diachron. Zum Zusammenhang zwischen Kontrapunkt und Prozessualität in romantischer Formensprache by Ariane Jeßulat

“…Analyses of three works by Schumann, Brahms and Mendelssohn together with a critical reading of Johann Christian Lobe’s Lehrbuch der musikalischen Komposition are used to demonstrate cases of processuality, whose development and dramaturgy defy the conventional imagery of ‘organic form’ despite remaining completely intact as musically functional contexts.…”
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External Constraints on the Development of Quality Assessment of Students’ Learning in Higher Education by Juan C. Manrique-Arribas, Víctor M. López-Pastor, Andrés Palacios-Picos

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Finalmente, los sonidos del siglo XIX mexicano ya no son tan lejanos: ¿qué implica escuchar de nuevo el Te Deum laudamus (1835) de José Antonio Gómez? by John G. Lazos

“…La práctica musical del siglo XIX mexicano sigue siendo un tema pendiente tanto en nuestros campos de estudios como en los escenarios. …”
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Maria Zambrano et Ramon Xirau : une certaine France, bergsonienne, dans les valises de deux philosophes républicains espagnols by Ricardo Tejada

“…Zambrano was particularly sensitive to the musical philosophical prose of the great philosopher of the Third French Republic, as well as its mystical dimension. …”
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ROMANIAN CHOIRS FROM SEBEŞ-ALBA by Dragoş Ioan ŞUŞMAN

“… The present study provides an overview of the musical life of the Romanians in Sebeş, with a deeper insight into the choral work performed by them in the late 19th century and the first half of the 20th. …”
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Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti by Laurence Roussillon-Constanty

“…The point is to show that beyond the personal context of its creation and through the model of Dante’s Divine Comedy, Rossetti is pushing the limits of both forms of art—painting and poetry—thereby creating a new aesthetics where text and image merge into a musical form, where the work of art is an endless dialogue of the soul with itself.…”
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MANDATORY TECHNICAL ELEMENTS IN THE METAMORPHOSIS OF THE SINGING VOICE by Georgeta PINGHIRIAC

“…Trying to imitate human voice, people invented a variety of musical instruments. The attack and emission of the sound are essential while singing. …”
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Dilema da identidade: os rataplãs do Olodum, políticas de significado e o campo etnopopular no Brasil by Edson Farias

“…Upon the application of the figurative-procedural model, in this article, we focus on the Afro-Bahian musical band and carnival group Olodum as heuristic of the correlations between culture, politics and economics. …”
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Le film de mobilisation centrasiatique by Valérie Pozner

“…This little set of motives was recycled in various genra (feature shorts, musicals, documentaries) which are analyzed here on the example of the production of the main Soviet studio during the World War II, that of Alma-Ata.…”
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A poética cantada: investigação das habilidades do repentista nordestino by João Miguel Manzolillo Sautchuk

“…The poetical joust, or cantoria, is a poetic and musical art common in Northeast Brazil and is characterized by strophe improvisation, that is, by its making in the very moment of presentation. …”
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Physical activity, exercise, and mental health of healthy adolescents: A review of the last 5 ​years by Eva Ruiz-Ranz, Iván Asín-Izquierdo

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O imaginário romântico nas sonatas para violoncelo e piano de Ludwig van Beethoven by Rodrigo Falson Pinheiro, William Teixeira da Silva

“…Dessa forma, ao ligarmos a análise musical com uma leitura histórico-estética, nossas conclusões apontam para uma redefinição de paradigmas estruturais outrora dependentes do dado estrutural (harmonia e desenvolvimento temático) tão somente. …”
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Keszthely ou Le château hongrois comme démonstration du savoir by François Cadilhon

“…His court architect György Rantz rebuilt the castle in neo-classicist and romantic style and Festetics organized regular musical and theatrical performances there. From 1817 he arranged twice a year literary festivity called Helikon in his castle. …”
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BLEISURE AND INFORMAL BUSINESS TOURISM IN HARARE, ZIMBABWE by Logistic MAKONI, Christian M. ROGERSON

“…Bleisure activities identified as significant are visits to friends/relatives, participation in religious activities, personal shopping and the enjoyment of sports, musical events and Harare’s night-time economy.…”
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El retorno a lo humano en Gravedad, de Alfonso Cuarón by Arturo Morales-Campos

“…Bajo una perspectiva socio-semiótica, el filme Gravedad (2013), de Alfonso Cuarón, presenta, dentro de su estructura significante, signos de diferente código (visual, musical, sonoro, lingüístico, etc.), que se agrupan en núcleos semánticos. …”
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Mel et sal. Suavité et sévérité de la voix dans Twelfth Night by François Laroque

“…In Twelfth Night, the characters’ voices, now acerbic, now suave, turn language into a real chamber of echoes when the sounds and songs of carnival, charivari, buffoonery and folly are alternately heard besides the sweet musical strains. Shakespeare’s comedy thus presents itself like an acoustic maze where identities and genres get blurred. …”
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The Politics of Voice in Duke Ellington’s Beggar’s Holiday (1946) by James O’Leary

“…Duke Ellington and John Latouche made a number of pointed references to “highbrow” and “lowbrow” art in their 1947 musical Beggar’s Holiday. I argue that this dichotomy did more than classify; it also politicized the consumption and composition of art. …”
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La virtuosité comme arme de guerre psychologique by Aurélie Helmlinger

“…Within a system of national competitions, bands now compete in speed, loudness or musical difficulties. At a more local level, the sections—sets of identical instruments—informally compete in games focusing on the difficulty of performance. …”
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Rasga Coração, de Vianinha, e Hair: aproximação e distanciamento num contexto de contracultura by Éwerton Silva de Oliveira

“…Considering the plays’ formal and content structure, and the political and cultural movements of the 60’s and 70’s youth  the counterculture among them  in the North - American context and in the B razilian historical process (including the dictatorship present in Brazil in these decades), this article aims to analyze how the musical called Hair (1967), by the American actors James Rado and Gerome Ragni, and Rasga coração (1974), a play by the Brazil ian playwright Oduvaldo Vianna Filho (Vianinha), represent the presence of the counterculture, with its innovations and contradictions, similarities and differences, in Brazil and in the United States. …”
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Genie oder kein Genie, ist nicht die Frage. Perspektiven auf Clara Wieck Schumanns Kompetenzerwerb by Janina Klassen

“…Some key questions of this research such as the actors, audiences, actions, artifacts, and sociocultural and material affordances of musical works can be connected to categories of gender studies. …”
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