Strange histories, of kings, princes, dukes, earles, lords, ladies, knights and gentlemen ...

Later published with title: The royal garland of delight.

Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire : op. 21 : für eine Sprechstimme, Klavier, Flöte (auch Piccolo), Klarinette (auch Bass-Klarinette), Geige (auch Bratsche), und Violoncello /

For narrator, flute (and piccolo), clarinet (and bass clarinet), violin (and viola), violoncello, and piano.

Educational bulletin ...

With music.

Games and songs of American children /

Bibliography: p.[267]-269.

Publications of the Texas Folklore Society.

"Bibliography of Texas legends": No. 3, p.[255]-260.

Die Fackel.

Editor: Karl Kraus.

Elgar,

Series title also at head of t.p.

Att marknadsföra med musik : en studie kring musik i reklamfilm och en artistprofils påverkan på ett varumärke

Due to the current digitalization of the music industry it has become more important than ever for musicians to get their music placed in advertising. This process is frequently described as a win-win situation for both sides: the musician gets money and exposure while the brand gets to ride on the musician’s pop-cultural position in society. The following thesis is focused on identifying the different ways brands work with music in their TV-advertising, and what effects the brand of the featured artist might have on the brand itself. Using text analysis, six advertisements all shown on Swedish TV during the first half of 2016 were analyzed, with the result that four major recurring themes were identified: nostalgia, text-related usage, making the advert memorable and making the advert into entertainment. The study also found three ways in which a band profile could serve a brand: (I) to make the advert an artifact of popular culture, (II) to let the brand ride on the bands success, (III) to give credibility to the brand. The study was based on brand theory, sensory branding and semiotics as well as David Hurons theory on the different usages of music in advertising. 

Differential effectiveness of two anxiety induction procedures in youth and older adult populations

In this study, we tested in older and younger adults the efficacy of two well-known procedures to experimentally induce anxiety: a) Velten self-statements combined with music; b) film scenes. We extended the pre-vious findings in this field to the understudied area of mood induction in older adults. Fifty-seven older adults and 94 college students were random-ly assigned to one of the experimental conditions or to a control group. Results indicated that both procedures were effective, according to a series of ANOVAs for several self-report, physiological, and behavioral measures. Likewise, the highest effect sizes were observed for the Velten procedure (g = .81 vs. g = .71), and the effects were significantly higher in younger (g = 1.0 in the Velten condition) than in older adults (g = .62), Q = 4.25, X2(1), p = .0392. Both procedures were effective to induce inducting anxiety in both age groups, especially the Velten procedure in younger adults. Therefore, Velten self-statements combined with music may be very useful anxiety induction procedure for further research in controlled situa-tions of emotions across the life-span.

Le développement du public jeune universitaire pour la musique classique à Montréal

Des recherches au Québec (Garon, 2009), en France (Donnat, 2011) et aux États-Unis (Kolb, 2001) confirment un état de fait général: le vieillissement du public de la musique classique. Si le public du répertoire est reconnu pour posséder un haut niveau d’études, pourquoi les étudiants universitaires de nos jours ne sont-ils pas plus présents dans les salles de concert ? Cette étude explore cette problématique d’abord par une recherche historique et par des entrevues auprès de certains des organismes de musique classique à Montréal, et ce afin de comprendre leurs stratégies de développement des publics concernés de 2004 à 2014. Ensuite, par un sondage auprès de 555 étudiants universitaires de la ville, pour faire un portrait de leur relation avec la musique à l’heure actuelle. Notre analyse, appuyée par une bibliographie en sociomusicologie et en sociologie des pratiques culturelles, confirme des tendances comme celle de l’«omnivorisme culturel» et l’éclectisme musical des jeunes universitaires. Elle nous montre aussi une réception positive des œuvres classiques, quoiqu’incompatible avec les critères esthétiques des genres musicaux favoris. À partir de ce paradoxe, nous étudions la force des motivations extramusicales qui les amènent aux concerts, leurs formats préférés, l’impact de l’éducation musicale, l’influence des parents, de l’internet, des nouvelles technologies. Finalement, nous constatons le nombre peu élevé d’initiatives des organismes musicaux dans le milieu universitaire à Montréal qui, pourtant, se montre un bassin au grand potentiel pour le renouvellement des publics de la musique classique.

The Narrative Value of Dance Communication: "habitus", musicality and emotion

The richness of dance comes from the need to work with an individual body. Still, the body of the dancer belongs to plural context, crossed by artistic and social traditions, which locate the artists in a given field. We claim that role conflict is an essential component of the structure of collective artistic creativity. We address the production of discourse in a British dance company, with data that spawns from the ethnography ‘Dance and Cognition’, directed by David Kirsh at the University of California, together with WayneMcGregor-Random Dance. Our Critical Discourse Analysis is based on multiple interviews to the dancers and choreographer. Our findings show how creativity in dance seems to be empirically observable, and thus embodied and distributed shaped by the dance habitus of the particular social context.

Experiências formativas de jovens instrumentistas : um estudo a partir de entrevistas narrativas

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-graduação em Música, 2015.

A construção do habitus musical dos músicos amadores

Com esta dissertação pretende-se estudar a construção dos habitatus musicais nos projetos musicais amadores, com base, sobretudo, na teoria da prática de Pierre Bourdieu, procurando-se igualmente compreender o papel da reflexividade e dos quadros de interação ao longo das trajetórias musicais. Entende-se que os músicos amadores assumem uma relação específica com a música, ainda que entre si seja heterogénea e, desta forma, tomou-se como objetivos centrais apreender as matrizes e os modos de socialização, analisar o papel da reflexividade na produção musical e também comparar os habitatus musicais dos músicos amadores. Para tal, utilizou-se uma metodologia qualitativa, dado o cariz analítico do estudo, através da aplicação de entrevistas semidiretivas e, complementarmente, de observação direta não participante; ABSTRACT: With this dissertation it is intended to study the construction of the musical habitatus in amateur musical projects, based, especially, in the Theory of Practice of Pierre Bourdieu, looking for to understand, as well, the role of reflexivity and the interaction settings along the musical trajectories. It is considered that the amateur musicians assume a specific relation with music, even if it’s heterogeneous between them and, therefore, it was taken as the main objectives to learn the pattern and methods of socializing, to analyze the role of reflexivity in the musical production and to compare the musical habitatus between amateur musicians. For such, was used a qualitative methodology, given the analytical nature of the study, through the application of semi directive interviews and, complementarily, of the nonparticipating direct observation.

"Encanta-me, canta-me histórias : a literatura para a infância de mãos dadas com a expressão musical"

O trabalho que iremos apresentar pretende ser um instrumento de reflexão e aprofundamento crítico sobre uma prática, que vai demonstrar como, de uma forma lúdica e cativante, se pode utilizar a Literatura Infantil nos seus mais variados géneros e a Expressão Musical, em atividades de exploração, aprendizagem e criatividade. A partir dessas atividades, que devem ser motivadoras de forma a envolver o grupo de crianças do Jardim de Infância de Valdossos, pretendemos promover a aquisição de diversas competências associadas ao desenvolvimento da linguagem, nomeadamente no que se refere à oralidade. A questão que orientou a nossa pesquisa foi: “ Como construir, implementar e avaliar um Projeto Artístico-Pedagógico com enfoque na Literatura Infantil e na Expressão Musical, que contribua para o desenvolvimento da oralidade das crianças do Jardim de Infância de Valdossos?” O trabalho empírico vai assentar numa metodologia qualitativa. A partir da análise de toda a informação recolhida da observação direta, das gravações, fotografias, diálogos e registos das crianças, pudemos constatar que ambientes educativos que promovam o acesso à Expressão Musical e a Literatura Infantil nas suas mais diversas modalidades farão com que as crianças desenvolvam vários conhecimentos e adquiram competências importantes para a sua formação como um todo integrado. Constatámos também, que o contacto precoce com a Música e a Literatura interferem positivamente na aquisição e desenvolvimento de competências relacionadas com o desenvolvimento da oralidade, permitindo-nos verificar a relevância deste projeto.