This paper presents a proposal for preparing actors to approach a character, called alternate memory, which is a quick way to build a character. With this way of acting we cover the anthropological and emotional research of the character, allowing the actor/actress to support their physical and emotional training with the emotions, actions and reactions of the other. The theoretical basis of this research is in the theories of Stanislavski (2011) and Serrano (1981). General knowledge about emotions, reactions, body, mind and memory is taken from Alonso (2019), Kenneth (1996), Tortora (1993) and Matlin (1996). The methodology used is based on a qualitative approach, with a phenomenological orientation, under a semi-structured, interactive, and flexible design, developed through documentary research with an unstructured interview. Alternate memory is a very useful resource for character building and the emotional protection of the actor/actress.
The main objective of the following article is to delve into the plastic arts, specifically in the geometric abstraction that occurred in mid-1932 in Maracaibo and which today is considered the starting place of this artistic movement in Venezuela. For this, a qualitative methodology supported by the hermeneutic method was assumed, considering as the unit of analysis the internal decoration of the Upper Room of the Baralt Theater in Maracaibo, specifically the ceiling and the large lamp inspired by art dec & oacute; and made by the zuliano artist Antonio Angulo. Direct observation was applied as a collection technique, while the units of analysis were the documents and images of the selected works. It is concluded that the artist Antonio Angulo is considered the first abstract artist in the history of art in the country.
Flexibility in architecture allows individuals to be what they want to be. Housing is a living manifesto of reflection and evolution of the sense of belonging. In countries with emerging economic conditions, such as Mexico, the lack of good policies in housing programs, the home's transformation is a strategy for improving life and manifestation of the identityof its inhabitants. Howdoes the inhabitant manifest its appropriation in the experience of architectural interior space? How is architectural flexibility a form of appropriation in daily living in these environments? Through the analysis and reflection of the interior space in contexts with emerging economic conditions in Aguascalientes, Mexico, and under the concept of liquid habitability as an element of appropriation post-COVID-19 pandemic in the scale of immediate relationship, the work aims to establish criteria and considerations that promote improving the quality of life of the inhabitant.
The spread of capitalism facilitated the creation of large empires based mainly on eco-nomics. Films were part of this endeavor. Some National Cinemas were built on the need to create a distinct body of work that stands up against more dominant cinemas. Even within countries this has been the case. When the films of a region openly defies the in-fluence of another, some questions arise. Is possible to define a cinema within a National Cinema? What is a National Cinema when a nation is spread across countries' frontiers? Can we talk about a National or a Regional Cinema when talking about a group of films that have been deeply mirroring the films of other nations/regions? We will explore these questions using a historical-narrative approach analyzing the films La Otra Muerte, Al Otro Lado del Mar, and Ram & oacute;n No Sabe Volar, made in the Zulia region in northwest Venezuela.
For hundreds years, the conflict has marked the cultural dynamics of the Way & uacute;u people instituting the rite of negotiation as "practice" and mechanism for resolution. This research is intended to address the construction of the notion of conflict in way & uacute;u myth "Ala'Ala and Juy & aacute;" from the crossroads of two theoretical and methodological approaches: the antropoling & uuml;istical perspectives (discourse analysis from the pragmatic semantic model) (Molero, 1985-2003) and symbolic anthropology, from the contributions of Dan Sperber (1988), Paul Ricoeur (1975-2006), Gilbert Durand (1968-1999) and "El M & eacute;todo"of Edgar Morin (1998-2003) as the foundation our contribution: a "Systemic Model for Symbolic Analysis of Myth". Is concluded that the myth is a generative loop metalanguages and knowledge producer, and that, it may go to the wisdom of myth as collective memory and feed his teachings on the mechanisms for resolving contradictions, conflict management and maintenance of social equilibrium.
Villancicos became an important musical genre in the Spanish world and migrated with the conquest from the Iberian Peninsula to the New World. Within the context of highly racially mixed societies in the Americas, the genre gained linguistic, thematic, and musical diversity. This paper examines issues of social agency in the musical depiction of African slaves through two compositions by Gaspar Fernandes and Juan Guti & eacute;rrez de Padilla. The author provides an analysis of texts through the lens of social agency to show the European view of the African subject in seventeenth-century Mexico. The study shows the varying portrayals of the African subject in the villancico genre by novo-Spanish composers of the time.
Salvatore Sciarrino's Superflumina references a biblical text and religious themes, such as the beginning of Psalm 137. He incorporates an antiphon in Quadro III , connecting the Psalm text with the antiphonal method used in church music. The Quadro III ( Antifona ) represents an interrupted dream, assuming peripeteia function. In an interrogation scene, the protagonist, "La Donna," recites fragments from the Song of Songs while being interrogated by a policeman. The various instruments perform disparate sound elements, contrasting various musical ideas. This research aims to identify compositional strategies that clarify Sciarrino's approach to the antiphonal mode of composing and explore the elements from antiphonal performing for the quotation of the Song of Songs , and in what form he integrates them into his compositional style.
Igor Stravinsky wrote: "We cannot better specify the sensation produced by music than by identifying it with that which the contemplation of architectural forms provokes in us. Goethe understood this well when he said that architecture is petrified music". Since the Middle Ages, architecture and music have cooperated. They have gone through their metamorphosis together, hand in hand. Their fusion has produced unique architectural and musical hybrids. A similar story connects Igor Stravinsky's The Concerto in E flat major for chamber orchestra "Dumbarton Oaks" or Canticum Sacrum, which was written for St. Mark's Basilica in Venice. This paper aims to provide a multidisciplinary approach to a deep connection between music and architecture. The semiology method allows us to find hidden ideas in musical and monumental works.
Unlike his French colleagues, the Romanian composer Horatiu Radulescu arrived at the spectral method intuitively, through audioperception, rather than computerized sound analysis, finding inspiration in philosophy (Lao Tzu, Mircea Eliade), psychology (Carl Gustav Jung) and mysticism. In 1973, Radulescu set out his aesthetics in "Sound Plasma: Music of the Future Sign or My Acute King opus 19 infinity", in which the main musical categories - harmony, rhythm and form - are based on a return to the nature of sound. Das Andere op. 49 for viola is an example of this new compositional approach. The shape is based on a change in density, from rarefaction to densification, thus manifesting a transitive ternary structure from stability to instability (and vice versa). R & abreve;dulescu is one of the pioneers of spectralism; therefore his music deserves systematic and in-depth study.
The present paper aims to provide a dating hypothesis for the guitar version of Can & ccedil;& oacute; i Dansa X for guitar by Frederic Mompou. This hypothesis is based on autograph documents written by the composer and the dedicatee of the diptych, which enhanced a historical reconstruction allowed by contemporary and successive sources about Frederic Mompou, Andr & eacute;s Segovia, and other people and facts named in the documents. This paper ultimately shows how Can & ccedil;& oacute; i Dansa X for guitar might be contemporary or even earlier than the versions for piano and vocal quartet and thus Mompou's first piece for guitar, ten years before Suite Compostelana.
The arrival of microtonality has widened the limits of traditional scales. Pioneers such as Carrillo (1957), Haba (1984), Johnston (1964), among others, charged themselves with the division of the octave through mathematical and surgical-like certainties of the highest precision. These proceedings not only enriched the available scales and chords but also raised issues of notation and reproduction that have not been appropriately resolved. Nonetheless, the rhythm rebels itself before any notation ambiguity and rises itself as the parameter of inclusivity. Based on the conclusions explored by the pitch realm we can assess possible outcomes for the other parameters and use them in our arguments like that of the scalar dimension. These rhythmic observations can be operated for performance, composition, or music analysis. Such aims are deduced from the advantageous situation of this parameter when compared with pitch and it offers an opportunity to look back towards the rhythm.
This research is a self-investigation into flow, understood as an optimal experience, during the daily study of the musical instrument, focusing on the psychophysical well-being of music students, regardless of academic or performance performance. Once a protocol had been established (i.e. duration of sessions, repertoire), the author's piano study was video-recorded for two months; at the end of the sessions, a questionnaire was filled out (Flow State Scale) aimed at self-evaluating the flow levels achieved during the study and a diary in which the sensations experienced, any difficulties and awareness acquired on an emotional and musical level were reported. The analysis of the data, partly quantitative (questionnaires) and partly qualitative (diary, video), had the objectives of monitoring the progress of flow levels and highlighting which habits and practices contributed to making daily study a positive experience or negative, referring to the 9-dimensional flow model proposed by Csikszentmihalyi (1990).
In September 1922, a school music festival organized by the National Education Council of Argentina was staged at the Teatro Col & oacute;n in Buenos Aires to celebrate the 100th anniversary of Brazil's independence. With a documentary approach and the use of the historical-hermeneutical method, this paper argues that the commemoration of the Brazilian anniversary in Argentina was a cultural and symbolic action that, like other related events, sought to promote a climate of reciprocity and international courtesy, encouraged, in this case, by the government and its educational system and from a certain part of the Argentine music community, both related in a nationalist way of thinking and in a growing desire for Latin American fraternity.
This paper presents the artistic research project HIATOS Collective through a sound intervention in the city of Barcelona, Spain, exploring the spatial dimension of music through the approach of art-centred artistic research as a theoretical foundation. The aim of the research is to reflect on how the sound dimension interacts with the urban environment and how spatiality influences perception within the concept of "open work". The methodology includes a series of sound-spatial installations in different parts of the city through mapping and situationist drifts as data generation techniques, using ECHOES sound geolocation technology, achieving a deeper understanding of the interconnection between music and space. The conclusions highlight the importance of sound spatiality, its role in perception and emotional connection, as well as its therapeutic potential.
Vocal pedagogy is an emerging academic discipline that is rapidly gaining traction as a rigorous and relevant body of knowledge. However, its knowledge often lacks the rigorous legitimacy required for academic credibility. The Western craft of teaching singing and vocal skills has a long history and is deeply rooted in practical experience. This paper explores academic writers' concerns for legitimizing practical arts practice in academia and higher education institutions. The paper uses phenomenological research on female adolescent singers' experiences to illustrate how this practical-theoretical alignment can be negotiated. This alignment between rigorous credibility and voice teaching can be seen as a dilemma or consideration.
Starting from an unpublished musical-themed painting, this article retraces the impervious and controversial theories regarding the genesis and formal evolutions of the lira da Braccio, allocating space to the treatises of the 16th and 17th centuries. A large part of the study is dedicated to the complex symbolism which, between the Renaissance and Baroque, made the lyre da Braccio the mythological, as well as dynastic, attribute of the Supreme Harmony, a musical, philosophical and alchemical concept which founds its principle in the reiteration of the number seven. In the aforementioned seventeenth-century painting, the discovery of the rigorous depiction of a brass lyre with the keyboard decorated with geometric motifs has stimulated historical and documentary research with which to compare the painted lyre to a lost example of the Amati manufacture and to the learned circles of post-Ridentine Rome and of Medici Florence.
Avant-garde and postmodernity are the pillars on which Love from Afar, a five-act opera by Finnish composer Kaija Saariaho on a libretto by Lebanese writer Amin Maalouf, is based, performed at the Salzburg Festival on Aug. 15, 2000. The fruit of long maturation, this drama saw Saariaho move from a material conception of music toward a more "aerial" musical poetics in which art, literature and poetry find their place. The discussion aims to show how, in the contemporary musical panorama, it is possible to follow an alternative path to extremism. Saariaho, in fact, deliberately takes up aesthetic canons that are now completely outdated, resurrecting them through musical means that are even more modern than those used by contemporary authors. To this end, the composer's aesthetic conception will be briefly analyzed, and then the main elements that made Love from Afar the link between the avant-garde and postmodernity will be examined.
Same initials, two different worlds: Fabrizio and Felicita Casella, two important musical personalities of the 19th century. He, a Roman teacher and composer of vocal music; she, an internationally renowned pianist, composer and opera singer of French descent, aunt of Alfredo Casella. Recently, due to catalographic attribution errors, their lives in the digital world were intermingled, almost overlapping: one was attributed the works of the other. The discovery, made at the State Archives of Terni in 2022, was entirely fortuitous. With the guidance of Professor Cristina Cimagalli, a documentary archival search was undertaken in several European libraries, and conclusive evidence was found on the real attribution of the pieces examined, thus contributing to music historiographical studies, as well as to the recovery and preservation of musical property. Translated with DeepL.com (free version)
This text describes the story of a group of children in the childhood stage, in the film The Abandoned Children (1975) by the director Danny Lyon, American photographer and documentary filmmaker, made in the city of Santa Marta (Colombia), in the seventies. The purpose is to describe the film's view of childhood in street conditions and abandonment in the city, through elements such as corporal, gestural and sonorous expressions in the film. The analysis seeks to pick up the conversation around the issues raised by the film.
