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Sökning: hsv:(HUMANIORA) hsv:(Konst) hsv:(Musikvetenskap)

  • Resultat 11-20 av 4259
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11.
  • Tatar, Kivanc, 1988, et al. (författare)
  • A Shift in Artistic Practices through Artificial Intelligence
  • 2024
  • Ingår i: Leonardo. - : MIT Press. - 0024-094X .- 1530-9282. ; 57:3, s. 293-297
  • Tidskriftsartikel (refereegranskat)abstract
    • The explosion of content generated by artificial intelligence (AI) models has initiated a cultural shift in arts, music, and media, whereby roles are changing, values are shifting, and conventions are challenged. The vast, readily available dataset of the Internet has created an environment for AI models to be trained on any content on the Web. With AI models shared openly and used by many globally, how does this new paradigm shift challenge the status quo in artistic practices? What kind of changes will AI technology bring to music, arts, and new media?.
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12.
  • Rosengren, Cecilia, 1962, et al. (författare)
  • Inledning: Den kontroversiella barocken
  • 2020
  • Ingår i: Lychnos: Årsbok för idé- och lärdomshistoria. - 0076-1648. ; 2020, s. 85-94
  • Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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13.
  • Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
  • 2008
  • Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
    • When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
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14.
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15.
  • Olsson, Dan, 1963 (författare)
  • Jeanna Åkerman
  • 2016
  • Ingår i: Levande Musikarv.
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)
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16.
  • Barnet i kulturen
  • 2020
  • Ingår i: Barnläkaren. - 1651-0534. ; :5, s. 1-32
  • Annan publikation (övrigt vetenskapligt/konstnärligt)
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17.
  • Tatlow, Mark, 1955 (författare)
  • Arias for a Voiceless Singer: What Can They Teach Us about Eighteenth-Century Opera?
  • 2023
  • Ingår i: International Conference organised by Divino Sospiro (Centro de Estudos Musicais Setecentistas de Portugal), at Queluz National Palace: Historically Informed Performance.
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • This paper introduces my ongoing joint collaboration with Magnus Tessing Schneider on a vocal-score edition of fourteen of Luigi Bassi’s arias by other composers than Mozart. Covering the period 1780–1820, nine of the arias were specifically written for the singer by such little-known composers as Pietro Morandi, Angelo Tarchi, Peter Winter, Giovanni Liverati, Johann Joseph Rösler, and Francesco Morlacchi, while five of them come from some of his most popular roles in operas by Giovanni Paisiello, Antonio Salieri, Joseph Weigl, and Ferdinando Paer. As the common denominator in the aria collection, and as a singer whose voice was, somewhat paradoxically, not his most important calling card, Bassi provides an instructive example of how these arias may have been adapted in order to reach an audience. Together, the arias document what might be called Bassi’s ‘dramatic profile:' his preferred aria types as well as the types of characters, emotions, and dramatic situations that he excelled at portraying. I suggest that in reviving these arias today, performers are not always well-served by the 'urtext' culture that grew up in the twentieth century, largely in the service of the music of so-called ‘master composers’. Their scores often contain sufficient information for the needs of today’s performers, many of whom follow relatively recently established and successful codes of performance. But for the arias of lesser-known composers, the challenge lies in assessing what kind of performative flexibilities may have been applied by Bassi and harnessing them to reach an audiences today. I provide examples of how far performers may need to deviate from composers’ scores to achieve this aim and demonstrate that this is one way of developing the practices of historically informed performance. This is to use Bassi's unusual vocal profile as a stimulus for both historical speculation and practical experimentation.
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18.
  • Belgrano, Elisabeth, 1970 (författare)
  • Understanding the singing self in performance of laments and madscenes in Italian and French 17th century opera.
  • 2009
  • Ingår i: EUFRAD (European Forum for Research Degrees in Arts and Design, 4-6 september 2009, Glasgow School of Art, Glasgow, UK.
  • Konferensbidrag (refereegranskat)abstract
    • This is an interdisciplinary study departing from vocal practice-based research in Baroque opera performance. The aim is to better understand minds and emotions of women performers during the 17th century with reference to 21 century performance practice, while exploring new possibilities of performing vocal music from the Baroque era.
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19.
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20.
  • Rosen, Astrid von, 1964, et al. (författare)
  • Reimagining the research archive: a dialogue
  • 2016
  • Ingår i: Dream-playing across borders: accessing the non-texts of Strindberg’s A dream play in Düsseldorf 1915–18 and beyond / Astrid von Rosen (ed.). - Göteborg : Makadam. - 9789170612329 ; , s. 279-298
  • Bokkapitel (refereegranskat)abstract
    • The book concludes with dialogue between the participants about the reimagined research archive that has grown out of the project.
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  • Resultat 11-20 av 4259
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