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MULTI-PART VOICES OF THE PORTUGUESE SOUTH: CANTE ALENTEJANO IN CONTEMPORARY INTERPRETATIONS The article presents cante alentejano (a multi-part singing form from Alentejo) as a manifestation of cultural identity of the inhabitants of the Portuguese region. It succinctly illustrates the origins and development process of the genre, as well its present situation. The transformations of cante (in terms of its definition, practice, promotion, and „use”) are shown in relation to the contemporary socio-cultural realities of the region. The article also addresses the references to cante alentejano in the works of contemporary artists who are active nationally and internationally, recognized by a wide audience, and originating from other musical traditions (e.g., fado or pop). The article also indicates possible directions for further research on this cultural phenomenon.
MULTI-PART VOICES OF THE PORTUGUESE SOUTH: CANTE ALENTEJANO IN CONTEMPORARY INTERPRETATIONS The article presents cante alentejano (a multi-part singing form from Alentejo) as a manifestation of cultural identity of the inhabitants of the Portuguese region. It succinctly illustrates the origins and development process of the genre, as well its present situation. The transformations of cante (in terms of its definition, practice, promotion, and „use”) are shown in relation to the contemporary socio-cultural realities of the region. The article also addresses the references to cante alentejano in the works of contemporary artists who are active nationally and internationally, recognized by a wide audience, and originating from other musical traditions (e.g., fado or pop). The article also indicates possible directions for further research on this cultural phenomenon.
Niniejszy dyskurs podejmuje temat języka muzycznego i jego zastosowania w relacjach międzyludzkich. Analiza porównawcza języka oraz języka muzycznego, a także wybrane wymiary komunikacji ukazują zależności wynikające z relacji międzyosobowych. Współcześnie dostęp do kultury muzycznej nie jest ograniczony i mają do niej dostęp nie tylko elity. Wpływ muzyki na relacje interpersonalne ujawnia się w komunikacji uwzględniającej aspekty emocjonalne, wyobrażeniowe, doświadczenia piękna. Porozumiewanie się językiem muzyki wymaga doświadczenia i wrażliwości na dźwięki. Wiedza muzyczna pozwala prowadzić rozmowy na płaszczyźnie semantycznej, jednak odczuwanie muzyki nie musi być oparte na znajomości nomenklatury artystycznej. W przekazywaniu komunikatów następuje proces wspólnego kształcenia pomiędzy nadawcą i odbiorcą, czego wynikiem jest sprawniejsze opanowanie zasad i kodów komunikacji.
“I don’t like it.” That Is Social Issues in the Work of Lidia Zielińska Lidia Zielińska is said to be “a master of combining classical instruments with electronics”, but it would be equally appropriate to say that for several years she has also been a master of combining/associating her compositions with important social problems such: hate speech, pollution and degradation of the planet, failure to respect woman’s rights, dividing societies for political reasons or the issue of leaving, death taking its toll with increasing intensity recently. This article concerns a work I do not like it by Lidia Zielińska from 2018, which touches on a particularly difficult social problem, which is the growing aggression spreading, among others, in social media, having tragic consequences in the form of suicides of young people, stigmatized, excluded and ridiculed by their peers. The composer, deeply moved by this problem, wants to develop, in young people, but also in society in general, the awareness of the processes involved in the emergence of aggression, hatred and the awareness of what effects they can cause.
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