Über die Beziehungskonstellationen der Liebe by Rafał Szubert

“…The conceptual domain of love is explored through examples from various areas of language use: in online dating communication, gender-specific advice on flirting and courtship communication, the mourning of parents for their deceased children, the grieving process after the death of a surviving partner, marketing strategies, musical-dramatic imaginings of love from a linguistic perspective, the non-linear structure of language, staged animal love in zoo documentary soaps, children’s books, and in the design of interstate relationships. …”
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Problematización, eventualización y ficcionalización: la crítica en lavisibilización de las subjetividades by Jorge Eliécer Martínez Posada

“…El articulo brinda elementos para el camino metodológico en las formas de abordar las subjetividades: el trabajo se presenta a modo de melodía musical con un introito a modo de introducción, cuatro incisos, el primero de los cuales se denomina «¡ El punto de partida es ontológico!»…”
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“L’OPERA SERIA” ET SES RÉFORMES by Diana TODEA

“…This reform, which was first of all a literary one led to the development of opera seria; half a century later, when one would focus again on the innovations of the genre there will be a second reform, this time more than dramatic since it will have solid musical and theoretical foundations. [1] «L’opéra ne constituait que un branche sur un tronc solide de la littérature dramatique», in Isabelle Moindrot, L’opéra seria ou le règne des castrats [Opera seria or the reign of the castrati],.Paris, Fayard,1993, p. 21. …”
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Formfunktionen der Sonatenform. Ein Beitrag zur Sonatentheorie auf der Grundlage einer Kritik an William E. Caplins Verständnis von Formfunktionen by Ulrich Kaiser

“…Applying this critical view to the formal functions ›main theme‹, ›transition‹, ›subordinate theme‹, and ›closing section‹, an alternative concept for the musical analysis of sonata form is developed and illustrated with compositions from the second half of the eighteenth century and the early nineteenth century.…”
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Pensar desde el otro lado de la línea abismal by Silvia Valiente

“…Más concretamente, se analiza en qué medida las obras del canta-autor santiagueño argentino Horacio Banegas -desde el género musical folklórico- vehiculizan una forma de conocimiento próximo al pensamiento posabismal. …”
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Digital and physical re-creation of ancient Chinese bells: new understandings and discoveries by Kin Sum Li

“…The study seeks to answer a series of questions, including whether replication of bells was practiced in ancient times, how casters could predict the tones a bell would produce before casting, and how a set of bells used as a musical ensemble could have been developed over history.…”
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Pomiędzy queerową subwersją a „middle-class mainstreaming”. O twórczości drag queen Mony Lizak by Magdalena Stoch

“…This article is a critical reflection on the stage and musical work of drag queen Mona Lizak. The author asks about the form (stage style) and content (ideological message) of the artist’s con­ceptual and speculative works and its connections with the tradition of queer performance. …”
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Solmisationssysteme in El cantor instruido von Manuel Cavaza. Ein Fallbeispiel zur Methodenvielfalt im 18. Jahrhundert by Luis Ramos

“…According to this source, a well-informed singing teacher at that time had to be a musical polyglot.…”
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La música fílmica de John Williams como transmisora de la esperanza ligada a la tierra by Andrés Valverde Amador

“…Partiendo de una metodología que se nutre, principalmente, del análisis musical y fílmico, junto a aportaciones de la filosofía, la estética, la psicología y la semiótica, se mostrarán los mecanismos generadores de esperanza en la música creada por Williams. …”
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I. PRAYERS OF FEMALE PROTAGONISTS IN GIUSEPPE VERDI’S OPERAS FENENA’S PRAYER: OH, DISCHIUSO È IL FIRMAMENTO by Adél FEKETE

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Costanzo Festa’s (?) motet ‘O altitudo divitiarum’ re-examined: new suggestions regarding its source context, attribution and function by Wojciech Odoj

“…Joseph Llorens attributed them to Costanzo Festa (c. 1490–1545) in his catalogue of the musical manuscripts of the Sistine Chapel and both are included in Festa’s Opera omnia. …”
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The Fundamenta compositionis Jean Kuhnaus 1703. Edition, Translation, and Commentary by Frederik Kranemann, Derek Remeš

“…Therefore the ultimate value of the Fundamenta is not its originality, but rather its explication of topics such as consonance and dissonance, modes, clausulae, cadences, invertible counterpoint, and fugue in a highly condensed, practical manner with numerous musical examples. The Fundamenta is thus an excellent resource for historically informed analysis and composition at the turn of the eighteenth century, before thoroughbass accompaniment displaced vocal polyphony as the dominant pedagogical paradigm in compositional instruction. …”
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Instrumental practice and body discomfort: study with musicians of violin and viola by Clarissa Stefani Teixeira, Rubian Diego Andrade, Fausto Kothe, Érico Pereira Gomes Felden

“…The postures adopted in the execu- tion of musical routines were identified by means of movies and the identification of pain and/or discomfort by Corlett and Bishop (1976) questionnaire. …”
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Identidad boyacense: cultura popular, floklor y carranga (1960-1980) by Olga Yanet Acuña Rodríguez, Ruth Nayibe Cárdenas Soler, Julio Aldemar Gómez Castañeda

“…Desde la folclorogía se promovió la formación musical centro europea y como expresión popular se consolida la música carranguera, con la cual se populariza la vida cotidiana de los campesinos.…”
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Application of Perceptual Filtering Models to Noisy Speech Signals Enhancement by Novlene Zoghlami, Zied Lachiri

“…The importance of an accurate noise estimate is related to the reduction of the musical noise artifacts in the processed speech that appears after classic subtractive process. …”
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Expressões retóricas do amor no Cancioneiro Geral de Garcia de Resende by Geraldo Augusto Fernandes

“…The resources used by poets would be, through the revaluation of poetry, harmony and musicality, through which the most diverse contents of human inquiry were expressed, which reveals the ancient concerns that medieval poets emulated. …”
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Mujeres, música y liderazgo by Sandra Soler Campo

“…El camino a seguir (además de recuperar nuestro pasado histórico y premiar la trayectoria de todas las mujeres artistas olvidadas) es aquél que haga posible alcanzar el principio de igualdad sexo-genérica y que, por lo tanto, además de ofrecer un mayor número de oportunidades, pueda, a la vez, abordar el problema social y cultural con el objetivo de no volver a repetir la misma situación tan desfavorecedora para el género femenino.Durante varios siglos la práctica de la enseñanza musical se ha ido convirtiendo en una práctica fundamentalmente femenina, no obstante, los líderes en este sector son los hombres. …”
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Música e desenvolvimento, da tradição à inclusão social: um estudo de caso com a Banda Filarmônica Minerva em Morro do Chapéu (BA) by Paula Bessa Braz

“…O projeto integra a uma rede de projetos sociais de educação musical, a Plataforma Sinfonia do Amanhã, cuja metodologia de atuação, Creating Shared Value, aponta que a relação com os projetos beneficiados se dá de maneira estratégica e continuada. …”
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The Caretaker: Cartografia de Afetos no Estado Demencial // The Caretaker: Cartography of Affections in the Demented State by Ana Rita Queiroz Ferraz, Iuri Cerqueira Moldes Morais

“…Em virtude do aumento de casos de Alzheimer e de Demência no Brasil e no mundo, esta pesquisa debruçou-se sobre a obra de “The Caretaker”, projeto artístico-musical de Leyland James Kirby, a fim de produzir pistas para compreensão de um estado demencial associado à memória e ao esquecimento no Alzheimer. …”
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El rango de entonación microtónica en el canto kakataibo. Una aproximación fonética y musicológica a no bana ‘iti by Alejandro Prieto Mendoza, Ricardo López Alcas

“…Con base en el análisis fonético y musical del mismo, a diferencia de estos, que proponen la existencia de variaciones microtónicas y una melodía compuesta por dos o tres notas, en el presente estudio consideramos que el canto no bana ‘iti se compone de dos notas fluctuantes: una primera más alta (H), que recae en la primera sílaba, y una segunda más grave (L), que está asociada al resto de la línea melódica. …”
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