music

  • Music in the Field of Political Science. Research Questions and Trends

    Author: Iwona Massaka
    Institution: Nicolaus Copernicus University in Toruń (Poland)
    Year of publication: 2013
    Source: Show
    Pages: 317-330
    DOI Address: http://dx.doi.org/10.15804/ppsy2013020
    PDF: ppsy/42/ppsy2013020.pdf

    Research on relations between art and politics has its tradition. However, it mainly refers to literature, whose part, as far as its authors’ intentions are concerned, is of a political character, in a lesser degree – of a picture. Sound, especially if it is not linked to a text and/or a picture, is considerably more seldom analyzed from the point of view of its importance in politics. As long as a word and a picture happen to convey unequivocal political meaning, qualifi ed as such by most recipients, sound cannot be obviously considered a political message. It is questionable whether music can convey any meaning in whatever sense. If one can manage to suppress this doubt, it will result in a question how to construe the senses conveyed through the medium of melodic – rhythmic structures. However, the findings in the field of widely understood humanities affirm that music serves as a creator’s message directed to both individual and collective receivers. Political science studies often bring up a matter of communication between authorities and the subjects (in authoritarian regimes), and also between representatives of a nation or people claiming their role and electorate (in democratic regimes). At the end of the 1960s, American and Canadian scientists made room for music, one of the most widespread communicators, i. a. in political sphere. At that time, interdisciplinary teams including American sociologists, political scientists, culture and media experts undertook multi – faceted research, focused mainly on popular music.

  • Il teatro delle e per le monache (Napoli, secolo XVIII)

    Author: Elisa Novi Chavarria
    E-mail: novi@unimol.it
    Institution: Università degli Studi del Molise
    ORCID: https://orcid.org/0000-0002-8531-0563
    Year of publication: 2019
    Source: Show
    Pages: 119-133
    DOI Address: https://doi.org/10.15804/IW.2019.10.1.20
    PDF: iw/10_2/iw10207.pdf

    THE THEATRE OF AND FOR THE NUNS (NAPLES, 18TH CENTURY)

    Recent studies have focused on the musical environment and the theatre in female monasteries of many Italian cities between the 16th and 18th centuries. These art forms became famous as forms of entertainment in travel literature and in the chronicles of the time but were forbidden in the age of the Counter-Reformation. However, the theatrical performances, both in prose and in music, enjoyed enormous success and spread in male and female monasteries. As of the 17th century, if not even earlier, travellers from half of Europe arrived in Naples, attracted by the excellence of the musical and theatrical performances that they could enjoy in the monasteries of the city. This essay aims to reconstruct the times, the modalities, and the contents of the theatrical offerings in the female monasteries of Naples at the beginning of the 18th century, all of which are still unknown today. In particular, the case of the Franciscan monastery of St Chiara will be examined. Through the patronage of Queen Maria Amalia, musical and theatrical performances played an active leading role in the configuration of a specific theatrical type and taste and increased the education of the nuns and young women who were educated in the monastery, representing and legitimising new feelings and sensibilities. The religious women found a way to talk of their feelings and concerns together; they forged relationships even with the environments outside of the monastery and especially with the Queen’s court and with the courts of the aristocratic palaces of their families of origin.

  • Foreign language teachers and their preferences when choosing music in FLTv

    Author: Petra Besedová
    Institution: University of Hradec Králové
    Author: Věra Tauchmanová
    Institution: University of Hradec Králové
    Year of publication: 2019
    Source: Show
    Pages: 141-150
    DOI Address: https://doi.org/10.15804/IFforE2019.09
    PDF: iffe/12/iffe1209.pdf

    Music can be widely involved in the teaching of foreign languages. It is a distinctive means of communication which makes use of listening materials and at the same time tries to analyse and interpret these materials. Both music and foreign languages should develop our receptivity of the world around us, and at the same time they should develop learners´ creativity. Furthermore, music can be a source of motivation, it can have relaxing impact, it can convey the reality of the countries in which the given languages are spoken and it can support a natural acquisition and fixation of the target language. Music can be successfully involved in the training and practicing of correct pronunciation of foreign languages. This kind of training should be applied from the very beginning of instruction. Music can be involved in developing learners’ emotional and aesthetic intelligence, it can form their personality and views. Music in any kind of its form should be an inseparable part of any stage of the process of foreign language teaching. Considering all the above mentioned issues, we may draw a conclusion that foreign language teachers should develop their positive approach to music and its application in the teaching process. Such a desired approach can indeed improve the results of the teaching and learning processes.

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