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Musica, cervello, movimento  [cached]
Franca Dalla Valle
Brainfactor , 2011,
Abstract: Tutti abbiamo provato la sensazione di sentirci "trasportati" dalla musica. Pensiamo a una lunga corsa, a una passeggiata in montagna, a una serie di vasche in piscina... All'inizio i movimenti sono faticosi, rigidi, poco sincroni; ma basta che nella nostra mente riusciamo a creare un ritmo musicale, o immaginiamo di ascoltare una melodia, di lì a poco il respiro si fa più tranquillo e profondo, gli arti acquistano sincronia, la fatica si attenua, diventando addirittura piacevole...
La musica nel secolo delle masse (Musica e società)
Carlo Sini
Nóema , 2011,
Abstract: Muovendo dalle trasformazioni avvenute nella musica tra fine ‘800 e inizio ‘900, l’autore s’interroga sulle modalità con cui le “masse” hanno mutato gli assetti della vita economica, sociale e culturale. La riflessione prende spunto dal libro di Alex Ross Il resto è rumore. Ascoltando il XX secolo. The music during the century of the masses (Music and society) Focusing on the transformations that took place in the music between the late '800 and early '900, the author wonders about how the "masses" have changed the structure of economic, social and cultural life. The reflection is inspired by the book by Alex Ross The rest is noise. Listening to the Twentieth Century.
n.6 -11/2011 Le Americhe “al nero”. La letteratura, la musica e l’arte afrolatinoamericana tra denuncia sociale e rappresentazione del sé  [cached]
(a cura di) Irina Bajini,(a cura di) Laura Scarabelli
Altre Modernità , 2011,
Abstract: Le Americhe “al nero”. La letteratura, la musica e l’arte afrolatinoamericana tra denuncia sociale e rappresentazione del sé. Las Américas a lo negro. Literatura, música, artes afrolatinoamericanas entre denuncia social y autorepresentación. Les Amériques “au noir”. Littérature, musique et art afrolatino-américains entre dénonciation sociale et représentation de soi.Black Americas Afro-Latin American literature, music and art between social denunciation and self representation.
LA MUSICA EN EL TRABAJO DE PARTO
Cruz P.,Sandra; Pirovich B.,Hugo; Pe?a T.,Eloísa;
Revista chilena de obstetricia y ginecología , 2003, DOI: 10.4067/S0717-75262003000100014
Abstract: this proposal supports the belief that during natural childbirth, it is necessary for the woman in labor to be in an intimate, quiet place with a controlled auditory environment. baroque musica is played during the latent phase of labor for its noble aesthetic virtues-auditory and technical musical characteristics, assisting with the relaxation and well being of the woman in labor. it is preferable to have a quiet and controlled auditory environment in the birthing room during the active phase of labor. the physiological fundamentals involved in the application of this method are based upon the relationship between baroque musica and the production of b-endorphins. moreover, eliminating parasite noises in the birthing room contributes to the reduction of chemical stress mediators in the mother. both occurrences facilitate the balance of the mothers's axis (hypothalamic - hypophyseal - adrenal), translating into greater comfort; furthemore, strenghtening the bond with the child in his or her fetal state and during the birthing process
LA MUSICA EN EL TRABAJO DE PARTO
Sandra Cruz P.,Hugo Pirovich B.,Eloísa Pe?a T.
Revista Chilena de Obstetricia y Ginecología , 2003,
Abstract: Este trabajo es una propuesta de apoyo al Parto Natural en el convencimiento que la parturienta que inicia relajada su Trabajo de Parto y en un lugar con ambiente sonoro controlado, íntimo, silencio y privado, necesariamente tendría un parto natural. Se aplica la Música Barroca durante la Fase latente del trabajo de parto ya que por sus nobles virtudes estéticas -auditivas y sus características técnicas- musicales, media en la relajación y bienestar de la parturienta. Se privilegia el silencio y el control del ambiente sonoro de la Sala de Parto en la Fase activa del trabajo de parto. Los fundamentos fisiológicos involucrados en la aplicación de este método, dicen relación con el beneficio que aporta la Música Barroca al facilitar el efecto de las B-endorfinas. Por otro lado, con la eliminación de ruidos parásitos de la Sala de Partos se contribuye, además, a la eliminación de los mediadores químicos del Stress materno. Ambos acontecimientos, facilitan la armonía del eje hipotálamo - hipofisiario - adrenal materno, traduciéndose en mayor bienestar; y por extensión, mejor apego con su hijo en su condición fetal y al nacer This proposal supports the belief that during Natural Childbirth, it is necessary for the woman in labor to be in an intimate, quiet place with a controlled auditory environment. Baroque musica is played during the Latent phase of labor for its noble aesthetic virtues-auditory and technical musical characteristics, assisting with the relaxation and well being of the woman in labor. It is preferable to have a quiet and controlled auditory environment in the birthing room during the Active phase of labor. The physiological fundamentals involved in the application of this method are based upon the relationship between Baroque musica and the production of B-endorphins. Moreover, eliminating parasite noises in the birthing room contributes to the reduction of chemical stress mediators in the mother. Both occurrences facilitate the balance of the mothers's axis (hypothalamic - hypophyseal - adrenal), translating into greater comfort; furthemore, strenghtening the bond with the child in his or her fetal state and during the birthing process
Le Americhe “al nero”. La letteratura, la musica e l’arte afrolatinoamericana tra denuncia sociale e rappresentazione del sé  [cached]
(a cura di) Irina Bajini,(a cura di) Laura Scarabelli
Altre Modernità , 2011,
Abstract: Le Americhe “al nero”. La letteratura, la musica e l’arte afrolatinoamericana tra denuncia sociale e rappresentazione del sé a cura di Irina Bajini e Laura Scarabelli
Una teología para las artes  [cached]
Jaime Donoso A.
Teología y vida , 2002,
Abstract: RESUMEN A partir de una teoría sobre los orígenes del arte musical y de otras artes, se revela la necesidad de un lenguaje diferente al cotidiano para entrar en contacto con un mundo sobrenatural. El primer canto del hombre es, a la vez, una fórmula mágica de encantamiento. Posteriormente, el artista reclama su derecho a la invención a través de normas que regulan la creación. Históricamente, el arte se autonomiza respecto de su relación original con el rito, haciéndose más nítida la presencia de un creador individual, su proceso de búsqueda y una obra como producto-símbolo, cada aspecto con su propia "bondad". Las facultades creadoras del hombre como reflejo de la creación divina. La obra como manifestación humana que vuelve a su origen. La invención del hombre es una ilusión: el acto de creación humana es más un proceso de descubrimiento y conquista de lo que yace en potencia en la materia. En el arte se da una integración de materia y espíritu: la posibilidad "sacramental" de la materia. El caso del artista agnóstico y del artista creyente. El ejemplo de Juan Sebastián Bach ABSTRACT Starting from theory on the origins of music and other arts, the author discloses the need of a special language, different from the everyday language, to come in contact with the supernatural order. The first song of man is, in turn, a magic formula of enchantment. Later on the artist claims for his rights of invention by means of norms that regulate his creation. Through history, the arts became autonomous from their original relation with the rite, making it more evident the presence of an individual creator; of his search, and of his Work as a product-symbol, each aspect bearing its own 'goodness'. The creative faculties of man as a reflection of the Divine creation. The Work as the human manifestation of coming back to his origins. The human invention is an illusion: the human act of creation is a process of discovery and conquer of what underlies in potency in matter. In the art we can find an integration of matter and spirit: the 'sacramental' possibility of matter. The case of the agnostic and the believing artist. The case of Johann Sebastian Bach
A proposito di Amore è musica, di Massimiliano Stramaglia, Torino, Sei, 2011  [cached]
Maurizio Fabbri
Ricerche di Pedagogia e Didattica , 2011,
Abstract: Amore è musica, osserva Massimiliano Stramaglia nel suo ultimo lavoro, teso a indagare gli aspetti di più intima complessità dell’esperienza musicale e i suoi stringenti legami con i domini dell’educazione. Dialogando con i principi fondanti del Personalismo Pedagogico e aprendosi a una scrittura che dà voce al pensiero evocativo e rammemorante di Martin Heidegger, l’Autore coglie l’essenza della musica nel suo continuo costituirsi come sfondo: dimora d’autenticità esistenziale, luogo di possibile raccoglimento in sé stessi e di concentrazione privilegiata, nel quale l’individuo, forte del suo farsi persona, può sperimentare la propria vicinanza all’essere.
Admissible and Restrained Revision  [PDF]
R. Booth,T. Meyer
Computer Science , 2011, DOI: 10.1613/jair.1874
Abstract: As partial justification of their framework for iterated belief revision Darwiche and Pearl convincingly argued against Boutiliers natural revision and provided a prototypical revision operator that fits into their scheme. We show that the Darwiche-Pearl arguments lead naturally to the acceptance of a smaller class of operators which we refer to as admissible. Admissible revision ensures that the penultimate input is not ignored completely, thereby eliminating natural revision, but includes the Darwiche-Pearl operator, Nayaks lexicographic revision operator, and a newly introduced operator called restrained revision. We demonstrate that restrained revision is the most conservative of admissible revision operators, effecting as few changes as possible, while lexicographic revision is the least conservative, and point out that restrained revision can also be viewed as a composite operator, consisting of natural revision preceded by an application of a "backwards revision" operator previously studied by Papini. Finally, we propose the establishment of a principled approach for choosing an appropriate revision operator in different contexts and discuss future work.
La Braidense virtuale:servizi per i lettori, gli acquisti e la musica
M. Candalese,M. Gentili Tedeschi,A. E. Ravenna
Bollettino del CILEA , 1998, DOI: 10.1472/bc.v61ifebbraio.929
Abstract: La presentazione dello spazio web dedicato alla Biblioteca Braidense ed alla sua sezione dei Fondi musicali. La navigazione tra i servizi e le risorse di una tra le più importanti biblioteche nazionali riserva, tra l'altro, un approdo speciale dedicato alla politica degli acquisti, la vetrina elettronica delle collezioni correnti, e il frequentatissimo progetto di una biblioteca virtuale della musica.
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