Moro vallina daniel (11 resultados)

Condición: New. Idioma/Language: Español. Autor de numerosos conciertos y de más de un centenar de bandas sonoras para cine y televisión, Carmelo Bernaola fue uno de los compositores más representativos de la Generación del 51. Formado en Madrid, la consecución del Premio Roma le llevó a realizar una estancia en Italia fundamental en la evolución de su lenguaje compositivo. Su triple faceta de compositor, clarinetista y pedagogo fue fraguando una convicción de que la música debía ser un conocimiento práctico, basado en la actualización de la tradición y relacionado con el contexto cultural de su tiempo. Este libro está consagrado al estudio de su música académica y a géneros poco conocidos, como su música sacra, himnos, marchas y sintonías. El recorrido por sus obras permite conocer el desarrollo de la vanguardia musical en España durante la segunda mitad del siglo XX. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.…

Rústica. Condición: New. Autor de numerosos conciertos y de más de un centenar de bandas sonoras para cine y televisión, Carmelo Bernaola fue uno de los compositores más representativos de la Generación del 51. Formado en Madrid, la consecución del Premio Roma le llevó a realizar una estancia en Italia fundamental en la evolución de su lenguaje compositivo. Su triple faceta de compositor, clarinetista y pedagogo fue fraguando una convicción de que la música debía ser un conocimiento práctico, basado en la actualización de la tradición y relacionado con el contexto cultural de su tiempo. Este libro está consagrado al estudio de su música académica y a géneros poco conocidos, como su música sacra, himnos, marchas y sintonías. El recorrido por sus obras permite conocer el desarrollo de la vanguardia musical en España durante la segunda mitad del siglo XX.…

Condición: New. Estudio crítico y partitura general.

Condición: New.

Rústica. Condición: NUEVO. 452 pages/páginas.

Condición: New.

Condición: Usado- bueno.

Condición: New. Estudio crítico y partitura general.

Hardcover. Condición: new. Hardcover. This book explores the multifaceted and heterogeneous field of experimental music and sound arts in the contemporary Ibero-American context. To this end, the study is structured around the notion of sound artivism as a plural space of creativecritical and situatedpractices that bind the aesthetic dimension closely to the social, the political, and the epistemic. Throughout these pages, the artistic work of numerous creators and collectives from Spain and Latin America is explored, in which sound and listening function as forms of knowledge, resistance, and protest. The artistic practices analyzed in this volume allow us to think of sound experimentation a form of explorationan open and unfinished practice that rejects the normative models of academic music, institutional art, and the standardized listening habits of mass-produced music. From this perspective, the idea of liminal listening is proposed, in which what matters is not so much sound as an object but rather listening as an aesthetic and political act in its own right. Listening, after all, is always an enactive phenomenon, not a passive event. Liminal listening, then, entails a situated attentiveness to what usually goes unnoticedto what lies on the margins, in the echoes and edges of perception. This item is printed on demand. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardcover. Condición: new. Hardcover. This book explores the multifaceted and heterogeneous field of experimental music and sound arts in the contemporary Ibero-American context. To this end, the study is structured around the notion of sound artivism as a plural space of creativecritical and situatedpractices that bind the aesthetic dimension closely to the social, the political, and the epistemic. Throughout these pages, the artistic work of numerous creators and collectives from Spain and Latin America is explored, in which sound and listening function as forms of knowledge, resistance, and protest. The artistic practices analyzed in this volume allow us to think of sound experimentation a form of explorationan open and unfinished practice that rejects the normative models of academic music, institutional art, and the standardized listening habits of mass-produced music. From this perspective, the idea of liminal listening is proposed, in which what matters is not so much sound as an object but rather listening as an aesthetic and political act in its own right. Listening, after all, is always an enactive phenomenon, not a passive event. Liminal listening, then, entails a situated attentiveness to what usually goes unnoticedto what lies on the margins, in the echoes and edges of perception. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardcover. Condición: new. Hardcover. This book explores the multifaceted and heterogeneous field of experimental music and sound arts in the contemporary Ibero-American context. To this end, the study is structured around the notion of sound artivism as a plural space of creativecritical and situatedpractices that bind the aesthetic dimension closely to the social, the political, and the epistemic. Throughout these pages, the artistic work of numerous creators and collectives from Spain and Latin America is explored, in which sound and listening function as forms of knowledge, resistance, and protest. The artistic practices analyzed in this volume allow us to think of sound experimentation a form of explorationan open and unfinished practice that rejects the normative models of academic music, institutional art, and the standardized listening habits of mass-produced music. From this perspective, the idea of liminal listening is proposed, in which what matters is not so much sound as an object but rather listening as an aesthetic and political act in its own right. Listening, after all, is always an enactive phenomenon, not a passive event. Liminal listening, then, entails a situated attentiveness to what usually goes unnoticedto what lies on the margins, in the echoes and edges of perception. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…