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Música y símbolo
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Dimensiones simbólicas de la experiencia musical attempts to fill the gap in musical publications focussed on musical reflection and its interdisciplinarity. Its chapters make it both a theoretical and practical book, as many of the reflections it makes come from reading interesting contributions to many music theory fields (especially ethnomusicology and musicology). They also result from analyses and interpretations from a social, psychological, perceptive, pedagogical, iconic, linguistic and mathematical perspective, among others. The double dimension that the book provides distinguishes it from other similar studies, which almost always are only reflective or speculative in nature. There are three facets to the book’s focus: one is that of musicians (the musical experience is our object of study), another is that of educators (education or training is the ultimate aim of these pages) and, finally, that of anthropologists (symbolism is the chosen method). This threefold view is based on the extensive training of its 25 authors who worked together to create a university-level text with an informative intent. The interdisciplinary nature of the issues addressed in this book is another motivating characteristic, although it does not always facilitate discourse, since it forces musician readers—even if just a little—to delve into other subjects, concepts and terms that may be foreign to them. Our aim is precisely the opposite; it is to bring symbolic knowledge to the musical experience in order to enrich it, and to give it greater validity and a louder voice. We seek to draw attention to what we do not know, which is a lot, and to pursue knowledge wherever it may be. 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Mora as a response to her great pedagogical vocation and with the aim of disseminating knowledge and musical production.<br /> <br /> Today, with more than twenty years of constant work, the publishing company devotes itself to promoting the publication of several books and materials destined to musical education in all its fields: music schools and conservatories, school in all its levels and university.<br /> <br /> Its collection includes scores ranging from solo parts, literature for chamber ensembles and orchestras to the great symphonic repertoire, as well as works for choir in all its formations. Some of these collections include publications of critical studies in several languages.</div> <div> </div> <ul> <li> <a href="/en/p/introduction">Introduction</a></li> <li> <a href="/en/p/aims_of_the_enterprise">Aims of the enterprise</a></li> <li> <a href="/en/p/the_autors">The autors</a></li> <li> <a href="/en/p/cooperations">Cooperations</a></li> <li> <a href="/en/p/commercial_distribution">Commercial distribution</a></li> <li> <a href="/en/p/catalogue_of_releases">Catalogue of releases</a></li> </ul> ", "url" => "about_us", "published" => "1", "lft" => "5", "rght" => "26", "locale" => "en_gb" ) ) $que_fem = array( "Page" => array( "id" => "41", "order" => "8", "parent_id" => null, "name" => "What we do", "html" => "<div> At DINSIC, we basically specialize in writing and publishing books and a wide range of materials for music education. 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national payments.<br /> <br /> As in payments with credit cards, which are completely safe, the seller doesn’t have any access to your banc details.<br /> <br /> Link your credit or debit card to PayPal and decide with them your preferred payment method.</div> ", "url" => "more_ways_to_pay_paypal", "published" => "1", "lft" => "73", "rght" => "74", "locale" => "en_gb" ) ) $perfils_lateral = array( array( "Page" => array() ), array( "Page" => array() ), array( "Page" => array() ), array( "Page" => array() ), array( "Page" => array() ) ) $cloud = " <a href="/searches/index/q:Da Camera 22: Tres danses americanes per a quartet de corda" class="word size5">Da Camera 22: Tres danses americanes per a quartet de corda</a> <a href="/searches/index/q:cantata nadalenca nit de vetlla" class="word size4">cantata nadalenca nit de vetlla</a> <a href="/searches/index/q:Quartet de corda núm. 3" class="word size3">Quartet de corda núm. 3</a> <a href="/searches/index/q:orquestra i cada instrument" class="word size9">orquestra i cada instrument</a> <a href="/searches/index/q:partitura" class="word size8">partitura</a> <a href="/searches/index/q:tot ho podem expressar" class="word size2">tot ho podem expressar</a> <a href="/searches/index/q:Palau insòlit" class="word size3">Palau insòlit</a> <a href="/searches/index/q:passeport" class="word size1">passeport</a> <a href="/searches/index/q:cançoner" class="word size2">cançoner</a> <a href="/searches/index/q:Musica" class="word size2">Musica</a> <a href="/searches/index/q:El timbaler del Bruc" class="word size4">El timbaler del Bruc</a> <a href="/searches/index/q:Sonatina de Nadal" class="word size4">Sonatina de Nadal</a> <a href="/searches/index/q:corda" class="word size3">corda</a> <a href="/searches/index/q:cançó" class="word size6">cançó</a> <a href="/searches/index/q:Da Camera 22" class="word size8">Da Camera 22</a> <a href="/searches/index/q:abesten 3" class="word size8">abesten 3</a> <a href="/searches/index/q:Carnestoltes" class="word size4">Carnestoltes</a> <a href="/searches/index/q:musica 2" class="word size4">musica 2</a> <a href="/searches/index/q:nadal" class="word size8">nadal</a> <a href="/searches/index/q:Catala" class="word size1">Catala</a> <a href="/searches/index/q:abesten 4" class="word size7">abesten 4</a> <a href="/searches/index/q:abesten 2" class="word size8">abesten 2</a> <a href="/searches/index/q:somnis" class="word size3">somnis</a> <a href="/searches/index/q:soliloquis" class="word size6">soliloquis</a> <a href="/searches/index/q:piano" class="word size1">piano</a> <a href="/searches/index/q:flauta" class="word size2">flauta</a> <a href="/searches/index/q:els músics més petits" class="word size2">els músics més petits</a> <a href="/searches/index/q:Literatura e interpretación de la trompeta" class="word size4">Literatura e interpretación de la trompeta</a> <a href="/searches/index/q:abesten" class="word size3">abesten</a> <a href="/searches/index/q:acompañamiento de canciones infantiles" class="word size1">acompañamiento de canciones infantiles</a> " $descompte = 0 $options_third_level = array( "All types", "orchestral_music" => "Orchestral music", "vocal_and_choral_music" => "Vocal and Choral Music", "instrumental_music" => "Instrumental Music" ) $options_instruments_level = array( "All Instruments", "brass" => "Brass", "clarinets_and_saxes" => "Clarinets and Saxes", "double_reed" => "Double Reed ", "electronic_keyboard" => "Electronic Keyboard", "flutes_recorders_and_pipes" => "Flutes, recorders and pipes", "guitares" => "Guitares", "harp_lyre_electric_bass_etc" => "Harp, Lyre, Electric Bass, etc.", "key_hammered_string_piano" => "Key / Hammered String (Piano)", "key_plucked_string_harpsichord" => "Key / Plucked String (Harpsichord). 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Dimensiones simbólicas de la experiencia musical attempts to fill the gap in musical publications focussed on musical reflection and its interdisciplinarity. Its chapters make it both a theoretical and practical book, as many of the reflections it makes come from reading interesting contributions to many music theory fields (especially ethnomusicology and musicology). They also result from analyses and interpretations from a social, psychological, perceptive, pedagogical, iconic, linguistic and mathematical perspective, among others. The double dimension that the book provides distinguishes it from other similar studies, which almost always are only reflective or speculative in nature. There are three facets to the book’s focus: one is that of musicians (the musical experience is our object of study), another is that of educators (education or training is the ultimate aim of these pages) and, finally, that of anthropologists (symbolism is the chosen method). 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Dimensiones simbólicas de la experiencia musical</em> attempts to fill the gap in musical publications focussed on musical reflection and its interdisciplinarity. Its chapters make it both a theoretical and practical book, as many of the reflections it makes come from reading interesting contributions to many music theory fields (especially ethnomusicology and musicology). They also result from analyses and interpretations from a social, psychological, perceptive, pedagogical, iconic, linguistic and mathematical perspective, among others. The double dimension that the book provides distinguishes it from other similar studies, which almost always are only reflective or speculative in nature.<br /> There are three facets to the book’s focus: one is that of musicians (the musical experience is our object of study), another is that of educators (education or training is the ultimate aim of these pages) and, finally, that of anthropologists (symbolism is the chosen method). This threefold view is based on the extensive training of its 25 authors who worked together to create a university-level text with an informative intent. </div> <div> <br /> The interdisciplinary nature of the issues addressed in this book is another motivating characteristic, although it does not always facilitate discourse, since it forces musician readers—even if just a little—to delve into other subjects, concepts and terms that may be foreign to them. Our aim is precisely the opposite; it is to bring symbolic knowledge to the musical experience in order to enrich it, and to give it greater validity and a louder voice. We seek to draw attention to what we do not know, which is a lot, and to pursue knowledge wherever it may be. 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Contents
Música y símbolo. Dimensiones simbólicas de la experiencia musical attempts to fill the gap in musical publications focussed on musical reflection and its interdisciplinarity. Its chapters make it both a theoretical and practical book, as many of the reflections it makes come from reading interesting contributions to many music theory fields (especially ethnomusicology and musicology). They also result from analyses and interpretations from a social, psychological, perceptive, pedagogical, iconic, linguistic and mathematical perspective, among others. The double dimension that the book provides distinguishes it from other similar studies, which almost always are only reflective or speculative in nature.
There are three facets to the book’s focus: one is that of musicians (the musical experience is our object of study), another is that of educators (education or training is the ultimate aim of these pages) and, finally, that of anthropologists (symbolism is the chosen method). This threefold view is based on the extensive training of its 25 authors who worked together to create a university-level text with an informative intent.
There are three facets to the book’s focus: one is that of musicians (the musical experience is our object of study), another is that of educators (education or training is the ultimate aim of these pages) and, finally, that of anthropologists (symbolism is the chosen method). This threefold view is based on the extensive training of its 25 authors who worked together to create a university-level text with an informative intent.
The interdisciplinary nature of the issues addressed in this book is another motivating characteristic, although it does not always facilitate discourse, since it forces musician readers—even if just a little—to delve into other subjects, concepts and terms that may be foreign to them. Our aim is precisely the opposite; it is to bring symbolic knowledge to the musical experience in order to enrich it, and to give it greater validity and a louder voice. We seek to draw attention to what we do not know, which is a lot, and to pursue knowledge wherever it may be. We will know whether or not we have achieved this at the end of the work.
Technical Specifications
Measurements
17 x 23 cm, vertical
Binding
Paperback
Number of Pages
124
ISBN
978-84-16623-44-0
Editor
DINSIC Publicacions Musicals
Also collaborating:
Cover Designer
Bernat Casso
