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  1. 23 wrz 2023 · In their view, inspired by music theory, the city and urban space are presented as sites of polyphonic, intersecting and overlapping rhythms that compose the complex urban life. The elements of rhythm can be thought of as a triad: rhythm is where space, time and some kind of energy come together (Lefebvre 1992 , 20–21).

  2. 1 sty 2020 · Focusing on the maps’ detailed lines and patterns, it then describes how music and music-making are mediated by material urban environments, a process involving the navigation of journeys and boundaries and the forging of multiple relations along the way.

  3. building on an analogy with musical aesthetics, the paper brings forward a conceptual framework for the understanding and analysis of temporality in urban space, with a focus on place-rhythms and the triad of place-temporal performance, place-tonality, and sense of time.

  4. focused on the local, the study seeks also to highlight how the reproduction of urban music scenes is intertwined with much broader economic and political currents. It adopts a multi-disciplinary approach, drawing on aspects of popular music studies, urban and cultural geographies, and cultural theory. A range of methodologies is employed and

  5. 23 lip 2024 · Based on the literature, it seems that the relation between music, tourism and heritage, and urban geography can be approached in (at least) three different ways: through the representation of urban touristic destinations within songs, by examining the role of music within the touristic experience associated with urban spaces, and by observing ...

  6. Furthermore, perhaps more than any other methodology, Set theory, which emanated from Western Art music composition theory, requires a complete and accurate score for the purposes of analysis, owing to its intense focus on pitch materials.

  7. 1 cze 2018 · The author discusses the complex network of the creative process, taking both model-based and rule-based composition as complementary approaches. The notion of cycle plays an important hole in contemporary music theory, especially in neo-riemannian theory.

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