La pubblicazione raccoglie gli atti e i saggi del convegno internazionale che ha accompagnato lrsquo;inaugurazione della mostra Internaturalitagrave;; svoltosi presso la Casa del Teatro Ragazzi di Torino lrsquo;8 maggio 2013. Il convegno ha analizzato una serie di sguardi (estetici; etici; antropologici e artistici) intorno alla natura. Articolato in tre sessioni; con i contributi di specialisti e ricercatori di campi disciplinari differenti; il convegno ha offerto spunti di riflessione su alcune delle questioni piugrave; attuali e quanto mai urgenti circa lrsquo;ambiente; concetto da sempre ambiguo e fonte di equivocitagrave; lessicali. In Estetica ed etica della natura ci si egrave; interrogati sullrsquo;esistenza effettiva di unrsquo;estetica e unrsquo;etica della natura e del paesaggio nel momento in cui lrsquo;equilibrio ambientale appare sempre piugrave; compromesso. Nella seconda sezione Antropologia e cultura umana si sono alternati gli interventi di specialisti dellrsquo;ambito cosiddetto della ldquo;cultura umanardquo; e della ldquo;zoo-antropologiardquo;; interrogandosi se realmente la natura possa divenire soggetto con cui relazionarsi al pari di altre forme viventi; e se sigrave; in quali modi. La terza ed ultima sezione Arte e narrazioni della natura; ha esplorato alcune forme di ldquo;raccontordquo; della natura suggerite dallrsquo;arte contemporanea. Si tratta di modalitagrave; capaci di avvicinarci a problematiche ambientali urgenti (dalla perdita della biodiversitagrave; al riscaldamento globale); spingendoci a immaginare cosa significhi viverle in prima persona.Testi di: Bergit Arends; Alice Benessia; Maurizio Balistreri; Andrea Caretto e Raffaella Spagna; Claudio Cravero; Piergiorgio Donatelli; Salvatore DOnofrio; Piero Gilardi; Roberto Marchesini; Maurizio Mori; Fabien Sanders; Gilberte Tsai; Alessio Vaccari.
#2613326 in eBooks 2014-07-01 2014-07-01File Name: B00KJBG1M6
Review
3 of 3 people found the following review helpful. Read this review!!!By RMI recommend this book to any one who wants to know anything and just about everything about the rules of music notation. This book is completely thorough on this subject. I bought it since it had a positive review by Sir Simon Rattle who recently stepped down as the conductor of the Berlin Philharmonic. If someone with that type of music knowledge expertise has remarks like that; surely his opinion carries a lot of weight in my book. I am an arranger/composer for a wide variety of styles and I use the Finale software for my publishing. However; like the author in this book states: "I hope that a through understanding of the principles set out in this book will complement - indeed complete - the armoury of skills; short-cuts and techniques that the modern musician sitting at a computer has to hand." (--Introduction page xi). With that being said; I must say that NO music software can replace the human element. I personally am a perfectionist as to how the sheet music comes out of my printer. Matter of fact; I was one of those who used blank music sheets and ink to write down music not so long ago. My music school covered in a general way some of the notational aspects of this book. Some of these aspects needed to be refreshed in my mind; hence the functionality of this book. For instance; what length should the stems in a group of notes or a single note be? What determines the angle of the beams in a group of notes? No matter how much tweaking I constantly do in Finale; I still have to manually correct a big portion of the music within that software. Nowadays; many music schools do not even cover notational aspects like the ones found in this book and people tend to believe that any musical notational software will print out the perfect printed job. Do not get me wrong; using a notational software does aid in helping you publish music (I would not want to go back to using blank sheets of music and ink!) but as the author brilliantly mentions in her books introduction: your acquired notational knowledge will complement your software skills and make you sheet music look awesome! Written music like any other written form of communication should be clear. Therefore; in the case of printed music; musicians should be able to focus on playing the music presented to them rather than having to do any guess work as to what could possibly be the arranger or composers intention. With all of this being said; I strongly recommend this book!0 of 0 people found the following review helpful. Stay out of the musical notation prison... behind barsBy ChoristerI am a composer and arranger working mainly with works for American concert band. The guidance provided by "Behind Bars" supersedes and supplements all others guides that I own. Completely up to date with the best information; I cannot find anything missing or to fault it. This should be in the library of any composer in any genre. It will keep you from falling into the musical notation prison... where everything happens... behind bars. Cheers!8 of 8 people found the following review helpful. Truly a milestone in the history of music notationBy PianoGuyFromSCThis huge (650-page) volume is a must addition to the library of anyone who is seriously involved in writing or editing published music. It covers virtually every conceivable notational dilemma; including writing for specific instrument groups; and the proper layout of scores. The author has decades of experience and it shows; but she is not pedantic and has a sense of humor (as the title might indicate). The book is loaded with musical examples as well as descriptive text.If you are not a music professional; do NOT spend 100 dollars on this book. There are plenty of simple volumes that will give you the basics of notation for most purposes. But as an editor for a music publisher; I consider it well worth the money and will keep it close to my desk along with my dictionary and orchestration manuals!
