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坐落于钱塘江畔的浙江艺术职业学院,是我省的“明星工厂”。特别是原先设立于杭州黄龙洞的于去年合并进入这座学院的原浙江艺术学校,更是人才辈出、巨擘林立,曾在这里执教的有著名京剧表演艺术家、“江南活武松”盖叫天,著名越剧表演艺术家、“越剧皇后”姚水娟,著名昆剧表演艺术家周传瑛,著名中国竹笛演奏家、“江南笛王”赵松庭,著名音乐家周大风,著名作家黄源,著名剧家作胡小孩、陈静、贝庚等等。 这里,曾经星光灿烂:历届学生中有900多人次分别在省级以上各类文艺比赛或汇演中获奖,其中有二度“梅花奖”、二度“文华奖”获得者茅威涛,“梅花奖”、“文华奖”获得者陈辉玲,“文华奖”获得者杨小青,“梅花奖”获得者王 相似文献
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《红楼梦》体系庞大、人物众多,但每个人物都有一个独特的名字,透过人物名字可窥见作者人物取名艺术的高超.这里的人物取名不仅与其身份、作为、性格、命运相一致,而且与整个《红楼梦》故事密切相关,甚至是推动情节发展不可或缺的一部分.取名艺术是《红楼梦》的一大亮点,闪光点,也是中国古典小说史上罕见的一大艺术特色. 相似文献
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一对"恰克图"盘子做边贸起家的刘明秀如今已是黑河的名人了。这不仅因为他是收藏家、艺术家,更重要的是他拥有一座俄罗斯艺术馆。在他的艺术馆中,收藏着很多珍贵的俄罗斯艺术珍品。看到自己国家珍贵的艺术品在这里保存的如此完好,让很多的俄罗斯人为之感动。 相似文献
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《红楼梦》体系庞大、人物众多，但每个人物都有一个独特的名字，透过人物名字可窥见作者人物取名艺术的高超。这里的人物取名不仅与其身份、作为、性格、命运相一致，而且与整个《红楼梦》故事密切相关，甚至是推动情节发展不可或缺的一部分。取名艺术是《红楼梦》的一大亮点，闪光点，也是中国古典小说史上罕见的一大艺术特色。 相似文献
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位于杭州富阳九龙大道上的抱华楼,有着西方建筑的现代感,简洁的几何形体造型、拱形的连廊、金字塔式的天窗……但却透着浓郁的中国江南气质:天青色的外立面,小桥流水,楼里还蓄水养了几十尾金鱼。2013年6月13日,这栋"中国"的"现代"小楼迎来了一场"艺术的盛宴",中西文化在这里交汇,国内外友人在这里共聚—由波兰玛丽亚·居里夫人大学、中国艺术报、浙江省美术家协会、浙江工业大学艺术学院、杭州师范大学美术学院 相似文献
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这里所说的戏曲是指中国戏曲,而京剧又是中国戏曲特色的集大成者,它集中体现了中国戏曲综合性、虚拟性、写意性等特点,而它的程式化艺术方式比大多数地方戏曲更严格、规范,说它是中国戏剧的总代表是恰如其分的, 相似文献
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Samuel Cameron 《Journal of Cultural Economics》2016,40(1):1-12
This paper contextualises research on the economics of music. The papers considered represent a crossroad in economics music research. One branch is the most heavily explored area of the impact of digital technology on consumption of music. The others comprise one entirely new topic which is crowd-sourced funding of new music recordings. The other topics are extremely old in terms of relevance but very new in terms of there being little prior economic analysis. These are environmental damages from musical activity and the efficiency of belonging to a pop–rock musical ensemble versus being a solo artist. 相似文献
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For the last 60 years, varnishes of ancient musical instruments, particularly stringed instruments of the violin family dating 17th and 18th centuries, have been analysed to establish their chemical composition and multi-layered structure. The objective was to rediscover the technology for making the varnish of esteemed Italian violins and to reconstitute it. This paper reviews the physico-chemical studies published on such varnishes and also focuses on a research project carried out since 2002 at the Musée de la musique in Paris. It aims to apply in a comprehensive way different non-destructive or micro destructive methods (Py-GC/MS, IR microscopy, SEM/EDX, EDXRF, synchrotron radiation-based techniques, …) to the study of a large and representative number of ancient varnished musical instruments from a museum collection. 相似文献
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In this article we present an empirical analysis of the ‘patterns of cultural choice’ in the musical domain in Italy. The
main goal of the article is to verify whether musical tastes in Italy are diversified, with the presence of a group of ‘cultural
omnivores’. Our study is based on the theoretical model of the demand for cultural goods proposed by Lévy-Garboua and Montmarquette
(1996). In the empirical analysis we simultaneously evaluate the probability of choosing different musical genres. Through the
specification of the set of alternatives into three groupings of musical genres —“only classical music”, “only popular music”
and “all music”—we were able to detect the relative impact of several socio-economic characteristics on the probability of
having “univorous” or “omnivorous” musical likings. In addition, our approach allows us to verify the existence of different
patterns of music consumption by testing the significance of differences among the estimated coefficients of the probability
functions related to the three groupings of musical genres. We find that age, gender and education are important predictors
of an omnivorous taste.
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| Carlofilippo FrateschiEmail: |
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Charlotta Mellander Richard Florida Peter J. Rentfrow Jeff Potter 《Journal of Cultural Economics》2018,42(4):593-618
Considerable attention has been paid to America’s political and economic divides. These divides revolve around class and location, with more affluent, more educated and denser places leaning more open-minded and liberal and less affluent, less educated and less dense places leaning more conservative. We contend that such divides are also reflected and reinforced by preferences, attitudes and predispositions for culture. More specifically we argue that Americans’ preferences for music will reflect dimensions of these political and economic divides. To test this proposition, our research examines the geographic variation of five key categories of music preferences across 95 of the largest US metropolitan areas. We use factor analysis to identify and map geographic variation of musical preferences, and we use both bivariate correlation analyses and regression analysis to examine the associations between metro-level musical preferences and key economic, demographic, political, and psychological variables. We find that musical preferences generally reflect and reinforce America’s broader economic and political divides. 相似文献
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Section 1 introduces the hypothesis that competition among neighboring states may favor cultural innovation, and it surveys
the available quantitative evidence. Section 2 starts from the assumption that European instrumental music had its breakthrough
during the Baroque era and that the most famous composers came from the two countries characterized by the highest degree
of political fragmentation: Italy and Germany. It suggests that political fragmentation has promoted musical composition and
performance in several ways. The average duration of employment is proposed as a proxy for competition on the demand side.
Section 3 shows that the most famous Italian and German composers of the Baroque period changed their employers significantly
more often than their French and British counterparts did. Moreover, the Reformation led to musical competition between the
Catholic and Protestant churches. Section 4 argues that competition for composers has also been important in other periods
of European history – including competition between the Church and the courts. It shows that composers moved no less in the
Renaissance than in the Baroque. Section 5 raises the question whether European music may also be said to express a competitive
spirit.
JEL classification: Z11 相似文献
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2012年2月7日,以“青春·使命”为主题的全国第三届大学生艺术展演活动在杭州开幕。来自全国各省、市、自治区的31个代表团在6天的时间里参加声乐、器乐、舞蹈和戏剧4个项目共172个节目的现场展演。活动期间还举办了艺术作品展览、高校艺术教育论文报告会等,图为河北省代表团的大学生在开幕式上表演。 相似文献
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2014年9月7日,＂浙江制造＂的中国原创音乐剧《简·爱》舞美队抵达韩国首尔仁川国际机场,受到了韩国首尔音乐剧服务公司和韩国音乐剧《光化门恋歌》剧团的热烈欢迎。中秋圆月当空,月光洒满大地,雄伟的世宗大王宁静地矗立在静谧如止水的世宗大道上。杭州剧院原创大型音乐剧《简·爱》,就应邀在首尔世宗文化会馆演出。 相似文献
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ABSTRACTBanned from the U.S. during the “war on terror,” the British/Sri Lankan hip-hop artist M.I.A. responded by recording her 2007 album Kala in multiple locations throughout the global South, collating indigenous musical styles and unorthodox recording techniques. Via a critical/cultural analysis, this paper explores M.I.A.’s work on Kala as subaltern resistance mobilized by “differential movement,” particularly in its mode of production, which operated outside of, and in opposition to, institutional mechanisms designed to expunge or neutralize politically subversive art and artists. Yet M.I.A.’s musical sampling also surfaces conflicts between creative freedom and cultural appropriation, emblematizing “postcolonialist/postmodern schizophrenia” (Vályi, 2011. Remixing cultures: Bartók and Kodály in the age of indigenous cultural rights. In K. McLeod & R. Kuenzli (Eds.), Cutting across media: Appropriation art, interventionist collage, and copyright law (pp. 219–236). Durham, NC: Duke University Press.). 相似文献
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Ivan L. Pitt 《Journal of Cultural Economics》2010,34(3):219-236
This paper examines the economic accomplishments of individual members in a Performing Rights Organization (PRO), sometimes
referred to as a Performing Rights Society. Today, there is the growing importance of intellectual property and copyright
protection for authors and creators of literary, dramatic, musical, artistic and other intellectual works. The digital age
has placed added pressure on songwriters, lyricists and composers in their ability to derive economic benefits from their
intellectual creativity in the form of a copyright. Copyright laws protect and enable the creation of music by allowing authors and composers to license the control and use
of their creations, and receive compensation in the form of royalty payments for their work. The PROs license, collect and
distribute royalty payments for non-dramatic public performances of copyrighted musical works created and owned by its members or affiliates. In this paper, skewness and heavy tail of returns
in the form of member royalty payments are estimated using the skew-normal and skew-t distributions in a parametric approach. We found strong evidence of the so-called ‘superstar effect’ in which the average
royalty payment made by a PRO is still dominated by extreme outcomes, and relatively few members earned a substantial share
of royalty payments from blockbuster hits that have endured over time. There is little evidence of smaller niche members dominating
or replacing the ‘superstars.’ Economists and others will benefit from this empirical study which emphasizes a new understanding
of the music industry from a PRO, member royalty payment and performance copyright perspective. 相似文献