112,957 research outputs found
L'espressione facciale e corporea dei pianisti
No full textQuesto capitolo è rivolto ad alcuni aspetti specifici dell'esecuzione musicale e riporta i risultati di più studi sperimentali fatti, anche dall'autore e dal suo gruppo di ricerca, sulle espressioni facciali e corporee dei pianisti. I rilievi fatti in questi studi sono in linea con la tesi che l'esperienza musicale nasca nel corpo e subisca numerose trasformazioni. I pianisti riescono ad analizzare un brano musicale e a segmentarlo anche con i movimenti delle sopracciglia
Analogie e metafore nel discorso musicale
No full textIl capitolo esamina in dettaglio il paragone, che viene spesso fatto, tra linguaggio verbale e musica, ne sottolinea i punti di forza e le eventuali debolezze, e da questo paragone cerca di valutare come è fatto il pensiero musicale, la grande importanza che per quest'ultimo rivestono le risposte del corpo e ripropone, infine, l'origine antica della musica e del canto rintracciabile forse nei richiami di alcune scimmie - i gibboni - già studiati da Darwin
Rilevamento integrato, rappresentazioni e letture analitiche del Palazzo
No full textThe integrated survey of the palazzo, located within a constituent
section of the old city, was planned on the basis of
various analytical and study requirements for gaining an understanding
of the historical stratification and the formal, layout and
structural aspects needed to provide the basic documentation for
the restoration project.
The linked system for surveying the internal spaces, from the
ground floor to the upper levels, was defined on the basis of a planimetric
survey using an aerial-photographic platform connected to
the topographical land grid. The elevations of the internal spaces
and the facades were also measured, followed by a more detailed
definition of the decorative apparatus.
These stages produced the various representations in the appropriate
scales that from the general to the detail made up the support
on which the graphical-analytical readings of the building could
be made.
The graphic rereading in particular, taken from the survey, provided
support for the historical and archive research; the lack of
documents being compensated by direct study of the living spaces,
the elevations and the masonry. This information confirmed the
presence of sections relating to previous buildings incorporated into
the new layout. These included the original entrance marked
by a rich doorway in mannerist style. It is distinguished by typical
ashlar work and sited in an entrance hall where the structure
of the original space can still be perceived, despite the numerous
alterations made. The analytical representations, compiled with
three-dimensional study models, also allowed several plausible hypotheses
to be advanced on the development of the building, based
on stylistic correspondences and an analysis of the building techniques
used, substantially confirmed by dating of the painting cycles
and by thermographic studies.
The building plan is essentially composed of four main nuclei,
which can be identified as distinct residential units and have been
denominated for clarity as A, B, C and D. Block A is the ceremonial part of the building, that redesigned in the 18th-century
plan, which moved the main entrance laterally to the space in front
of the narrow Piazza Martiri della Libertà, initially the parvis of
the church of San Domenico. The corner volume containing the
entrance courtyard, rising to only one floor above ground, actually
plays an important hinging role. It was conceived to relate the
renewed reception rooms, served by the monumental staircase, to
the already existing building units, which were reconnected by
the wide inner courtyard leading to the garden behind. The rectangular
atrium greets and directs the visitor to the main wing of
the building that overlooks it, leading towards the 18th-century
staircase that gives access to the upper floors. Crossing the central
vaulting also allows one to go laterally towards the stables yard
with well annex, then continue into the other building units B, C
and D facing onto the garden. The facade on Corso Marrucino
containing the main rooms of the palazzo is vertically marked by
eight modules defined on the ground floor by a basement band
with ashlared pilasters. The facade register above includes both
floors of the building, horizontally marked by a sequence of windows
with gables, curved on the first floor and triangular on the
second. The openings are interspersed by a double order of linear
pilasters in axis with the ashlared ones beneath. The elevation also
houses an access relating to the original entrance to the residence,
still corresponding to the patio where the doorway in mannerist
style is located and which led to the first residential unit by way of
the double-return staircase.
Finally, a special study was made of the decorative apparatus and
the building’s distinguishing elements such as the facade, the monumental
staircase with statues in niches and some frescoed vaults,
surveyed with the help of a 3D laser scanner
Caterina Sforza
No full textCaterina Sforza / Pier Desiderio Pasolini. - Firenze : G. Barbera, 1913
Dedica manoscritta dell\u27autore: All\u27amico dottor Emilio Bodrero / l\u27autore / sempre piu\u27 deferente e sempre piu\u27 riconoscente / Roma- Il dì del solstizio d\u27estate nell\u27anno 1913.
https://galileodiscovery.unipd.it/discovery/fulldisplay?context=L&vid=39UPD_INST:VU1&search_scope=MyInst_and_CI&tab=Everything&docid=alma99000229289020604
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