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tends to some reductionism and evades an obvious reality: Fryderyk Chopin meets George Sand when she was already the mother of two children. This circumstance suggests reformulating certain romantic stereotypes. Jerzy Antczak?s biographical film Pragnienie Mi?o?ci (Chopin: Desire for Love (1)
thanks to its intrepidity in having been the first Galician group that crossed the borders and enlivened the carnivals in the cities of the neighboring country (1)
that I study here (1)
the idea of movement in music can affect both the sound material and the listening (the Hoerspiel...) (1)
the improvisation workshop is thought to be a way of transforming the practices of reception (1)
the legend Chopin-Sand continues to supply the collective imaginary with vague readings (1)
the musical act then carries a communicative importance equal to the one in a spoken language. What concept rules such a language? What treatment is language subjected to in the affectation of its components in the musical discourse of to the instrumental Word and vice versa? What are the technical (1)
the presence of the pianist did not go unnoticed by the children of Chopin?s protector and lover (1)
the rhythm of words is the music that governs reason and emotion. Literature occupies an important place in my creation. In this article I describe the different procedures in which I configure its presence in my music and the main themes in four of my works: Envoi (1)
the Santiago Tuna of 1888 ventured and made its mark in history (1)
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