Recasens, A. (Albert)
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- Análisis de los resultados de la encuesta sobre innovación en los festivales de música antigua de REMA(INGENIO, 2015) Martorell-Pons, S. (Sonia); Fernández-de-Lucio, I. (Ignacio); Recasens, A. (Albert); Poncela-Herrero, A. (Alberto); Castro-Martínez, E. (Elena)En este trabajo se pretende identificar las innovaciones que tienen lugar en los festivales de música antigua y averiguar en qué medida los diversos tipos de interesados, especialmente los patrocinadores, influyen en su consecución.
- 17° Congreso de la Sociedad Internacional de Musicología Lovaina (Bélgica) del 1 al 7 de agosto de 2002(Sociedad Española de Musicología (SEDEM), 2002) Recasens, A. (Albert); Marín, M. A. (Miguel Ángel)
- Innovation in Early music festivals. domains, strategies and outcomes(Routledge, 2022) Fernández-de-Lucio, I. (Ignacio); Recasens, A. (Albert); Castro-Martínez, E. (Elena)This chapter takes an in-depth look at innovation in cultural festivals, in particular in early music festivals, which is a type of festival aimed at a generally local and minority audience. It identifies and analyses types of innovations, the strategies used by early music festivals to innovate and the results of these innovations in the framework of a collaboration with the European Early Music Network, whose members, festival directors, agreed to participate in the survey designed for this purpose. Different types of product, production and pre-production process, marketing and communication innovations are identified but also maintain traditional products and communication channels for their most loyal audience. The analysis shows that early music festivals engage in a range of innovations and employ a meaningful combination of innovation strategies with diverse stakeholders. Innovation efforts have led to several intangible and tangible improvements, including increased prestige and bigger and more diverse audiences. Although some of the innovations identified are common to other cultural festivals, many product innovations depend on musicology research; therefore, similar to other science-based sectors, relationships with researchers are very important.
- La recepción de la música de Juan García de Salazar en las primeras décadas del siglo XX(Universidad Nacional de Educación a Distancia, 2010) Recasens, A. (Albert); Martín-Sánchez, A. (Alberto)El presente artículo estudia la recepción en las primeras décadas del siglo XX de la música de Juan García de Salazar, maestro de capilla de la catedral de Zamora entre 1668 y 1710. Se analizan la pervivencia de su música durante la celebración de los oficios litúrgicos, su revalorización estética a partir del Motu Proprio ‘Tra le sollecitudine’, promulgado por Pío X, sobre la música sacra y la llegada de sus composiciones a las salas de concierto de la mano de la “Real Coral Zamora”, dirigida por el maestro Inocencio Haedo. Por último, se estudia la recepción de su obra a través de las transcripciones y arreglos que hizo el maestro Haedo.
- De Cristóbal de Morales a Tomás Luis de Victoria: la música española en la Roma del Renacimiento(Sociedad Estatal para la Acción Cutural Exterior, 2007) Recasens, A. (Albert)Trabajo presentado en el Congreso Internacional «Roma y España. Un crisol de la cultura europea en la edad moderna» celebrado en la Real Academia de España en Roma del 8 al 12 de mayo de 2007.
- Innovation systems in motion: an early music case(Emerald, 2013) Jiménez-Sáez, F. (Fernando); Recasens, A. (Albert); Castro-Martínez, E. (Elena)Purpose This study aims to provide an in‐depth understanding of the innovation system and the learning processes involved in a very specific cultural field: the production of early music. Design/methodology/approach A single case study of the generic value chain in the music production industry describes and analyses the process and the actors involved in editing a new early music collection resulting from the collaboration between a record company and a public research organization. Findings There is a need for new knowledge in the various stages of performance and publication of a new recording. The early music sector is a knowledge‐intensive, science‐driven sector that can be characterized as a system because the interactions among actors substantially influence final products. Research limitations/implications The single case study represents a specific sector within the music industry. However, its conclusions can be applied to other fields in the cultural heritage sector.