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This article examines how musical practices in 1970s Spain formed ways of imagining democracy and how they participated in the wider social struggle to define freedom and equality for the final years of Franco's dictatorship and its immediate aftermath. I shall analyse two case studies: a large-scale experimental art festival held in the streets of Pamplona in 1972 and a grassroots musical collective created in 1973 on the initiative of the composer Llorenç Barber. Drawing on previous studies on the relationship between music and democracy, participatory art and the politics of spectatorship, and the insights of political science and philosophy into democracy, I offer a critical reassessment of the Pamplona festival and explore the relationship between grassroots collaboration and ideas of participatory democracy, and analyse the significance of this relationship in 1970s Spain. [ABSTRACT FROM AUTHOR]

In the current paper we analyse the relationship between territory and culture through the symbolic orientation of the territory. Cultural scenes focus on understanding the opportunities for cultural consumption that exist in cities, and the lifestyles that can be experienced in them, giving them meaning and making the territory recognizable. This work aims to validate both the conceptual and methodological approach to cultural scenes through their application to the Spanish case, as well as how to apply this perspective empirically. The main result validates a scale that measures the orientation from the conventional (communitarian) to the non-conventional (innovative) in the cultural landscape of Spain. This result allows the beginning of a recognizable, systematic and comparable process to measure the opportunities for cultural consumption in a territory, and the impact on lifestyles. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the phenomenon of spoken music in the field of contemporary Spanish experimental music. Spoken music is a hybrid form of artistic expression which draws on several disciplines such as sound poetry, performance art and experimental music relating to the development of the spoken voice. In Spain, spoken music does not appear in the field of avant-garde music—as it is still anchored in the expressionist tradition of the spoken voice—nor in the field of poetry, which is more concerned with the visual than the sonic, but rather in interdisciplinary spaces close to the thinking of John Cage and the artistic universe of Fluxus. In 1966, in the setting of the group Zaj, Ramón Barce (1928–2008) created one of the paradigmatic pieces of spoken music: Coral hablado ('Spoken choral'). Subsequently, various groups emerged, dedicated to creating and performing works of this nature. Flatus Vocis Trio is especially noteworthy among these groups as it is probably the most important group in the area of spoken music in Spain. Using the work of this group, this study reflects on various aspects of its artistic essence, such as the aesthetic and communicative dimension of the spoken voice, its difficult relationship with the semantic function and its distance from the principal trends in sound poetry, among others. [ABSTRACT FROM AUTHOR]

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The phenomenon that occurred with the restoration of Ecce Homo in Borja (Zaragoza) has not gone unnoticed by the mass media in countries around the world since a small notice of this restoration appeared in the blog of the Borjans’ Studies Center in early August 2012. Thus, the paper aims to deepen the triple determination that we believe has caused an isolated incident to become a worldwide media boom. We refer to the phenomenon on the communicative global level, its collaborative or dialogued nature, and the interaction that has been generated by the creators and observers. From here we reflect on the social phenomenon that this new pictorial creation has generated both from the mass media and from various samples of creativity and different conceptions of art. [ABSTRACT FROM PUBLISHER]