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Journal articles on the topic 'Arc musical'
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Damodaran, Sumangala, and Ari Sitas. "The musical journey – re-centring AfroAsia through an arc of musical sorrow." Critical Arts 30, no. 2 (March 3, 2016): 252–68. http://dx.doi.org/10.1080/02560046.2016.1187792.
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Jedrzejewski, Franck. "Nœuds Polychromes et Entrelacs Sonores : Vers de Nouvelles Catégories Musicales." Musicae Scientiae 7, no. 1_suppl (September 2003): 73–83. http://dx.doi.org/10.1177/10298649040070s104.
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L'article présente deux applications de la théorie des nceuds et des entrelacs à l'univers musical. La première application est une classification des séries de douze sons selon des structures particulières appelées diagrammes de cordes. Cette taxinomie conduit à une nouvelle hiérarchie des structures profondes du lexique dodécaphonique. La chiralité et les degrés de symétrie des formes sérlelles sont directement accessibles sur ces diagrammes qui rŕsument les propriétés intrinsèques de la série, La forme schématique nodale remplit ainsi la double fonction d'integration méronymique et de contrôle combinatoire. La deuxlème application est une approche des problèmes du tempérament musical et de l'analyse des systèmes acoustiques contemporains par coloration des entrelacs. A chaque arc de la représentation planaire d'un nœud est associée une fréquence (appelée aussi couleur) du système acoustique envisagé. Lors du passage d'un arc à un autre par croisement des brins du nœud, la fréquence évolue selon les règles d'une grammaire prédéfinie, L'entrelacs ainsi étiqueté — appelé nœud polychrome — décnt complètement l'accord du système acoustique. Des questions théoriques comme la transposition des échelles tonales dans des univers nontempérés ou les variations micro-intervalliques dans Ie champ compositionnel s'etudient de manière naturelle à l'aide de ces nouvelles catégories musicales.
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Azarova, Valentina Vladimirovna. "The “undying archaic elements” in dramatic oratorio by Arthur Honegger “Joan of Arc at the Stake”." Человек и культура, no. 1 (January 2020): 35–61. http://dx.doi.org/10.25136/2409-8744.2020.1.31950.
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The subject of this research is the integration of the elements of old genres in to a composition of Arthur Honegger’s dramatic oratorio. Particular attention is paid to formation of the system of interrelated intonation-dramaturgical spheres and vocal-symphonic development of recurring themes, motifs and sound symbols. The author examines the interaction of verbal and vocal-symphonic elements of sound fabric. The goal consists in identification of the traits of old genres and other archaic elements within the synthetic form of musical/dramatic theatre, as well as determination of the dominant aspect of musical meaning therein. Research methodology is based on the musical-hermeneutic reconstruction of the process of composing, detection of the fundamental principles of musical dramaturgy along with functions of cited by the composer Latin texts in the synthetic form of dramatic oratorio. The main method for this work became the musical-theoretical analysis of polyphonic vocal-symphonic musical fabric, and analysis of the verbal texts of voice part in the French and Latin languages, in de visu score. This article is first to interpret integration of the genre codes of medieval mystery play and citations from liturgical texts of the previous eras, including the Holy Scripture, into the compositions of dramatic oratorio of Arthur Honegger as the means for creating temporal multidimensionality of the synthetic form of French musical/dramaturgical theatre of the XX century within the context of Christian tradition. Honegger has overcome the linearity of narration through integration into the composition of the traits of previous eras. The citation of liturgical texts, including Holy Scripture, lead to expansion of the semantic space of literary text of the dramatic oratorio. This established the idea of synthesis of time and eternity characteristic to Christianity.
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Bonhomme, Julien. "La voix du mong?ng? ou comment faire parler un arc musical." Cahiers d'anthropologie sociale N° 10, no. 1 (2014): 93. http://dx.doi.org/10.3917/cas.010.0093.
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Hodge, Matthew. "Disney ‘World’: The Westernization of World Music in EPCOT’s “IllumiNations: Reflections of Earth”." Social Sciences 7, no. 8 (August 13, 2018): 136. http://dx.doi.org/10.3390/socsci7080136.
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Although Disney’s EPCOT theme park markets itself as a place to experience other cultures and reflect on Earth’s history, the dominance of a Western perspective omits true authenticity, specifically in the music of its nighttime show IllumiNations: Reflections of Earth. This 13-minute long presentation offers a visual retelling of humanity’s existence accompanied by an original musical score that guides the narrative. The consecutive music section titles provide insight into critical points within Disney’s story arc: Prologue: Acceleration, Chaos, Space, Life, Adventure, Home, Celebration, and Meaning. While sounds of music from other cultures do present themselves—albeit in stereotypical and clichéd fashions— they are arbitrarily highlighted within a framework of Western musical components. This framing allows Disney composers to control the perception of ‘others’ through music. Furthermore, the final Meaning section is entirely built of Euro-American musical conventions, insinuating that cultures arrive at their most enlightened, evolved selves when they become Westernized. Despite its impressive technological advances and complex musical composition, IllumiNations: Reflections of Earth is guilty of implementing Western musical frameworks that Disney utilizes in the majority of its films and theme parks.
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Decker, Todd. "The Filmmaker as DJ." Journal of Musicology 34, no. 2 (2017): 281–317. http://dx.doi.org/10.1525/jm.2017.34.02.281.
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Filmmaker Martin Scorsese’s Casino (1995) is structured around a compiled score of almost sixty popular music recordings. Scorsese himself, working with editor Thelma Schoonmaker and using digital editing tools for the first time, assembled and arranged a diverse body of pre-existing music into a unified score that plays for more than two of the film’s three hours. This article offers a close analysis of Scorsese acting as composer—crafting Casino’s compiled score in the manner of a DJ—and, in reciprocal fashion, editing film images and narrative to recorded music. Casino demonstrates highly varied, multivalent relationships between musical form and film form. Indeed, musical form proves a constituent element of Casino’s construction at multiple levels of magnification. The large-scale form of the score as a whole articulates the larger arc of Casino’s dual narrative. The strategic deployment of musical styles (from jazz to rock to pop) and the targeted use of lyrics as voiceover (often subtly deploying aspects of racial performance in popular styles) serve to differentiate narrative strands and fill out otherwise unspoken characterization. Scorsese builds several sequences in Casino on a direct, often audible relationship between song forms and narrative unfolding, creating song scenes in which compiled tracks heard as musical wholes grant a musical shape to discrete narrative units. Casino’s complex use of music does not, however, penetrate the inner lives of the film’s three primary characters, who seem unaware of the musical flow Scorsese employs to set their story dancing. The analysis draws upon the filmmaker’s own words about his creative process and offers select comparisons to other Scorsese films with compiled scores.
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Prochnow, Annette, Soly Erlandsson, Volker Hesse, and Kathleen Wermke. "Does a ‘musical’ mother tongue influence cry melodies? A comparative study of Swedish and German newborns." Musicae Scientiae 23, no. 2 (October 27, 2017): 143–56. http://dx.doi.org/10.1177/1029864917733035.
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The foetal environment is filled with a variety of noises. Among the manifold sounds of the maternal respiratory, gastrointestinal and cardiovascular systems, the intonation properties of the maternal language are well perceived by the foetus, whose hearing system is already functioning during the last trimester of gestation. These intonation (melodic) features, reflecting native-language prosody, have been found to shape vocal learning. Having had ample opportunity to become familiar with their mother’s language in the womb, newborns have been found to exhibit salient pitch-based elements in their own cry melodies. An interesting issue is whether an intrauterine exposure to a maternal pitch accent language, such as Swedish, in which emphatic syllables are pronounced typically on a higher pitch relative to other syllables will affect newborns’ cry melody (fundamental frequency contour). The present study aimed to answer this question by quantitatively analysing and comparing the melody structure in 52 Swedish compared with 79 German newborns. In accordance with previous approaches, cry melody structure was analysed by calculating a melody complexity index (MCI) expressing the share of cries exhibiting two or more (well-defined) arc-like substructures uttered during the recording sessions. A low MCI reflects a dominance of cries with a ‘simple’, i.e. single-arc melody. A significantly higher MCI was found in the Swedish infant group, which further corroborates the assumption that the well-known foetal sensitivity for musical (melodic) stimuli seems to shape infants’ cry melody.
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Roshchenko, Olena. "The cello school of Georgy Averyanov: facets of artistry." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 92–107. http://dx.doi.org/10.34064/khnum2-23.06.
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Background. Logical bases of the research are conditioned by actuality of the conception of artistic universalism of creative personality and the doctrine of musicological acmeology. Topicality of the research is concretized through the model of solution of the mentioned problems by the way of studying the structure of creative universalism, which is peculiar to George Averyanov, concert performer, musical editor, head of Kharkiv cello school during 1960–1991, first vice-rector (1968–1975) and rector (1975–1991) of Kotlyarevsky Institute of Arts (nowadays Kotlyarevsky National University of Arts). The innovative element of the research consists in attraction of acme-methodology, namely the acmeocentric approach for determination of originality of creative top in life-creativity of G. B. Averyanov. The aim of the research is to determine the facets of artistry and develop the acmeogram of George Averyanov’s performing and pedagogical life-creativity on the basis of application of the acmeocentric approach. The results of the research consist in development of aspects of performance acmeology, ways of application of the acmeocentric approach with the purpose of building an acmeogram of George Averyanov’s life-creativity, determination of facets of his typical cello style of artistry (conditioned by the system of inherent talents in his nature), the rethinking of the achievements of the four cello schools of Ukraine), the introduction of the concept of “cello romanticism” as a stylistic dominant of the performing personality of the Artist. Conclusions. Acmeological methodology works in full measure after the completion of the life-creativity of the individual, when the life-creative arc, traced by the soul and inspired work of the musician, is shaped. When the researcher’s gaze is distanced (detached) from the life-creativity of the “hero”, it becomes possible to construct an acmeogram of the artist’s performance and pedagogical activity. An analysis of Averyanov’s life work has made it possible to establish the facets of his inherent artistry, formed as a result of interaction between his natural giftings, as well as the musical and cultural chronotopes of Ukraine, generalized in his activity; to define the Kharkiv period as an embodiment of the musician’s performing and teaching acme; to present the structure of universalism, characteristic of his creative individuality as a four-component (“four-activity”, according to O. Komenda,2020): hypostases of concert performer, musical editor, pedagogue, musical activist.
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Alvim, Luíza. "Rhythms of Images and Sounds in Two Films by Robert Bresson." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 173–87. http://dx.doi.org/10.2478/ausfm-2019-0009.
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Abstract Robert Bresson did not only distribute musical excerpts and sounds in his films, but also often conceived the whole film running in a general rhythm, including the repetition and variation of shots in their contents and length. David Bordwell (1985) considered Bresson’s films as examples of the style centred “parametric mode of narration.” More than that, after Jean-Louis Provoyeur (2003), we consider that many shots in Bresson’s films have a characteristic of “denarrativization,” a conception based on musicality, devoid of representational constraints. One example is the tournament sequence in Lancelot of the Lake (Bresson, 1974), in which visual and sound elements are repeated as a “cell” with variations in length, angle of shot and with addition or suppression of elements. The author also analyses some aspects of The Trial of Joan of Arc (1962), in which the rhythmic sensation is created by the procedure of repetitive alternation of image, speech and space.1
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Nagai, Michelle. "Listen Compose Listen: A study of perception, process and the spaces between in two works made from listening." Organised Sound 16, no. 3 (November 15, 2011): 211–19. http://dx.doi.org/10.1017/s1355771811000215.
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This paper presents a detailed study of two works that arrive at sounds composed through the experience of sounds heard. Frances White's composition Centre Bridge, composed in 1999 for two shakuhachi and tape, is based largely on the sounds of a sonorous metal grate bridge that crosses the Delaware River between New Jersey and Pennsylvania. ASound Map of the Danube, composed by Annea Lockwood in 2005, reflects four years of sound recording along the length of that river's European to Balkan trajectory. Employing a range of diverse technical tools and aesthetic ideas, both works convey, powerfully and dynamically, a sense of deeply invested listening. I approach the discussion of specific compositional processes and musical outcomes in these two works through an investigation of Lockwood's and White's firsthand experiences as both listeners and composers. Centring on the exchange between sensing body and thinking mind, my research here engages with the arc of the creative process as an experience permeated by spaces of perception, reflection, imagination and action.
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GRAHAM, STEPHEN. "From Microphone to the Wire: Cultural change in 1970s and 1980s music writing." Twentieth-Century Music 16, no. 3 (April 30, 2019): 531–55. http://dx.doi.org/10.1017/s1478572218000336.
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AbstractIn this article I examine localized cultural change that nevertheless serves as an applied instance of broader change. Focusing mostly on British, white male musicians and music writers active in the improvised and experimental music scenes of the UK (and, to a lesser extent, United States and Europe) across the 1970s and early 1980s, I identify clear shifts in taste, attitude, and practice. These shifts arc across what Ben Piekut calls the ‘mixed avant-garde’ of the 1960s to what I describe as the ‘unpop avant-garde’ of the late 1970s and 1980s, in which influences from popular and non-Western music play more significant roles than before and liminal, quasi-popular practices such as noise are in the emergence. I trace the appearance of the unpop avant-garde through independent music publications from the period, most prominently Microphone, Musics, Collusion, Impetus, and Re/Search, using these published scene discourses as barometers of the musical atmosphere of the time.
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Tolley, Clive. "Letters to India." Nordisk judaistik/Scandinavian Jewish Studies 32, no. 1 (May 31, 2021): 83–107. http://dx.doi.org/10.30752/nj.107706.
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I write as a non-Jew about the brief correspondence sent to my father, shortly after the Second World War, from a gifted, young Jewish violinist, and briefly outline the background story-arc of her family’s aliyah, from the Pale a couple of generations earlier to her settlement in the new state of Israel. Her story is not bound up with the Holocaust, nor (as far as we know) did she experience antisemitism: but this essay attempts to highlight the majesty and sparkle of a moment in the mundane life of a Jewish woman, and its brief impact on a gentile. The focus is on her musical remarks about some of the leading performers of the day. I also outline some of the ways I secured source materials for this primarily biographical sketch, but this article is presented more as a ‘memoire’ than an academic study. It is offered in honour and memory of a Jewish lady whom, alas, I was a little too late to meet myself, and to celebrate my father’s hundredth birthday in May 2021.
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Abreu, Tiago Eric de. "Fonosferas da Antiguidade." Revista Música 19, no. 1 (July 3, 2019): 41–67. http://dx.doi.org/10.11606/rm.v19i1.155322.
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A partir da escuta hermenêutica das ideias e práticas musicais que se constituíram no Ocidente a partir da Grécia entre os séculos VIII e IV a.C., o presente estudo objetiva tecer reflexões sobre a voz e a escritura vocal. Ao colocar a questão da relação entre música e palavra, interpreto o campo lítero-musical da Antiguidade manifesto nos tratados, na literatura e nos remanescentes de notação. O caminho de pesquisa circunscreve o período histórico em que se percebe a multidimensionalidade de texto musical e tradição aural, para, a partir da interpretação das práticas composicionais e das ideias sobre performance vocal, tecer uma reflexão sobre o canto e a voz poético-musical. Desde a perspectiva da filosofia humanista da música (LIPPMAN, 2006), o estudo dos vestígios musicais da Antiguidade problematiza as relações complexas entre performance, memória, escritura musical e composição aural.
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Drew, David. "The Score: An open letter to Sir William Glock on the occasion of his 80th birthday." Tempo, no. 167 (December 1988): 21–23. http://dx.doi.org/10.1017/s0040298200024529.
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ItWas, DearWilliam, distinctly chastening the other day to discover your signature inside a precious score which had been living and sleeping in the shadow of my piano for many years—so many, indeed, that I could have sworn it actually belonged to me. Since you arc one of those rare spirits for whom the lending of books and scores is inseparable from the delights of possessing them, you probably don't need my sorry example to remind you of how easily an au revoir can become an adieu. But now that the wanderer is safely back on your shelves, the frivolous thought that this is another sense in which I'll be wishing you many happy returns has been replaced by a more serious one; for as soon as I begin to ask myself how much else that I like to call my own—and I don't of course mean mere ‘belongings’—is in fact owed to you, there emerges an immeasurably greater question whose bearing on every one of us will surely be illuminated by the celebrations of your splendid birthday. The question is this: how much have we tended to take for granted, and how much have we forgotten or never investigated, about the nature and extent of your manifold contributions to musical life and understanding within and beyond this small island?
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Tsyrkun, Nina А. "Grief as a Cognitive Metaphore in “Manchester by the Sea”." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 44–53. http://dx.doi.org/10.17816/vgik10144-53.
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The article is devoted to analysis of Kenneth Lonergans Manchester by the Sea (1916) through the category of so-called cinema of grief dealing with the problems of enduring trauma of loss of the dear ones. The gist of the topic is institutionalization of the concealed ego of the protagonist through the death of the Other. Thus the treatment concerns sorrows of the trauma which undergoes either positive dinamic of its overcoming, or a negative form of embedding into the loss. The author assumes, that in Lonergans film the second case is visually articulated, anyhow logically drawing to the positive vector disclosing the concealed identity of the protagonist. The arc of the hero is traced on three levels, that is the film composition, psychological discordance of the protagonist and the soundtrack as a certain subtext of the picture. The study is based on the sources discussing the problem in question: Ziegmund Freuds Mourning and Melancholia, in which Freud argued that mourning comes to a decisive end when the subject severs its emotional attachment to the lost one, and on the works by Nicolas Abraham and Maria Trk about mourning disorder (introjection versus incorporation). The composition of the film is structured around flashbacks explaining the reasons for a pervasive cloud of shame, sadness, and guilt that follows the protagonist in the mourning process. In his architecture of grieving the filmmaker actually describes the protagonists melancholia in Freudian terms as a painful depression without any concern towards the outside world. He is characterized by a loss of the ability to love, reticence in any activity and decreased self-criticism and craving for punishment. Anyhow the musical accompaniment not only illustrates the depressed protagonist state of mind but also - with Handels Messiah at the climax point predetermines the finale with his crucial changing.
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Kolisch, Rudolf, and Neil Boynton. "Schoenberg as a Performing Artist." Tempo, no. 193 (July 1995): 34–35. http://dx.doi.org/10.1017/s0040298200004307.
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Translator's note. The violinist Rudolf Kolisch was brother-in-law of Arnold Schoenberg. He first played under Schoenberg's direction in the Verein für musikalische Privataufführungen. Through the Kolisch Quartet, founded in 1922 on Schoenberg's instigation, and later in America, through the Pro Arte Quartet, he promoted the music of the Second Viennese School. Kolisch's essay was originally published in German as ‘Schönberg als nachschaffender Künstler’ in the issue of Musikblätter des Anbruch commemorating Schoenberg's fiftieth birthday (6 [August–September 1924], 306–7); this is the first English translation. Kolisch's text presents ideas about the rendering of ideas: it is essentially philosophical, and as such, many would argue, untranslatable. There arc no English equivalents for many of its terms. With this proviso, the translation is offered as a guide to the original. In those instances where recurrences of words in the original are not preserved in the translation and where it was felt that important nuances of the original were lost, the German has been added in parentheses. In this regard the words used by Kolisch to denote ‘performance’ are particularly varied: ‘nachschaffen’ (‘to reproduce’); ‘vortragen’ (lit. ‘to carry forward’, hence ‘to hold forth’, ‘to execute’; Kolisch used ‘declamation’ as a synonym for ‘Vortrag’ when referring to the way in which a specific musical passage is conceived and executed); ‘aufführen’ (‘to perform’); ‘reproduzieren’ (the latinate equivalent for the German ‘nachschaffen’); ‘darstellen’ (‘to represent’); ‘Wiedergabe’ (‘rendition’); ‘spielen’ (‘to play’); and ‘musizieren’ (‘to play’, ‘to make music’). Some of the connotations of the word ‘nachschaffen’ from the original title of Kolisch's article are captured by Erwin Stein in the Introduction to his Form and Performance: ‘Music consists of sounds, and the word “form”, applied to music, means the arrangement of sounds.
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Varavkina-Tarasova, Nadiya. "Joan’s of Arc Aria No. 7 from the opera "The Maid of Orleans" by P. Tchaikovsky: the spiritual symbolism of the canon of repentance when "trialed under the sign"." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 19–35. http://dx.doi.org/10.34064/khnum2-49.02.
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The article examines the spiritual symbols of the musical and sound structure of Joan’s Aria No. 7 " Forgive me, hills and native fields " from the opera "The Maid of Orleans" by P. Tchaikovsky. The subject of the study is the iconic expositional characteristics of the dramatic development of the image of the protagonist of the opera as a vividly representative historical and symbolic phenomenon, expressed through the centuries-old context of musical spiritual symbols. "Liturgy of John Chrysostom" and "The Maid of Orleans" were marked by a powerful creative core, bravely creating a new level of thinking, opening new opportunities for the Transfiguration. P. Tchaikovsky reflected deeply on the spiritual quality of the man. By the wisdom of the Gospel postulates, one can realize how indissolubly these two works have merged together: "Divine Liturgy" and the history of the Divine feat of the main heroine of the opera. The birth of a new spiritual quality in Tchaikovsky’s music was accompanied by a sufficiently strong resistance of the surrounding psychological field of belief and world outlook. The composer had been working on the opera for about 9 months, which is associatively comparable to the bearing and birth of his "spiritual child". The spiritual meaning of the genre canvas of Aria is liturgical which is the canon of repentance. Syncretism of symbols manifested in systems of semantic and genre assimilation is represented by rhetorical signs and baroque genres. The ostinato spiritual and psychological Credo of the personality of Joan of Arc is explained - 1) in her legendary 19-year-old life, a young peasant girl who could not read and write possessed the greatest gift of purity of thoughts and an unshakable faith in the Spiritual World, which governs the earth; 2) she had intuitive-hearted Mercy to her persecutors, enemies, executioners; 3) she subtly felt the highest signs and symbols that were inaccessible and incomprehensible to her surroundings and contemporaries; 4) Joan at her own and sole discretion considered the form, colors and meanings of her symbols – a white embroidered banner, a coat of arms with holy symbols and a sword that she used only to defend and repel the blows. We should pay attention to the fact that both the composer and the heroine of the the "font" of the spirit materializes. Hence, perhaps, the source of the inner potential of spirituality for the related and beloved female images in his works, embodied by the composer one after another – Tatiana and Joan, – being so distant historically and socially from one another are both so close to the great spiritual potential and victorious level of morality, invigorated by the naturalness of the free space of nature, the inner beauty and sincere kindness, concealing the heroic courage of female charm behind the delicate refinement, able to illuminate many generations of people with the centuries-old example to follow. The 18-year-old Joan at the moment of exhibiting the image in the first act of the opera is shown in the vital fullness of a thinking person, who can follow her Divine Principle. The dramaturgic line of Joan is a mono opera of Spirit in the whole opera. In the context of the analysis of the melody, there attracts attention the symbol of harmony of the "lyrics of light" with the intonations of the achieved through much suffering world of the loving heart – the rhetorical formula of the Baroque era - the figures of "pathopoija:" the excitement of passions " parrhesa "," relatio non harmonia ". In the melody of Aria, there is a tension that arises under another symbol, but does not go into it, but psychologically preserves the previous harmony through inclination to the main tonic. This symbol in music of different styles and creative interpretation in the article is defined as "trial under the sign" - powerful in its might, which originates from the environment of reflective knowledge of the Spirit. In the Aria melody, the symbol tirata is not associated, as is customary, with a "shot" or "lightning," but is a symbol of a sparkling spiritual instrument – a sword. Such is embodied in a rather rare image of St. Nicholas the Miracle-Worker, for example, on the icon in the Church of the Holy Trinity in the monastery of St. Iona in Kiev. Saint Nicholas is depicted with a mighty sword, passionately raised vertically upward in the name of protecting holy justice. The sword is also associated with the power of the spiritual thought-arrow, reflected in the symbols of the graphic hooked notation of Kievan Rus.
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May, Tony. "Review: Soundtracks: A Musical ABC." Media International Australia 100, no. 1 (August 2001): 189–90. http://dx.doi.org/10.1177/1329878x0110000122.
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Jiménez Pasalodos, Raquel, Fernando Agua Martínez, Juan Jesús Padilla Fernández, Mª Ángeles Villegas Broncano, and Manuel García Heras. "Estudio acústico, arqueométrico y musicológico de instrumentos musicales arqueológicos: las trompetas de cerámica de Numancia (siglos III-I a.C.)." Anuario Musical, no. 73 (December 18, 2018): 9. http://dx.doi.org/10.3989/anuariomusical.2018.73.01.
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Las trompetas cerámicas celtibéricas de finales de la Edad del Hierro (siglos III-I a. C.) se conocen desde que se hallaron a principios del siglo XX en las excavaciones arqueológicas de la antigua ciudad de Numancia. Se trata de aerófonos de boquilla (labrosones) ultracirculares que tradicionalmente se han interpretado como instrumentos de señalización o como instrumentos para hacer ruido en contextos bélicos. Este artículo presenta el primer trabajo de caracterización acústica de estos instrumentos, que ha permitido comprobar sus posibilidades musicales, su capacidad para articular diferentes tonos y, en consecuencia, producir no sólo señales simples o ruido sino también melodías sencillas. Para realizar el trabajo se llevó a cabo un estudio acústico y musical con reproducciones modernas de estos instrumentos y éstas se compararon con fragmentos de trompetas numantinas originales, lo cual ha aportado nuevos e interesantes datos a la arqueología musical de finales de la Edad del Hierro en la Península Ibérica.
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Álvarez Cedillo, Jesús Antonio, Elizabeth Acosta Gonzaga, and Patricia Pérez Romero. "El Formato abc para Composición Musical." Polibits 33 (January 31, 2006): 30–32. http://dx.doi.org/10.17562/pb-33-6.
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Erlani, Lalan, Tati Narawati, and Zaenal Alimin. "Using AAC Media To Improve Dynamics Ability In Music Learning For Autistic Children." International Journal of Pedagogy and Teacher Education 2 (November 7, 2018): 12. http://dx.doi.org/10.20961/ijpte.v2i0.25140.
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This study aims to improve the ability of dynamics musical skills of autistic student using Augmentative and alternative communication (AAC) media. Augmentative and alternative communication (AAC) interventions have been shown to improve both communication and learning skills in children and youth with autism spectrum disorders and other developmental disabilities. There are many strategies educators use to aid a child to communicate. Visual aides have been used successfully in helping children with autism communicate. A picture system called AAC Media allows teachers to make pictures to help students on the spectrum communicate. The method that being used in this study is experimental method with single subject research approach and using the design of A–B pattern. Data collection technique that being used are observation and documentation. And data analysis technique that being used is visual analysis in condition. The results of this research indicate that musical dynamic skills in music subject could be improved by using AAC media. The use of AAC media brings positive impact towards autistic students skills in musical dynamic. Therefore, teachers can apply the using of AAC media on music subject activities in school.
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Piassi Passos Bodo, Roberto, and Flávio Luiz Schiavoni. "Web sonification with synesthesia tools." Revista Música Hodie 18, no. 1 (June 19, 2018): 74–91. http://dx.doi.org/10.5216/mh.v18i1.53572.
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In this paper, we present an investigation on sonification of web pages involving three media: HTML struc- ture, page text and images. In our approach, HTML pages are read as musical scores; text elements are also read as musical scores following the idea present in notation systems like ABC; and images are read as wave files. We deve- loped a set of tools for website sonification which can be used to explore musical creativity and to create new soun- ds based on the web pages content. In addition, we show how to create sounds and visual feedback using this tool.
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Mateo, MARTA. "PERFORMING MUSICAL TEXTS IN A TARGET LANGUAGE: THE CASE OF SPAIN." Across Languages and Cultures 2, no. 1 (May 2001): 31–50. http://dx.doi.org/10.1556/acr.2.2001.1.3.
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Van Remoortel, Marianne. "CHRISTINA ROSSETTI AND THE ECONOMICS OF PUBLICATION: MACMILLAN'S MAGAZINE, “A BIRTHDAY,” AND BEYOND." Victorian Literature and Culture 41, no. 4 (October 25, 2013): 711–26. http://dx.doi.org/10.1017/s1060150313000181.
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Impelled to seek relief from a “peccant chest” (L233) at the seaside, Christina Rossetti travelled to Hastings in December 1864, taking a carefully wrapped bundle of unfinished manuscript poetry with her. Throughout the winter until the following March, a series of letters to Cheyne Walk kept her brother Dante Gabriel abreast not only of her gradual recovery, but also of her efforts to complete her second book of poetry, two years after she had made a successful debut with Goblin Market. Shortly after her arrival, Rossetti reported that she was struggling to finish “The Prince's Progress,” the long narrative poem that was to lend its title to the new volume: [M]y Alchemist still shivers in the blank of mere possibility: but I have so far overcome my feelings and disregarded my nerves as to unloose the Prince, so that string wrapping paper may no longer bar his “progress.” Also I have computed pages of the altogether-unexceptionable, and find that they exceed 120: this cheers though not inebriates. Amongst your ousted I recognize sundry of my own favourites, which perhaps I may adroitly re-insert when publishing day comes round. . . . Meanwhile I have sent 3 (I hope) pot-boilers to Mac's Mag. (L233) In the past few decades, Rossetti's lifelong effort to see what critics have variously called “the divine spiritual essence of material beauty” (Harrison 56), the “moral and spiritual significance in physical signs” (Arseneau 279), and “the spiritual in the sensuous, the numinous in the material” (Kooistra, Illustration 38) has become a mainstay of Rossetti scholarship. This excerpt from her correspondence, in contrast, reveals her equally profound preoccupation with the materiality and economics of writing. Issues of textual ownership, authorial control, and literary marketability confronted Rossetti in the 1860s as her financial situation forced her to balance book publication with regular contributions to the periodical press, notably Macmillan's Magazine, the magazine owned by Rossetti's publisher Macmillan and Co., which carried more of her poetry than any other British periodical in the nineteenth century. These issues extended beyond Rossetti's personal dealings with Macmillan, however, shaping the material and interpretive consumption of her work throughout her career. This arc may be seen in the publication and adaptation history of one of her most popular poems, “A Birthday,” from its first appearance in Macmillan's Magazine in 1861 until her death. Over time, the poem underwent various types of mediation: reprints in gift books and poetry anthologies, musical adaptation, vocal performance, and quotations in fictional works. Finally, her reaction to the three parodies of her poems published in an 1888 comic magazine – particularly to “An Unexpected Pleasure,” the parody of “A Birthday” – demonstrate her perspective on the increased commodity value of the original poem.
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Dye, Christopher K. "Descriptive Profile and Survey of Alternatively Certified Texas Music Educators." Journal of Music Teacher Education 27, no. 3 (September 14, 2017): 24–37. http://dx.doi.org/10.1177/1057083717731769.
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The purpose of the study was to examine the features of Texas’s Alternative Route to Certification (ARC) programs in music education, the demographics and prior experiences of program completers, and the employment of ARC completers in K–12 public schools. Data were collected from the State Board of Educator Certification about demographics and employment information for all individuals who completed ARC programs in music education between 2002 and 2012 ( N = 1,200), and individuals from that population were surveyed concerning their experiences ( n = 214). Survey respondents completed programs that varied widely in duration, features, instructional modalities, and providing institutions. Music educator gender and ethnicity were significantly associated with the route used to pursue alternative certification. Relative to the distribution of music teaching positions across the state, ARC completers were disproportionately employed in large urban districts, charter school districts, and in districts with large proportions of economically disadvantaged students.
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ÖZDEMİR, Osman. "MÜZİKSEL İŞİTME OKUMA VE YAZMA DERSİ EĞİTİMCİLERİNİN TEKNOLOJİ ODAKLI ÖĞRETİM MATERYALLERİNİ KULLANIM DURUMU VE YETERLİLİKLERİ." Akademik Müzik Araştırmaları Dergisi 3, no. 6 (June 5, 2017): 1–17. http://dx.doi.org/10.5578/amrj.57292.
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Sousa de Carvalho, Luiza. "A Pedagogia do Axé: promoção da cidadania e fortalecimento da identidade negra pelo projeto ABC musical." Revista Calundu 3, no. 1 (June 20, 2019): 13. http://dx.doi.org/10.26512/revistacalundu.v3i1.25236.
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A tradição oral é uma herança africana que atravessa a cultura afro-brasileira e se traduz numa estratégia para a manutenção dos saberes tradicionais no Brasil, e também para o ensinamento de saberes diversos. A evidência de uma Pedagogia do Axé viabilizou o Projeto ABC musical que, por meio do ensino de música, com foco em ritmos afro-brasileiros, tem atuado diretamente no fortalecimento da identidade negra e na promoção de cidadania de crianças e adolescentes, bem como de seus familiares, e da comunidade do Jardim ABC, Cidade Ocidental – GO. O resgate fundamental deste texto é destacar e valorizar as ações do Ilê Axé T’OjuLabá (comunidade de matriz africana), que enfrentam o racismo e a realidade da vulnerabilidade social no contexto da sociedade brasileira.
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Masa. "CRÍTICA MUSICAL Y RADICALIZACIÓN POLÍTICA DURANTE LA II REPÚBLICA: EL CASO DE ABC." Revista de Musicología 32, no. 1 (2009): 537. http://dx.doi.org/10.2307/20797993.
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Ravet, Hyacinthe. "L�acc�s des femmes aux professions musicales." L'Observatoire N?44, no. 1 (2014): 45. http://dx.doi.org/10.3917/lobs.044.0045.
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Cerqueira, Fábio Vergara. "Música e culto religioso. Estudo do acompanhamento musical das procissões atenienses conforme o testemunho dos textos antigos e da cerâmica ática tardo-arcaica e clássica." Classica - Revista Brasileira de Estudos Clássicos 13, no. 13/14 (December 1, 2001): 81. http://dx.doi.org/10.24277/classica.v13i13/14.444.
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A música era um elemento constitutivo do ritual grego, desempenhando um importante papel, tanto cerimonial quanto místico. Estudamos o acompanhamento musical das procissões, enfocando o caso ateniense, testemunhado pelo registro da iconografia da cerâmica ática, referente ao mundo de Atenas dos séculos VI e V a.C. A documentação iconográfica é compreendida em um contexto mais amplo da religiosidade grega, estabelecendo-se comparações, com base nos textos antigos, com outras regiões e outros períodos da Antiguidade Clássica.
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Narmour, Eugene. "The Top-down and Bottom-up Systems of Musical Implication: Building on Meyer's Theory of Emotional Syntax." Music Perception 9, no. 1 (1991): 1–26. http://dx.doi.org/10.2307/40286156.
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The implication-realization model hypothesizes that emotional syntax in music is a product of two expectation systems—one top down, the other bottom up. Syntactic mismatch or conflict in realizations can occur either within each system or between them. The theory argues that interruption or suppression of parametric expectations generated separately by the two systems explains certain types of recurrent aesthetic strategies in melodic composition and accounts for the most common kinds of musical forms (AAA, AAB, ABB, ABC, and ABA).
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Conway, Paul, and Robert B. Markum. "Performers First: Gift Exchange and Digital Access to Live Folk Music Archives." American Archivist 82, no. 2 (September 2019): 566–97. http://dx.doi.org/10.17723/aarc-82-02-08.
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Archives commonly hold full, unedited, and unpublished recordings of live musical performances, particularly those archives that focus their collecting on local communities. Much of this content resides on deteriorating magnetic tape with highly restrictive intellectual property constraints that threaten its digital future. This article explores a possible resolution of this dilemma of preservation and access by giving preference to the perspectives and prerogatives of the musical artists represented on live folk music recordings. The article characterizes The Ark in Ann Arbor and the at-risk recordings made at this nationally recognized coffeehouse between 1969 and 1980 in the context of the late-era folk revival scene in the United States and the challenges that copyright restrictions pose for making digitized copies available to contemporary audiences. The authors present and discuss the findings of innovative memory triggering interviews with folk music performers that point toward a way to extend into the realm of digital surrogates a philosophy of the gift exchange cycle. The article argues that archives could embrace asynchronous digital streaming as an extension of the well-established folk process that is so central to the intimacy of the coffeehouse and sidestep if not completely mitigate the barriers imposed by today's intellectual property framework.
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Chaib, Fernando, Homero Chaib Filho, and João Catalão. "Gesto na performance da percussão, Parte 2: análise fatorial de correspondências de dados experimentais." Per Musi, no. 31 (June 2015): 60–73. http://dx.doi.org/10.1590/permusi2015a3103.
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Este artigo, Parte 2 do mesmo estudo, apresenta os resultados do experimento “Sensação de continuidade de um trecho musical” (CHAIB et. al. 2013) analisados através da técnica estatística Análise Fatorial de Correspondências (AFC). O objetivo principal dessa análise é o de observar, através de índices, a influência do gesto na transmissão de sensações de continuidade, suspensão e conclusão sobre a performance em percussão. Uma vez alcançado o objetivo será possível generalizar os resultados em performances realizadas sobre os mesmos moldes das apresentadas no experimento.
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Baker, David. "Visually impaired musicians’ insights: narratives of childhood, lifelong learning and musical participation." British Journal of Music Education 31, no. 2 (March 24, 2014): 113–35. http://dx.doi.org/10.1017/s0265051714000072.
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With the support of the Royal National Institute of Blind People (RNIB), the life histories of five visually impaired (VI) musicians were collected and analysed between November 2011 and August 2012. This research was conducted as a pilot for a two-year, national investigation of VI musical participation, ‘Visually-impaired musicians’ lives’ (VIML) funded by the Arts and Humanities Research Council (AHRC, 2013–2015), which has brought together the Institute of Education, University of London, the RNIB and the Royal Academy of Music, London as project partners. In this instance, life histories were co-constructed narratives – foci were the self-identities of this unique group and ‘insider’ perspectives on education, musical participation and society. Analytic induction of the biographies revealed that a perceived barrier to lifelong learning was having the ability to read notation, either adapted print or in Braille format, and the access to educators who had expertise to teach musicians with visual impairments. The respondents commented on the great value of ensemble participation and adopting teaching roles too. With widespread lore in society about the exceptional musical abilities of those with visual impairment, longstanding traditions of blind musicianship, plus evidence of distinct neural development and hearing, they acknowledged the cachet associated with blind musicians but, regardless, wished to be considered musicians first and foremost. The findings raise questions about social and music educational inclusion.
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Bruyn, J. "Over het 16de en 17de-eeuwse portret in de Nederlanden als memento mori." Oud Holland - Quarterly for Dutch Art History 105, no. 4 (1991): 244–61. http://dx.doi.org/10.1163/187501791x00146.
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AbstractThe two sides of the current debate on the nature of 16th- and 17h-century realism are represented by an interpretation based on the recognition of familiar psychological and social factors on the one hand, and one which is averse to all empathy and endcavours to trace the intellectual process that determined function and meaning of images in the past on the other hand. This formulation of the problem also bears on portraiture, to which certain recent interpretations have assigned the significance of sociological documcnts. It is argued here that the portrait, too, had its place in the metaphorically structured and religiously orientated thought that still played a dominant role in the 17th century. Closely linked with the portrait's primary function - which is to perpetuate the memory of the sitter- is the reminder of death and transience cncountered in many (not all!) portraits. In a Family Group painted in 1661 by Jan Mytens in Dublin (fig. 1), the father points to two figurcs on the left who arc obviously deceased (as the papaver comniferum in front of them probably indicates). The piece of paper in his pointing hand is a frequent attribute of sitters in early sixteenth-century portraits, rolled up or folded (fig. 2). Seventeenth-century texts and a large number of vanitas still lifes (fig. 3) suggest that the motif was a symbol of transience: it is in this capacity that it was still being used a century ago in tomb sculpture (together with a skull) (fig. 4). The early sixteenth century saw not only the introduction of the sheet of paper but of a number of other motives which endowed the by now autonomous portrait with a religious meaning and which, together with more familiar symbols such as the skull, hourglass and carnation, alluded to the transience of earthly existcncc and the hope of eternal life. Some of them were only occasionally used, others (like the sheet of papicr) maintained their status as fixed items in the iconographic tradition. They include: - the glove (figs. 5 and 7): a frequently used motif (chiefly, but not exclusively, in male portraits) whose meaning the rejection of the false illusion of eartly existence and the search for truc life in the hereafter becomes only apparent from a relatively late printed source; - the cast shadow (fig. 7), which features in various biblical texts as an image of earthly transience and in the 16th and 17th centuries (in portraits, as well as genre scenes and still lifcs) was clearly understood as such; - musical instruments (fig. 8), which not only suggested the harmony of married life but also, due to their short lived sounds, were used as a vanitas motif in portraits and still lifes; - sumptuous architecture (fig. 8), which recalled the wealth of the rich man in Luke 12 and hence, again, the brief enjoyment of earthly possessions. Used less often, but with similar implications, were: - the butterfly (notes 42-44); - the vase of flowers (fig. 9); - the broken column (fig. 10). The meaning of the frequently occurring intact column, sometimes in combination with a curtain is still unclear. Even quite late in the 17th century a new motif was introduced in portraits to express he old vanitas idea: the waterfall, which notably in works by Jacob van Ruisdael had developed into an accepted vanitas motif (fig. 11).
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Tararoev, Y. V. ,. Netsvitay T. V. "Typology of M. G. Aranovsky musical thinking and symmetry." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 100–113. http://dx.doi.org/10.34064/khnum2-13.08.
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Background. Goals In recent years, there is a growing interest in musical thinking, which is a key element of musicology and music philosophy, since music is a conscious, mental activity of a person and understanding the mechanisms of this activity, we can signifi cantly expand and deepen our understanding of music. The purpose of this study is to defi ne and supplement and clarify the concept of M. G. Aranovsky musical thinking our author’s approach, concretizing and clarifying the methodological and heuristic function of symmetry in musical thinking and its anthropological content. The work uses methods of comparison, analysis and synthesis. Musical thinking manifests itself in three forms of basic musical activity - composing, performing, listening, to which we also add theoretical (research) and pedagogical They are based on the processes of musical thinking and the fulfi llment of certain goals: the creation of an artifact, interpretation, reproduction, perception, analysis and theoretical understanding. The three spheres of realization of musical thinking are emotional-sensual, rational-logical and textual, semantic. These forms are closely intertwined and function on the basis of musical language, which is the foundation of any musical creative activity. The direct interaction of music and rationality is displayed in terms of “musical logic” and “architectonic musical ear”. Logic is the science of the most common laws of thought. These laws of thinking are expressed in the most abstract forms, patterns, rules that can be interpreted as conformity of something to specifi c norms, patterns. With regard to music, logic implies following certain standards and rules. Since the rational principle in music is closely associated with the irrational unconscious, the common logical norms that have been formed in a certain historical epoch within the framework of the dominant system of musical language are refracted through the individual stylistic features of the composer. A specifi c type of thinking - musical - generates the corresponding type of logic. Therefore, it is possible to express musical thinking by the sum of concepts - musical logic, musical speech and semantics of musical speech. M. G. Aranovsky identifi es four layers of musical logic: combinatorial, linguistic, contextual and artistic, i.e. those aspects (levels, edges) of the creative activity of a musician, in which there is logic. The lowest and at the same time fundamental level of musical logic is combinatorial, it is the sphere of primary elementary logical combinations of the simplest elements. However, the logic of this level extends to all scales of structures, from small motive links to sections of a one-part form. M. G. Aranovsky proposes to distinguish three types of logical combinations: 1. Identical - based on a constant repetition of structural units, where the formed elements are identical with each other (for example, AAAAAA). In terms of symmetry, this is a transformation of a simple movement along the time axis. It can again be noted as the simplest type of isomorphism, where only one characteristic changes - temporary. If we exclude it from consideration, then we can say that this is a “degenerate case” of isomorphism, which is an automorphism. 2. Equivalent - based on the modifi ed version of the repetition, in which there are both similarities and differences, i.e. incomplete identity is formed (for example, A1A2A3A4). From the point of view of symmetry, this combination of sequences represents the “unity” of the operation of symmetry, movement and violation of symmetry as such, i.e. in this sequence, some properties are repeated, while others change. This temporal process can be represented as isomorphism in the proper sense of the word, when some elements remain identical, while others change, and in general the objects are different, but similar. 3. Alternative - a combination of sequences of different units with complete exclusion of formal or obvious similarity (for example, ABC). Through symmetric transformations, this kind of logical combinations of primary elements can be described as an even greater symmetry violation, which preserves only the general “sequence of elements”, i.e. a small number of common properties, while these elements themselves are significantly different from each other. In this case, one can speak of a deep “transformation” of isomorphism, which can be called “metamorphism” (gr. Metamorphoómai - transformation of form). The basis of this transformation is a violation of the original symmetry in such a way that much more properties change than in the case of isomorphism. It can be schematically represented as A1 → B, A2 → C, etc. Thus, metamorphism can be considered both as a similarity, which has undergone a rather strong transformation, and as a symmetry violation, leading to a signifi cant complication of the structure. Thus, the result of this study is the position that, from the point of view of M. G. Aranowsky, the temporal process is the basis of musical thinking. The built-up chain “temporal process → musical logic → musical thinking” is the anthropological specifi city of human thought (in the musical sphere) associated with temporal processes in which a person is “immersed” and from which he cannot “exit” under any circumstances. Findings. we conclude that this chain can be called the “temporal-anthropological triad”. It represents the sequence “automorphism → isomorphism → metamorphism”. Each of its stages is different from the previous increase in the level of complexity. Of particular interest is the transition from isomorphism to metamorphism, since it is associated with the process of symmetry breaking. The mechanisms and principles of this disorder need further investigation.
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Cerqueira, Fábio Vergara. "A trombeta e os jogos." Revista do Museu de Arqueologia e Etnologia, no. 29 (December 30, 2017): 75–99. http://dx.doi.org/10.11606/issn.2448-1750.revmae.2017.148161.
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O acompanhamento musical das práticas esportivas é uma característica marcante dos jogos na Grécia antiga, seja nos treinamentos, seja nas competições. Este acompanhamento se dava com instrumentos de sopro, especificamente, o aulos e a salpinx (trombeta). Amplamente representado na pintura dos vasos áticos de figuras negras e de figuras vermelhas (séc. VI – V a.C.), o acompanhamento das práticas atléticas com o aulos, sobretudo das provas que integram o pentatlo, tem recebido maior atenção dos estudiosos. Nosso objetivo aqui será abordar a presença da trombeta nos jogos, representada com frequência inferior no registro iconográfico, porém informada pelas fontes literárias de diferentes períodos, sobretudo do período imperial (nomeadamente, Plutarco, Ateneu e Pólux). Analisaremos as seguintes situações: acompanhamento musical de corridas (a pé ou de quadriga), contribuindo para marcar o ritmo; celebrações de entrega de prêmios; função comunicativa, pela divulgação de anúncios por intermédio da emissão de sinais; competições para trombeteiros, relacionadas à constituição de um perfil social deste músico-atleta baseado na força muito acima da média. Esta força superlativa, misturada com costumes bizarros, faz dele um tipo popular no mundo helenístico-romano
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Carderaro, Lidiane Carolina, and Fábio Vergara Cerqueira. "A IMAGEM DO JOVEM MÚSICO EM AGONES MUSICAIS ATRAVÉS DA ICONOGRAFIA DE VASOS ÁTICOS." Cadernos do LEPAARQ (UFPEL) 14, no. 27 (June 29, 2017): 157. http://dx.doi.org/10.15210/lepaarq.v14i27.10542.
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RESUMO: Neste artigo será analisada como é representada, na iconografia de vasos áticos, a presença de músicos jovens e meninos em agones musicais que integram os festivais ocorridos em Atenas, principalmente entre os séculos V e IV a.C. Para tanto, identificaremos nas imagens elencadas alguns aspectos específicos de caracterização desses músicos, tais como detalhes da vestimenta utilizada nas competições, que difere daquela utilizada em agones escolares, bem como os instrumentos especificamente usados nesse tipo de competição e, ainda, elementos identificadores do ambiente, como a representação de colunas e do bema. Além disso, analisaremos a relação que se faz desses jovens músicos, em especial os citaredos, através de alegorias, com a imagem de Apolo infantilizado, cuja ocorrência é crescente na iconografia de vasos áticos a partir do século V a.C.ABSTRACT: This article will analyze how is represented in iconography of Attic vases the presence of young and boys musicians in musical agones integrating festivals occurred in Athens, especially among fifth and fourth centuries BC. To do so, we will identify on the listed images some specific aspects of the characterization of these musicians, such as details of the clothes, which differs from that used in scholar agones, as well as the instruments specifically used in this kind of competition and elements that identify the environment, as representation of columns and the bema. Furthermore, we analyze the relation between these young musicians, especially the kitharoidos, through allegories, with the image of Apollo childish, whose occurrence increase on the iconography of Attic vases from the fifth century BC.
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Rincón-García, Eric Alfredo, Miguel Ángel Gutiérrez-Andrade, Sergio Gerardo de-los-Cobos-Silva, Roman Anselmo Mora-Gutiérrez, Antonin Ponsich, and Pedro Lara-Velázquez. "A comparative study of population-based algorithms for a political districting problem." Kybernetes 46, no. 1 (January 9, 2017): 172–90. http://dx.doi.org/10.1108/k-06-2016-0130.
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Purpose This paper aims to propose comparing the performance of three algorithms based on different population-based heuristics, particle swarm optimization (PSO), artificial bee colony (ABC) and method of musical composition (DMMC), for the districting problem. Design/methodology/approach In order to compare the performance of the proposed algorithms, they were tested on eight instances drawn from the Mexican electoral institute database, and their respective performance levels were compared. In addition, a simulated annealing-based (simulated annealing – SA) algorithm was used as reference to evaluate the proposed algorithms. This technique was included in this work because it has been used for Federal districting in Mexico since 1994. The performance of the algorithms was evaluated in terms of the quality of the approximated Pareto front and efficiency. Regarding solution quality, convergence and dispersion of the resulting non-dominated solutions were evaluated. Findings The results show that the quality and diversification of non-dominated solutions generated by population-based algorithms are better than those produced by Federal Electoral Institute’s (IFE’s) SA-based technique. More accurately, among population-based techniques, discrete adaptation of ABC and MMC outperform PSO. Originality/value The performance of three population-based techniques was evaluated for the districting problem. In this paper, the authors used the objective function proposed by the Mexican IFE, a weight aggregation function that seeks for a districting plan that represents the best balance between population equality and compactness. However, the weighting factors can be modified by political agreements; thus, the authors decided to produce a set of efficient solutions, using different weighting factors for the computational experiments. This way, the best algorithm will produce high quality solutions no matter the weighting factors used for a real districting process. The computational experiments proved that the proposed artificial bee colony and method of musical composition-based algorithms produce better quality efficient solutions than its counterparts. These results show that population-based algorithms can outperform traditional local search strategies. Besides, as far as we know, this is the first time that the method of musical composition is used for this kind of problems.
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Utami, Sulistyo Seti. "Masyarakat Ekonomi ASEAN 2015: Antara Musibah Dan Berkah Bagi UMKM Indonesia." Liquidity 3, no. 2 (June 28, 2018): 164–72. http://dx.doi.org/10.32546/lq.v3i2.91.
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In the near future ASEAN Economic Community (AEC) will soon be carried out in ASEAN countries; it has become an interesting issue for various parties, such as government, private businessmen, entrepreneurs, professionals, economists, academicians, etc. However, until at present we still don’t clearly know which sectors of Indonesia will become the one which is a primary. Even with the variety and number of Micro, Small, and medium Enterprises (UMKMs) which are now available almost up to 98,9%, they will become problems for Indonesia in facing the AEC market. Due to of most the UMKMs still don’t have strong competitiveness to enter the common market of ASEAN. In addition, they, UMKMs, still haven’t realized and even haven’t still understood yet what ASEAN common market is, even though it will be applied soon in our country in 2015. Factually, there are a lot of UMKMs in Indonesia that must be seriously paid attention and protected by our government. Our country must be able to make UMKM sectors to become a strong economic base for Indonesia. Referring to the idea above, this writing will try to describe what problems will be faced by UMKMs in entering ASEAN Common Market or AEC market and will also try to explain how UMKMs could become excellent sectors especially on their products which have local advantages which are owned by Indonesia.
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Taylor, Richard, Kurtis Manke, and Don Keele. "Circular-Arc Line Arrays with Amplitude Shading for Constant Directivity." Journal of the Audio Engineering Society 67, no. 6 (June 9, 2019): 400–413. http://dx.doi.org/10.17743/jaes.2019.0014.
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Montague, Stephen. "Barry Anderson, 1935–1987." Tempo, no. 166 (September 1988): 12–20. http://dx.doi.org/10.1017/s0040298200024268.
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Barry Anderson died in Paris on 27 May 1987, a few hours after the first performance of his new chamber work, ARC. His hectic life-style with its incessant demands had burned him out. The immediate cause of death was heart failure, but the real cause was exhaustion from years of overwork as a composer, teacher, concert organizer, ‘ghost’ writer, and pioneer in the dissemination of electro-acoustic music in this country. He was 52 years old and, sadly, just beginning to be recognized as a composer of international stature.
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Cerqueira, Fábio Vergara. "Digressões sobre o sentido e a interpretação das narrativas iconográficas dos vasos áticos: o caso das representações de instrumentos musicais." Revista do Museu de Arqueologia e Etnologia, no. 20 (December 9, 2010): 219. http://dx.doi.org/10.11606/issn.2448-1750.revmae.2010.89923.
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O presente artigo tem como objetivo desenvolver algumas reflexões conceituais sobre a interpretação e uso dos testemunhos imagéticos para o conhecimento do passado. Estuda-se, em particular, a iconografia dos vasos áticos dos séculos VI e V a.C., com representações de cenas de música na mitologia e vida diária, focando especificamente as representações de instrumentos musicais.
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De Souza, Leandro Candido. "Cartografias da cultura underground." História Revista 25, no. 3 (December 28, 2020): 232–56. http://dx.doi.org/10.5216/hr.v25i3.65668.
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O objetivo desde artigo é analisar o surgimento da subcultura heavy metal na região do ABC paulista, a partir das práticas culturais que envolviam seus subgêneros musicais nas duas últimas décadas do século XX. Analisaremos, particularmente, os processos identitários relacionados à categoria “cena heavy metal” em sua interação com as demais subculturas. Em um primeiro momento, buscaremos estabelecer um referencial teórico para a abordagem desse fenômeno, basicamente em torno dos cutural studies. Na segunda etapa, indicaremos alguns antecedentes relevantes para sua gênese histórica na região, isto é, a consolidação da indústria cultural no Grande ABC. A seguir, procuraremos identificar o núcleo comum apresentado pelos diferentes subgêneros metal, suas diferentes inserções na cultura local e suas principais disputas no campo simbólico. Por fim, indicaremos alguns desdobramentos dessa subcultura inaugurada pelos Headbangers ABC e que se estende até as vertentes contemporâneas do metal extremo.
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Erhardt, T. "AEC Early Music Platform Meeting." Early Music 38, no. 3 (May 24, 2010): 486–88. http://dx.doi.org/10.1093/em/caq037.
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Santos, Francisca Kananda Lustosa dos, Brenna Galtierrez Fortes Pessoa, Rodrigo Aragão da Silva, Luara Dias Silva, Naína Jéssica carvalho Araújo, Liana Maria Ibiapina do Monte, and Elaine Ferreira do Nascimento. "Cultura do estupro: o machismo manifesto nas paradas musicais." Research, Society and Development 9, no. 7 (May 17, 2020): e370974097. http://dx.doi.org/10.33448/rsd-v9i7.4097.
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Este artigo tem como objetivo tratar da cultura do estupro que se manifesta nas paradas musicais no Brasil; com isso, foi feito a conceituação do machismo, logo em seguida a contextualização das músicas de forma geral e, por fim, analisou-se as manifestações do machismo nas músicas brasileiras. A referida pesquisa foi realizada por meio de leituras e análises de músicas, como também de videoclipes referentes à temática estudada, partindo do pressuposto teórico sobre Análise do Discurso Crítica (ADC) amparados por Silva Júnior (2017). Assim, utilizou-se da pesquisa bibliográfica de natureza qualitativa, por possibilitar, com base em Minayo (2008) uma melhor interpretação e reflexão dos fatos estudados. Ao concluir, os resultados mostraram que as músicas trazem as marcas de um país que até hoje vive asmarcas do patriarcado que trás em seu seio a cultura machista e estabelece a prática de estupro como algo natural, já que pode ser exibida ao público com aceitação da maioria por meio das paradas musicais.
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Horowitz, Gregg M. "Public Art/Public Space: The Spectacle of the Tilted Arc Controversy." Journal of Aesthetics and Art Criticism 54, no. 1 (1996): 8. http://dx.doi.org/10.2307/431676.
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HOROWITZ, GREGG M. "Public Art!Public Space: The Spectacle of The Tilted Arc Controversy." Journal of Aesthetics and Art Criticism 54, no. 1 (December 1, 1996): 8–14. http://dx.doi.org/10.1111/1540_6245.jaac54.1.0008.
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Galvin, Kristen. "‘Those Were the Days’: The live televisual revival of the musical and retro family sitcom in the post-network era." Australasian Journal of Popular Culture 9, no. 2 (September 1, 2020): 231–46. http://dx.doi.org/10.1386/ajpc_00029_1.
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Television is historically a generative site for examining media nostalgias. Within the ever-widening landscape of reboots, remakes and revivals across genres and platforms in the post-network era in the United States, an impulse to ‘redo’ live programming on network television has also emerged in the on-going battle for consumer attention. Steadily gaining momentum over the past decade, this article questions the roles that nostalgia plays in structuring the surprising return of fictional event-based television. The evolution of this phenomenon is traced by first examining the wave of live network musical productions (2013–19), followed by the restaging of Norman Lear’s classic sitcoms in Live In Front of a Studio Audience (ABC 2019). Nostalgia’s connection to positive emotion is a powerful marketing tool that is manipulated across industries, and specifically leveraged through airing reperformances of these popular and identifiably nostalgic texts. However, despite reaching new levels of nostalgic indulgence, the live televisual remake opens-up new opportunities for collectivity and critical reflection for viewers in the digital age.
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Araujo, Felipe Nascimento de. "Musical choir as an anthropological place in the athenian society at the end of the sixth century BC. through the imagetical analysis of attic pottery." Mare Nostrum (São Paulo) 7, no. 7 (March 27, 2017): 99. http://dx.doi.org/10.11606/issn.2177-4218.v7i7p99-119.
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Através de uma abordagem da antropologia social, baseada no conceito de lugar antropológico de Marc Augé, este artigo pretende estabelecer uma breve análise de como os coros musicais se relacionam com a ideia de cidadania ateniense que se construiu a partir da tirania até as reformas de Clístenes. Esse contexto histórico caracteriza-se pela instauração da isonomia – governo baseado na igualdade dos cidadãos perante a lei (nómos) – e tem como algumas de suas características principais a participação popular na boulé, nos festivais cívicos e na falange hoplita. A função dos coros musicais como componente de formação da cidadania ateniense teria se dado a partir de sua relação com a falange hoplita e de sua presença nos grandes festivais cívicos que ocorriam desde o período da tirania (560-510 a.C.). Encontramos evidências dessas relações na documentação imagética das cerâmicas áticas, exemplificadas neste artigo pelo skýphos de autoria de Heron