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Journal articles on the topic 'Drummers (Musicians)'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Haygood, Montana, and Bruce N. Walker. "Temporary and Permanent Hearing Loss Among College-Aged Drumline Members." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 60, no. 1 (2016): 1009–13. http://dx.doi.org/10.1177/1541931213601234.

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Many musicians experience dangerous levels of sound exposure throughout their musical careers. In particular, members of marching percussion ensembles (“drumlines”) are exposed to prolonged periods of potentially damaging levels of sound. As a result, they are at risk of developing hearing loss. This study determines whether any significant hearing loss or threshold shifts occurs with drumline members in an indoor drumline and college marching band. Two groups of participants were analyzed: one group consisted of both college drumline and community-based competitive drumline members, while the

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2

Lederman, Richard J. "Drummers’ Dystonia." Medical Problems of Performing Artists 19, no. 2 (2004): 70–74. http://dx.doi.org/10.21091/mppa.2004.2011.

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Several reviews involving large numbers of instrumental musicians with focal dystonia from centers in the United States and Europe are available in the performing arts medicine literature, but only a relatively few percussionists have been included. This article describes 6 percussion instrumentalists, out of a total of 139 musicians with dystonia, seen in the Cleveland Clinic Medical Center for Performing Artists. The five men and one woman ranged in age from 21 to 51 years at the onset of dystonia; four were playing professionally, and two were students. Duration of symptoms at the time of e

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Nutt, Haley J. "The University Rock Ensemble: Popular music learning and drumming in higher education." Journal of Popular Music Education 5, no. 2 (2021): 243–62. http://dx.doi.org/10.1386/jpme_00060_1.

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This article provides a descriptive study of the FSU Rock Ensemble to demonstrate the value of providing inclusive popular music-based ensemble learning and opportunities in higher education. Beginning with an autoethnographic study of my experiences as a drummer in – and eventually director of – the non-auditioned ensemble, followed by a consideration of the attitudes articulated by several other drummers who recently participated in the ensemble, I analyse how musicians learn a traditionally non-academic music in an academic space. I conclude with a critical assessment of challenges that the

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Nager, Wido, Tilla Franke, Tobias Wagner-Altendorf, Eckart Altenmüller, and Thomas F. Münte. "Musical Experience Shapes Neural Processing." Zeitschrift für Neuropsychologie 31, no. 2 (2020): 81–86. http://dx.doi.org/10.1024/1016-264x/a000295.

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Abstract. Playing a musical instrument professionally has been shown to lead to structural and functional neural adaptations, making musicians valuable subjects for neuroplasticity research. Here, we follow the hypothesis that specific musical demands further shape neural processing. To test this assumption, we subjected groups of professional drummers, professional woodwind players, and nonmusicians to pure tone sequences and drum sequences in which infrequent anticipations of tones or drum beats had been inserted. Passively listening to these sequences elicited a mismatch negativity to the t

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Fujii, Shinya, Kazutoshi Kudo, Tatsuyuki Ohtsuki, and Shingo Oda. "Intrinsic Constraint of Asymmetry Acting as a Control Parameter on Rapid, Rhythmic Bimanual Coordination: A Study of Professional Drummers and Nondrummers." Journal of Neurophysiology 104, no. 4 (2010): 2178–86. http://dx.doi.org/10.1152/jn.00882.2009.

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Expert musicians show experience-dependent reduced asymmetry in the structure of motor-related brain areas and in the maximum tapping frequency between the hands. Therefore we hypothesized that a reduced hand-skill asymmetry is strongly related to rapid and rhythmical bimanual coordination and developed a dynamical model including a symmetry-breaking parameter Δω, for human bimanual coordination. We conducted unimanual and bimanual drumming experiments to test the following model predictions. 1) The asymmetry in the maximum tapping frequency is more pronounced in nondrummers than that in drumm

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Kippen, James. "An Ethnomusicological Approach to the Analysis of Musical Cognition." Music Perception 5, no. 2 (1987): 173–95. http://dx.doi.org/10.2307/40285391.

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A genre of North Indian drumming has become the focus of experimental research in which an "expert system" is programmed to simulate the musical knowledge of the drummers themselves. Experiments involve the interaction of musicians with a computerized linguistic model contained within the expert system that formalizes their intuitive ideas regarding musical structure in a generative grammar. The accuracy of the model is determined by the musicians themselves, who assess its ability to generate correct pieces of music. The main aims of the research are the identification of the cognitive patter

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Kajanová, Yvetta. "Slovakian Female Composers and Rock Instrumentalists." Zbornik radova Filozofskog fakulteta u Splitu, no. 16 (December 21, 2023): 137–53. http://dx.doi.org/10.38003/zrffs.16.8.

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The paper discusses gender issues and the reception of female musicians in Slovakia. Using historical analysis, the author examines the establishment of, and behaviour towards, females in various genres from classical to jazz, alternative rock and electronic music. Whilst the acceptance of classical female composers began forty years ago, their jazz and rock counterparts were disadvantaged by a twenty-year delay. It was not until 2000 that female instrumentalists started to gain attention from audiences as drummers, bassists, or guitarists. Based on the evaluation of a survey of Slovakian alte

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West, David. "Tone and training: Teaching drum kit students on acoustic versus electronic instruments." Journal of Popular Music Education 5, no. 2 (2021): 263–79. http://dx.doi.org/10.1386/jpme_00061_1.

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This article explores elements of tonal production in acoustic drums to support an argument for its use in the learning environment, as opposed to electronic drums. Aspects discussed include tonal production, range of dynamics, dynamics between components of the drum kit, articulation, specific sticks, specific types of strokes and stylistic elements. The argument focuses on describing how each of these factors work on acoustic drum kits, in what ways they differ on electronic kits and how auditory perception and training can work hand in hand with developing technical facility. Tonal quality

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Cicchini, G. M., R. Arrighi, L. Cecchetti, M. Giusti, and D. Burr. "Optimal coding of interval timing in expert drummers, string musicians and non-musical control subjects." Journal of Vision 11, no. 11 (2011): 1229. http://dx.doi.org/10.1167/11.11.1229.

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Wijaya, Yonathan, I. Wayan Dibia, and Ni Wayan Ardini. "Bangkong: Eksplorasi Ritme dan Timbre Suara Katak secara Akustik pada Rancangan Instrumen Drumkusi." Journal of Music Science, Technology, and Industry 4, no. 2 (2021): 221–31. http://dx.doi.org/10.31091/jomsti.v4i2.1794.

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Purpose: The creation of this work is directed at producing a drumming style in another way and a drum cussion solo composition. Research method: This creation uses the roger sessions creation method, namely inspiration, conception, and execution. Results and discussion: The creative form of Bangkong's musical work is to transform the frog's voice which is formulated in the formulation of the problem into three parts in this work, where each part of the work is given the freedom to improvise but is conceptualized. Implication: Bangkong is processed in such a way as to produce three forms of Ba

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Jacoby, Nori, Rainer Polak, and Justin London. "Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: analysis and modelling of West African drum ensemble music." Philosophical Transactions of the Royal Society B: Biological Sciences 376, no. 1835 (2021): 20200331. http://dx.doi.org/10.1098/rstb.2020.0331.

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Human social interactions often involve carefully synchronized behaviours. Musical performance in particular features precise timing and depends on the differentiation and coordination of musical/social roles. Here, we study the influence of musical/social roles, individual musicians and different ensembles on rhythmic synchronization in Malian drum ensemble music, which features synchronization accuracy near the limits of human performance. We analysed 72 recordings of the same piece performed by four trios, in which two drummers in each trio systematically switched roles (lead versus accompa

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Abbute, Wolde-Selassie. "The Socio-Economic Role and Status of Handicraftsmen among the Kambaata of Southern Ethiopia." Aethiopica 4 (June 30, 2013): 96–120. http://dx.doi.org/10.15460/aethiopica.4.1.492.

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Although traditional handicraftsmen play an indispensable economic and socio-cultural role within the society, they have been marginalized and segregated by the peasant population in southern Ethiopia. The handicraftsmen produce a wide range of production, household consumption and defence tools and implements. Besides, they have an important socio-cultural role as ritual performers, initiators, drummers, musicians, entertainers, operators, professional mourners, traditional medical experts, etc. during several social life events. However, despite their important role in multiple contexts, the

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Whiting, Steven M. "Un-settling Scores: A Review of Michael H. Kater's Composers of the Nazi Era: Eight Portraits." German Politics and Society 19, no. 3 (2001): 80–93. http://dx.doi.org/10.3167/104503001782486371.

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After Different Drummers (1992) and The Twisted Muse (1997), MichaelH. Kater has presented Composers of the Nazi Era: Eight Portraits, as“the last in a trilogy on the interrelationship between sociopoliticalforces on the one side, and music and musicians in the Third Reich,on the other” (264). The author is Distinguished Research Professorof History at the Canadian Centre for German and European Studies(York University). The author of the present review, a musicologist,must express his gratitude to Professor Kater for helping tomake it professionally unacceptable to restrict oneself anymore to

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Bianco, V., M. Berchicci, R. L. Perri, F. Quinzi, and F. Di Russo. "Exercise-related cognitive effects on sensory-motor control in athletes and drummers compared to non-athletes and other musicians." Neuroscience 360 (September 2017): 39–47. http://dx.doi.org/10.1016/j.neuroscience.2017.07.059.

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Pradana, Kadek Angga Wahyu, I. Wayan Rai S, and I. Wayan Suherta. "The The Musicality of Gamelan Gong Kebyar Mepacek as a North Bali Traditional Music Identity." Randwick International of Social Science Journal 4, no. 2 (2023): 241–53. http://dx.doi.org/10.47175/rissj.v4i2.653.

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The purpose of this research was to reveal the musicality of Gamelan Gong Kebyar Mepacek as the identity of North Bali's traditional music. Many researchers have carried out numerous research studies on Gong Kebyar. However, there has not been a single study on the musicality of Gong Kebyar Mepacek's gamelan, which has caused this gamelan to become the hallmark of North Bali's traditional music. How is Gamelan Gong Kebyar Mepacek's musicality measured?. What is the influence of the musicality of Gamelan Gong Kebyar Mepacek on the traditional Balinese music being played? This research was condu

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Sudirana, I. Wayan. "Improvisation in Balinese Music: An Analytical Study of Three Different Types of Drumming in the Balinese Gamelan Gong Kebyar." Journal of Music Science, Technology, and Industry 1, no. 1 (2018): 1. http://dx.doi.org/10.31091/jomsti.v1i1.502.

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ABSTRACTGong kebyar emerged in early 20th century and was initially an instrumental genre. In its later advancement, the ensemble became accustomed to accompanying dance compositions, which are decorated with miscellaneous dance improvisations corresponding to the characteristic style of gong kebyar. There are three types of Balinese drumming that are considered improvisational, in particular the styles that are played in the repertory of gamelan gong kebyar. Gamelan gong kebyar is the most popular and influential genre of twentieth century music developed in Bali. In gamelan baru, the functio

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Faith, Rhema, and Panji Suroso. "The Technique of Bebano Drums on Accompanying Jogi Dance in Wansendari Art Studio Batam City." Grenek Music Journal 10, no. 2 (2021): 17. http://dx.doi.org/10.24114/grenek.v10i2.27615.

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The purpose of this study is: To find out how the technique of playing Gendang Bebano in accompanying the jogi dance in the wansendari art studio. The approach and type of research used by the researcher is descriptive qualitative. This research was conducted at the Wansendari Art Studio, Batam City, so the population of this study were all members of the Wansendari Art Studio. While the samples of this study were members of the studio musicians, the head of the studio, the instructor of the studio as well as the head of culture in the city of Batam. The writing uses data collection techniques

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Schuette, William, and Myrna L. Armstrong. "Civil War Drummer Boys: Musicians, Messengers, and Medical Assistants." Military Medicine 184, no. 1-2 (2018): 1–4. http://dx.doi.org/10.1093/milmed/usy258.

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Rasendriya, Athiyya Apsarini, Ishak Ramli, Drajatno Widi Utomo, Yosua Reydo Respati, and Wegig Murwonugroho. "DAYA TARIK VISUAL BAND VIRTUAL GORILLAZ: MEMBANGUN IDENTITAS DAN FANTASI." ANDHARUPA 10, no. 02 (2024): 272–85. http://dx.doi.org/10.33633/andharupa.v10i02.4933.

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Abstrak Gorillaz adalah band virtual yang dibentuk musisi Damon Albarn dan seniman Jamie Hewlett (1998). Band ini mencampurkan genre musik seperti rock, hip-hop, dub, reggae, electronic, dan pop. Gorillaz terdiri dari empat anggota virtual yaitu Stuart Pot sebagai vokalis dan pemain keyboard, Murdoc Niccals sebagai pemain bass dengan gaya kontroversial, Noodle sebagai gitaris digambarkan sebagai gadis Jepang muda yang kini telah dewasa, dan Russel Hobbs sebagai drummer yang memiliki latar belakang cerita dirasuki oleh roh teman-temannya yang telah meninggal. Anggota band direpresentasikan seba

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Kazantsev, Andrey Sergeevich. "DRUMMER’S PHYSIOLOGY. INDIVIDUAL APPROACH TO THE CHOICE OF TECHNIQUES AND SITTING AT THE DRUM KIT WITH THE CONSIDERATION OF MUSICIAN’S PHYSIOLOGICAL CHARACTERISTICS." Вестник Восточно-Сибирского государственного института культуры 152 (December 11, 2023): 128–34. http://dx.doi.org/10.31443/2541-8874-2023-3-27-128-134.

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The drum is one of the most spectacular instruments that unites musical com-position, filling it with rhythm, drive and dynamics. Historically, the drum was the instrument of communications and warnings about danger, part of military affairs. Some issues of physiological work in forming an effective technique for holding sticks, sitting of the performer and his footwork have arisen when using drums in everyday practice and in training drummers. The article con-siders the key directions of work at the class of percussion instruments: vari-ants of locks and techniques for holding (German and Fre

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Ilari, Beatriz, Cara Fesjian, and Assal Habibi. "Entrainment, theory of mind, and prosociality in child musicians." Music & Science 1 (January 1, 2018): 205920431775315. http://dx.doi.org/10.1177/2059204317753153.

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In this study, we tracked the development of rhythmic entrainment, prosociality, and theory of mind skills in children attending music and sports programs and in a control group over the course of three years. Forty-five children (mean age at onset = 81 months) drummed in two contextual conditions – alone and social – completed the Reading the Mind in the Eyes test and prosocial tasks (helping and sharing). All children improved in their ability to entrain to external rhythms over time, with the music group outperforming controls in the entrainment-social condition. Developmental effects were

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Bech-Hansen, Mikkel. "Musical Instrument Interfaces." A Peer-Reviewed Journal About 2, no. 1 (2013): 112–19. http://dx.doi.org/10.7146/aprja.v2i1.121132.

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   Controlling digital tools, instruments or appliances can be a quite tedious task. It could seem as if the huge computational and technological potentials of digital technologies – often internalized and inaccessible – in many cases take precedence over the very interface that is to unleash its powers. The following is a preliminary overview of my motivation and some of the main issues within the context of my research on musical instrument interfaces. My own experiences and frustrations as a musician and sound engineer is probably the primary driving force behind this proj

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Stewart, Alexander. "‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music." Popular Music 19, no. 3 (2000): 293–318. http://dx.doi.org/10.1017/s0261143000000180.

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The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little an

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Ni Putu Meira Purnama Yanti. "ANALYSIS OF VAN DIJK'S DISCUSSION ON ONLINE NEWS TEXT IN THE CASE OF DESTRUCTION AND HATE SPEAKING OF JERINX SID ON MEDIA LIPUTAN6.COM PERIOD 13 AUGUST 2020 TO 19 NOVEMBER 2020." International Journal of Systemic Functional Linguistics 4, no. 2 (2022): 46–49. http://dx.doi.org/10.55637/ijsfl.4.2.4152.46-49.

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Jerinx or JRX is a musician, singer-songwriter, and an Indonesian social media activist. He is best known as the drummer for the rock band Superman Is Dead. Jerinx is a social activist who has a great influence among young Balinese. Liputan6.com is a site that provides a variety of selected information for its users and also intensively reports on the Jerinx case. Because the mass media is an actor of social construction that defines reality, the researcher will analyze the macro structure and micro structure of online news discourse texts. By using descriptive qualitative methods and focusing

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Eaves, Daniel Lloyd, Noola Griffiths, Emily Burridge, Thomas McBain, and Natalie Butcher. "Seeing a drummer’s performance modulates the subjective experience of groove while listening to popular music drum patterns." Musicae Scientiae 24, no. 4 (2019): 475–93. http://dx.doi.org/10.1177/1029864919825776.

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Spontaneous rhythmical movements, like foot-tapping and head-bobbing, often emerge when people listen to music, promoting the enjoyable sensation of ‘being in the groove’. Here we report the first experiment to investigate if seeing the music maker modulates this experience. Across trials we manipulated groove level in the audio beats (high vs low), and manipulated the match between the audio beats and a concurrently observed point-light display (PLD) of the drummer. The visual display was either fully corresponding with the audio beats, or incompatible across three conditions: a static PLD, a

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Idamoyibo, Atinuke Adenike. "THE IMPACT OF DÚNDÙN DRUMMERS ON THE DEVELOPMENT OF TRADITIONAL MUSIC IN SOUTH WEST NIGERIA." African Musicology Online 7, no. 1 (2021). http://dx.doi.org/10.58721/amo.v7i1.26.

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The dúndùn ensemble drummers are the custodians of Yoruba oral repertoire in South West Nigeria. Their skills are transmitted to the younger generation in simple and articulate style. It is important however, to distinguish between the dúndùn ensemble groups at the king’s palace, city square, town hall and the dùndún ensemble groups who perform on the streets and who normally impose themselves on guests at organised social events in Yoruba land. The court musicians and their counterparts usually,at the city square or town hall are gainfully employed by the king. This group of drummers are prac

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Coulthard, Karl. "Jazzwomen: Conversations with Twenty-One Musicians." Critical Studies in Improvisation / Études critiques en improvisation 4, no. 2 (2008). http://dx.doi.org/10.21083/csieci.v4i2.895.

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Jazzwomen: Conversations with Twenty-One Musicians portrays an intriguing cross-section of musicians, from familiar vocalists and pianists to violinists, drummers, and composers. Wayne Enstice and Janis Stockhouse prove to be engaging storytellers, drawing from these women a broad swath of experiences that illustrate the uncertain terrain female jazz musicians must navigate as they try to retain some professional identity as women without letting this identity become a spectacle unto itself.

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Ray, Somdattaa, and Pramod K. Pal. "Dystonia in Performing Artists: Beyond Focal Hand Dystonia." Canadian Journal of Neurological Sciences / Journal Canadien des Sciences Neurologiques, March 9, 2021, 1–9. http://dx.doi.org/10.1017/cjn.2021.41.

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ABSTRACT: Overuse of specific muscles in perfecting movements in performing arts makes an artist prone to many medical conditions. Musicians’ hand dystonia is focal task-specific dystonia (FTSD) of hand among musicians that has been extensively studied. However, embouchure, lower limbs, and laryngeal muscles can also be affected among musicians. Embouchure dystonia (ED) refers to dystonia of the perioral and facial muscles that occurs in musicians while playing embouchure instruments. It is essential to identify ED since the dystonia might become persistent and non-task-specific if the musicia

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Golec, Joanna, Mateusz Sędzielewski, Elżbieta Szczygieł, and Monika Przybytek. "Bimanual skills and symmetry of upper limb movement in a group of drummers." Rehabilitacja Medyczna 24, no. 2 (2020). http://dx.doi.org/10.5604/01.3001.0014.3561.

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Introduction: Hand-eye coordination is essential to carry out daily activities or take part in sports. Developing strong visual-motor coordination is especially important for athletes or musicians who rely on it for their careers. Goal: This study aimed to evaluate visual-motor coordination in drummers’ upper limbs. Materials and methods: The study group consisted of 60 men, aged 20 to 30 years (average 24.62 ±2.48). The respondents were divided into two groups, group P consisted of 30 experienced drummers and group N of 30 non-drummers. Standardized tests were employed: Relative Hand Skill te

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DOOMS, T. "Taakspecifieke focale dystonie bij musici." Tijdschrift voor Geneeskunde, April 29, 2021. http://dx.doi.org/10.47671/tvg.77.21.028.

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Task-specific focal dystonia in musicians Task-specific focal dystonia is a neurological movement disorder characterized by involuntary contractions during a specific activity. In musicians, the abnormal movement can occur while playing an instrument or while singing. The muscle contractions are usually painless, but the function of the affected region is disturbed. The clinical picture occurs more in men than in women and is most frequent in pianists or guitarists. The abnormality is usually localized in the fingers, the hands or the entire arm. Drummers can have problems in the lower limbs.

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Lauw, Riscky B. "PROFIL GANGGUAN PENDENGARAN PADA PEMUSIK DI KOTA MANADO." Jurnal e-Biomedik 1, no. 2 (2014). http://dx.doi.org/10.35790/ebm.1.2.2013.3247.

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Abstract: Hearing loss due to noise (Noise Induced Hearing Loss - NIHL) is hearing impairment, either part or all, loss, irreversible, occur in one or both ears, can be mild, moderate or severe, occurs because of exposure to the constant noise from the environment. The musician is one of the communities that are susceptible to noise induced hearing loss. Musicians had considerable exposure to noise. Most musicians have a hearing loss in varying degrees. The research objective is to determine the profile of hearing loss in the musicians in Manado, researching threshold musical sound that can ca

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Honda, Kazuaki, and Shinya Fujii. "Tapping Performance of Professional and Amateur Darbuka Players." Frontiers in Psychology 13 (June 30, 2022). http://dx.doi.org/10.3389/fpsyg.2022.861821.

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Motor skills of professional musicians can be regarded as a model to investigate human skill acquisition after prolonged practice. Although rhythmic tapping skills of musicians such as drummers and pianists were investigated previously, the tapping performance of hand percussionists is still largely unknown. In this study, we investigated the tapping performance of professional and amateur darbuka players. Three tapping tasks were performed: single-, double-, and triple-finger tapping tasks. The participants were asked to tap as fast as possible for 12 s in the single-finger tapping task while

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Frías, Johnny. "Deciphering Guarapachangueo: Formulas and Formulaic Variation in Contemporary Rumba Percussion." Current Musicology 111 (July 25, 2023). http://dx.doi.org/10.52214/cm.v111i.11696.

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This article serves to further the conceptual and musical analysis of guarapachangueo, a key influence in the contemporary style of the percussion in Havana-style rumba. I follow Turino’s (2009) lead in distinguishing between improvisation and formulaic performance in analyzing the rhythmic vocabulary of guarapachangueo as a set of related formulas and variations. In doing so, I expand upon and refine some of the characteristics of guarapachangeuo described by Bodenheimer (2015), particularly the common and yet nebulous idea that the style entails increased improvisation in the lower register

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Prakash Persad, Prakash, and Jorrel Bisnath. "Integrating a Robotic Drummer with Live Musicians." International Journal of Computer Science and Artificial Intelligence, September 27, 2013, 102–11. http://dx.doi.org/10.5963/ijcsai0303003.

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Clark, Dave. "Better Ways of Sharing." Critical Studies in Improvisation / Études critiques en improvisation 14, no. 2-3 (2021). http://dx.doi.org/10.21083/csieci.v14i2.6416.

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Dave Clark is an improvising drummer and founder of the Toronto-based Woodchoppers improv collective. In this piece, he stresses the need for more equitable methods of sharing the revenue generated by musicians working in the creative commons, and discusses an open letter that he wrote to SOCAN in May 2020.

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Huck, John. "Drummer Girl by K. Bass." Deakin Review of Children's Literature 2, no. 1 (2012). http://dx.doi.org/10.20361/g2hg6d.

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Bass, Karen. Drummer Girl. Regina: Coteau Books, 2011. Print. Writing for teens is an exercise in walking a tight-rope. Stories must reflect the current realities of their world, which is sometimes difficult for an adult writer to access directly, while offering commentary on that world that avoids didacticism. Karen Bass achieves both feats with ease in her novel Drummer Girl. This multifaceted and nuanced novel tells the story of an intelligent, self-possessed, and spunky girl, Sidney, or Sid for short, who tries to stay true to herself, her friends, and her musical passion in a world where

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Smith, Gareth Dylan. "Correspondence and improvisation: An autoethnographic exploration of drumming in nature." DIY, Alternative Cultures & Society, February 9, 2023, 275387022311558. http://dx.doi.org/10.1177/27538702231155832.

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The author explores the liberatory experience of improvised, woodland drumming as DIY music-making music and DIY learning in nature. A drummer and music education professor, he presents descriptive vignettes on the transformative possibilities of making music amongst trees and by water. The method is autoethnographic, itself a DIY type of doing and recording research. Using Tim Ingold's lens of correspondence, the author suggests that, more than making music merely on trees and on ice, we channel music together with non-human co-musicians. The author draws on research in eco-psychology and eco

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Hansen, Kai Arne, and Tyler Bickford. "Negotiating girlhood in rock music: Nandi Bushell, prodigy discourse and adult mentor-fans." Popular Music, July 28, 2023, 1–20. http://dx.doi.org/10.1017/s0261143023000338.

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Abstract Nandi Bushell (b. 2010) is a British-Zulu drummer and multi-instrumentalist whose early career has garnered much attention from audiences and the international music press. In this article, we investigate the case of Bushell as a point of entry for understanding children's participation in mainstream popular music culture and the broader public sphere. We explore Bushell's social media presence, creative output and public reception in relation to three interrelated themes: (1) the functioning of social media and the music press as arenas for the (re)negotiation of ideas about child pr

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Cahyaningtyas, Zakiya Azizah, Diana Purwitasari, and Chastine Fatichah. "Deep Learning Approaches for Automatic Drum Transcription." EMITTER International Journal of Engineering Technology, June 23, 2023, 21–34. http://dx.doi.org/10.24003/emitter.v11i1.764.

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Drum transcription is the task of transcribing audio or music into drum notation. Drum notation is helpful to help drummers as instruction in playing drums and could also be useful for students to learn about drum music theories. Unfortunately, transcribing music is not an easy task. A good transcription can usually be obtained only by an experienced musician. On the other side, musical notation is beneficial not only for professionals but also for amateurs. This study develops an Automatic Drum Transcription (ADT) application using the segment and classify method with Deep Learning as the cla

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Beckwith, Karl. ""Black Metal is for white people"." M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1962.

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The power of culturally-bound controlling images around notions of 'colour' in regard to ethnicity have historically been marked and far-reaching. Most obvious examples of such political power relations can be seen in regard to racism and social domination. Biologically-based assertions that one specific category of people are somehow inherently inferior or superior to another were central and indeed continue to be paramount in (neo) Nazi-style rhetoric. Such political beliefs, most notable of course within the first half of the Twentieth Century, often went hand-in-hand with a right-wing ecol

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Collins, Steve. "Amen to That." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2638.

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   In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Mus

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Bauder, Amy. "Keeping It Real? Authenticity, Commercialisation and Family in Australian Country Music." M/C Journal 18, no. 1 (2015). http://dx.doi.org/10.5204/mcj.939.

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Getting the Family Together: A Fieldwork Account The final gig of Bob Corbett and the Roo Grass Band’s 2013 tour is a hometown show at New Lambton Community Hall in Newcastle on the coast of New South Wales, Australia. The tour had already covered Newcastle and surrounds at various locations within 50 to 100km of the Newcastle CBD. In addition to lead singer and guitarist Bob Corbett, there are three main members of the Roo Grass Band, Sue Carson on fiddle and mandolin, Dave Carter on banjo, bass and bagpipes and Robbie Long on guitar, mandolin and bass. I enter the building and at the top of

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