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Relevant bibliographies by topics / Fuji (Music)

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Academic literature on the topic 'Fuji (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 March 2023

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Journal articles on the topic "Fuji (Music)"

1

Odetade, Tayo, and Fasinu Olusegun. "Indigenous Yoruba Popular Music As An Agent For Socio Re-Orientation: An Examination of Saheed Osupa’s Fuji Music." International Journal of English and Comparative Literary Studies 2, no. 4 (July 20, 2021): 1–13. http://dx.doi.org/10.47631/ijecls.v2i4.260.

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This paper explores Fuji popular music as a tool for socialization within the current Yoruba cultural setting using the content exploration approach mode. Much of the traditional elements are embedded in the lyrics of Fuji musicians. Each Fuji musician digs experiments with the Yoruba culture to make the brand of Fuji music distinct from others. Saheed Osupa is a Fuji musician whose lyrics are laced with different sorts of Yoruba socio-cultural values. These values include proverbs, folktales, folklores, riddles, witty sayings, etc. The paper concludes that apart from being a vibrant art form in the popular literature sub-genre, the contents of the Fuji music can also serve pedagogical and other educational purposes in the present-day setup.

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2

Kolawole Balogun, Shyngle. "Effects of Gender and Music Genre on Hand-Eye Coordination Task among a Private University Students in Nigeria." Current Research in Psychology and Behavioral Science (CRPBS) 3, no. 5 (August 8, 2022): 1–6. http://dx.doi.org/10.54026/crpbs/1058.

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Music has been described as an enhancer of task performance and this varies according to the genre of the music, however, influence of music type on performance, especially in native language has been equivocal. The present study investigated the influence of music genre and gender on eye-hand coordination task performance among private university. Using 144 randomly selected fresh undergraduates who were assigned to a 2x3 design groups, working on O’Connor finger dexterity test, it was observed that performance was generally low. There was marginal better performance of females than males especially while listening to Gospel music, while males did better while listening to local Fuji music. There was no significant main effect of genre and gender on the task performance. It was concluded that performance of females while listening to gospel music may be characteristic of their nature especially when they performance house chores in Nigeria.

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3

Mitsui, Tôru. "Musicology, ethnomusicology and popular music studies: two conferences in Japan in 2002." Popular Music 22, no. 3 (October 2003): 375–77. http://dx.doi.org/10.1017/s0261143003003246.

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The Musicological Society of Japan celebrated its fiftieth anniversary by holding an international congress on 2–4 November 2002 in Shizuoka, a city which is not far from Tokyo, whose skyline is backed by the imposing Mount Fuji. 470 people were registered as participants, out of whom about 100 were from abroad. The conference coincided with the International Convention of Street Performance in the same city.

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4

Oladejo, Mutiat. "Waka Music as a Commentary on Yoruba Society in Post-Colonial Nigeria: A Review of Two Female Musicians." Umma: The Journal of Contemporary Literature and Creative Arts 9, no. 2 (January 31, 2022): 152–69. http://dx.doi.org/10.56279/ummaj.v9i2.8.

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In pre-colonial and colonial Yoruba societies, music was an integral part of everyday life. Scholarly works have differentiated music genres among the Yoruba with attempts made to analyse their historical background. Even though the Yoruba music industry is a male-dominated industry with concentration on Fuji, Highlife and Juju music, the few female musicians in the industry have created a distinct genre known as Waka music. This article argues that the Waka music of the female musicians presents a perspective for understanding the feminisation of music and the challenges of development in Southwestern Nigerian cities from the immediate postcolonial era. Moreover, against the stereotype that women lack insights into social issues, this work displays that Waka music by female singers, Batuli Alake and Salawa Abeni, illustrate how an agency of communication and relevance is created. The career history of both women serves a basis for unravelling feminist struggles to eke out a livelihood in postcolonial Nigeria. The article adopted an historical approach in its analysis. It employed both primary and secondary sources such as online interview excerpts, newspapers, journals and books. The findings show that Waka music has strictly been a sphere of interest that women have sustained in the Yoruba music industry.

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5

RICHARD, DOMINIQUE M. "Holzwege on Mount Fuji: a doctrine of no-aesthetics for computer and electroacoustic music." Organised Sound 5, no. 3 (December 2000): 127–33. http://dx.doi.org/10.1017/s1355771800005033.

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In German, the word Holzwege means ‘paths that lead nowhere but that are not inconsequential’. They are paths which, without a goal, facilitate the transforming experience of a journey that can gently, yet profoundly, touch our physical, emotional and intellectual self. In this paper, Holzwege is metaphor for a reflection on aesthetics and computer/electroacoustic music, a reflection that does not seek to demonstrate but to suggest. Thus, rather than considering and refining the abundance of concepts and definitions which seek to circumscribe the aesthetic characteristics of these musical idioms, this reflection goes beyond definitions to outline a path of no-aesthetics which highlights their creative potential.

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6

Vriezen, Samuel. "Kaija Saariaho Only the Sound Remains, Dutch National Opera, Muziektheater, Amsterdam." Tempo 70, no. 277 (June 10, 2016): 96–97. http://dx.doi.org/10.1017/s0040298216000255.

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Only the Sound Remains consists of two stories of supernatural encounters. A monk, praying for the soul of a deceased general, meets the latter's ghost, attracted by the sounds of the lute used in the monk's ritual. A fisherman finds the feather mantle belonging to a Tennin, an angelic spirit, who pleads with him to return the item, which he only does after she performs a celestial dance; thus, the chorus tells us, ‘was the dance of pleasure, Suruga dancing, brought to the sacred east’. Both encounters are evanescent: the ghost of the general is visited by memories of terrible battles and disappears back into the spirit world; the Tennin's dance is an announcement of spring, as the Tennin herself disperses into the mists that obscure mount Fuji. In both stories, the spiritual is a manifestation of something virtual, relating artistic forms to worlds not of, yet touching on, the everyday. The sounds of the lute, which used to belong to the general, are a conduit to deep memory; the dance taught by the Tennin connects humans to the inhuman workings of nature.

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7

Yang, Hsin-Chang, Wen-Yang Lin, Chun-Yang Chang, Cheng-Hong Yang, and Shyi-Ming Chen. "Selected Papers from TAAI 2006." Journal of Advanced Computational Intelligence and Intelligent Informatics 12, no. 3 (May 20, 2008): 217. http://dx.doi.org/10.20965/jaciii.2008.p0217.

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The 11th Conference on Artificial Intelligence and Applications (TAAI 2006), which was held during Dec. 15-16, 2006 at Kaohsiung, Taiwan, is the annual conference of Taiwanese Association for Artificial Intelligence. The conference is intended to provide a forum for researchers and scholars in the related fields of artificial intelligence. Past conferences have proven them successful attempts to become the most important meeting of artificial intelligence researchers in Taiwan. This is also true for TAAI 2006, which focuses on various aspects on theory and practice of artificial intelligence. In this special issue, 11 papers presented in the conference are selected and extended for their outstanding performance on the conference. These papers cover wide spreading aspects, which include versatile motion planning, particle swarm optimization, data mining, image retrieval, music retrieval, natural language processing, navigation, fuzzy logic, gaming, and bioinformatics. This issue thus concisely summarizes recent advances in artificial intelligence and its applications. The readers should find them valuable and inspiring. We hope that this issue should provide a valuable resource for their researches. As guest editors of this special issue, we like to express our greatest gratitude to those that help this issue come true. Thanks to all contributors and referees for their elaborate works and careful reviews that assure the high quality of this issue. Special thanks should go to Mr. Makoto Shimada of Fuji Technology Press for his efforts and kind assistance in publishing this issue. Finally, we also like to thank the Editors in Chief of JACIII, Prof. Toshio Fukuda and Prof. Kaoru Hirota, for their generous hospitality in supporting this special issue.

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8

Alvarez, Pedro. "Luigi Nono - Luigi Nono, La lontananza nostalgica utopica futura. Marco Fusi and Pierluigi Billone. Kairos, 0015086KAI." Tempo 75, no. 298 (October 2021): 101–2. http://dx.doi.org/10.1017/s0040298221000516.

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9

Johnson, Evan. "Pierluigi Billone - PIERLUIGI BILLONE : ITI KE MI; Equilibrio. Cerchio. Marco Fusi (vla and vn). Kairos 0015019KAI." Tempo 71, no. 282 (October 2017): 94–95. http://dx.doi.org/10.1017/s0040298217000717.

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10

Letícia Stori Mendes, Ana, Dayane Priscila Paulis, and Rafael Egidio Leal e Silva. "A REPRESENTAÇÃO DA MULHER EM MÚSICAS FEMININAS DE SERTANEJO UNIVERSITÁRIO: PODEMOS FALAR DE ESTEREÓTIPOS MACHISTAS?" Colloquium Socialis 2, no. 4 (September 1, 2018): 13–17. http://dx.doi.org/10.5747/cs.2018.v02.n4.s052.

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This work aims to investigate how the culture of machismo materializes in the current society through the manifestations of mass culture as the music of the sertanejo-university style, especially the songs of feminine character, sung and composed by women. Three current songs were reproduced by women of different authors, being: "Amante não tem lar" by Marília Mendonça, "A culpa é dele", also by Marília Mendonça and finally "Quem ensinou fui eu" by Maiaraand Maraisa. It is still verified that the culture of machismo and female objectification is still present in our society and are presented in the songs analyzed below.

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Books on the topic "Fuji (Music)"

1

Ademowo, Paul 'Wale. The history of Fuji music in Nigeria. Ibadan [Nigeria]: Effective Publishers, 1993.

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2

Ademowo, Paul 'Wale. The king of Fuji music: Dr. Wasiu Ayinde Anifowoshe Marshal. Ibadan [Nigeria]: Effective Publishers, 1996.

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3

Timothy-Asobele, S. J. Historical trend of Nigerian indigenous and contemporary music. Isolo, Lagos: Rothmed International, 2002.

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4

Sikiru Ayinde Barrister: Mr. Fuji : biography of the man behind the creation of new music genre. Ibadan: DB-Hunters, 2001.

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5

Lawal, Olakunle A. Music as a commentary on the society: The life and times of Chief (Dr.) Sikiru Ayinde "Barrister" Agbaje Balogun. Lagos, Nigeria: Centre for Black and African Arts and Civilization, 2013.

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6

Furi on music island. London: Ladybird, 2013.

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7

Stefan, Rieger. Glenn Gould, czyli, sztuka fugi. Gdańsk: Wydawn. słowo/obraz tetytoria, 1997.

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8

Milka, A. "Iskusstvo fugi" I.S. Bakha: K rekonstrukt︠s︡ii i interpretat︠s︡ii. Sankt-Peterburg: Kompozitor, 2009.

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9

Komota, Nobuo. Ujō to shin minʼyō undō: Fujii Kiyomi, Gondō Enryū ra to tomoni. Ibaraki-ken Tsuchiura-shi: Tsukuba Shorin, 1989.

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10

Jian dan qin xin: Zha Fuxi qin xue yan jiu. Beijing Shi: Wen hua yi shu chu ban she, 2011.

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Book chapters on the topic "Fuji (Music)"

1

Cordeiro, João. "FuXi: A Fish-Driven Instrument for Real-Time Music Performance." In Evolutionary and Biologically Inspired Music, Sound, Art and Design, 39–49. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16498-4_4.

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Conference papers on the topic "Fuji (Music)"

1

Thongrom, Pimpika. "The effect of Music Festivals on Perceived Destination Images." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10179.

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Music festival is one of the special event. It is a unique cultural event which continuously held on a particular place and time. It has been confirmed that music festivals can attract people to visit the destinations for instance Glastonbury, and the Fuji Rock. Various researches have explored the potential of festivals in forming destination image. It has not been yet explored a link between the music festivals and image formation of thedestination. The research aim is to examine the effect of music festivals on the perceived images of destinations. The objectives are to explore music festival in Thailand and to examine the perception of tourists towards destination image influenced by music festival.Music festivals in Thailand have been studied and 5 music festivals were chosen as the research settings. The documentary study was used to examine the 5 music festivals. Then the semi-structured interviews were conducted with tourists who have visited at least one of the five selected music festivals. The qualitative data are analysed using thematic analysis.The findings show that the destination images are influenced by the music festivals. The perceived images of the destination may similar to the existing images, while some may differ and transferable. The findings also show that the participants perceiveimages of the place differently during the music festival. The results can be applied to destination marketer in order to create or shape the destination images.

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