Academic literature on the topic 'Jude (Musical group)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Jude (Musical group).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Jude (Musical group)"
1
Rose, Dawn, Alice Jones Bartoli, and Pamela Heaton. "Measuring the impact of musical learning on cognitive, behavioural and socio-emotional wellbeing development in children." Psychology of Music 47, no. 2 (December 13, 2017): 284–303. http://dx.doi.org/10.1177/0305735617744887.
Full textAbstract:
This study investigated the effects of musical instrument learning on the concomitant development of cognitive, behavioural and socio-emotional skills in 38 seven- to nine-year-old children. Pre- and post-test measures of intelligence, memory, socio-emotional behaviour, motor ability and visual-motor integration were compared in children who received either extra-curricular musical training (EMT: n = 19) or statutory school music group lessons (SSM: n = 19). Results showed a significant association between musical aptitude and intelligence overall. The EMT group showed a significant increase in IQ (7 points), in comparison to 4.3 points for the SSM group, suggesting an effect of musical learning on intelligence. No effects were found for memory, or for visual motor integration or socio-emotional behaviour. However, significant improvements in gross motor ability where revealed for the EMT group only, for the aiming and catching composite. With regard to the measure of fluid intelligence, these findings support previous studies. The novel use of the Movement Assessment Battery for Children provides evidence that musical learning may support development in a child’s ability to judge distance, consider velocity, focus and use their proprioceptive, interoceptive and exteroceptive nervous systems.
2
Van Hedger, Stephen C., Shannon LM Heald, and Howard C. Nusbaum. "Long-term pitch memory for music recordings is related to auditory working memory precision." Quarterly Journal of Experimental Psychology 71, no. 4 (January 1, 2018): 879–91. http://dx.doi.org/10.1080/17470218.2017.1307427.
Full textAbstract:
Most individuals have reliable long-term memories for the pitch of familiar music recordings. This pitch memory (1) appears to be normally distributed in the population, (2) does not depend on explicit musical training and (3) only seems to be weakly related to differences in listening frequency estimates. The present experiment was designed to assess whether individual differences in auditory working memory could explain variance in long-term pitch memory for music recordings. In Experiment 1, participants first completed a musical note adjustment task that has been previously used to assess working memory of musical pitch. Afterward, participants were asked to judge the pitch of well-known music recordings, which either had or had not been shifted in pitch. We found that performance on the pitch working memory task was significantly related to performance in the pitch memory task using well-known recordings, even when controlling for overall musical experience and familiarity with each recording. In Experiment 2, we replicated these findings in a separate group of participants while additionally controlling for fluid intelligence and non-pitch-based components of auditory working memory. In Experiment 3, we demonstrated that participants could not accurately judge the pitch of unfamiliar recordings, suggesting that our method of pitch shifting did not result in unwanted acoustic cues that could have aided participants in Experiments 1 and 2. These results, taken together, suggest that the ability to maintain pitch information in working memory might lead to more accurate long-term pitch memory.
3
Sysolyatina, Sofiya V. "“Jephthah’s Daughter” by Amy Beach: the Biblical World in the Words of a Woman." ICONI, no. 2 (2019): 59–67. http://dx.doi.org/10.33779/2658-4824.2019.2.059-067.
Full textAbstract:
The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the Biblical subject matter or, more precisely, the well-known Old Testament plot of the sacrifi ce of the daughter of the Israelite judge Jephthah. Besides the analysis of the musical fabric, the article examines the author’s approach to the subject of the principle of the choice of the material and the work with the textual sources — the Biblical story and the French poem, which comprised the basis of the aria’s text. As a result, the conclusion is arrived at about the composer’s artistic intentions and about the conceptual component of the work. The article contains information about Amy Beach’s biography, her artistic approach, her attitude to religious subject matter and social problems of the society contemporary to her, in particular, the issues of equal rights for women.
4
Knight, Sarah, Neta Spiro, and Ian Cross. "Look, listen and learn: Exploring effects of passive entrainment on social judgements of observed others." Psychology of Music 45, no. 1 (July 7, 2016): 99–115. http://dx.doi.org/10.1177/0305735616648008.
Full textAbstract:
Music is widely acknowledged to have social efficacy at the group level. This effect is hypothesised to be underpinned at least in part by entrainment. During collective musical behaviours, entrainment – the shared synchronisation of internal oscillators – is suggested to afford the perception of actions, intentions and motivational states as joint action, shared intentionality and mutual motivational states, which in turn fosters interpersonal affiliation and prosocial behaviours, including trust. However, it is unknown whether entrainment’s effects on prosociality persist when we are passive observers. In this study, 44 participants (21 women; average age = 28; average years of musical training = 10) watched audio-visual tokens in which a) the footsteps of an actor were entrained (synchronised) with a drumbeat, b) the footsteps were disentrained (unsynchronised) with the drumbeat and c) the soundtrack was grey noise (control condition). Participants were subsequently required to decide if the actor was engaged in a trustworthy or untrustworthy activity. Results show that participants were more likely to judge the actor as trustworthy in the entrain condition than the disentrain condition, but that the entrain condition was not significantly different to the control condition. Furthermore, this pattern of results was only found for a subgroup of the stimuli. There were no effects of age, gender or musical training. Given the nature of the task, which encourages passive entrainment rather than active movement, these findings indicate that the prosocial outcomes of musical engagement may be more common and have a broader significance than previously suggested.
5
Deutsch, Diana. "The Tritone Paradox: An Influence of Language on Music Perception." Music Perception 8, no. 4 (1991): 335–47. http://dx.doi.org/10.2307/40285517.
Full textAbstract:
The tritone paradox is produced when two tones that are related by a half- octave (or tritone) are presented in succession. Each tone is composed of a set of octave- related harmonics, whose amplitudes are determined by a bell-shaped spectral envelope; thus the tones are clearly defined in terms of pitch class, but poorly defined in terms of height. When listeners judge whether such tone pairs form ascending or descending patterns, their judgments generally show systematic relationships to the positions of the tones along the pitch-class circle: Tones in one region of the circle are heard as higher and those in the opposite region are heard as lower. However, listeners disagree substantially as to whether a given tone pair forms an ascending or a descending pattern, and therefore as to which tones are heard as higher and which as lower. This paper demonstrates that the basis for the individual differences in perception of this musical pattern lies in the language spoken by the listener. Two groups of subjects made judgments of the tritone paradox. One group had grown up in California, and the other group had grown up in southern England. It was found that when the Californian group tended to hear the pattern as ascending the English group tended to hear it as descending, and when the Californian group tended to hear the pattern as descending the English group tended to hear it as ascending. This finding, coupled with the earlier results of Deutsch, North, and Ray (1990) that showed a correlate between perception of the tritone paradox and the pitch range of the listener's spontaneous speaking voice, indicates strongly that the same, culturally acquired representation of pitch classes influences both speech production and perception of this musical pattern.
6
Zioga, Ioanna, Peter M. C. Harrison, Marcus T. Pearce, Joydeep Bhattacharya, and Caroline Di Bernardi Luft. "Auditory but Not Audiovisual Cues Lead to Higher Neural Sensitivity to the Statistical Regularities of an Unfamiliar Musical Style." Journal of Cognitive Neuroscience 32, no. 12 (December 2020): 2241–59. http://dx.doi.org/10.1162/jocn_a_01614.
Full textAbstract:
It is still a matter of debate whether visual aids improve learning of music. In a multisession study, we investigated the neural signatures of novel music sequence learning with or without aids (auditory-only: AO, audiovisual: AV). During three training sessions on three separate days, participants (nonmusicians) reproduced (note by note on a keyboard) melodic sequences generated by an artificial musical grammar. The AV group ( n = 20) had each note color-coded on screen, whereas the AO group ( n = 20) had no color indication. We evaluated learning of the statistical regularities of the novel music grammar before and after training by presenting melodies ending on correct or incorrect notes and by asking participants to judge the correctness and surprisal of the final note, while EEG was recorded. We found that participants successfully learned the new grammar. Although the AV group, as compared to the AO group, reproduced longer sequences during training, there was no significant difference in learning between groups. At the neural level, after training, the AO group showed a larger N100 response to low-probability compared with high-probability notes, suggesting an increased neural sensitivity to statistical properties of the grammar; this effect was not observed in the AV group. Our findings indicate that visual aids might improve sequence reproduction while not necessarily promoting better learning, indicating a potential dissociation between sequence reproduction and learning. We suggest that the difficulty induced by auditory-only input during music training might enhance cognitive engagement, thereby improving neural sensitivity to the underlying statistical properties of the learned material.
7
González Gómez, Isabel, and Manuel Delgado-García. "The consumption and reggaeton´s language under debate among adolescents." Linguo Didáctica 1 (December 2, 2022): 36–55. http://dx.doi.org/10.33776/linguodidactica.v1.7476.
Full textAbstract:
Music is not just a simple pastime, as it also contributes to the construction of identities, promotes cultural development or generates close affective ties between those who share the same musical preferences. In recent years, reggaeton has become very popular, a musical genre admired by youth and characterized by containing, in its lyrics, discriminatory messages towards women. In this sense, it is vitally important to question the impact exerted on adolescents, where it has penetrated with greater impetus, analyzing the possible consequences that it may have when building or reinforcing macho thoughts.
A qualitative research is proposed that tries to examine the perceptions of adolescents. Through two focus groups, the opinions of young people enrolled in the educational stages of 2nd ESO and 3rd ESO from two secondary education institutes in the province of Huelva are debated and confronted. During the focus group sessions, the participants question the relationship between different variables that emerge from the properties of the language used in some reggaeton lyrics, such as machismo or gender violence. The analysis of the speeches derived from the work sessions has been developed through the Maxqda software.
The results reveal a type of music that is expanding as a trend among adolescents, whose messages are not clearly discriminated or prosecuted and which tend to normalize certain discriminatory behaviors towards women and reinforce macho thinking among the male gender. For all these reasons, the educational system must promote the creation of a musical culture that invites adolescents to be aware of and critically judge the music they listen to daily.
8
Gordon, Karen A. "Perception of emotional music by children with cochlear implants reveals developmental plasticity." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A286. http://dx.doi.org/10.1121/10.0018865.
Full textAbstract:
Cochlear implants provide poor access to the frequency components needed to accurately identify emotional music and speech. Nonetheless, a series of studies revealed that children with cochlear implants develop unique strategies to identify emotion in music. Although musical changes were difficult for them to detect, children with cochlear implants responded most accurately to rhythmic changes and also relied mainly on temporal information to judge whether music was happy or sad. By contrast, mode (frequency) information dominated perception of musical emotion in typically developing children and was used more clearly by bimodal device users (cochlear implant in one ear with acoustic hearing in the other) than children with bilateral deafness using unilateral or bilateral cochlear implants. Mode became the more dominant cue with increasing residual hearing in the non-implanted ear. Children with unilateral cochlear implants showed prolonged response times relative to a control group of normal hearing peers while judging whether music was happy or sad. Response times in children with bimodal devices and bilateral cochlear implants were more similar to controls. Together, these results demonstrate development of novel strategies for music listening and perception of emotion in music based on available cues in children with cochlear implants and suggest that these strategies require cognitive resource.
9
Roda, Jessica. "Re-Making Kinship. From Community to Family." Thème 24, no. 2 (July 12, 2018): 97–120. http://dx.doi.org/10.7202/1050503ar.
Full textAbstract:
The Sephardic Jews living in France, who use Judeo-Spanish as their heritage language, are an assimilated diasporic group that has witnessed war, assimilation and marginalization. With the increase in genealogical research in Western Society, many Sephardim have experienced a process of revitalization of memory through kin relations with people of similar descent. This complex revitalization takes form within the structure of a community cultural centre which acts as a place for re-making kinship thanks to the emotional experience of sharing a specific musical heritage. This phenomenon forces us to examine the tension between « traditional » kinship systems — embodied in the matrilineal bloodline in the case of halakhic Jewish identity — and symbolic kinship anchored in the idea of a « chosen family », to rethink kinship as a mixture between biology and culture, as well as to reconsider current anthropological debates on religion thought beyond the strict religious practices.
10
Sarinastiti, Tristania Berdieta. "ENERGI FUNKOT GRUP MUSIK PRONTAXAN DI TENGAH PERKEMBANGAN MUSIK INDIE DI INDONESIA." JURNAL PAKARENA 8, no. 1 (July 4, 2023): 65. http://dx.doi.org/10.26858/p.v8i1.41217.
Full textAbstract:
As original Indonesian music, Dangdut has an appeal that is quite popular with various groups of people. Along with the times, dangdut music has undergone interesting modifications by combining dangdut songs with electronic music called Funky Kota music (Funkot). The purpose of this study was to examine the process and role of the Prontaxan music group which brought Funkot music amidst the development of indie music in Indonesia. The research method uses a descriptive qualitative approach by collecting data through interviews, observation, and literature study. The results of the study show that Prontaxan has become one of the musical groups that have finally made genre no longer an aspect to judge someone through their taste in music. They make music as a unifier and entertainment for everyone who listens to it by using an indie music approach that is a victim of the remix creations they do. Then approach social media with content that is entertaining and in tune with young people and still seems peripheral to the slang language that is typical of Funkot music in its era
Books on the topic "Jude (Musical group)"
1
Wallner, Rosemary. Wynonna Judd: Country music star. Edina, Minn: Abdo & Daughters, 1991.
Find full text
3
Helford, Elyce Rae. What Price Hollywood? University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179292.001.0001.
Full textAbstract:
A prolific director of classic Hollywood cinema, George Cukor was known for his romantic comedies and dramas and his work with difficult leading ladies. For such work, he was labeled a “woman’s director.” He did build or enhance the careers of many strong, independent actresses, including Katharine Hepburn, Greta Garbo, Judy Holliday, Judy Garland, and Marilyn Monroe. However, the tag was also derogatory, referencing the fact of Cukor’s homosexuality. He was also called an “actor’s director,” for he emphasized his connections with his stars to draw out compelling performances even within his less effective films. Taking a queer feminist approach to these labels, the director, and his directing style, this volume explores issues of gender and sexuality within groups of Cukor pictures. Chapters reach across and among eras and genres to study small groups of films by theme, nuanced by ethnicity, class, and race. Topics covered include female friendships, the male alcoholic, domesticity and ethnic assimilation, gender performance, drag acts, and queer musical excess.
4
Beal, Amy C. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0012.
Full textAbstract:
This introductory chapter recounts Johanna Beyer's arrival in New York City. Beyer first lived in New York from April 1911 until June 1914. She then sang for three years in the Leipziger Singakademie and graduated from a German music conservatory in September 1923. She returned to New York on November 14, 1923. In the years following her arrival in New York, Beyer earned two degrees from the Mannes School of Music, and she took additional classes at Mannes through 1929. During her life after 1927 and until her passing in 1944, she composed all of the music available today: works for piano, percussion ensemble, chamber groups, choir, band, and orchestra. Indeed, Beyer's fifty-six known compositions can be divided into several broad categories: piano music, percussion music, music with text, and mixed instrumental music.
Book chapters on the topic "Jude (Musical group)"
1
Kursell, Julia. "Carl Stumpf and Control Groups." In Archimedes, 125–48. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-52954-2_5.
Full textAbstract:
AbstractIn the secondary literature, the notion of control group has so far been traced to two important moments in history of the life sciences: thinking in populations and applying statistics to these. This chapter proposes an additional lineage in the reduction of variation among the members of two paired groups in philosopher Carl Stumpf’s experimental psychology. His method of comparing the conditions of judgment in these groups is traced to three stages, the earliest being his research with individuals that do or do not have musical ability, followed by the stage of being confronted with non-European music, to the final stage of reaching a fully controlled and technically supported setting in which individuals are put in the position to judge either with or without previous knowledge about chosen sounds under scrutiny. The chapter uses Stumpf’s own notion of “practical epistemology” to align his experimental practice with his parallel elaborations of Brentanian logic.
2
Caldwell, John. "Tradition and Avant-Garde, 1945–1975." In The Oxford History of English Music, 407–55. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198162889.003.0006.
Full textAbstract:
Abstract If ever a musical event had symbolic importance it was the first performance of Britten’s opera Peter Grimes at the Sadler’s Wells Theatre on 7 June 1945, almost one month after Victory in Europe. The opera was, however, the fruit of a long gestation of fully four years, and initial reactions were decidedly mixed; with hindsight one is in a better position to judge of its significance than at the time, yet the coincidence of material and artistic recovery was rapidly confirmed by the international success of the work in the immediately following years. Indeed a striking feature of the post-war period was the place of music in the regeneration of cultural life, commensurately almost with architecture, which for obvious reasons had primacy at the time. Opera at Sadler’s Wells, Covent Garden, and Glyndebourne (and ballet at Sadler’s Wells) were all revived in forms that proved durable; other festivals were those at Cheltenham (from 1945, devoted to contemporary British Music), Aldeburgh (from 1948,) and, to glance briefly across the border, Edinburgh (from 1947). Britten’s English Opera Group catered for operatic adventures that the established companies could not then be expected to entertain.
3
Liu, Zhenyu, Qiurui Wang, Caihong He, Cheng Yao, and Fangtian Ying. "Effects of Auditory Integration Training Combined with Music Therapy on Children with Autism Spectrum Disorder." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2024. http://dx.doi.org/10.3233/faia240025.
Full textAbstract:
Objective: This study explored the effects of Auditory Integration Training combined with Music Therapy on Autistic Children. Methods: Eighty Autistic Children who received treatment at a Rehabilitation Center for Children with Autism in Guangzhou from January to June 2023 were selected as participants. They were randomly allocated to an Experimental or a Control group, giving 40 in each condition. The Control group received Auditory Integration Training, while the Experimental group received Auditory Integration Training combined with Music Therapy. Sociability, Language, Behavior, and Neuron Development of the two groups of children were compared before and six months after treatment. Results: By comparing the Sociability, Language, Behavior, and Neuron Development scores of two groups of children before and after six months of treatment, the combination of these two treatments has positively impacted the rehabilitation of children with autism. Conclusion: The combination of Auditory Integration Training and Music Therapy has shown promising results in its application for Children with Autism Spectrum Disorder (ASD).
4
Everett, Walter. "Musical Time: Rhythm, Meter, and Tempo." In The Foundations of Rock, 302–32. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195310238.003.0012.
Full textAbstract:
Abstract “It’s got a good beat—you can dance to it!” This was for a long time seemingly the first, foremost, and perhaps only consideration useful in judging the value of a pop song, if the frequency with which the phrase was uttered in late-1950s and early-1960s amateur record reviewing (a regular feature in television shows such as American Bandstand [U.S.] and Juke Box Jury [U.K.]) is any indication. “Beat” here most likely refers to a repeated rhythmic pattern in a particular meter at a certain tempo; the terminology may be universally abused by rock fans, but the most direct appeal of so many favorite songs is correctly understood by them as being related to their rhythmic properties. It is the goal of this chapter to clarify just what makes that “beat,” and many other rhythmic events and relationships, so infectious, driving, and danceable. We’ll see how various rhythmic patterns, heard against an unchanging grid of beats grouped into regular meters that proceed at a tempo that’s fast, slow, or in between, can mark time at the surface level of a song. At deeper levels, we’ll judge how many bars make a phrase, and how phrases of various lengths group together to make sections of various lengths, all producing rhythms against longer time spans. Each in their own way, these and other considerations (At what rates do chords change? What proportions relate one section of a song to the Whole? what position does a song take within the album that contains it?) concern the articulation of time in music. But we’ll also come to appreciate that this is all that rhythm can accomplish, and that the world of pitch is crucial for bringing individuality to every song. Who, for instance, has ever noticed that the melodies sung in Cat Stevens’s “Morning Has Broken” and John Denver’s “Annie’s Song” are practically identical in surface rhythm, meter, and tempo? The differences in pitch construction between the two songs are great enough to keep the rhythmic similarities from rising to most listeners’ awareness. Add to this the fact that scale degrees—whether expressed in melodic or harmonic domains—carry differing accentual weights, as do changes in dynamic stress, instrumentation, and other textural markers, and as do changes in perceptions of formal function, and rhythm can be a far more nuanced domain than one that simply permits dancing to a repetitive beat.
5
Stevenson, Robert. "Study Session 7 Portuguese Musical Outreach: Five Centuries." In Musicology And Sister Disciplines Past,Present,Future, 476–78. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0053.
Full textAbstract:
Abstract Robert Stevenson pointed out in the opening paper of this session that, despite the fact that Vicente Lusitano was declared winner in a debate with Nicola Vicentino staged at Rome on 4 June 155 r in the presence of the latter’s patron, Ippolito d’Este II (1509-72), cardinal of Ferrara, the mulatto priest born at Olivern;a has been consistently snubbed in all recent textbooks. Omnipotent Grout and his kind salute Vicentino, but ignore Lusitano. Canonized period histories, such as H. M. Brown’s Music in the Renaissance (Englewood Cliffs, NJ, 1976) and The Age of Humanism 1540-1630, ed.
6
Roth, Adalbert. "Liturgical (and Paraliturgical) Music in the Papal Chapel towards the End of the Fifteenth Century: A Repertory in Embryo." In Papal Music and Musicians in Late Medieval and Renaissance Rome, 125–37. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198164173.003.0005.
Full textAbstract:
Abstract With these words in the arenga of the first bull of privileges in favour of the college of the papal chapel, published in June 1473, Sixtus IV became the first pope in the fifteenth century to express his contentment with the musical services of the most consistent corporate group in his court chapel.1 Never before in an official document of the Holy See had a pope referred explicitly to the musical duties of his singers.2 This is not merely the rhetoric of some versatile papal secretary, but the pope himself who speaks to us, as the history of the papal chapel during the second half of the fifteenth century clearly testifies.
7
Zolten, Jerry. "“Who Are We?”." In Great God A'Mighty! The Dixie Hummingbirds, 295–316. 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190071493.003.0009.
Full textAbstract:
Abstract The Hummingbirds—James Davis, Ira Tucker, James Walker, Beachey Thompson, and Howard Carroll—celebrated their fiftieth anniversary with an album, Golden Flight. The album and the occasion sparked appearances on numerous network television programs. The group was the subject of a segment on ABC-TV’s magazine show 20/20 and Ebony Magazine ran a cover story. Looking for independence and artistic control, the Hummingbirds began producing their own recordings, leasing them to independent labels. Aging and constant travel taking a toll, James Davis retired, though remaining compensated and in control. The group drew on reserve singers and Paul Owens rejoined after a thirty-year absence. A documentary about the Hummingbirds began shooting in 1992, but while it was underway, James Walker and Beachey Thompson passed. Carl Davis stepped in and the documentary, We Love You Like a Rock, was released in 1994. The Dixie Hummingbirds—Ira Tucker, Paul Owens, Carl Davis, and Howard Carroll—toured internationally. They marked their seventieth anniversary with the album Music in the Air, featuring musical guests Shirley Caesar, Isaac Hayes, Wynona Judd, Mavis Staples, Deniece Williams, Vickie Winans, Bobby Womack, Paul Simon, and Stevie Wonder. They performed with Simon and Wonder on NBC’s The Late Show with David Letterman. The Hummingbirds were inducted into the Gospel Music and Vocal Group Halls of Fame and named National Heritage Fellows. Leading up to their seventy-fifth anniversary, they questioned continuing and in what form.
8
Nosow, Robert. "Du Fay and the Cultures of Renaissance Florence." In Hearing The Motet, 104–21. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097092.003.0007.
Full textAbstract:
Abstract As with other Italian cities during the Quattrocento, the fortunes of poly phonic music in Florence tended to wax and wane with the circumstances of patronage, the changing interests of the political and intellectual elites. Al though the palimpsest manuscript Archivio Capitolare di San Lorenzo 2211, compiled ca. 1418-21, testifies to continued Florentine traditions of song and motet, by the following decade these traditions, as nearly as we can determine, had become moribund. The musical life of Renaissance Florence took a decided tum in June 1434 with the arrival of Pope Eugenius IV and the entire papal Curia, seeking refuge from the unsafe precincts of Rome. The papal chapel was dominated by a group of singers from France and the regions of Burgundy, especially Liege and Cambrai, a circumstance that could not but attract the attention of the newly installed Medici party in Florence.
9
Toff, Nancy. "Performance." In The Flute Book, 161–77. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195105025.003.0012.
Full textAbstract:
Abstract The satisfaction of playing chamber music with friends, and for one’s own pleasure, is undeniable. Ultimately, however, you will want to perform in public, for music is also a spectator (or auditor) activity. The opportunites are many and varied. As a soloist, the first step is to participate in a joint recital. Most music schools and many private teachers hold these regularly. They help students gain confidence and experience in performing for an audience, and they provide experience in playing with accompaniment. They also serve as a reward for a semester or year of hard work, and they enable the participants to judge their progress against that of their peers. For this last reason, larger schools or studios often group students by age or level of ability in order not to discourage or embarrass the less advanced players.
10
Musib, Ahmad Faudzi. "The Annah Rais Pratuokng and the Practical Appearance of Re-invented Musical Instruments." In Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz, 91–112. Logos Verlag Berlin, 2021. http://dx.doi.org/10.30819/5319.07.
Full textAbstract:
The Annah Rais pratuokng is a traditional musical instrument of the Bidayuh. It is also known as a simple idiochord chordophone. It is made of a petung bamboo, and the sound faculty is equivalent to the functions of the Bidayuh community gong set. The sound radiator meaning is made up of tawak, satuk and canang. A similar tube zither made of bamboo, named pretong or sretong, is used by the Bidayuh of Bau. The three-string sound radiators are kromong, canang, gong, plus the tawak and gedabak. Pratuokng sound radiators are like the gongs of the Bidayuh. According to Horsbourgh's observation, "... gongs... are both a musical instrument and a representation of wealth”2. The Annah Rais Bidayuh gong set, privately owned by the villagers, can be typically played every year for ritual practice as well as for entertainment during the Gawai celebration on the first and second June. The audio collection of the Ethnology Section of the Sarawak Museum provides similar recordings from other occasions than played duringGawai Panggah. Also, some groups’ celebrations among the Bidayuh Biata, Bidayuh Selakau, and Lara, Bidayuh Lara were recorded. Few recordings were collected in Annah Rais between 1988 and 1998, which still maintain the same settings as those recorded in Kupuo Saba of Annah Rais to this date. In the context of the use of gongs during celebrations, the representations of gong tones can also be found on a pratuokng. One point of debate in the literature about tube zithers is, whether the voice functions found in the gong collection mimic the string voices found on the pratuokng or the other way round. Does this fact serve as a featured phenomenon to the actual appearance of re-invented musical instruments? Does it contribute to its sustainable appearance today?
Conference papers on the topic "Jude (Musical group)"
1
Jaśkiewicz, Marta, Piotr Francuz, and Emilia Zabielska-Mendyk. "The Effect of Music Harmonics and Level of Expertise on Aesthetic Judgment of Music: An ERP Study." In Applied Human Factors and Ergonomics Conference. AHFE International, 2020. http://dx.doi.org/10.54941/ahfe100383.
Full textAbstract:
The aim of our study was to investigate the influence of harmonic violation on aesthetic judgment of music in music experts and naives. Two groups took part in experiment: music experts (14 subjects, 8 female) and naives (13 subjects, 7 female). Music experts were graduates and undergraduates of music school, played musical instruments or educated in the field of singing from an average of 9.79 years. The group of naive did not have any special musical education besides normal school education. Participants were asked to listen the stimuli and judge whether each of them sounds beautiful (when the beauty judgment task was required) or correct (when the correctness judgment task was required). We used excerpts of five Bach’s chorales as a stimuli. Each of the excerpt was modified in order to obtain three versions of one excerpt differing only in one chord. This chord (‘target’) sounded: congruous, ambiguous or incongruous to harmonic context of the piece. Several differences in event-related potential (ERP) parameters were observed in aesthetic processing of music. The findings of our study showed that an affective aspect of music processing is reflected by LPP – Late Positive Potential. This effect differ in respect of degree of harmonic violation indicating that the incongruous chords enhanced the higher amplitudes. What is more, there was significant difference between two judgments (aesthetic or correctness) showing that the LPP is sensitive on task manipulation. Higher amplitudes for beauty judgment task than for correctness judgment task indicted that aesthetic evaluation is perceived as an affective task. However, our study did not confirm the influence of music expertise on affective aspect of music aesthetic processing. All our results are discussed in the context of previous studies.
2
Bolya, Mátyás. "A digitális gyűjtésrekonstrukció lehetőségei: az Ethiofolk projekt." In Networkshop. HUNGARNET Egyesület, 2023. http://dx.doi.org/10.31915/nws.2023.15.
Full textAbstract:
In June, 1965, two young researchers arrived in Addis Ababa at the invitation of Emperor Haile Selassie. The purpose of György Martin (folk dance researcher) and Bálint Sárosi’s (folk music researcher) journey was to examine and explore traditional Ethiopian folklore. They were members of the Folk Music Research Group of the Hungarian Academy of Sciences, whose head was Kodály at that time. From their home institution they had received internationally renowned knowledge and expertise in folk music research, thus they wished to be among the first to explore Ethiopian folklore. Thus, one of the most exciting and productive expeditions of Hungarian folklore research to Africa began. As virtually nothing was available about Ethiopian folklore in Hungary at that time, their journey amounted to an academic leap of faith. At the beginning they had no idea of the richness of the archaic dance and music culture that they would encounter. Without any knowledge of the place and the material that awaited them in Ethiopia, their only support were the 70 years of experience crystalized in the methodology of Hungarian folk music research and the tools of contemporary documentation. While, some cultural exchange between the two countries followed their journey to Ethiopia for a few years, the collection’s material slowly became forgotten. During their journey they kept detailed notes and records, but also made audio and video recordings, photographs, and bought instruments. They returned home all together with approximately 3200 meters of silent video recordings, 30 strips of audio tape and 1000 photographs. Processing the Ethiopian collection meant a new challenge for the team, since the collection itself took place more than five decades ago. We had to learn and understand a methodology that relied on the technology of the time and transfer it to a modern software environment. After digitalization we created a data structure and based on the available records and notes we made a full-scale collection reconstruction, fine-tuning the data and creating cross-references. Thus, we got a meta-data structure that could be placed to the software environment, developed by the Polyphony Project, which is capable of fulfilling online publication purposes as well as assisting research. Behind the scenes of a website that is accessible to everybody, there is a diverse database system that complies with the most rigorous of scientific standards and handles significantly more considerations that what is visible from the displayed elements. How much more is a digital reconstruction of fieldwork than the digitization of analog material? How can the information that can be extracted be maximized five decades later? How can all this be linked to a digital archive concept? The article will seek answers to these questions.