Academic literature on the topic 'M-Base Collective (Musical group)'
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Journal articles on the topic "M-Base Collective (Musical group)"
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Prettyman, Michele. "Doing It, Fluid." liquid blackness 6, no. 1 (April 1, 2022): 168–203. http://dx.doi.org/10.1215/26923874-9546612.
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Abstract In this interview essay Michele Prettyman talks with filmmaker, moving image artist, curator, and producer Elissa Blount Moorhead about her work, the power of collaboration, and her innovative praxis. Taking some inspiration from black musical traditions, which are central to Blount Moorhead's roots, Prettyman borrows the essay's title phrasing, “Doing It, Fluid,” from a song by the group the Blackbyrds. The song's aggregation of an array of sonic components embodies the capacities of black expressive life to animate multiple creative impulses at once, providing a compelling analogy to Blount Moorhead's “fluid” practices of black making, gathering, and collaboration. The introductory essay outlines ways in which fluidity is useful both as an analytic and as an approach to studying Blount Moorhead's work, which often reveals unseen nuances in Black life by visually reconstituting images, artifacts, memories, and speculative histories. Prettyman also explores Blount Moorhead's role in shaping an art and moving image collective of Black media makers in Baltimore, coining the phrase “the Baltimore Arts and Image Renaissance (BAIR),” and citing Baltimore as an important base for Blount Moorhead, Bradford Young, and filmmaker Radha Blank, among others, and as a hub for TNEG, a film production studio helmed by Blount Moorhead, Malik Hassan Sayeed, and Arthur Jafa. Together the essay and interview reveal the impact of Blount Moorhead's praxis and the ways in which contemporary Black filmmakers remain connected to histories of Black creative collectives while also reimagining black aesthetic and technological possibilities.
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Einarsdottir, Sigrun Lilja. "‘Leaders,’ ‘followers’ and collective group support in learning ‘art music’ in an amateur composer-oriented Bach Choir." British Journal of Music Education 31, no. 3 (August 14, 2014): 281–96. http://dx.doi.org/10.1017/s0265051714000242.
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The purpose of this paper is to demonstrate how amateur choral singers experience collective group support as a method of learning ‘art music’ choral work. Findings are derived from a grounded-theory based, socio-musical case study of an amateur ‘art music’ Bach Choir, in the process of rehearsing and performing the Mass in B Minor by J.S. Bach. Data collection consisted of participant observation, qualitative interviews and a paper-based survey. Findings indicate that in the process of learning a challenging choral work, participants use peer-learning as support and form supportive groups within each voice part, with ‘informal leaders’ supporting others (‘followers’) who are performing the work for the first time. On the other hand, performing a challenging work can also seem ‘intimidating’ for those less experienced singers. Findings also indicate that whereas followers (and the conductor) benefit from this group support, ‘leaders’ may experience a certain lack of musical challenge.
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Malakhova, Margaryta. "STUDENT’S FOLK MUSIC BAND: TECHNOLOGY OF GROUP INTERPRETATION OF MUSICAL COMPOSITION." Educological discourse, no. 3-4 (2019): 100–109. http://dx.doi.org/10.28925/2312-5829.2019.3-4.100109.
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The article deals with the problem of collaboration and group interaction during the production of a musical composition. The terms “music band”, “pedagogic technology” and “interpretation” are revealed. Based on author’s experience, the technological dimensions in the activity of student’s folk music band are shown. These dimensions are aimed at performance of musical compositions during collective interactions. According to this problem the four main stages are market out, such as familiarization with a musical composition, technical mastering, realization of artistic content and music performance. It is stressed, that performance interpretation covers all possibilities of musician. Thus for the sake of realization owns ideas it is necessary to have professional skills. Among them we point out creative thinking, performance skills, including ensemble mastering, possibilities, specifically good ear for music, and psychological stability, i.e. the high level of self-regulation during public performances. The main part of the article shows theoretical grounds, methodological recommendation and practical advice as for formation of collective thinking and common masterly performance. It is stressed, that necessary condition of good activity of student group is implementation of methods and tasks directed at development of creative individuality of every folk music band member, improvement of masterly performance and increasing of psychological stability during the performances. It is pointed out that team work during permanent cooperation creates band performance style and makes the conditions for generalization of masterly performance and development of creative potential, intuition and artistic feeling
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Heil, Leila. "Teaching Improvisation through Melody and Blues-Based Harmony: A Comprehensive and Sequential Approach." Music Educators Journal 104, no. 1 (September 2017): 40–46. http://dx.doi.org/10.1177/0027432117711484.
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This article describes a sequential approach to improvisation teaching that can be used with students at various age and ability levels by any educator, regardless of improvisation experience. The 2014 National Core Music Standards include improvisation as a central component in musical learning and promote instructional approaches that are contextual, integrate musical concepts, and facilitate group interaction. The described approach focuses on the how and the why of improvisation instruction, offering a pedagogical guide through the teaching process using concepts of melody, harmony, rhythm, texture, and formal structure. Rather than a collection of isolated activities, the sequence builds on skills and concepts that are applied in authentic and meaningful group interactions. Examples are based on the blues and teaching techniques commonly used by jazz educators that can be adapted to any musical genre.
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Kim, Jin Hyun, Andres Reifgerst, and Marta Rizzonelli. "Musical Social Entrainment." Music & Science 2 (January 1, 2019): 205920431984899. http://dx.doi.org/10.1177/2059204319848991.
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Over the last decade, the concept of entrainment—emerging from the fields of physics and biology—has grown as a tool for investigating rhythmic adjustments among musicians, and between different groups of musicians. When combined with methods of audio data analysis, this approach has benefits for the assessment of musical behavior, previously limited to largely descriptive ethnomusicological research based on ethnographic data collected through field study. However, musical behavior is not only biophysically determined, but also a highly social activity. Therefore, this article focuses on “social entrainment”—a concept coined by the social scientists Joseph E. McGrath and Janice R. Kelly in 1986 which recently has been taken up in music research. Relating this concept to certain approaches in relevant current empirical studies on interpersonal coordination, the authors develop their own categories of social behavior, which are broader than those of social entrainment but can accordingly be applied to the social entrainment that may occur in musical practices. These categories range from basic behaviors that do not involve social cognition but are meaningful to interacting individuals and groups, to high-order social behaviors that require collective intentionality and can lead to sophisticated interaction involving music-specific phenomena such as a “groove.” Consequently, a concept of entrainment which goes beyond both an adaptation of the established concept of physical and biological entrainment and McGrath and Kelly’s original concept of social entrainment is proposed: “musical social entrainment.” The authors use this term to refer to intra-individual, inter-individual, intra-group, and inter-group entrainment to exogenous musical rhythms—including the rhythms of other musically acting individuals and groups—embedded in a social context and contributing to sociality. Finally, reviewing selected studies relevant to musical social entrainment, the authors discuss problems and open questions concerning music-related entrainment research, and potential contributions in the future of entrainment studies in general.
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Soares-Quadros Júnior, João Fortunato, Oswaldo Lorenzo, Lucía Herrera, and Naiara Sales Araújo Santos. "Gender and religion as factors of individual differences in musical preference." Musicae Scientiae 23, no. 4 (May 14, 2018): 525–39. http://dx.doi.org/10.1177/1029864918774834.
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The goal of this article is to analyse the musical preferences of Brazilian students by considering the variables of gender and religion. Using random sampling, a class was selected from each high school year group of 10 public schools in the city of São Luís (Brazil).The total study sample consisted of 658 students: 358 females (54.4%) and 300 males (45.6%). Of these, 343 (52.1%) were Protestants and 315 (47.9%) were Catholics, and their ages ranged from 14 to 19 years ( M = 16.24 years old, SD = 1.14). For the data collection, a version of the Questionnaire on Musical Style Preferences by Lorenzo, Herrera, and Cremades (2008) was used; however, it was shortened and culturally adapted to the Brazilian context. The participants were asked to evaluate how often they listened to 19 different styles of music. The overall results indicated that the participants’ musical preferences were heavily influenced by mass media. However, ANOVA results indicated significant differences and a variety of size effects in the frequency of musical listening based on gender and religion. Females had a greater preference for styles with emotional content, dance music and music with a strong connection to mass culture, while males preferred more vigorous styles. Regarding religion, Protestants had a stronger preference for gospel music, while Catholic preferences were more diverse.
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Aranda, Luis del Barrio. "La Creatividad Como Herramienta Didáctica En El Desarrollo Educativo Musical En Educación Primaria." European Scientific Journal, ESJ 13, no. 10 (April 30, 2017): 353. http://dx.doi.org/10.19044/esj.2017.v13n10p353.
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This research shows a case study based on the analysis of an educational proposal focused on musical creative practice developed with 26 students in a class group of 4th year of primary education in a school year. The work was based on the musical teaching-learning process, the study of their contribution to the achievement of the set of curricular musical competences and the improvement of the student work in different contexts of learning with varying degrees of autonomy. The qualitative nature of this educational research has pointed out the use of numerous instruments for collecting information, whose triangulation has facilitated the interpretation of the results. The understanding of musical knowledge in selfexperimentation and the active dimension of the educational proposal have stimulated the familiarization of students with the musical activity as a way of autodidaxia creative activity.
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Sari, Ari Patma, Dwi Prasetiyawati Diyah Hariyanti, and Purwadi Purwadi. "ANALISIS KECERDASAN MUSIKAL ANAK USIA DINI DENGAN BERMAIN ALAT MUSIK ANGKLUNG DI KELOMPOK B." Wawasan Pendidikan 1, no. 2 (August 30, 2021): 225–33. http://dx.doi.org/10.26877/wp.v1i2.8839.
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Musical intelligence is musical intelligence which is characterized by a person's ability in the field of music, both sensitivity and mastery of tones, rhythms, rhythm patterns, instruments, and musical expressions, so that a person can play musical instruments or sing songs. This study aims to analyze the musical intelligence of early childhood with angklung musical instruments in Hidayatullah Islamic Kindergarten Semarang. The benefit of this research is knowing how to apply the angklung musical instrument correctly so that it can develop children's musical intelligence. The method used is descriptive qualitative research with data collection methods, namely observation, interviews, and documentation. Based on the results of research that has been done that the activity of playing angklung musical instruments can play an active role in stimulating children's musical intelligence. This can be seen when playing angklung musical instruments, children have skills in playing angklung musical instruments, the ability to adjust the tempo, adjust the tone, adjust the rhythm/rhythm, and the ability to sing short songs with the right rhythm. The results of the study showed that the musical intelligence of children in group B of Hidayatullah Islamic Kindergarten Semarang through playing the angklung musical instrument developed as expected.
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Lima, Daiane, Simone Regaçone, Anna Oliveira, Yara Alcântara, Eduardo Chagas, and Ana Frizzo. "Analysis of the Effect of Musical Stimulation on Cortical Auditory Evoked Potentials." International Archives of Otorhinolaryngology 23, no. 01 (July 25, 2018): 031–35. http://dx.doi.org/10.1055/s-0038-1651507.
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Introduction Cortical auditory evoked potentials (CAEPs) are bioelectric responses that occur from acoustic stimulations, and they assess the functionality of the central auditory system. Objective The objective of the present study was to analyze the effect of musical stimulation on CAEPs. Methods The sample consisted of 42 healthy female subjects, aged between 18 and 24 years, divided into two groups – G1: without musical stimulation prior to the CAEP examination; and G2: with stimulation prior to the examination. In both groups, as a pre-collection procedure, the complete basic audiological evaluation was performed. For the musical stimulation performed in G2, we used an MP4 player programmed to play Pachelbel's “Canon in D Major” for five minutes prior to the CAEP examination. To analyze the effect on the groups, the ear side and the ide–group interaction , a mixed analysis of variance (ANOVA) of repeated measures was performed. Box M test and Mauchly sphericity test were also performed. Results Test differences were considered statistically significant when the p-value was < 0.05 (5%). Thus, it was possible to observe that there was a statistically significant difference of the P2 component characterized by the decrease in the amplitude of response in the left ear in G2 when comparing the responses of CAEP with and without prior musical stimulation. Conclusion The result of the present study enabled us to conclude that there was a change in the response of CAEPs with musical stimulation.
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Ray, James, and Karin S. Hendricks. "Collective Efficacy Belief, Within-Group Agreement, and Performance Quality Among Instrumental Chamber Ensembles." Journal of Research in Music Education 66, no. 4 (October 19, 2018): 449–64. http://dx.doi.org/10.1177/0022429418805090.
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We examined collective efficacy beliefs, including levels of within-group agreement and correlation with performance quality, of instrumental chamber ensembles (70 musicians, representing 18 ensembles). Participants were drawn from collegiate programs and intensive summer music festivals located in the northwestern and western regions of the United States. Individuals completed a five-item survey gauging confidence in their group’s performance abilities; each ensemble’s aggregated results represented its collective efficacy score. Ensembles provided a video-recorded performance excerpt that was rated by a panel of four string specialists. Analyses revealed moderately strong levels of collective efficacy belief and uniformly high within-group agreement. There was a significant, moderately strong correlation between collective efficacy belief and within-group agreement ( rs = .67, p < .01). We found no relationship between collective efficacy belief and performance quality across the total sample, but those factors correlated significantly for festival-based ensembles ( rs = .82, p < .05). Reliability estimates suggest that our collective efficacy survey may be suitable for use with string chamber ensembles. Correlational findings provide partial support for the theorized link between efficacy belief and performance quality in chamber music settings, suggesting the importance for music educators to ensure that positive efficacy beliefs become well founded through quality instruction.
Books on the topic "M-Base Collective (Musical group)"
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Doellgast, Virginia, Nathan Lillie, and Valeria Pulignano, eds. Reconstructing Solidarity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198791843.001.0001.
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Reconstructing Solidarity is a book about unions’ struggles against the expansion of precarious work in Europe, and the implications of these struggles for worker solidarity and institutional change. The authors argue against the ‘dualization’ thesis that unions act primarily to protect labour market insiders at the expense of outsiders, finding instead that most unions attempt to organize and represent precarious workers. They explain differences in union success in terms of how they build, or fail to build, inclusive worker solidarity, in countries or industries with more or less inclusive institutions. Where unions can limit employers’ ability to ‘exit’ from labour market institutions and collective agreements and build solidarity across different groups of workers, this results in a virtuous circle, establishing union control over the labour market. Where they fail to do so, it sets in motion a vicious circle of expanding precarity based on institutional evasion by employers. The book builds its argument on comparative case studies from Belgium, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Italy, Poland, Slovenia, Sweden, and the United Kingdom. Contributors describe the struggles of workers and unions in diverse industries such as local government, music, metalworking, chemicals, meatpacking, and logistics.
Book chapters on the topic "M-Base Collective (Musical group)"
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Eidsaa, Randi Margrethe, and Mariam Kharatyan. "10. Rethinking Music Performance Education through the Lens of Today’s Society." In Teaching Music Performance in Higher Education, 251–70. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.13.
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This chapter aims to provide insights into the perspectives that arose from the data collection and analysis carried out by the Norwegian team of the Erasmus+ project REACT - Rethinking Music Performance in European Higher Education Music Institutions. The data was collected through a series of small-scale studies, including REACT - network activity at the University of Agder and the Academy of Music in Oslo, and an analysis of reports following the participation of a group of fourteen music performance students in a creative ensemble project at the University of Agder. We also refer to a small curriculum study conducted at the University of Agder. The study addressed some of the educational demands that emerged from extensive international research on music performance curricula and pedagogy in Higher Music Education during the early, mid, and late 2010s. The chapter highlights novel approaches to music performance, including community-based perspectives, creative ensemble collaborations, and improvisation in students' music education. These approaches aim to address the challenges that students face when pursuing professional careers in music today. The discussion sheds light on the ways in which music education curricula can be strengthened to support students entering their professional music careers and to broaden their musical thinking, thus preparing them to become contributors in society. The chapter references the small-scale research project Music for Microsculptures, an interdisciplinary student concert that reflects the results of data analysis and aspects often commented on in research on music performance curricula in Higher Education.
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Ponchione-Bailey, Cayenna, and Eric F. Clarke. "Technologies for investigating large ensemble performance." In Together in Music, 119–28. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860761.003.0015.
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Empirical research into large ensemble performance has crossed many disciplinary boundaries from music education to management studies, and has included the investigation of musicians’ interpersonal coordination and communication, group creativity and decision-making, conductors’ gestures, group musical expression, the social organization of large groups and their leadership, audience perceptions of performances, the individual and social benefits of participation, and rehearsal practices. However, there are still relatively few empirical studies of large ensemble performance, due to the social and practical factors that make it challenging to collect research data from large numbers of people engaged in a complex musical activity. Technological developments have increasingly expanded the research methods available to include sophisticated audio capture and analysis, web-based video-stimulated recall, and motion capture. This chapter discusses the challenges faced by researchers investigating large ensembles and describes some of the technological solutions that are opening up new avenues for data collection and analysis.
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Williams, James. "Collaborative composition and performance in arts and health workshops." In Together in Music, 261–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860761.003.0033.
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The “Collective Music-Making as Social Interaction” (CMSI) study was conducted at Vic University, Catalonia. The project was a music-based arts and health workshop, featuring as part of the University’s Art as a Tool for Social Transformation program, aimed to explore how music and the design of bespoke notation can be used in groups to support social interaction among participants. Findings identified within the experiences of participants included discovery, expression, perception, recognition, imagination, communication, cohesiveness, confidence, and self-esteem. The project reveals how a creative, collaborative process can demonstrate a group’s capacity to learn new ways of socially interacting and communicating. The study also shows how the collective product (both composition and ensemble performance) is representative of such social interaction. It is suggested that designing musical notation in collective workshops can facilitate healthy engagement between individuals, proposing extensions of the model for use with arts on prescription and social prescribing service users.
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Blackburn, Alana. "The impact of group identity on the social dynamics and sustainability of chamber music ensembles." In Together in Music, 71–76. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860761.003.0009.
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Group identity is viewed as a way to distinguish one group from another. In a competitive, ever-changing environment, group identity is considered increasingly important for a musical ensemble in terms of developing a niche, gaining audience attention, and creating a successful performing team. Thirty professional chamber musicians from “unconventional” or “non-traditional” ensembles were individually interviewed about their personal experiences working within this environment. Results show that group identity emerges in two main ways: members sharing similar characteristics, goals, and objectives, often based on repertoire choice and programming; and the sound or musical aesthetic developed through an interpretation of repertoire, instrumental combination, and the collective skills and knowledge of the musicians. This case study highlights the need for a constant vision and aesthetic concept throughout the lifetime of the ensemble in order for it to be sustainable, yet having to evolve and adapt to changing environmental factors and external influences.
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McGraw, Andrew. "Holy Cross Monastery." In Music as Ethics, 29—C2.P104. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197654880.003.0003.
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Abstract The monks at Holy Cross Abbey in Berryville, Virginia, follow an ethical system that is based on the Rule of Saint Benedict. By exercising the situated reasoning demanded by Benedict’s complex “rule,” the monks can apply what they have learned through listening and singing together in the practice of everyday life. Their experience of music as ethics guides the monks to understand their singing as a collective offering to God and as diagnostic of the health of their relationships. Through a continual feedback loop, the virtues of listening and interdependence honed within their sonic practices help shape the ethical life of their community. In this context, singing is a form of collective prayer that can make the individual monk receptive to the gift of grace. When they can overcome musical and social challenges, they may discover that, as a group, they can reach a depth of prayer that they are unable to realize as individuals.
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Gacek, Gabriela. "Kliszczacka muzyka. O współczesnej sprawczości dawnych ludoznawczych etykiet." In Kliszczacy – gwara i kultura, 147–65. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381387187.06.
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KLISZCZAK MUSIC: ON CURRENT AGENCY OF EARLY ETHNOGRAPHIC LABELS Kliszczak Gorals are among the least known and most understudied Polish Goral communities. Research into the musical traditions of the areas they inhabit is even more modest. In the article, an attempt is made to determine whether the distinctiveness of this ethnographic group – established by 19th-century ethnographers based on an artifact of material culture, namely a characteristic detail on the trousers of male folk costume – has also ever manifested itself in music. I rely on my own field research, conducted in the years 2010–2017, mainly among organizers of folk culture, singers, folk music bands and regional music bands in the Kliszczak area, which I in accordance with ethnographic literature, as well as the sense of regional identity of my informants. An important aim of the article is to answer the question of how to define Kliszczak music, the Kliszczak repertoire, the limits of the Kliszczak area, the very term “Kliszczak Gorals”, and how these definitions relate to historical sources, such as Oskar Kolberg’s observations in Góry i Podgórze [The Moutains and the Foothills] parts I and II, published as two volumes of his Dzieła Wszystkie [Complete Works], manuscripts and typescripts from the collection of the Seweryn Udziela Ethnographic Museum in Kraków and recordings and minutes from the Nationwide Fieldwork Collection of Musical Folklore stored at the Institute of Art of the Polish Academy of Sciences in Warsaw.
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Voloshchuk, Yurii, and Petro Krul. "GENESIS AND DEVELOPMENT OF AEROPHONES AND CHORDOPHONES GROUPS IN THE MUSICAL CULTURE OF UKRAINE." In Traditions and new scientific strategies in the context of global transformation of society. Publishing House “Baltija Publishing”, 2024. http://dx.doi.org/10.30525/978-9934-26-406-1-16.
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Wind and string instruments belong to the oldest types of musical instruments. They emerged as a result of a complex development process of aerophones and chordophones. This became possible due to the general development of musical culture, changes in social conditions, and the increasing complexity of tasks faced by composers and musicians. The subject of our research is the genesis and development of groups of aerophones and chordophones in Ukrainian musical culture. The aim of the scientific inquiry is to study the evolutionary processes in the formation of wind and string instruments in the territories of Ukraine from ancient to the present times. During the preparation of the monograph chapter, general scientific and specialized approaches and methods were used: collection and processing of information regarding the evolutionary development of orchestral instruments, historical approach and within this one the historical-chronological method, method of comparative analysis, and socio-cultural approach. The research methodology is based on the comprehensive combination of the following methods: analytical – in the study of scientific and methodological literature; organological – in the analysis of the features of the construction of string and wind instruments; comparative – in the analysis of performance techniques on instruments in different historical periods; historical – in revealing the influence of historical factors on the formation of aerophones and chordophones in the musical culture of Ukraine.The conclusions drawn from the conducted research can be summarized as follows: Summarizing the lengthy and complex process of evolution of folk and classical violin models in Ukraine.It can be concluded that the violin in its classical form gained wide popularity in Ukraine during the 15th-16th centuries due to close trade and cultural ties with Western Europe. Professional Ukrainian craftsmen engaged in the production of string instruments adhered to the traditions and canons of European schools, primarily Italian and Polish.A significant factor in the development of the professional violin school in Ukraine was the ancient and strong traditions of making string instruments in the work of folk masters. Folk violins in different regions were made according to local traditions and very often with violations of basic classical canons, namely: instability of canonical violin parameters; giving the contour of the violin and its details of their own forms; decorative ornamentation of the body and other parts of the instrument. However, a significant number of such masters contributed to the development of folklore performance in the territories of Ukraine, the formation of ensembles (trio music), and folk music orchestras, which undoubtedly influenced the development of professional instrumental performance.Alongside the violin, other instruments of the string group of chordophones were actively developing in Ukraine: cello (bass), double bass, lyre (lyre bass). They were involved in folk-instrumental ensembles (primarily the "trio music") and orchestras, but during the 18th-19th centuries – in professional collectives.The multifaceted evolution of aerophones in folk-instrumental sphere actively contributed to the formation, alongside ensemble and orchestral, also of solo-performing style. Relying on folk singing creativity, certain performing methods were determined by the system of artistic means, forming a separate gene pool of Ukrainian wind performing school with its emotional breadth and multifacetedness. By the end of the 18th – beginning of the 19th centuries, the main tendencies of Ukrainian musical performing art were determined.Thus, for many centuries, a diverse folk musical instrumentarium existed in the territories of Ukraine. In the process of historical development of the people's musical culture, this instrumentarium underwent significant evolution. The development of wind instruments occurred through changes in pitch (invention of playing holes) and improvement of sound production mechanisms (creation of a whistle device and mouthpiece). The development of string instruments consisted of sound reinforcement, search for new timbres, and expansion of the sound range by increasing the number of strings and improving their sound quality. The conducted research does not limit all aspects of the chosen topic. The creativity of domestic masters of musical instruments, constructive features, technical and sound capabilities of modern string and wind instrumentarium were left beyond attention. These and other issues may be addressed in future scientific research.
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Seeman, Sonia Tamar. "Conclusions and Openings." In Sounding Roman, 413–26. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199949243.003.0011.
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A musical collage based on Roman song lyrics provides the framework to explore the relationship between Turkish Roman musical practices, social representation and political agency. This chapter recaps the author’s argument regarding the symbolic power of iconicity, metaphoricity, and mimesis for providing alternative possibilities, and thus empower marginalized communities. Musical innovations at the time of publication demonstrate that musicians continue to forge responsive expressions of Roman belonging through metaphoric layering that retain older elements discussed in this book with new technologies and styles. Ethnomusicological and historiographic analyses of Turkish Roman expressions reveal that forms and practices of social identities are as much relational as they are grounded in each community’s unique matrices of collective experiences. In the current era of rising nationalist politics in which Romani groups are increasingly targeted, this chapter ends with a meditation on the promises and limits of cultural expression to challenge social and political inequities.
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Wan, Huang. "SOUND OF ‘LOFI’ IN THE SUBTROPICAL AFTERNOON: OKINAWAN RYUKYU KAREN IN THE VIEW OF ART THERAPY AND WELL-BEING." In Refining versus Simplification in Transmission and Performance / Humans and their Musical Instruments as Part of Nature, 57–80. Logos Verlag Berlin, 2023. http://dx.doi.org/10.30819/5685.04.
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Ryukyu karen is a relatively new 13-string musical instrument designed by Komesu Seijiro from Okinawa in 2003. Similar to Okinawan sanlele, it hybridizes taishōgoto, Western guitar, and Okinawan sanshin, embodying Okinawan cultural spirit of ‘chanpuruu’. This paper is based on fieldworks and research that existed, in the views of ‘art therapy’ and ‘anthropology of the good’ , and argues that its soothy melody, swinging rhythm, natural soundscape, chords and prolongation sound, rich layers, and clean timbre collectively create a sense of atmosphere, which has been increasingly used in therapeutic practices in recent years. Especially, the intimacy of group musiking, the easy-to-perform, and the social space of public performance enable the disabled and elder minority, who have been exclusive from marginalization. Just like the word karen, which literally means lovely, can be interchanged with Renge (lotus), its sound is metaphorized as joy and sorrow of life with healing power beyond entertainment.
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Jackson, John A. "Wake Up Everybody” (1975)." In A House on Fire, 168–82. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195149722.003.0012.
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Abstract The Mass Defections From Philadelphia International by the talented group of musicians known collectively as MFSB were the first crack in the Gamble and Huff recording empire. (T. J. Tindall, who played guitar with both the old and the new rhythm sections, believes that neither Gamble and Huff nor Baker, Harris, and Young “were anywhere near as strong apart as they had been when we were all a unit.”) Some thirty years later, those defectors claim that the producers exploited them. Initially, those musicians’ studio session jobs for Philadelphia International were highly coveted. Besides affording the security of a steady gig, working for Gamble and Huff offered those musicians a chance to exercise their musical creativity. Gamble and Huff “just didn’t have the knowledge and the know-how to do it without the rhythm section,” claimed Earl Young. “I mean, Gamble doesn’t play any instrument. He doesn’t read any music [Huff] never really wrote music out. He just wrote the basic charts. So there was never a time that they called us in there and said, ‘This is what I want you to play.’ They really couldn’t tell us what to play.” The MFSB members “knew how to put songs together,” he added, so Gamble and Huff “would bring the singers in the studio and let them sing in front of us. And we [would] learn the songs and go over the chord charts and come up with ideas and beats and grooves.” Such was the case with Harold Melvin and the Blue Notes’ “Bad Luck,” which was created around a Ronnie Baker bass line. “Gamble and Huff just jumped all over that bass line and kind of wrote that song right around it,” claimed former Sigma engineer Jim Gallagher. “It was one of those ‘groove’ sessions where Baker goes, ‘Hey, check this out,’ [plays a bass riff], and the next thing you know, Huff is arranging that and they’ve got a track! Baker just made the song happen.”
Conference papers on the topic "M-Base Collective (Musical group)"
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Garcia, Marcos da Rosa, Gutenberg Lima Marques, Matheus Barros, and Juciane Araldi Beltrame. "Production of digital content in music teacher education: a study about podcast’s possibilities." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19448.
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This short paper presents an ongoing research that intertwines the theme of educational digital content production for the internet, specifically the audio podcast format, with the pedagogical practices developed in the context of music teacher education and emergency remote teaching. We aim at analyzing the experience of producing digital pedagogical-musical content in the podcast format by students of two Music Education Degree courses. The study uses a qualitative approach and the methodological strategy is based on concepts of action-research. The research is being developed by Technologies and Music Education Research Group (Tedum-UFPB) and by a team of professors from two federal higher education institutions. Data collection will be carried out through the development of field diaries by the research team and through conversation roundtables with the participant students, besides the entire process of documentation, registration and analysis of the phases that make up the action-research cycle. The research presented here can contribute to the processes of creation and conception of audio format content, seeking methodologies that are specific to the musical field, enhancing collective spaces for creation, valuing different authorships and encouraging pedagogical and musical diversity.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.
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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Zhang, Hui, Xinjie Liang, and Yingping Cao. "The Influence of Background Music Popularity on Consumer Online Shopping Behavior: A Model Analysis." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005414.
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With the popularity of online shopping, online e-commerce is paying more attention to the impact of sensory marketing on consumer behavior. Previous studies suggest that music plays a significant role in enhancing the online shopping experience for consumers. However, the specific patterns of consumer impulse that music induces are yet to be fully discovered. Therefore, the study aims to explore the influence of music popularity on online shopping behavior in reference to the familiarity on emotion regulation. The results can create a better auditory environment for users' shopping experience and give a guidance for merchants to choose music that fits their brand positioning.MethodThirty participants (15 females) between the ages of 19 and 33 (M = 23.8, SD = 3.2) were recruited and all had years of online shopping experience. Participants were evenly assigned to three groups(no-music group, non-pop music group, and pop music group). The task scenario of participants is to buy a pair of sports shoes, so we simulated the current mainstream e-commerce shopping website to make online shopping pages of sports shoes. We first got 50 popular and 50 non-popular songs based on popularity on the charts of various music platforms. Then 10 of each the most popular and the least popular songs were selected from each of the two groups based on user feedback. Participants were asked to browse eight goods while listening to music in a quiet indoor environment. In terms of objective data collection, eye tracker was used to record participants' browsing time, browsing track and focusing position. After that, we used a questionnaire to collect the subjective evaluation. The questionnaire mainly includes three parts: recording emotions before shopping, recording behaviors during shopping (direct purchase, add shopping cart, share and collection), and recording experiences after shopping (ranking of purchase intention, emotions and music feelings). Finally, we conducted a qualitative analysis of semi-structured interviews to improve the experimental design.ResultsA t-test of the experimental data revealed that the duration of participant browsing markedly increased when shopping with music, in comparison to shopping without music (p<0.05). Compared with non-pop music, the subjects were more familiar with pop music and listened to it for a longer time. During the experience with popular music, the emotional arousal of the participants significantly increased in the shopping context (p<0.05). More precisely, the heightened shopping excitement contributed to an elevated rate of adding items to the cart and sharing these selections.ConclusionOur research shows that music popularity significantly influences online consumer behavior. Specifically, in terms of the connection between music types and shopping experience, pop music first increases users' attention to goods. In addition, familiar music enhanced the arousal dimension of mood, thus promoting the arousal of desire to buy. These insights enhance our comprehension of the strategic use of background music in e-commerce shopping contexts. Based on the conclusions of the research, a better auditory experience can be created for users in the shopping scene in the future. In terms of business application and marketing strategy, it can also guide merchants to strategically use music to influence mood changes and promote product consumption.
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Bolya, Mátyás. "A digitális gyűjtésrekonstrukció lehetőségei: az Ethiofolk projekt." In Networkshop. HUNGARNET Egyesület, 2023. http://dx.doi.org/10.31915/nws.2023.15.
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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.