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1
Smyrnova, Tetyana. "MUSIC AND CHOIR EDUCATION IN UKRAINE XVI–XVIII СЕNTURIES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 28–32. http://dx.doi.org/10.36550/2415-7988-2021-1-195-28-32.
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The article analyzes the development of music and choral education during the Slavic Renaissance and Ukrainian Baroque. The special significance of the ideas of spirituality and the revival of Ukrainian-Slavic values of religious and folk singing is revealed in view of the absence of statehood, the decline of Orthodox musical traditions. The significance of the reformist ideas of «purification of the church» and the culture of the Enlightenment is highlighted. Positive results of the development of music and choral education on the basis of Renaissance-Baroque (Cossack) Ukrainian culture were revealed. The value of Cossack-kobzar music and choral education, regional music and choral schools, the phenomenon of Kyiv-Mohyla Academy is emphasized. The analysis of scientific sources testifies to the intensive development of music and choral education in Ukraine during the sixteenth and eighteenth centuries, which took place in difficult conditions of the liberation struggle of Ukrainians for national culture, spirituality and consciousness. The achievements of the national music and choral education of the Slavic Renaissance include the preservation of ideas and traditions of the post-Byzantine Balkan-Slavic culture of Orthodox singing (monasteries, parish schools); appeal to Roman Catholic music and choral education (Jesuit, Latin, Protestant, Uniate secondary and higher institutions); a bright revival of humanistic and educational slogans, traditions of national music and choral education, which took place taking into account European achievements (Ostroh Academy, fraternal schools). Musical and choral education of the Hetmanate (Ukrainian Baroque), despite the gradual destruction of statehood, was marked by the revival of Ukrainian culture of the Renaissance-Baroque (Cossack) type. Centers of kobzar-Cossack music and choral education and culture, regional singing schools, spiritual and singing Orthodox culture flourished (Kyiv-Mohyla Academy, monastic, hierarchical, secular city centers) flourished. Ukrainian music and choral education was glorified by the geniuses of the Ukrainian people M. Diletsky, D. Rostovsky, D. Bortnyansky, M. Berezovsky, A. Wedel, G. Skovoroda. The prospects for further research include a systematic analysis of trends in music and choral education in Ukraine in the populist period.
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Anderson, Martin. "London, Royal Academy of Music, Pēteris Vasks Piano Quartet." Tempo 58, no. 228 (April 2004): 76–77. http://dx.doi.org/10.1017/s0040298204360158.
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Latvian Independence Day, 18 November (commemorating the day 85 years ago when Latvia proclaimed its independence from Russia), was marked in London by a mini-concert in the Royal Academy of Music: a handful of Romantic songs by Emils Dārziņş, delivered in the rich bass voice of Pauls Putninş, and the first UK performance of Pēteris Vasks's Piano Quartet, composed in 2000.
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Brandão, Amélia Maria Pinto da Cunha, and Rodrigo Ferreira de Oliveira. "INTERNATIONALIZATION STRATEGIES IN MUSIC FESTIVALS." Scientific Annals of Economics and Business, Special Issue (2019): 91–112. http://dx.doi.org/10.47743/saeb-2019-0018.
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The internationalization of music festivals is a very recent and very complex process – due to the subjectivity of the theme – that encompasses the areas of management, internationalization, and culture, and has intensified in recent years. This paper investigates the ways in which music festivals are currently internationalized and the internal processes prior to this decision. Its primary objective is to identify the main strategies of internationalization used by companies owning cultural goods, such as music festivals. Another goal is to fill an academic gap between internationalization theories and cultural management, contributing with the compilation and description of the main techniques employed by the market through a qualitative approach to the methodology and content analysis on decision-makers’ interviews. The results can confirm the internationalization model mostly used by the sector, which prefers a phased method. Main entry strategies, territory-choosing process, and motivations and reasons behind this process are also investigated.
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Capistrano, Erik Paolo. "Understanding Filipino Korean Pop Music Fans." Asian Journal of Social Science 47, no. 1 (March 12, 2019): 59–87. http://dx.doi.org/10.1163/15685314-04701004.
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Abstract Hallyu’s success has caught the attention of academic research of various fields of expertise. This research endeavours to understand what makes Korean Pop music popular to Filipinos, addressing two research gaps: the lack of empirical management discourse, and the lack of focus on the Philippine KPop market. This research employs a theoretical model derived from an academic and practical product development and consumer behaviour discourse. Data collected from 932 Filipino respondents was subjected to several statistical tests, including exploratory factor analysis (EFA), hierarchical regression, and analysis of variance (ANOVA). The results suggest that Filipino KPop fans are more concerned about the external environment that influences what is popular, rather than what looks and sounds good. Furthermore, KPop fan behaviour homogeneously cuts across age, gender, and backgrounds. This presents several useful theoretical and managerial implications enhancing the overall picture of KPop’s international impact.
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Walkusz, Marta. "Kolekcja muzyczna Kazimierza Czekotowskiego (1901-1972) w zbiorach Biblioteki Głównej Akademii Muzycznej im. Stanisława Moniuszki w Gdańsku." Z Badań nad Książką i Księgozbiorami Historycznymi 11 (December 29, 2017): 277–97. http://dx.doi.org/10.33077/uw.25448730.zbkh.2017.39.
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The Main Library of Stanisław Moniuszko Academy of Music in Gdansk gathers and stores many collections submitted by different people, especially by the pedagogues of the Academy. One of them is a collection of notes used in artistic work and maybe in vocal teaching by the outstanding Polish singer Kazimierz Czekotowski. The article describes the contents of the collection, particularly the items concerning composers and publishers. The most interesting are hand-written dedications, because, in many cases, it’s the only one document confirming artistic contacts between a composer and a performer. It also enables determining the date of composing and the first performance of the work or – indirectly – help identify publication dates. Secondly, it is drawn up a list of publishers present in these collection, which is a contribution to the characteristics of the situation of the Polish music publishing market… (time limits due to publication dates of the items from the Czekotowski collection).
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ČIERNA, ALENA. "ELECTROACOUSTIC MUSIC AND THE SLOVAK MUSICAL AVANT-GARDE IN THE 1960S." AD ALTA: 11/01 11, no. 1 (June 30, 2021): 59–64. http://dx.doi.org/10.33543/11015964.
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In the 1960s, the development of music in Slovakia was marked by prominent generational and stylistic confrontations of the compositional poetries of the previous generations of composers and the just emerging one. In the composers’ community, an initiative was gaining a foothold that reassessed the practices, norms, and achievements of the previous developmental stages of Slovak music and looked for new points of departure. In certain stages of the given period, the first graduates of the Academy of Performing Arts (Ilja Zeljenka, Juraj Pospíšil, Pavol Šimai, Ladislav Kupkovič, Peter Kolman, Roman Berger, Jozef Malovec, Miroslav Bázlik, Ivan Parík, Tadeáš Salva, and others) entered the musical scene. The genesis and the formation of the Slovak musical avant-garde in the 1960s was determined by their quest for the novel possibilities of expression and the compositional techniques of the so-called New Music of Western Europe. They included experimenting with previously unknown electrogenic compositional materials and techniques of electroacoustic music. Slovak electroacoustic music, which achieved success in Slovakia and abroad already in the 1960s, emerged first on a private basis, later in the Sound Studio of the Czechoslovak Television, and, primarily, in the Experimental Studio of the Czechoslovak Radio.
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Kostiuk, E. V. "Mass music as a cultural phenomenon of the XX century." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 63–67. http://dx.doi.org/10.30725/2619-0303-2020-3-63-67.
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The article considers mass music as a socio-artistic phenomenon in the culture of the XX century. The article covers the issues of socio-cultural and technological factors that contributed to the development of music as a mass phenomenon in the XX century. The phenomenon of mass music is interpreted in comparison with the elite, academic direction in music, and the features of the social customer are studied. Evaluation of mass music as an artistic and social phenomenon leads to the conclusion that entertainment, as its main function, has a number of features over the course of the century: from the emphasized relaxation dance in the modern era to the concept of play, outrage, and theatricality in the postmodern era. Analyzes the characteristics of mass music as «product of the era of consumption» in the modern art market, which has a «life cycle», and in the conditions of the competition task creators, it is not the embodiment of values and meanings, and their use for the long-term profi t. The article also explores the aspects of musical and artistic specifi city of the considered direction
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Verbitsky, Sergey A. "Approaches towards studying cultural industries and the analysis of their applicability within the reality of modern Russian culture." VESTNIK INSTITUTA SOTZIOLOGII 11, no. 3 (2020): 155–78. http://dx.doi.org/10.19181/vis.2020.11.3.668.
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This article features an overview of the common approaches towards studying cultural industries in general and music industries in particular, while describing means of developing “research design” (choosing theoretical perspective, posing research question and selecting methodological toolset), which are currently quite prevalent in culture study and sociology. The author examines the current main trends when it comes to researching cultural industries: the “cultural production perspective”, viewing cultural production as a combination of “creative clusters”, as well as an approach which sees collaborative networks as the primary actors in the cultural industry. The separately examined approaches towards studying cultural production in the music industry are as follows: examining the influence of market structure on consumer behavior, studying collaborative networks in music, studying the political dimension of music production, and finally communication between various levels of decision making within music industries. Also the article analyzes the most commonly used objects for criticism in a variety of theoretical-methodological approaches. The author evaluates the applicability of those methods utilized by sociology for studying musical and cultural production within the Russian music industry: social network analysis, qualitative and quantitative content-analysis, secondary analysis of statistical data, as well as in-depth and expert interview. Also the limitations of using the aforementioned methods when it comes to researching Russia’s musical-cultural industry are demonstrated. The analysis is summed up with a conclusion on these methods being highly applicable in further academic research within the field in question. Given the macro-economic development of the field of producing and consuming music in Russia, together with the complete digitization of these processes, the author assumes that the research of cultural and music industries is a rather promising prospect. The rate at which Russian musical and other cultural industries are currently undergoing transformation lead us to the conclusion that this could be a potentially relevant line of study in the realm of journalism and Academia.
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Saragih, Harriman. "Co-creation experiences in the music business: a systematic literature review." Journal of Management Development 38, no. 6 (July 8, 2019): 464–83. http://dx.doi.org/10.1108/jmd-11-2018-0339.
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Purpose Various literature have contextualised value co-creation concept in the music business and how that notion puts into practice in benefitting the actors in this particular business. The purpose of this paper is to review the extant literature to comprehend regarding the applicability of co-creation in music business which can be used to map and evaluate strategies used to stimulate and exercise co-creation experiences; focus from such co-creational activities; stages during which co-creation occurred; channels in which the music as cultural product is delivered; and the co-creative platform used that can be useful for practitioners as well as scholars in the music business. Design/methodology/approach Of the available academic databases that exist on the online platform, this study takes into account six scholarly databases, i.e., Emerald, EBSCO, ISI Web of Sciences, ProQuest, ScienceDirect and Scopus. Findings Having filtered through the initial 113 papers that fulfil the predetermined criteria, this study discovers 33 empirical journal and proceeding papers that have discussed the co-creation concept in the music context from 2011 to 2017. Practical implications The review practically implies that practitioners as well as scholars in the music or marketing field can first begin with planning and understanding the right strategy, focus, stage, channels and platforms before executing co-creational activities in the music business. This paper also speaks to the broader literature, particularly in the creative industries, that value co-creation can serve to be used to obtain monetary, experience or social value in the market using virtual and physical co-creative platforms. Other sectors in the creative industries can also infer that co-creation can be promoted and exercised through various orchestration strategies in several stages of the value chain. Originality/value This paper is the first to integrate five practical criteria as to how co-creation is applied and contextualised in the music business. It also contributes to the academic literature by presenting an exhaustive selective review of the value co-creation concept and its applicability to the music business.
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Schmisek, John. "This must be the place: Venues and urban space in underground music scenes." Journal of Urban Cultural Studies 7, no. 1 (March 1, 2020): 41–57. http://dx.doi.org/10.1386/jucs_00017_1.
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Art subcultures, and music scenes in particular, have featured prominently in academic discourse on gentrification in the neo-liberal city. Although scholarly accounts have done much to clarify the process through which music scenes become implicated and entangled within wider patterns of urban transformation and redevelopment, these studies often leave us with a flattened and undertheorized picture of the scenes themselves. Departing from David Ley’s conception of the ‘cultural field of gentrification’, I sketch out an analytical framework for understanding the heterogenous and contested character of music scenes in the face of urban change, focusing on a case study of the underground music scene in Rome’s Pigneto neighbourhood in 2017. As variegated waves of scene participants drift into new spaces, scenes coalesce into distinct territories, administered by venues and delineated by ‘scene ideologies’ ‐ matrices of ethical and aesthetic values and judgements constituting a collective scene habitus. This complicates any facile conception of artistic communities as either unwitting agents of gentrification or isolated underground enclaves; rather, premised on collective rituals of aesthetic judgement and differentiation, music scenes constitute a continuum of cultural production whose spatial practices both generate and subvert conditions for their eventual appropriation by market forces.
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Dats, Iryna. "Format of Musical Theatre Director's Training in Socio-Cultural Realities of Independent Ukraine." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 181–202. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251821.
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The relevance of the study lies in the need to find a solution to the problem of training music directors in Ukraine under the influence of a paradigm shift in theatrical art, which requires the harmonization of Ukrainian and European educational systems. The scientific novelty of the article is in determining the ways of professional education modernization in accordance to the rector O. Tymoshenko’s strategic vision of the ‘musical directing’ specialization development at the Tchaikovsky National Academy of Music of Ukraine. The purpose of the study is to determine the strategic directions of training a musical theatre director in the socio-cultural realities of independent Ukraine, to predict the prospects for their further transformations in the context of European integration of art and educational directing schools. Applied research methods were: culturological - to analyze the impact of socio-cultural challenges of today on changing the paradigm of theatrical art; system analysis - to determine the strategic directions of training a music director in the context of O. Tymoshenko's conceptual vision; structural and functional - to determine the model of education of a music director in the context of integrative links between specializations in the implementation of joint projects. Evolutionary changes in music directing education which are connected to European integration processes in culture and art were considered. It was found that the paradigm of theatrical art is influenced by the socio-cultural challenges of today, which have both positive and negative consequences and require modernization of professional training of music directors. It was found out that: positive results consist in exchange of achievements in the field of musical theater, growth of art skills, joint international projects, innovative searches in the context of competition-festival activity, negative - in decrease of national repertoire in comparison with foreign, partial loss of national art identity and change of value orientations from permissive-cognitive to entertaining-hedonistic, creation of art performances on show-market of consumer products. Prospects for further research related to the analysis of world directing and educational systems, creative and pedagogical work of iconic figures of musical theatre and their extrapolation to Ukrainian realities were predicted.
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Aryandari, Citra. "'Ora Minggir Tabrak' Electronic Dance Music (EDM), a Montage of The Time-Image." Journal of Urban Society's Arts 5, no. 2 (March 6, 2019): 87–93. http://dx.doi.org/10.24821/jousa.v5i2.2185.
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Electronic Dance Music (EDM) is a music genre which has been perceived in negative way because closely related to night life in which alcoholic drinks and illegal drugs. The beatings of the rhythm presented can arouse a desire to shake the body, giving instant pleasure to escape from the weariness of life. Although it could be said that this music genre is able to help the listeners to forget “the problems” of life, however, it is very rarely that the academic circle looked into this music genre and make it as a subject of interesting studies. This article is written out of subjective observations in social sphere on subjects containing a lot of secrecies and initially considered as a taboo to be discussed. The existence of EDM in line with the technological developments as montage of the time-image related with complexity of social relations, attempting to embark on a new identity in power, politics, and ideological trappings. The phenomenon comes into sight specifically in the song of “Ora Minggir Tabrak”,literally means if you get on my way I will hit you, a soundtrack of Ada Apa Dengan Cinta 2feature film. And it obviously could be seen in talent hunting for EDM musicians program broadcast by Net TV (the ReMix), and several other big events with internationally standard organized annually, such as DWP (Djakarta Warehouse Project); and Dreamfield at GWK Bali, which are worth-discussing amidst the hustle and bustle of music market in Indonesia.
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Orledge, Robert. "The Musical Activities of Alfred Satie and Eugénie Satie-Barnetche, and Their Effect on the Career of Erik Satie." Journal of the Royal Musical Association 117, no. 2 (1992): 270–97. http://dx.doi.org/10.1093/jrma/117.2.270.
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Erik Satie is now thought of as a precursor and a man of ideas whose unconventional career took its direction from his continual rethinking of every aspect of contemporary music and aesthetics, largely as a reaction to nineteenth-century tradition and excesses. Eugénie Satie-Barnetche, whose ultimate aim for her stepson was a brilliant career as a pianist with an official seal of approval from the Paris Conservatoire, provided just one example of such a tradition, whilst her husband Alfred, the gifted and impulsive dilettante and a Romantic at heart, might well be seen as another. In fact, it is easy to conclude that Eugénie's academic approach helped to turn Satie into a left-wing revolutionary, whilst the uninspired salon music of both his parents made him determined to become a serious professional composer. But that is by no means the whole story, for Erik was very close to his father, even if he disliked his stepmother, and Alfred's love of the music-hall (whose songs he both wrote and published) was enthusiastically inherited by his son. Even after Satie abandoned his work as a cabaret pianist around 1911, the influence of this popular medium still ran as a thread through his later compositions. Similarly, he was often forced to resort to his stepmother's profession of piano teaching to make ends meet, and in the 1920s he delighted in moving in the exalted social circles that his aspiring stepmother had only dreamt about as she mounted her bourgeois musical soirées in the Boulevard de Magenta in the 1880s. Like Alfred and Eugénie, Satie also spent much of his composing time with short piano pieces that he hoped would reach a popular market, and dance music runs as another thread throughout his career, just as it did in their own compositions. Above all, Satie's parents provided domestic surroundings in which music played a substantial part, with the emphasis on the present rather than the past, though it remained for Satie alone to take music into the future.
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Tomasevic, Katarina. "The East and the West in the polemical context of the Serbian music between the two World Wars." Muzikologija, no. 5 (2005): 119–29. http://dx.doi.org/10.2298/muz0505119t.
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This article represents a fragment of the author's doctoral dissertation Serbian Music at the Crossroads of the East and the West? On the Dialogue between the Traditional and the Modern in Serbian Music between the Two World Wars (the review of the thesis see on www.newsound.org.yu, issue No 24). The thesis (mentor: prof. Dr Mirjana Veselinovic-Hofman) was defended at the Faculty of Music, Belgrade, on January 2004. A revised text of the dissertation is forthcoming, in an edition of the Institute of Musicology of the Serbian Academy of Sciences and Arts. The article describes the creative orientation of composers Miloje Milojevic, Petar Konjovic and Josip Slavenski as the key figures of the epoch, indicates their choices of an Eastern or Western orientation, and explains the antagonism between the poetics of the "Europeans" and the representatives of avant-garde trends. The topicality of the East-West dichotomy in the critical consciousness of the protagonist of this period is marked as one of the main and the most important dilemma of the polemical context of the Serbian art after the World War I. Conducted from standpoints "Pro et Contra Europe", East-West discussion was also the part of the debate of Serbian national art's development strategy in the new, modern epoch of its history.
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Strielkowski, Wadim. "Will the rise of Sci-Hub pave the road for the subscription-based access to publishing databases?" Information Development 33, no. 5 (October 8, 2017): 540–42. http://dx.doi.org/10.1177/0266666917728674.
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Sci-hub has become the new phenomenon on the academic publishing market. While its popularity is growing worldwide, large academic publishers are losing millions of dollars on paid article downloads. Perhaps the time has come to re-think the rules of the game of the publishing market and to look for novel solutions for monetizing scientific output. Subscription-based access to publishing databases, similar to the model used in online music streaming, might be one of these solutions that could secure the status quo and stabilize the market.
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Milanovic, Biljana. "Petar Konjovic’s contribution to the constitution and the beginnings of the Institute of Musicology of the Serbian Academy of Sciences and Arts." Muzikologija, no. 25 (2018): 15–48. http://dx.doi.org/10.2298/muz1825015m.
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In the text I deal with the period of establishment and the beginnings of the work of the Institute of Musicology of the Serbian Academy of Sciences, which is marked by the role of composer and music writer Petar Konjovic (1883- 1970), who founded and was the first director of the Institute (1947-1954). I examined and problematized Konjovic?s efforts to establish and manage the institution, which were inseparable from his role of Fellow of the Academy and Secretary of the Department of Fine Arts and Music of the Serbian Academy of Sciences (1948-1954), through the analysis of archival documentation. The basic assumption that I started from was related to the interdependence between (1) the establishment of an institutional order and (2) the disciplining of scientific research in the direction of the emergence of musicology and ethnomusicology in the local context. In particular, issues related to the Institute?s relationship with the wider organizational environment and research policy of the SAN, as well as the role and support of its significant individuals in the process of the institutionalization of music science were especially highlighted. The problem of acquiring legitimacy in clearly hierarchical relationships proved to be very complex, since the Institute represented, on the one hand, a scientific unit of the Academy of Arts, that is, the Department of Fine Arts and Music, which, on the other hand, was marked by the inheritance of marginalized status of artists in comparison to other entities within the SAN. The formation of scientific tasks and objectives and the questions related to their realization were shaped in such a context. I analyzed these problems within three subchapters. The first of them provides basic information on the reorganization of the Serbian Academy of Sciences within the framework of the cultural policy of the new regime and deals with the aspects of the formal establishment of the Institute (1947) and the contextualization of the first programmatic projections of its work. The second question relates to the diverse problems that accompanied the delay of the start of the Institute?s activities, while the final subchapteris dedicated to the period from hiring the first associates to the end of Konjovic?s directorship (1948-1954). Konjovic?s strategies pointed to his simultaneous stability and flexibility in the design of thematic areas and methodological approaches. The policy of the scientific-research work of the Institute of Musicology from Konjovic?s time can be outlined in several general aspects: reliance on pre-war experiences, without the destruction of inherited value canons, but with constant changes in the direction of widening the scope of processed material through research of hitherto neglected creative personalities, performing practices and institutions; melographed and studied folklore material from various rural and urban areas, including different national and ethnic communities; the establishment of completely new thematic areas in the local context that destabilize the concept of purely national science; the emphasis on interdisciplinarity and openness to communication and exchange of scientific and methodological experiences in the international context. Konjovic?s position at the Serbian Academy of Sciences, his experience in managing various institutions, persistence and strategically planned actions, his high criteria and consideration in the selection of associates, managing without ideological divergences from his position of the bourgeois pre-war intellectual, but also his patient waiting for certain decisions of the competent instances, were crucial for the constitution and survival of the Institute of Musicology, within which the platform of musicological and ethnomusicological disciplines in Serbia was established in just a few years.
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Cima, Gibson Alessandro. "RESURRECTING SIZWE BANZI IS DEAD (1972–2008): JOHN KANI, WINSTON NTSHONA, ATHOL FUGARD, AND POSTAPARTHEID SOUTH AFRICA." Theatre Survey 50, no. 1 (April 22, 2009): 91–118. http://dx.doi.org/10.1017/s0040557409000088.
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On 30 June 2006 at the annual National Arts Festival in Grahamstown, South Africa, two giants of South African protest theatre, John Kani and Winston Ntshona, performed as the original cast of the landmark struggle drama Sizwe Banzi Is Dead (1972). The revival marked the first production of the play in over twenty-five years. After its brief stint at the National Arts Festival (30 June–5 July 2006), the play transferred to the Baxter Theatre in Cape Town (11 July–5 August) and then entertained a monthlong run at the State Theatre in Pretoria (17 August–17 September). After its turn at the State, the production stopped shortly at the Hilton College Theatre in KwaZulu Natal (19–23 September) before settling into an extended engagement at Johannesburg's Market Theatre (28 September to 22 October). In March 2007, the original cast revival of Sizwe traveled to the British National Theatre before finally ending its tour at the Brooklyn Academy of Music in April 2008.
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Mulla, Tausif Amir. "Saregama Carvaan: a phoenix that rose from the ashes." Emerald Emerging Markets Case Studies 11, no. 3 (August 16, 2021): 1–20. http://dx.doi.org/10.1108/eemcs-02-2020-0040.
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Learning outcomes The learning outcomes of this case are product innovation, the importance of consumer insights and data in marketing and the role of consumer insights in brand revival. Case overview/synopsis This case study is a fascinating look into how the shift from music compact disc (CDs) to streaming has completely changed consumer behavior. This change in attitude led many music labels down one of two paths as follows: shutting down the business or embracing new business models. The case study aims to bring out essential learning from a company, Saregama, that was on the verge of shutting down because of the losses incurred with the shift in consumer behavior from buying music CDs to streaming music for free on every smart device. This shift led most record companies to become shuttered. However, not all were as fortunate as Saregama, who threaded its way toward profitability. This case analyzes how Saregama turned from a loss-making business unit into a profit center by launching a breakthrough product backed by innovative thinking and strong consumer research. The researcher opted for secondary research based on reports from Deloitte and McKinsey & Company and other credible sources to understand the music streaming market in India. The study also includes excerpts from the interview of Vikram Mehra (MD of Saregama India Ltd.) to various media houses and customer reviews on e-commerce sites. Complexity academic level The case is relevant for learners studying for an undergraduate or graduate program and for discussions for modules such as marketing management and international marketing with a focus on product development and strategy. Applicability the case will provide the following exposure to the learners: the difference between corporate and marketing objectives; Using frameworks such as valuable, rare, inimitable, and organization and SAP-LAP to understand the rationale behind strategic decisions; An understanding of the importance of listening to consumers; Using the right marketing elements such as segmentation, targeting and positioning and marketing mix for a competitive marketing strategy. Supplementary materials Teaching notes are available for educators only. Subject code CSS: 8 Marketing.
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Paşca, Eugenia Maria. "6. Variables and Constants in the Curriculum for the Music Specialisations of the Romanian University Education." Review of Artistic Education 12, no. 2 (March 1, 2016): 253–62. http://dx.doi.org/10.1515/rae-2016-0030.
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Abstract The Romanian academic system must adapt to the changing demands imposed by the European educational standards, according to the conventions of Bologna and Lisbon. The compatibilisation of university paths in creating the curricula must consider the competences which are to be acquired. The responsibility belongs equally to the institutions providing academic programs, but also to the Romanian Agency for Quality Assurance in Higher Education. We intend to analyse comparatively both the constant and variable elements of the academic programs for the Music field. The efficiency of these programs is particularly reflected from the point of view of insertion in the labour market, so the direct beneficiaries are the graduate students.
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Napieralska, Joanna Krystyna, Wladyslaw Kazimierz Skarbek, and Jozef Wieslaw Modelski. "Design for Multimedia Art and Engineering Education." International Journal of Technology Diffusion 7, no. 4 (October 2016): 14–35. http://dx.doi.org/10.4018/ijtd.2016100102.
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By developing a syllabus of The International Master's Degree in multiMEDIA – technology, design, and management we have found that the problem-oriented approach for syllabus definition appears to be an efficient tool to ensure the expected by the industry requirements for multimedia art and engineering curriculum. The idea of multidisciplinary team training run by the Warsaw institutions, namely, the University of Technology, Fryderyk Chopin University of Music and Academy of Fine Arts is to ensure cross-field education at the technologically and artistically competitive level and to form up the teams ready to function at the commercial market. The software tools used by designing the syllabus (Word -> mRST -> LaTex -> PDF) made the transition from the project descriptions (in Word) to the final syllabus document (in PDF), semiautomatic. Based on the themes extracted from the projects by a Python application the electronic textbooks have been written for TiddlyWiki5 web platform.
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Borisova, Elena N., and Nataliya V. Letkina. "English for Professional Communication: A Project-Based Approach to Teaching University Students (a Case Study of Music Students)." Integration of Education 23, no. 4 (December 31, 2019): 607–27. http://dx.doi.org/10.15507/1991-9468.097.023.201904.607-627.
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Introduction. One of the ultimate requirements for the successful integration of any specialist to the international market is his/her language skills. However, the current educational system often lacks streamlined techniques meeting challenges of dynamically changing sociocultural and professional settings, especially, when it comes to communication, field-specific terminology and self-development opportunities. The article dwells on project-based learning at universities in view of English for Professional Purpose. The aim of this paper is to specify some aspects of the project-based approach related to project content and structure, as well as to discover some of its advantages in the English for Professional Purpose-context. Materials and Methods. The research was carried out at the Gnesins Russian Academy of Music, its participants having exceeded 500 students from eight faculties and amounted to 40 educators teaching different disciplines. The following methods were used to specify the ways to university enhance students’ English language skills through project-based learning: analysis and synthesis to study research and methodical literature at Stage 1; survey (interviews, questionnaires) to work with at Stage 2 – getting students and teachers prepared for project-based activities; comparative analysis and description to deal with at Stage 3, related to integrating project-based learning into educational and sociocultural environment, and supervision to deal with Stages 2, 3 and to fix the results. The learning material comprised items for developing students’ speaking, reading, listening and writing skills. Results. The research findings include project content-and-structure-related aspects involving such factors as time, duration, form, type, activities, context and related fields. The authors also brought into the spotlight some advantages for more efficient professional training, namely, an increase in student motivation and readiness for successful communication, proper understanding and use of field-specific terms, as well as extending the range of self-development opportunities. Discussion and Conclusion. The project-based approach in the English for Professional Purpose context creates new opportunities for students to learn to interact with others on an international scale in the realworld circumstances. The article is intended for English language educators and learners worldwide seeking to enrich mixed group experience by doing creative projects wit h real-world outcomes.
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Kolev, Vasil, and Asya Ivanova. "ART MANAGEMENT: A NEW DISCIPLINE ENTERING THE CULTURAL AND ACADEMIC LIFE IN PLOVDIV." CBU International Conference Proceedings 5 (September 23, 2017): 666–68. http://dx.doi.org/10.12955/cbup.v5.1004.
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This paper presents the conditions of economic and political changes within the 90s in Bulgaria and the necessity of a new way of thinking at managing cultural institutions in the conditions of the market economy. As a response to that problem it was created the first of its kind in Bulgaria master’s degree program „Art management.“For that purpose a brief overview of the formal models of funding the arts worldwide are presented along with the characteristics at regional levels which led to the creation of the new educational programme.The main disciplines studied in the educational module aiming to develop a new set of skills among artists are listed with a brief introduction of their scope. A local survey conducted at the Academy of Music, Dance and Fine Arts – Plovdiv, analyzing the interest of the first of its kind in Bulgaria master’s degree program „Art management“ is presented. The initial result of the evolution of the educational programme based on the number of students enrolled per year are the motivation for the start of a lager research project “ÄRT” funded by the SRF, Ministry of Education and Science.
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Rancāne, Anna. "CONTRIBUTION OF CHOIR CONDUCTORS TERĒZE BROKA AND STANISLAVS BROKS TO THE DEVELOPMENT OF LATGALIAN CULTURE IN DAUGAVPILS IN THE 60s OF THE 20TH CENTURY." Via Latgalica, no. 10 (November 30, 2017): 141. http://dx.doi.org/10.17770/latg2017.10.2774.
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Latgalian culture of the 60s and 70s of the 20th century is still insufficiently studied and evaluated. Although this time in Latvia is marked by the dominance of the Soviet ideology in all spheres of social life, russification, and ban of Latgalian print, there were people who managed to develop Latgalian identity and culture. Terēze Broka (1925) and Stanislavs Broks (1926–1977), the two outstanding choir conductors, are among such people. After graduation from Latvia State Conservatory they were appointed to work in Daugavpils. In this city, characterized by Russian spirit and with no choirs, the two conductors within a short period of time managed to establish musical collectives and develop repertoires where along with the obligatory Soviet songs Latgalian folk songs were included. In autumn 1954, Terēze Broka established a women’s vocal ensemble „Daina” and a group of kokle (a Latvian national musical instrument) players, and looked for more unknown Latgalian songs at the Academy of Sciences of the Latvian SSR. The folk songs were arranged by her husband, conductor and director of Daugavpils Music College Stanislavs Broks who in 1956 established a mixed choir, later called „Daugava”. Due to their persevering work in a short period of time both Daugavpils musical collectives gained brilliant success and were nominated to the VI World Youth and Students Festival in Moscow in summer 1957 where they were awarded the silver prize. This success is followed by the bright parade of Latgalian performance, the week of Latgalian culture in Riga in December 1958, where the two Daugavpils collectives were at the centre of all events. It is noteworthy that the two collectives mainly consisted of Latvians, Russians and Poles who did not know the Latgalian language, but were diligent and motivated to learn to be able to sing in Broks’ collectives. In 1961 the Latvian Music Department in Minneapolis (USA) released the first disc of the Latgalian folk songs “Latgalian (Latvian) Folk songs“ compiled by Mikelis Bukšs. The disc contains 15 music pieces from the repertoire of Daugavpils mixed choir „Daugava” (conducted by S. Broks) and the women’s vocal ensemble „Daina” (led by T. Broka). „Aiz azara bolti bārzi”, „Aiz azara augsti kolni...”, „Siermi zyrgi, jauni puiši...”, „Audzit muni gari lyni”, „Es sovai māmeņai...” and other Latgalian folk songs arrangements served as a specific brand of Daugavpils, which strengthened the self-confidence of Latgalians of that time.
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Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia." New Sound, no. 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.
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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Mladenović, Slobodan Zečević, and Olivera Vasić. The next significant step toward developing dance research began in 1990 when the subject of ethnochoreology was added to the program of basic ethnomusicological studies at the Faculty of Music in Belgrade and shortly afterward in 1996 in the Academy of Arts in Novi Sad. Academic ethnochoreological education in both institutions was established by Olivera Vasić. The epistemological background of all traditional dance research in Serbia was anchored mostly in ethnography focused on the description of rural traditions and partly in traditional dance history. Its broader folkloristic framework has, more or less, strong national orientation. However, it could be said that, thanks to the lifelong professional commitment of the researchers, and a relatively unified methodology of their research, ethnochoreology maintained continuity as a scientific discipline since its early beginnings. The next significant milestone in the development of the discipline happened when traditional dance research was included in the PhD doctoral research projects within ethnomusicological studies at the Faculty of Music in Belgrade. Those projects, some of which are still in the ongoing process, are interdisciplinary and interlink ethnochoreology with ethnomusicology and related disciplines. This paper reexamines and reevaluates the eighty years long tradition of dance research in Serbia and positions its ontological, epistemological and methodological trajectories in the broader context of its relation to other social sciences/humanities in the contemporary era of interdisciplinarity and postdiciplinarity.
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Rakočević, Selena. "Political Complexities of Ethnochoreological Research: The Facets of Scholarly Work on Dance in the Countries of Former Yugoslavia." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 13–26. http://dx.doi.org/10.1556/022.2020.00002.
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As independent scholarly discipline grounded in folkloristics, ethnochoreology was predominantly founded within the state institutions of the socialist regime of former Yugoslavia after World War II and was consequently molded theoretically and methodologically in accordance with the prevailing ideology of the ruling socialist political system. In post-socialist regimes established in former Yugoslavian republics after the 1990s, which led to emerging market economies and caused huge modifications in the official social and educational policies of each country, ethnochoreology continued to be linked with state institutions. At the same time, however, it has been subject to extensive remodeling which included changes within the discipline itself along with its repositioning in the academic and educational system. This article examines political facets of ethnochoreological research in former Yugoslavian republics, comparing the experiences of many individual dance scholars. Based on interviews with colleagues from Serbia, Croatia, Bosnia and Herzegovina, Macedonia and Montenegro, the study will explore the general position of ethnochoreologists as well as their attitudes toward the relationships between dance research and the concrete political situations in each of their countries. Questions discussed encompass standpoints about how the political realities we are living in influence the remodeling of ethnochoreology in epistemological and methodological terms, but also its position in academic, educational and research contexts.
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Gashi, Modest, Vlora Aliu, and Bujar Bajçinovci. "6. Urban Development of University Campus and Quality Aspects of Artistic Education: A Case Study of Peja." Review of Artistic Education 20, no. 1 (April 1, 2020): 218–27. http://dx.doi.org/10.2478/rae-2020-0027.
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AbstractKosovo after the 1999 conflict was in a social, economic and environmental disadvantage. The creation of peace and stability depended on many actors such as UNMIK, whose mission was to achieve the overall goal of providing security and the normal living of all peoples in Kosovo and to achieve stability in South East Europe and the Balkans respectively. The research conducted in this paper reflects quality aspects in urban development of university campus and quality aspects of artistic education, especially in art, architecture, creativity, and regular meetings with focus groups, especially with residents of all settlements in Peja. The research methods consist of empirical observation in academia, observation of teaching methods, and promoting healthy academic campuses. Research concludes paper indicate that through urban development of university campus in Peja and quality aspects of artistic education in teaching methods as contemporary learning strategies strengthened with informal meeting places for education, can effectively present a urban plan methodology, hence, which can bring more clarity to the academia campuses and contemporary labor market. Furthermore, new academia campuses must involve a new closeness, a brand-new teaching method, as a response to the future contemporary academic objectives strengthened with a quality aspect of artistic education, for which Peja municipality are very well known. Peja has had and actually has the two artistic branches with legacy in education, such are the school of Fine Arts and the school of Music. The two schools in which has attended the dozen renowned Kosovar artists, who now live and work across Europe.
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Joselit, David. "Conceptual Art of the Press Release, or Art History without Art." October 158 (October 2016): 167–68. http://dx.doi.org/10.1162/octo_a_00276.
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As in neoliberal market theory, where maximal information is said to make markets more efficient, what Joselit calls “Conceptual art of the press release” (in which the artwork is “translated” into text as a proposition about its meaning) makes even difficult art easy to consume. The once radical proposal of Conceptual art—that objects exist in a transactional relation with text (and prosaic photographic documents)—has now become business as usual. But this is not merely the result of the now-standard practice of training artists in MFA programs, where learning consists of verbally justifying one's artworks before a cohort of peers and artist-instructors, nor the demands of a global and increasingly virtual art market. It is also a condition of today's academic practice in which art history is little more than the weaving together of primary and secondary sources that “historicize” and “theorize” objects without attending to them specifically. The current challenge for artists and critics is not to forego engaging with information, but rather to resist the allure of its transparency in favor of tracking its plasticity—in other words, the shapes of social governance and aesthetic speculation that its myriad overlapping channels assume.
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Numerato, Dino, and Richard Giulianotti. "Citizen, consumer, citimer: The interplay of market and political identities within contemporary football fan cultures." Journal of Consumer Culture 18, no. 2 (December 5, 2017): 336–55. http://dx.doi.org/10.1177/1469540517744692.
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This article examines how football, sport and other cultural fields are characterized by complex interrelations between ‘citizen’ and ‘consumer’ identities. Our analysis centres specifically on critically examining and developing the concept of ‘citimer’ (citizen-consumer) with respect to activist supporter groups within European professional men’s football. First, to establish the structural and cultural context for our analysis, we argue that the emergence of citizen-consumer identities in football has been driven by five underlying processes: globalization, commodification, securitization, mediatization and postmodernization. Critical football fan movements have responded to these changes through greater reflexivization and politicization. Second, drawing on the broad academic literature, we develop the concept of the citizen-consumer (or ‘citimer’) and introduce its relevance to football. Third, to provide a more nuanced understanding of the citizen-consumer, we explore how this ‘citimer’ identity is constructed in two ways: ‘from below’ (by fan groups themselves at everyday level) and ‘from above’ (by clubs, governing bodies, media and other powerful forces within the football system). In both instances, we find that the citizen and consumer aspects of the citimer identity are interrelated in complex ways. Fourth, we conclude by highlighting the political reflexivity of citimers and areas for future research. Our analysis draws on extensive data collection: with football supporters and officials in the Czech Republic, England and Italy and at the wider European level, and through access to diverse primary and secondary documents (e.g. policy papers, fanzines and online forums). Our findings may be applied to examine citimer identities, practices and social relations not just within football and sport but in many other cultural fields, such as art, communication, drama, fashion, film and music.
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Frith, Simon. "Music industry research: Where now? Where next? Notes from Britain." Popular Music 19, no. 3 (October 2000): 387–93. http://dx.doi.org/10.1017/s0261143000000234.
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From 1995–2000 I was Director of the Economic and Social Research Council's research programme on Media Economics and Media Culture. One of my tasks was to organise meetings of researchers in the field and to this end I ran a series of seminars at the British Phonographic Institute for people studying the music industry. These seminars were thematic, covering music industry strategies in global media markets; methods for measuring the value of the music industry; the uses of music; and musicians. A final meeting, held in the then about-to-be-opened National Centre for Popular Music in Sheffield on 16 February 1999, brought together nearly all the UK's academic music industry researchers to discuss future research in the light of the MEMC Programme's findings. What follows is a report from both MEMC research and the Sheffield meeting. The aim is to provide an overview of the current research situation in Britain.
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Kruse, Nathan B., Steven C. Harlos, Russell M. Callahan, and Michelle L. Herring. "Skype music lessons in the academy: Intersections of music education, applied music and technology." Journal of Music, Technology and Education 6, no. 1 (April 1, 2013): 43–60. http://dx.doi.org/10.1386/jmte.6.1.43_1.
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Whittall, Arnold, and Pieter C. van den Toorn. "Music, Politics, and the Academy." Journal of Music Theory 42, no. 1 (1998): 145. http://dx.doi.org/10.2307/843856.
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McCreless, Patrick, and Pieter C. van den Toorn. "Music, Politics, and the Academy." Notes 53, no. 3 (March 1997): 753. http://dx.doi.org/10.2307/899715.
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Yakimenka, Tamara. "Landscapes of the Belarusian ethnic music of archaic layer: aspects of study (based on publications of ethnomusicological works of young musicologists BSC / BSAM 1991–2013)." Ethnomusic 16, no. 1 (2020): 170–88. http://dx.doi.org/10.33398/2523-4846-2020-16-1-170-188.
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Digests of articles by young musicologists of the Belarusian State Academy of Music, devoted to revealing the landscape panorama of the Belarusian ethnomusical culture of ritual genesis, are examined [1–5]. It’s shown that the considerations of young researchers published in the ethnomu- sicological editions of 1991–2013 aim at studying the autochthonous and historically deep phenomena of the Belarusian folklore fund, at revealing the features of ethnic song and instrumental melos in ritual complexes of calendar-farming and life cycles. A significant part of the research is devoted to the disclosure of typology, melo- geography, functional load, intonational, structural-rhythmic-compositional and eth- nophonic characteristics of song-ritual and instrumental practices of different regional and local traditions. In the subject spectrum of the articles the important issues are the sound world of ethno-song archaic layer considered in the aspect of mytho-sound-poetics [5], the pitch, articulation and ethnophony of the ancient melos, conditioning thereof by the signal-communicative sound activity as a factor of stability of ritual sound standards in the musical consciousness of carriers for many centuries. The ‘song territories’, which, as a result of placement on the borderland of his- torical-ethnographic and ethnocultural areas, are marked by a variety of linguistic in- fluences, the coexistence of diverse anthropological types in the autochthonous popu- lation (with the appropriate difference in beliefs, ritual practices and lifestyles) found their study in the issues of the ethnomusicological series. The ethno-song loci of various scales and levels – from their intraregional spe- cies (‘local’, ‘special’, ‘island’) [4] to status ones for ethnomusical cultures (the so- called ‘regional borderland’) [5] are studied. An ethnopsychological consideration is reflected in a number of articles [4]. Among the objects studied by young musicians there are significant ones in the ethnomusic culture of Belarusians song forms of the ‘Valachobny’ (Easter) and St George Day ancient rituals [1], congratulatory visiting rituals of the Carol period and the ‘Yashchar’ roundelay-game action assigned to the time of the Philippe post (Ad- vent) [2], childbirth and narrative (ballad) songs [4], groups of ‘Rajok’–‘Sparysh’– ‘Dazhynki’ (end of the Harvest) and ‘Aviasets’ (autumn) songs of Poozer’e (Lake district) [4], song traditions of the Maslenitsa (Shrovetide) ceremonies [4], the lead of the ‘Arrow’, ‘Rusal’, spring swings [5]. In the series of ethnomusicological collections of 1991–2013 landscapes of the ancient ethnomusic culture in its ‘Belarusian’ area on the territories of the Western Dvina basin, the upper course of the Dnieper, Dnieper–Druts–Berezina interfluve, Po- nemanje [1–5] were disclosed from the positions corresponding to the leading direc- tions of modern ethnomusicology. 187 The perspective of the researches carried out by young musicologists, their level and directly the potential of scientific problems were confirmed later in ethnomusico- logical dissertations [6–10], audio collections of the ‘Audio Atlas of the Traditional Musical Culture of Belarus’ and monographs [11–13].
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Flandreau, Suzanne. "Black Music in the Academy: The Center for Black Music Research." Notes 55, no. 1 (September 1998): 26. http://dx.doi.org/10.2307/900345.
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Cimardi, Linda. "Folklore and tradition in ethnomusicology." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 355–71. http://dx.doi.org/10.31724/rihjj.44.2.1.
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The terms folklore and tradition (and the derived adjectives) in relation to music have been employed to define the subject of ethnomusicologists’ study. In this article, the meaning of these words is considered in their historical use in ethnomusicology and akin disciplines, as well as in the common sense in English, Italian and Croatian, trying to identify the main shared elements as well as the differences. While folklore is a word of foreign origin integrated in several languages, where it assumes diverse connotations also in terms of esthetical and moral value, the related adjective folk has local equivalents in Italian (popolare) and Croatian (narodni), which have been employed with reference to national musical expressions. Tradition is semantically partly overlapping with folklore, and in recent years the derived adjectives (tradicionalan, tradicijski) have been preferred in Croatian, while in Italian the word traditional (tradizionale) can be used to refer to non-European musics, and in general the locution musiche di tradizione orale is today favoured to define the subject of ethnomusicology. It appears that the national use of these words has marked their local understanding, as well as the related scholarship, and thus a reflection on the use of English in present academic and non-academic contexts is necessary.
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Yaremko, Bohdan. "The artistic background of Demyan Lyndyuks' ('Popychyn') - representa- tive of Kosmach fiddle tradition." Ethnomusic 14, no. 1 (2018): 132–41. http://dx.doi.org/10.33398/2523-4846-2018-14-132-141.
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The article describes the background of historical Gutshul traditional fiddler Demyan Lyndyuk ('Popychyn') (1919-1959), from the Kosmach village of Kosiv region of Ivano-Frankivsk. The historical research were undertaken on the ground of historical data, received at 2006 from the Demyans' niece Maria Ivasyuk, as well as from Kovalivka vilage Ivan Sokoluik-the-fiddler, who made the valuable contribu- tion unto research, and played from memory two tunes by D. Lyndyuk, which he recollected as they were played by Demyan himself. Appended to the article the transcription of one of these Demyan Popychyn tunes, prepared by Lviv Music Academy post-graduate Yarema Pavliv at 2018. This tune is the virtuoso stanza of Gutsulka suite, composed of four stanzas, the tunes unfolding by varaitive conbina- torics principle of four related or contrasting, finely embellished melodic motives. This piece, and moreover, the second one, 'Song Tune', are characteristic of Demyan Lyndyuks' performing manner, marked by inventive and exqusite melodic style, cheracteristic of Gutsul regional tradition. As appears, Demyan Lyndyuk ('Popy- chyn') were one of the most prominent representatives of the latter, the father- founder of which were Vasyl Vandzaruk, followed by fully-fledged fiddlers and teachers Dmytro Gudymyak, Vasyl Pozhodzhuk, Ivan Menyuk, Mykhaylo Slochak, Kyrylo Lyndyuk, and, in contemporary tradition, Ivan Sokolyuk. Among these names the proud of the place belongs to Fiddler Demyan Lyndyuk ('Popychyn'), who made outstandng contribution into frourishing of Gutsul instrumental and vocal musicianship. The life of this fiddler were short, but very intense and deserved to be preserved by grateful memory of coming generations of outstanding fiddlers of Kosmach-Shepit tradition of kosiv region.
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Chae, Seung-Kyun. "Music Contents Creators’ Rights Issue in Streaming-dominant Music Market." Journal of the Korea Academia-Industrial cooperation Society 22, no. 10 (October 31, 2021): 421–30. http://dx.doi.org/10.5762/kais.2021.22.10.421.
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Ciucci, Alessandra. "The Study of Women and Music in Morocco." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 787–89. http://dx.doi.org/10.1017/s0020743812000906.
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The 1987 publication of Women and Music in Cross-Cultural Perspectives, the first anthology on the topic of women and music in the field of ethnomusicology, marked a critical turn in the scholarship. The ethnographic-focused essays on women's genres and roles in music in diverse societies around the world, including the Middle East, presented new analytical frameworks and research on authority, gender and access, and notions of power and performance. Today, research on the musical practices of women continues to expand in ethnomusicology and in fields such as anthropology. Many scholars now acknowledge the centrality of gender for locating “how society is in music and music is in society.” This is a particularly important approach for the Middle East and North Africa, where the undervaluing or silencing of women's musical practices and abilities had continued to dominate ethnomusicology. An important study to break from the paradigm was Virginia Danielson's 1997 monograph on Umm Kulthum. Danielson analyzes the development and the construction of a musical and a social “voice,” looking at what it means for this particular artist to both be the voice of and have a voice in colonial and postcolonial Egypt. In the discussion that follows I outline the academic trajectory of writings on women and music in Morocco, which I have divided into three distinct historical moments, each exemplifying different approaches to the subject matter: work by 20th-century French colonial scholars, by contemporary European and American scholars, and by contemporary Moroccan scholars.
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Palmer, Peter. "Swiss Music." Tempo 57, no. 226 (October 2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.
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NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.
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Allingham, Emma, and Christopher Corcoran. "Report on the 10th International Conference of Students of Systematic Musicology (SysMus17)." Music & Science 1 (January 1, 2018): 205920431774171. http://dx.doi.org/10.1177/2059204317741717.
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The 10th annual International Conference of Students of Systematic Musicology (SysMus) took place on September 13–15, 2017, at Queen Mary University of London (UoL). The SysMus series has established itself as an international, student-run conference series aimed at introducing graduate students to networking and discussing their work in an academic conference environment. The term “Systematic Musicology,” first coined by Guido Adler (1885), nowadays covers a wide range of systematic or empirical approaches to theoretical, psychological, neuroscientific, ethnographic, and computational methodologies in music research. Presentations for SysMus17 focused on three central topics in relation to music: cognition and neuroscience, computation, and health and well-being. Each of these topics was the subject of workshops as well as keynotes by Prof. Lauren Stewart (Goldsmiths University of London and Music in the Brain Centre, Aarhus University), Prof. Elaine Chew and Dr. Marcus Pearce (both Queen Mary UoL), Dr. Daniel Müllensiefen (Goldsmiths UoL), and Prof. Aaron Williamon (Royal College of Music). Further presentations addressed issues relating to harmony and rhythm, musicians and performance, music and emotion, and sociology of music. This year’s conference brought together early-career researchers from the fields of musicology, psychology, and medicine, allowing them to socialize, share their work, and gain insight into interdisciplinary approaches to their subjects. SysMus17 was organized by students at Queen Mary’s Music Cognition Lab and was particularly marked by the series’ 10th anniversary, the live streaming of all presentations via social media, and a carbon-offsetting Green Initiative. The proceedings of SysMus17 will be available on demand from the conference website ( www.sysmus17.qmul.ac.uk ) and the videos will be made available for public access.
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Asia, Daniel. "Diminuendo: Classical Music and the Academy." Academic Questions 23, no. 2 (May 1, 2010): 186–95. http://dx.doi.org/10.1007/s12129-010-9165-z.
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Glosemeyer, Robin. "Majestic Hall, Brooklyn Academy of Music." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2439. http://dx.doi.org/10.1121/1.4781774.
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Currie, James. "Music After All." Journal of the American Musicological Society 62, no. 1 (2009): 145–203. http://dx.doi.org/10.1525/jams.2009.62.1.145.
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For musicologists in the postmodern academy, the notion of context wields great force, both as a hermeneutic tool and as a meeting ground for a set of political beliefs that enable scholars to justify the meaning and relevance of their work. Primarily, this ideology is constituted by identity politics, the politics of difference and alterity, and the politics of locality and particularity. While acknowledging that musicological acts of cultural and historical contextualization per se are powerful means of illuminating cultural products, this essay nevertheless seeks, in its first half, to raise a set of questions regarding the efficacy of the accompanying political ideology within the pervasively unstable and dialectically totalized world of the early twenty-first century. Drawing extensively on the writings of the Slovenian cultural critic and theorist Slavoj Žižek and the French philosopher Alain Badiou, I argue that increasingly any localized context must be understood to be cut across by a kind of traumatic universalism that is, predominantly, economic in orientation. The second part of the essay, however, turns in a different direction and argues that the route out of musicology's present political contradictions may lie not so much in the project of attempting once more to synthesize musicological and political practices into one, but rather through affirming the import of two (both musicology and politics, and music and politics). Through recourse to three theoretical discourses (into Heidegger, Hegel, and aspects of the Marxist tradition), the essay revisits the notion of musical autonomy, rescripting it—through an extensive analogy with dance—into a site where something unknown might manifest itself. Although it is acknowledged that this kind of site, strategically placed, might function effectively politically, it is nevertheless asserted that it is of sufficient import, in and of itself, to be preserved and nurtured, and that musicology in the academy is one of the privileged locations for where that might happen.
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Pomorceva, Nina V., and Tatyana I. Moroz. "FEATURES OF FORMATION OF THE MUSICAL INFRASTRUCTURE OF KEMEROVO REGION (20–40-TH YEARS OF XX CENTURY)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 179–84. http://dx.doi.org/10.17223/22220836/41/14.
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Describes a stage of formation and development of music in the Kemerovo region's infrastructure as a young industrial region of Russia. Due to interaction between socio-cultural and socio-economic aspects of development of the region, the musical life of the Kemerovo region was prepared in the pre-industrial period (until 1920), featuring the development of music performance within folk, Church, amateur music-making and unable to exit professional level due to lack of expertise in the region. After the October revolution in the conditions of intensive formation of the industrial structure in young cities region and the initial installation on massification of amateur (amateur) creativity, gradually formed the basis for the establishment of a fully fledged musical infrastructure. This phase was marked by the emergence and intensive development of musical performance mainly in the form of amateur music: choral and instrumental groups in constructed folk houses and clubs, performing cultural and educational functions among the working population. Parallel to the process of formation of the educational basis of musical infrastructure: opening of children's music schools, music schools, offices, children's creativity centres at clubs and houses of culture industry enterprises. During the great patriotic war, resulting in the evacuation and the arrival in the region of creative collectives and professional musicians going on formation of academic performance. Creating a pop concert Bureau (1943), subsequently converted in Kemerovo Oblast Philharmonic, translation of theatre of musical comedy (1945 g.) led to revitalize and strengthen the processes of professional music art items in Kemerovo oblast. With the opening of vocational educational institution-Kemerovo musical College (1944)-lay the Foundation for training new personnel in the sphere of musical culture of the region. With the advent of the professional segment in the cultural traditions of stabilization activities are envisaged with the totality of the prevailing musical infrastructure functioning in the context of the musical life of the region. Consequently, the period under review is an important link in the panorama of music art development in the industrial region, and determines subsequent lush flowering in 1970–1990.
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Huang, Zehuan, Zhuofen Wu, and Shaoying Guo. "Music in the Space of Metaphysics (by the Example of the World Philosophical Heritage)." IKONI / ICONI, no. 4 (2021): 43–58. http://dx.doi.org/10.33779/2658-4824.2021.4.043-058.
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The article comprehends the issue of music as a metaphysics which determines the optimal environment for the formation of a personality marked by spiritual self-standing. The authorial concept is built on the basis of world philosophical heritage represented by the achievements of the East and the West. Solving in a step-by-step manner the issues of the general and the special in music and philosophy, in teaching and in education, the authors focus their attention on revising the concepts of “the philosophy of education”, “the philosophy of art” and “the philosophy of music”. Putting forward the assumption that if the philosophy of music is an experience of spiritual comprehension of the composer’s creation as a process of meaning formation, and the philosophy of art as a whole appears as a practice aimed at awakening the human practice in a person, then the philosophy of education can be considered as the implementation of the indicated experience through each specific academic discipline. In the end, the authors conclude that the place and role of music in the formation of personality are determined not only by the goals of musical education, but are also directly related to the worldview orientation of the personality, laying the foundation for its holistic development and providing it with the opportunity to build its future according to the laws of harmony and beauty.
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Syvak, Oksana, and Daria Plokhotina. "Development of musical documents is in the conditions of informatization." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 85–92. http://dx.doi.org/10.34079/2226-2849-2019-9-18-85-92.
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In the article the described sphere of musical work is musically-computer technologies as a result of process of informatization, that is conditioned by mushroom growth of electronic musical instruments from the simplest synthesizers to the powerful musical computers. There was the new interdisciplinary sphere of professional activity, related to creation and application of the specialized musicalhardware and softwarefacilities that require knowledge and abilities both in a musical sphere, and in area of informatics. Such basic directions of introduction of information technologies are certain in music: the use in scientific researches, organization of academic association and work with a musical inheritance. Many-sided nature, global applicability of electronic and computer music, give new, essentially, boundless possibilities of self-realization, stimulate swift development of intellect, destroying music on a new level.Compatibility of electronic music with traditional musical technologies creates terms for the succession of musical epochs and styles, their interpenetration and synthesis, strengthening interest in a musical culture on the whole. Success with the modern use of the similar systems lies in integration of all computer possibilities. Investigating history of becoming of digital music, influence of MIDI- of technologies is described, as leading direction in a computer musical studio. MIDI- technology gave possibility to recreate a voice record in any rate and in any key, vocalists and bandsmen got possibility to conduct even independent employments after accompaniment and to do the detailed analysis of piece of music, that does irreplaceable the marked technology in musical educational establishments. Also, principle of transmission of audioinformation is explained for MIDI- of protocol. The marked home achievements of modern composers are in relation to embodiment of computer technologies in a musical art. Feather orientation of work of the Ukrainian composers from withstand general stamps on the deeply personality understanding of sociocultural processes is accompanied by the search of new intellectual senses in music. Influence of digital technologies is analysed onpublishing house of notes business and distribution of electronic editions, that assists distribution of musical information from one side, and from other, requires the specification of matter of authorial law and intellectual property. Advantage of new type ofto printed preparation of musical collections above an old method is undoubted, but the most valuable is seemed by that humanity got around the decision of question of the "unheard" piece of music.
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Morris, Christopher. "Deconstruction and Music." Derrida Today 11, no. 1 (May 2018): 93–113. http://dx.doi.org/10.3366/drt.2018.0175.
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Despite frequent valorizations of music in the west, the art has also been perceived as a threat to philosophy and theology, ostensibly on the grounds of its potential for danger to the polis (Plato and Aristotle), temptation to impiety (Augustine and Calvin), coercion (Kant), or lack of objective content (Hegel). Accompanying these doubts is a longstanding anxiety concerning music's relation with inarticulation or silence. Debates over the definition and ontology of music persist today in both analytic and continental traditions, with neither approach succeeding in forging consensus. Musical Platonism (Kivy, Norris) is today's uneasy default position in the academy. However, recent reassessments of speech acts (Miller) and of the Derridean world as phantasm (Naas) can return music to its structural constitution in différance – to an alternation between sound and silence. This redefinition of music and its parallel with language can contextualize Derrida's most extended engagement with the topic, his interview with Ornette Coleman.
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Thoms, Paul E. "Why Market the Music Program?" Music Educators Journal 78, no. 5 (January 1992): 27–31. http://dx.doi.org/10.2307/3398232.
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Colista, Celia, and Glenn Leshner. "Traveling music: Following the path of music through the global market." Critical Studies in Mass Communication 15, no. 2 (June 1998): 181–94. http://dx.doi.org/10.1080/15295039809367041.
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Hofman, Ana. "Balkan Music Industries Between Europeanisation and Regionalisation: Balkan Music Awards." Musicological Annual 50, no. 1 (July 15, 2014): 157–74. http://dx.doi.org/10.4312/mz.50.1.157-174.
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Taking the regional music event “Balkan Music Awards” – presented as the Eurovision of the Balkans – as a case study, the article explores the ways in which the assumed exotic value of Balkan music and the existing sonic image of the Balkans are employed with the aim of invigorating the regional music market as a process of reorganizing “post–national” musical productions.