Relevant bibliographies by topics / Music and the conflict

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music and the conflict'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Music and the conflict"

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Jähnichen, Gisa. "Book Review of ‘Kirsten Seidlitz. 2020. Musik & Politischer Konflikt aus der Türkei – kurdische, alevitische und linke Musik in Deutschland’ [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music In Germany]. Bielefeld: Transcript." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 97–99. http://dx.doi.org/10.30819/aemr.7-8.

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This short review essay refers to the book of Kirsten Seidlitz ‘Musik XXABSTRACT Politischer Konflikt aus der Türkei – Kurdische, alevitische und linke Musik in Deutschland [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music in Germany], which was published in 2020 by the German Transcript Verlag in Bielefeld. It is written in German and addresses many important questions regarding political conflicts and their impact on music among various different Turkish people living in Germany. Migration and political participation are heatedly debated in recent times and also a part of cultural exchange.
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Frydman, Jason. "Death in the Arena." Small Axe: A Caribbean Journal of Criticism 23, no. 3 (November 1, 2019): 34–49. http://dx.doi.org/10.1215/07990537-7912310.

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This essay decodes how Marlon James’s A Brief History of Seven Killings uses the history of Jamaican music, culminating in the conflict between roots reggae and dancehall, to chart the Cold War’s temporality, futurity, and ideological conflicts over time, temporality, and futurity. A Brief History of Seven Killings points readers to a jaded, subaltern temporality encoded in a dancehall music that rejects the revolutionary utopianism woven into postindependence Jamaican music. The novel stages this temporal conflict at the center of Jamaican popular music through the status of revolutionary Cuba and the riddim-based technique of dancehall song composition, both of which converge in the itinerary of the “Death in the Arena” riddim. The novel thus invites readers to process the Cold War’s conflict over time and space through the lens of Jamaican music, attuned both to how geopolitics inflected that music and to how that music inflected geopolitics. Reading the evolution of Jamaican music since independence, this essay reveals how the form of James’s novel replicates the spectral and shattered assemblages of dancehall music in order to borrow some of its fugitive, subaltern autonomy.
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McConnell, Bonnie. "To bring peace that stays: Music, conflict and conciliation in the Gambia." International Journal of Community Music 12, no. 3 (December 1, 2019): 349–66. http://dx.doi.org/10.1386/ijcm_00005_1.

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In the Senegambia Region of West Africa, performers have long played a central role in conflict mediation. Historically, this has included both small-scale conflicts, such as those between neighbours, and larger-scale conflicts between groups. This article draws on evidence from ethnographic research with Gambian performers to explore contemporary perspectives on conflict and conciliation. I use analysis of three Mandinka-language songs relating to conflict within the family to show that performers work to promote conciliation through appeals to shared values of oneness, positive relationships and empathy. Examples include songs by hereditary professional musicians (jaloolu), a hip hop artist and female fertility society performers (kanyeleng). These songs are rooted in cultural frameworks of morality and goodness, while also reflecting gendered dynamics of risk and inequality.
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Grant, M. J., Rebecca Möllemann, Ingvill Morlandstö, Simone Christine Münz, and Cornelia Nuxoll. "Music and Conflict: Interdisciplinary Perspectives." Interdisciplinary Science Reviews 35, no. 2 (June 2010): 183–98. http://dx.doi.org/10.1179/030801810x12723585301237.

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Tucker, Karen Westerfield. "Music Wars: A New Conflict?" Liturgy 24, no. 4 (July 2009): 3–9. http://dx.doi.org/10.1080/04580630903022139.

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Scheib, John W. "Role Stress in the Professional Life of the School Music Teacher: A Collective Case Study." Journal of Research in Music Education 51, no. 2 (July 2003): 124–36. http://dx.doi.org/10.2307/3345846.

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The theoretical framework of this article is based on the description of occupational role stress by Kahn, Wolfe, Quinn, and Snoek (1964) and Beehr (1987). The present study is an examination of six role stressors: role conflict, role ambiguity, role overload, underutilization of skills, resource inadequacy, and nonparticipation. One midwestern high school's music department in the United States, consisting of four music teachers, served as the study s focus. Data were collected as field notes from observations, transcripts from interviews, and document analysis. While role ambiguity and nonparticipation issues were not of great concern among the participants, issues related to role conflicts, role overloads, underutilization of skills, and resource inadequacy were substantial. The burden of tedious administrative responsibilities (underutilization of skills), the constant need for music education advocacy (role overload), conflicts between personal and professional roles (role conflict), and tension created by scheduling conflicts due to the increasingly busy schedules of students (resource inadequacy) were among the most significant stressors.
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Skyllstad, Kjell. "Music in conflict management: Fostering interracial understanding through music." European Journal of Intercultural studies 7, no. 2 (January 1996): 46–56. http://dx.doi.org/10.1080/0952391960070206.

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Scott, Derek. "Music Hall: Regulations and behaviour in a British cultural institution." Muzikologija, no. 26 (2019): 61–74. http://dx.doi.org/10.2298/muz1926061s.

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The music hall in late nineteenth-century Britain offers an example of a cultural institution in which legal measures, in-house regulations, and unscripted codes of behaviour all come into play. At times, the performers or audience were under coercion to act in a certain way, but at other times constraints on behaviour were more indirect, because the music hall created common understanding of what was acceptable or respectable. There is, however, a further complication to consider: sometimes insider notions of what is normative or appropriate come into conflict with outsider concerns about music-hall behaviour. These various pressures are examined in the context of rowdiness, drunkenness, obscenity, and prostitution, and conflicts that result when internal institutional notions of what is normative or appropriate come into conflict with external social anxieties.
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Gann, Kyle. "Conflict of Interests." Musical Times 137, no. 1845 (November 1996): 2. http://dx.doi.org/10.2307/1004300.

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Gimpel, Torrey. "Moral Injury and Music Therapy: Music as a vehicle for access." Music and Medicine 10, no. 3 (July 29, 2018): 146. http://dx.doi.org/10.47513/mmd.v10i3.632.

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Moral Injury as a construct continues to be explored and refined as researchers develop models of treatment and clearer definitions for diagnosis. The complexity of moral injury mirrors the complexity of the combat experience- distinctive situations where required actions (e.g., killing) within war may lead to transgressions of deeply held moral or ethical principles within the individual. These transgressive acts may lead to inner conflicts that are outside the typical purview of traditional PTSD treatment. Music therapy offers unique vehicle for access to the inner conflict of MI and combat-related traumatic experiences while promoting expression, present-moment support, and creating opportunities for new perspectives through the malleable medium of music.Keywords: Moral Injury (MI); Military; Music Therapy; PTSD, Transgressive events
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Dissertations / Theses on the topic "Music and the conflict"

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Johnston, Mindy Kay. "Music and Conflict Resolution: Exploring the Utilization of Music in Community Engagement." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/437.

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This study is based on interviews conducted with twenty-two musician-activists in the Pacific Northwest region of the United States in 2009 to explore perspectives about the role of music in community engagement with the aim of considering how music might be used in the field of conflict resolution. The study followed the qualitative approach of constructivist grounded theory as designed by Charmaz (2000, 2002). Two themes, "Music for Self," and "Music for Society" emerged from interviews and comprise the internal and external meanings of music to the research informants. The results of the study indicate that the relationships people have with music make it a potentially powerful tool in conflict situations within the realms of both conflict resolution and conflict transformation. More extensive research exploring these benefits is recommended.
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Bassalé, Parfait Adegboyé. "Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy?" PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1122.

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The Story and Song Centered Pedagogy (SSCP) is a workshop that uses songs, stories and reflective questioning to increase empathy. This preliminary study tested the prediction that being exposed to the SSCP would increase empathy using, the Emotional Concern (EC) and Perspective Taking (PT) subscales of the renowned Interpersonal Reactivity Index (IRI) (Davis, 1990). Subjects self-reported their answers to the IRI before and after undergoing the SSCP intervention. Comparing their pre and post intervention results, no statistically significant changes were noticed for the EC and PT scales (p-value = 0.7093 for EC; p-value = 0.6328 for PT). These results stand in direct tension with the anecdotal evidence gathered from 10 years of action research that shows that the SSCP impacts audiences' ability to empathize. This opens the door for additional research with more rigorous methodology and a larger sample size which will allow for more interpretative analysis. These results also probe the concern about whether the IRI is the most suitable tool to quantitatively measure the empathetic responses caused by the SSCP and evidenced by action research.
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Heneghan, Frank. "Ireland's Music Education National Debate rationalization, reconciliation, contextuality and applicability of global philosophies in conflict /." Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-11082004-084013/.

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Thesis (D.Mus.)-University of Pretoria, 2004.
Paper copy accompanied by 1 CD-ROM with title: The Music Education National Debate (MEND). Includes bibliographical references. Available on the Internet via the World Wide Web.
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Watson, Krysten A. "Song Duels: Conflict As A Positive Force." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1294107613.

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Bergh, Arild. "I'd like to teach the world to sing : music and conflict transformation." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/97884.

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Modern conflict transformation emerged after World War II as a discipline and a field of academic research. Since the early 1990s it has increasingly concerned itself with psycho-social issues (e.g. trauma treatment or reconciliation) in the aftermath of violent protracted social conflicts. Within this psycho-social space there has been a growing interest in the use of music in conflict transformation to improve relationships between in and out-groups. However, the field of music and conflict transformation is still nascent, with little in-depth research available. The majority of studies have been undertaken by interested parties or relies on anecdotal evidence from organisers and musicians with little concern for the context of the music use. Participants, whose attitudes and relationships to out-groups are the focus of conflict transformation interventions, are largely overlooked and their views are rarely discussed. Furthermore, there are few detailed studies on exactly how music affects conflict transformation outcomes. Instead allusions are often made to terms such as “the power of music” which act as a black box intended to explain how music “works”, but patently fail to do so. This thesis attempts to fill these two gaps in the literature by focusing on the participants’ experiences in two different conflict transformation contexts, a multi- cultural music project for school children in Noway and the casual music use in a settlement of internally displaced persons in Sudan. Through qualitative research methods, rich descriptive data from different parties is gathered. The data is analysed using grounded theory. As a result a very different and more complex picture emerges that enriches the current understanding of how music is used and perceived in conflict transformation contexts. In particular, how participants view these activities and how power relationships, though rarely mentioned, affect the music use is explored in detail. Some tentative suggestions indicate that music works best when used in longitudinal bottom-up activities and that music can augment conflict transformation activities rather than replace them. Additionally, it is proposed that music may work as a form of benign interruption in conflict transformation activities and that musical events provide a liminal space where the real work lies in the process of bringing any changes in attitudes from the liminal space into everyday life.
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Becker, Kelly Mancini. "The Nile Project: Creating Harmony Through Music In The Nile Basin Region." ScholarWorks @ UVM, 2016. http://scholarworks.uvm.edu/graddis/536.

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ABSTRACT The use of the arts as a tool for conflict transformation, or what has been called arts based peacebuilding, is a new and emerging field. Yet, there is sparse empirical evidence on its outcomes. The Nile Project, a musical collaborative from East Africa that brings together musicians from all of the countries that border the Nile River, is aimed at finding a solution to the dire water conflict and crisis in the region. This study aims to explore how their collaborative process of creating and performing music despite their linguistic, cultural, musical, and political differences, can illuminate how music can be used to address conflict. Using a combination of collaborative qualitative and arts-informed research methodologies, original members of the collective as well as the co-founder were interviewed. Observations were also done of the musicians' rehearsals, performances, and classroom visits at a New England University and during a musical residency in Aswan, Egypt. Findings suggest that an outcome of the Nile Project's work is the development of relationships, deeper learning, particularly about other Africans, and that the process of making music with those from diverse musical traditions can act as a way to practice peacebuilding skills: creating unity, while honoring diversity. This study seeks to add to a limited amount of research documenting the arts in peacebuilding suggesting that music might be an effective tool for transforming conflict.
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Monroe, Douglas Charles. "Conflict and Meaning in Carl Nielsen’s “Concerto for Clarinet and Orchestra, Op. 57 (1928)”." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211657191.

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Waxman, Jonathan. "Prefacing Music in the Concert Hall| Program Books, Composer Commentaries, and the Conflict over Musical Meaning." New York University, 2013.

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Robertson, Craig. "Singing to be normal : tracing the behavioural influence of music in conflict transformation." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14684.

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Music is often heralded as a means of bringing people together or celebrating diversity and therefore it is also often assumed that music can be a beneficial tool in conflict transformation settings. Despite this widespread belief there is little empirical evidence to support this notion. Indeed, there is more evidence that suggests the opposite; music can increase solidarity within one group but that very process strengthens the borders between what is accepted as in-group or out-group. It is this strengthening of identity borders that can lead to outright conflict if certain other social conditions prevail. One question remains, why is the belief in the power of music so widespread when there is evidence that demonstrates potential negative outcomes? In order to address that question, it is useful to observe that music continues to be used in community projects and within NGOs as a means to bond groups in social conflict despite the lack evidence to support their actions. The belief in the positive power of music has influenced behaviour so that musical activity is included in peace work. Indeed, belief can be seen as a prime motivator of behaviour in most sectors of the world, much more so than hard evidence. This thesis is an exploration of the social processes that occur in musical experiences that affect memory, identity and emotions and how they affect understanding and belief which in turn affects group behaviour. The research is inter-disciplinary, drawing on music sociology, social movements, cultural studies, ethno-musicology and conflict theory, and data was collected using qualitative methods (ethnographic interviewing, action research, observation/participation, grounded theory). The fieldwork was conducted with an inter-religious choir in Sarajevo, Bosnia-Herzegovina, and a comparative study conducted with a world-music community choir in London, UK.
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Baker, Mark Stephen. "The Parents' Music Resource Center : symbolic conflict amidst structural decay in the United States." Thesis, University of Exeter, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238748.

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Books on the topic "Music and the conflict"

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Music and conflict. Urbana: University of Illinois Press, 2010.

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Ippolito, Linda M. Music, Leadership and Conflict. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13628-4.

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Songs of the Vietnam conflict. Westport, Conn: Greenwood Press, 2001.

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The Victorian music hall: Culture, class, and conflict. Cambridge: Cambridge University Press, 1996.

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Homes, A. M. Music for torching. London: Doubleday, 1999.

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Music for torching. New York: Rob Weisbach Books, 1999.

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Negus, Keith. Producing pop: Culture and conflict in the popular music industry. London: E. Arnold, 1992.

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Peña, Manuel H. The Mexican American orquesta: Music, culture, and the dialectic of conflict. Austin: University of Texas Press, 1999.

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Ellis, Catherine J. The musician, the university and the community: Conflict or concord? Armidale, N.S.W: University of New England, Publication Office, 1986.

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Nathan, Stocker, ed. Infinite playlists: How to have conversations (not conflict) with your kid about music. Grand Rapids, MI: Kregel Publications, 2010.

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Book chapters on the topic "Music and the conflict"

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Hamed, Adham. "Music in Conflict Transformation." In Speaking the Unspeakable, 53–59. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-14208-7_7.

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Dueck, Jonathan. "Making music traditional." In Congregational Music, Conflict and Community, 38–72. New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315546247-3.

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Lee, Young-mee, Young-mee Yu Cho, Brandon J. Park, and Jean Yoon. "The Explosion of Generational Conflict." In You Call That Music, 51–61. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003241652-8.

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Ippolito, Linda M. "Framing the Problem." In Music, Leadership and Conflict, 1–15. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13628-4_1.

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Ippolito, Linda M. "Ensemble Negotiation." In Music, Leadership and Conflict, 17–63. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13628-4_2.

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Ippolito, Linda M. "Setting the Stage: Theoretical Landscape." In Music, Leadership and Conflict, 65–105. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13628-4_3.

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Ippolito, Linda M. "The Teaching Experiment." In Music, Leadership and Conflict, 107–81. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13628-4_4.

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Ippolito, Linda M. "Putting It Together." In Music, Leadership and Conflict, 183–207. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13628-4_5.

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Kallio, Alexis Anja. "Towards Solidarity through Conflict." In Difference and Division in Music Education, 163–76. New York : Routledge, 2020. | Series: ISME global perspectives in music education: Routledge, 2020. http://dx.doi.org/10.4324/9780429278525-14.

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Dueck, Jonathan. "Introduction." In Congregational Music, Conflict and Community, 1–18. New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315546247-1.

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Conference papers on the topic "Music and the conflict"

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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.
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Tika Lestari, Dewi. "Religious Conflict Transformation through Collective Memory and the Role of Local Music." In Proceedings of the International Conference on Religion and Public Civilization (ICRPC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icrpc-18.2019.22.

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Ringendahl, Elisa. "Lied versus Oper – Pole musikalischer Gattungen bei Oscar Bie." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.70.

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A comparison of Oscar Bie’s monographies Die Oper and Das deutsche Lied shows that opera and ‘Lied’ are two extremes in Bie’s understanding of musical genres. While opera according to Bie is an “impossible work of art” which arises from countless contradictions, the low-conflict ‘Lied’ forms an opposite pole. Bie’s perception influences the way he deals with the two genres in writing: while opera is suitable for an adequate feuilleton, ‘Lied’ is not. Bie’s comparison gives him the possibility to break with established patterns of genres. It becomes apparent that for him opera takes on a special role in that it represents the culmination of the basic features of music. As a critic, Bie demands utmost congruence between object and written representation. Writing about music means to be an artist who deals with the same work of art but in another medium.
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Prchal, Jan. "Projekt MOSAIC – každý žák hudebním skladatelem." In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-9.

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The inclusion of a new key competence – digital – has raised a strong wave of reactions, mostly dissenting. The non-transparency of the process, the weakening of the Arts and Culture area is rightly criticized by reducing the hour range to upper primary schools, and, last but not least, the disregard of disciplines that develop non-technical competencies. This paper can be used as an argument that digital competencies do not necessarily conflict with art education and that a reduction in the number of lessons was not necessary – the content of digital education can also be implemented in subjects in the field of Arts and Culture.
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Alexander, Yakoupov. "Dealing with Managerial Conflicts and Resolving Them By the Case of Magnitogorsk Music Houses and Music Community." In Proceedings of the 4th International Conference on Economics, Management, Law and Education (EMLE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/emle-18.2018.44.

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Vikulova, Larissa G. "Music Critics Avoiding Conflicts: Take Five Or Why Stars Matter." In Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.03.14.

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Kohl, Marie-Anne. "Die weinende Jury. »Geschlechtslose« Tränen bei globalen Musik-Castingshows?" In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.59.

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Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an ‘affective economy’ as an effect of their circulation, their staging as a specific ‘emotional style’ of dealing with emotions (Eva Illouz). The circulation of affects in casting shows is a global one, since the formats, developed in Europe, have produced local versions in over 60 countries worldwide. Emotions play an important role in the successful localization of the formats and define a complex area of conflict between a sensitization to socio-cultural characteristics and the ‘reproduction of culturalistic concepts’ (Laura Sūna) or clichés. In European cultural history, tears have developed a special significance as guarantors of the authenticity of empathy (Sigrid Weigel), and are generally associated with femininity, however at the same time have been film-historically recoded as ‘gender-neutral’ (Renate Möhrmann). Keeping in mind that all these casting show formats have been exported from Europe, these observations are of special interest, especially since one can see men and women crying equally in the Arabic, German or South African versions of e. g. The Voice. This article questions the concurrence of musical performance, display of tears, gender performance and the translocal dramaturgy of music casting shows.
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Bauriedel, Stephan. "The Digital Disruption of Ubiquitous Economic Theories." In EDAMBA 2021 : 24th International Scientific Conference for Doctoral Students and Post-Doctoral Scholars. University of Economics in Bratislava, 2022. http://dx.doi.org/10.53465/edamba.2021.9788022549301.16-28.

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Digitalisation demands new economic theories because the old laws are losing their validity. They were established to describe the business interrelationships in an analogue world. Now digital business models are breaking the boundaries and taking learned knowledge ad absurdum. New economic theories are emerging from the literature to explain how digitalisation works. The author finds that the new assumptions conflict with some ubiquitous economic theories. The inconsistencies were collected, reviewed, and evaluated. It turns out that at least five doctrines are no longer applicable in the digital world, as their parameters shift elementarily. Using a contrasting example from the music industry, the results were examined and confirmed by way of example. The result is that certain economic theories - from Porter to Pareto - no longer apply in the digital world. The rules must be rewritten so that order can emerge again from the growing chaos.
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Kozáry, Andrea. "Conflict Resolution, Mediation, Restorative Justice and the Policing of Ethnic Minorities in Germany, Austria and Hungary (COREPOL)." In MultiScience - XXIX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2015. http://dx.doi.org/10.26649/musci.2015.100.

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Cova Morillo, Miguel Angel De la. "Des-montaje de la maqueta de la propuesta para el Palacio de los Soviets de Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.725.

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Resumen: Desde las páginas de L'Esprit Nouveau y al calor del cine, Elie Faure bautizará como "cineplástica" la consecución de imágenes al ritmo de la música, en un discurso paralelo al del método Dalcroze en la danza. Le Corbusier, Albert Jeanneret y Pierre Chenal propondrán dos experiencias fílmicas relacionadas con dicha denominación: "Batir" y "L'Architecture d'aujourd´hui", para las que se realizarán varias maquetas ex-profeso cuyas cualidades estaban pensadas para su visión en la pantalla. Esta especificidad se hará más compleja en el filme del modelo de la propuesta para el Palacio de los Soviets. Le Corbusier mostrará un proceso cinético consistente en el des-montaje del objeto, un recorrido inverso al de la construcción real, lo que permite al espectador poder familiarizarse desde el comienzo con el conjunto terminado. A partir de ahí, como si de un "ecorché" se tratara, se mostrarán sus entrañas: una lección de anatomía arquitectónica que finaliza con el vacío del solar del Salvador dominado por los brillos del gran arco de acero soviético-"stal" en ruso- reflejado en el Moskva. Este recurso cinético emparenta con las teorías del "montaje como conflicto" de Sergei Eisenstein, a través de una maqueta que se presenta, además, como comprobación de la efectividad de la forma ante las ondas acústicas, en la línea de las realizadas por ingenieros como Gustave Lyon. Se consigue así conjugar, a través de la maqueta, espacio, movimiento y sonido. El germen de una arquitectura acústica. Abstract: From the pages of L'Esprit Nouveau and inspired by films, Elie Faure coined the term "cineplástique" to refer to the combination betweenimages and music, similarly to theMethode Dalcroze in dancing. Le Corbusier, Albert Jeanneret and Pierre Chenal proposed two filmic experiences related to this new concept- "Batir" and "L'Architecture d'aujourd´hui". Several models were made specifically for these films and designed to be viewed on screen. This feature became more complex in the film of the proposal model for Palace of Soviets. Le Corbusier displayed a process consisting onthede-montageof the object, reversing thus the path to the actual building, which allows the viewer to become familiar from the start with the finished piece. Thereafter ,as if it was an "écorché", their insides are displayed, featuring an architectural anatomy lesson which ends with the empty site of Salvador, where the brightness of the large steel arch ("Stal" in Russian)is reflected in the Moskva River. This filming resource is related to Sergei Eisenstein's theories of " montage as conflict", illustrated by a scale model that also verifies the effectiveness of form with respect to acoustic waves, in line with those made by engineers such as Gustave Lyon. Therefore, the combination of movement, space and sound is achieved through the architectural model. That is the seed of acoustic architecture. Palabras clave: maqueta; Chenal; filme; cineplástica; Palacio de los Soviets; acústica. Keywords: architectural model; Chenal; film; cineplastique; Palace of Soviets; acoustic DOI: http://dx.doi.org/10.4995/LC2015.2015.725
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Reports on the topic "Music and the conflict"

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Johnston, Mindy. Music and Conflict Resolution: Exploring the Utilization of Music in Community Engagement. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.437.

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Bassalé, Parfait. Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy? Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1122.

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Stahl, Geoff, and Alex Gyde, eds. Popular Music Worlds, Popular Music Histories: Conference Proceedings, Liverpool 2009. International Association for the Study of Popular Music, December 2011. http://dx.doi.org/10.5429/2225-0301/2009.

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Maddocks, Sally C. Music and Combat Motivation. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ada635065.

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Kaplan, Gail. Review ofThe Music of Pythagoras. Washington, DC: The MAA Mathematical Sciences Digital Library, March 2010. http://dx.doi.org/10.4169/loci003480.

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Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, December 2014. http://dx.doi.org/10.25366/2022.99.

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On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.
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Saldana, Pablo. Boomers, Millennials, and The Music Experience. Portland State University Library, January 2016. http://dx.doi.org/10.15760/honors.309.

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Mehegan, Laura, and G. Chuck Rainville. 2020 Music and Brain Health Survey. Washington, DC: AARP Research, November 2020. http://dx.doi.org/10.26419/res.00387.001.

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Connolly, Marie, and Alan Krueger. Rockonomics: The Economics of Popular Music. Cambridge, MA: National Bureau of Economic Research, April 2005. http://dx.doi.org/10.3386/w11282.

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Garza, Mario A. Conflict Termination: Every Conflict Must End. Fort Belvoir, VA: Defense Technical Information Center, June 1997. http://dx.doi.org/10.21236/ada328094.

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