Relevant bibliographies by topics / Music and the war

Contents

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

Academic literature on the topic 'Music and the war'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Music and the war"

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O'Leary, Michael, and Christopher Logue. "War Music." Chicago Review 43, no. 4 (1997): 152. http://dx.doi.org/10.2307/25304226.

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Pradana, Ridhlo Gusti. "Representasi Kisah Perang Bubat Dalam Karya Ensambel Perkusi Oleh Kelompok Studi Perkusi (KESPER)." PROMUSIKA 11, no. 1 (April 11, 2023): 30–37. http://dx.doi.org/10.24821/promusika.v11i1.9220.

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Perang Bubat sebagai inspirasi karya ensambel perkusi merupakan aplikasi yang didapatkan dari menelaah informasi, kajian sejarah dan kisah perang bubat dalam setiap bagian yang direpresentasikan kedalam karya musik perkusi oleh KESPER dengan format ensambel modern. Metode yang digunakan adalah kualitatif dengan pendakatan deskriptif analisis, cara pengumpulan data melalui observasi dan wawancara dari masing-masing sumber yang terkait dengan penelitian ini. Musik perkusi dapat merepresentasikan sebuah suasana yang terjadi dalam kisah perang bubat, dengan memberikan ekspresi sebagai emosi dalam pengkaryaan ensambel perkusi itu sendiri. Rangkaian bagian dalam kisah perang bubat dibuat sedemikian rupa sehingga dapat mawakili isi dari kisah perang bubat itu sendiri. Musik perkusi bukan hanya dapat menciptakan musik yang keras tapi juga dapat memberikan kesan romantis terhadap penikmatnya.AbstractRepresentation of the Bubat War Story in Percussion Ensemble Works by the Percussion Study Group (KESPER). Bubat War as the inspiration for the percussion ensemble work is an application obtained from examining information, historical studies and the story of the Bubat War in each part, represented in percussion music by KESPER with a modern ensemble format. The method used is qualitative with a descriptive-analytical approach, collecting data such as observation and interviews from each source associated with this research. Percussion music can represent an atmosphere that occurs in the war story of Bubat by expressing emotion in the percussion ensemble itself. The series of parts in the war story is made to represent the contents of the report of the war story itself. Percussion music can not only create loud music but can also give a romantic impression to the audience.Keywords: Representation, Bubat War, Percussion Ensemble, KESPER
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Beal, Amy C. "Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956." Journal of the American Musicological Society 53, no. 1 (2000): 105–39. http://dx.doi.org/10.2307/831871.

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In the context of postwar and Cold War cultural politics, the Darmstädter Ferienkurse für Neue Musik set the stage for Germany's ambivalent reception of American music in the decades following World War II. This article weighs the catalytic role of American music in Darmstadt between 1946 and 1956; traces the relationships among U. S. cultural officers, German patrons, and representatives of American music in Darmstadt; and describes events in Darmstadt that led to a growing interest in American experimental music in West Germany. An English translation of Wolfgang Edward Rebner's 1954 Ferienkurse lecture "American Experimental Music" is included as an appendix.
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Hoffer, Brandi. "Sacred German Music in the Thirty Years’ War." Musical Offerings 3, no. 1 (2012): 1–11. http://dx.doi.org/10.15385/jmo.2012.3.1.1.

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Jenson, Jolie, Charles K. Wolfe, and James E. Akenson. "Country Music Goes to War." Journal of Southern History 72, no. 2 (May 1, 2006): 506. http://dx.doi.org/10.2307/27649129.

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Stefanija, Leon. "Music During the Great War in Slovenia." Musicological Annual 53, no. 2 (November 27, 2017): 103–18. http://dx.doi.org/10.4312/mz.53.2.103-118.

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The contribution is a survey of music as a social practice on the territory of today’s Slovenia during the Great War. It addresses the Slovenian music culture during the Great War from three complementary perspectives. Firstly, it gives a glimpse of the musical practice in Ljubljana, where, beside the entertaining music practice, subscription concerts were offered as well. The second section, the most elaborated one, focuses on the Slovenian music production connected to the Great War in two respects: on the music for (and about) it, as well as on the musical practice based on the events of the period that is considered, by many, to be odious. It offers a taste of the musical culture in Slovenia during the Great War and of the repertories of music pertaining to soldiery, concentrating on one in-depth analytical fragment of the song Tam na karpatskoj gori (Prošnja umirajočega junaka). Thirdly, the last section is devoted to the reception of the music connected to the Great War in Slovenia after 1918.
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Stefanija, Leon. "Music During the Great War in Slovenia." Musicological Annual 53, no. 2 (November 27, 2017): 133–48. http://dx.doi.org/10.4312/mz.53.2.133-148.

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The contribution is a survey of music as a social practice on the territory of today’s Slovenia during the Great War. It addresses the Slovenian music culture during the Great War from three complementary perspectives. Firstly, it gives a glimpse of the musical practice in Ljubljana, where, beside the entertaining music practice, subscription concerts were offered as well. The second section, the most elaborated one, focuses on the Slovenian music production connected to the Great War in two respects: on the music for (and about) it, as well as on the musical practice based on the events of the period that is considered, by many, to be odious. It offers a taste of the musical culture in Slovenia during the Great War and of the repertories of music pertaining to soldiery, concentrating on one in-depth analytical fragment of the song Tam na karpatskoj gori (Prošnja umirajočega junaka). Thirdly, the last section is devoted to the reception of the music connected to the Great War in Slovenia after 1918.
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O’Connell. "Music in War, Music for Peace: A Review Article." Ethnomusicology 55, no. 1 (2011): 112. http://dx.doi.org/10.5406/ethnomusicology.55.1.0112.

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Arnold, Ben. "Music, Meaning, and War: The Titles of War Compositions." International Review of the Aesthetics and Sociology of Music 22, no. 1 (June 1991): 19. http://dx.doi.org/10.2307/837033.

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Thomson, Andrew, Sergey Prokofiev, Anthony Phillips, and Boris Berman. "War Games." Musical Times 149, no. 1904 (October 1, 2008): 105. http://dx.doi.org/10.2307/25434560.

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Dissertations / Theses on the topic "Music and the war"

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Kochenderfer, Mary Anne. "Music after war : therapeutic music programmes in Bosnia and Herzegovina." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/1956.

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This thesis is a study of therapeutic music programmes in post-war Bosnia and Herzegovina. This study focuses on how different participant groups perceive programme aims and benefits and what these different perceptions reveal about the programmes as well as ways in which the local context impacts the programmes. Analysis is based on data gathered through interviews, observation, participant observation, and questionnaires obtained during five fieldwork visits undertaken between November 2003 and November 2004. While all participant groups agree that the programmes are beneficial, there are important differences in the ways different participant groups perceive programme benefits and the different ways in which the programmes approach sessions. Constructions of therapy appear to differ both between programmes and between international and local staff. All participant groups identified improved client communication and social skills as primary session outcomes. Clients appear to be largely unaware of the therapeutic aims of their sessions. Parents appear to have little influence and are not always notified that their children are involved with the programmes. International staff members appear to be intolerant of parents who do not heed their advice or reinforce progress made during sessions. In addition to running therapeutic sessions, these programmes work to increase inter-ethnic tolerance and to improve the skills of other local professionals. Programme success appears to be hindered by uncertainties inherent in working in a post-war environment. Developed and largely influenced by internationals, the programmes also face uncertainty as to whether they possess the necessary local leadership and ownership for long-term sustainability. There is evidence that tensions within, between, and outwith the programmes limit programme potential. Many of these tensions appear to be tied to local-international relations within programmes, which are exacerbated by national local-international tensions. A funding shortage has contributed to a competitive rather than a cooperative relationship between programmes. As the first detailed study of post-war therapeutic music programmes, this study has the potential to impact similar work in other regions and provides a more informed backdrop against which judgements can be made regarding the role and appropriateness of music as a form of therapy in post-war regions.
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Howell, Gillian. "A world away from war: Music interventions in war-affected settings." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/378101.

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This thesis examines what happens when the worlds and knowledges of war, international development, and music education intersect. It investigates the practices and experiences of music interventions, a term used in this thesis to describe structured programs for music learning and participation in places that have been unmade by war, taking shape within the structures and funding arrangements of largescale international aid and assistance. It explores the work of three specific music interventions—the Pavarotti Music Centre in Bosnia-Herzegovina, Hadahur Music School in Timor-Leste, and the Afghanistan National Institute of Music in Afghanistan—with the goal of identifying how these kinds of projects are shaped, and their potential for sustainability in a volatile and mutable environment. These case study sites offer interesting contrasts of timeframe (longevity of the music intervention and retrospective distance from the wartime experiences); scale (of ambition, funding, and external drivers); and approaches to the teaching and learning of music, in particular their efforts to regenerate local music traditions. The research was designed as an ethnographic, multi-sited, multi-case study project. Semi-structured interviews and document review were the principal data sources, offering diverse perspectives that bring both positive and critical voices of participants and local community members to the fore, alongside those of organisers and practitioners. Data were coded and analysed thematically, using grounded theory methods. As a result of this process, the thesis argues that the phenomenon of music interventions can be understood as evolving across six critical junctures—sites of negotiation between the various actors—that produce decisions and actions that critically shape each project. The critical junctures—Aims and Motivations, Buildings and Facilities, Pedagogy and Learning Materials, Organisational Culture, Internal Engagement, and External Engagement—also have implications for sustainability, as they represent points of active interface between contrasting constructs and ideals, and therefore can generate instability and conflict as well as harmony and growth. The critical junctures model offers practitioners and scholars a tool for understanding, planning, operationalising, evaluating, and handing over music interventions in waraffected contexts. It sheds light on internal practices, and helps to reveal the influence that the complex wider context can have on shaping and sustaining the music activities. The model of critical junctures for shaping and sustaining music interventions is the central theoretical contribution of this research. In addition, the thesis makes methodological, empirical, and practical contributions to what is a nascent subject of inquiry, mapping three radically different music interventions in their achievements and their missteps, and presenting empirical data from multiple perspectives. In a world that is as much at war as ever, and an aid environment that is increasingly recognising the importance of cultural development and creative expression to human development, this study has deep and immediate relevance to an audience of music and development practitioners, policy makers, and scholars in the fields of (applied) ethnomusicology, music education, community music, music sociology, music therapy, cultural development, and international development.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Park, Hye-jung. "From World War to Cold War: Music in US-Korea Relations, 1941-1960." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554818839582558.

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Dee, Constance R. "Music and propaganda : Soviet music and the BBC during the Second World War." Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505332.

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During the Second World War, specifically after the Nazi invasion of the USSR on 22 June 1941, Britain was forced to rethink its stance on the Soviet Union. Aside from improving diplomatic relations, there was the question of how to present the Soviet Union to the British population. The Government feared that the British Left would promote Communism by capitalising on the public's new-found support for the Soviet Union, which was an understandable concern given that Communist Party membership in Britain rose from 12,000 in 1941 to 65,000 in September 1942. Steps were therefore taken by the British Government to outdo the Communist Party and its affiliates. To do this, it was decided that the endorsement of Anglo-Soviet relations might be less politically orientated and instead gravitate towards cultural achievements, allowing the issue of Communism to be sidelined. Broadcasting, having the ability to reach the majority of the population, was put to use as a way to influence and shape the thoughts of the public. This thesis presents a case study in Anglo-Soviet cultural propaganda, each chapter detailing a specific event or radio programme organised and broadcast by the BBC during the period of 1941-1945. More specifically the focus is on what Russian, and especially Soviet music, was used and for what purpose. The first chapter examines the arguments and internal correspondence surrounding the banning of the `Internationale', then the Soviet anthem, on the BBC. The following chapter demonstrates the complexities in Anglo-Soviet cultural relations by exploring a birthday concert organised by the BBC for Joseph Stalin in December 1941, at a time when the Soviet anthem was still banned. The two succeeding chapters chronicle the BBC's involvement in the celebrations of significant dates on the Soviet calendar, specifically Soviet National Day and Red Army Day. The chapter on Soviet National Day discusses the BBC's 1942 broadcast of Prokofiev's Alexander Nevsky Cantata and two movements from Shostakovich's `Leningrad' Symphony; however, the main focus is an examination of a three-hour broadcast on both the Home and Forces Services of Soviet-themed programmes for Soviet National Day 1943. The Red Army Day chapter discusses Britain's celebrations for the 25t" anniversary of the Red Army in February 1943, which showcased a variety of British and Soviet music in the form of pageantry, and the less elaborate celebrations for the 26th anniversary in 1944, which used only British music. This thesis will illustrate how the media, in particular the BBC Home Service, were used to further the Government's political agenda, while at the same time shaping British culture during the Second World War and paving the way for an enhanced appreciation of Soviet music in Britain in the years to come.
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Nott, James. "Popular music and the popular music industry in interwar Britain." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324242.

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Laux, Katie M. "Songs in the key of protest how music reflects the social turbulence in America from the late 1950s to the early 1970s /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1184767254.

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Hennessy, Tom. "Beyond authenticism : new approaches to post war music culture." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/204/.

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The emergence of folk, jazz, blues, skiffle, rock n roll and R&B scenes in the post-war period of 1945 – 1964 was a major development in Anglophonic music culture. Key individuals operating within these scenes frequently pursued authenticity, or framed their musical activities as “authentic” – that is as cultural produce that was supposedly “true” to a certain way of life, or that offered something “real” in the face of the commercial culture of the mainstream. While this “authenticism” was productive in many respects it also represents a problem for the cultural historian. This thesis tackles this problem by first diagnosing the origins, nature and effects of authenticism, and then by undertaking three new historical studies through which a differently inflected history of this remarkable phase of popular music can be drawn. The first part of this thesis describes the emergence of authenticism in the 1940s and 50s as constituted by certain forms of language. I situate authenticism as a broad current within post war culture which fed upon the growing sense of dissatisfaction with the status-quo. I pay particular attention to its association with the New Left, a confluence whose legacy I argue should now be reappraised. The second part of the thesis proposes three alternative approaches to the subject: a data-based and textual analysis of chart pop, an analytical biography of Lonnie Donegan and a consideration of space and music culture focused upon London. These three case studies will provide a critical and evidence-led analysis that asserts the hybrid and de-centred nature of post war music culture and its place within the broader narratives of modernity. The aim is to create distance from the discourses of authenticism that still influence popular and academic understandings of this field.
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McWhirter, Christian. ""Liberty's great auxiliary" music and the American Civil War /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/2141.

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Weinberg, Ari Marie. "Songsters and Film Scores: Civil War Music and American Memory." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639562.

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This thesis consists of two separate essays both concerned with affect, memory, and music of the Civil War. The first examines the production, use, and purpose of a booklet called The Soldier’s Friend, with an emphasis on the mission of its producer, the United States Sanitary Commission and the needs of the readers of the booklet. In addition, I highlight the explicit connections that the organization made in this document between health and music by bringing cultural and psychological theories to the study of music. While many scholars have emphasized the ubiquity and importance of music during the War (and during the greater nineteenth century), a thorough discussion of the importance of songsters is mostly missing from the narrative. My paper ultimately provides an initial insight into the prominence of songsters in American culture by tying together methods from multiple disciplines. In my second essay, I argue that Max Steiner’s film score in Gone with the Wind aids Rhett Butler’s transition from a renegade man to a southern gentleman. His transformation carries with it messages and memories of the Lost Cause, most notably through Civil War melodies. Ultimately, I conclude that affect, music, and memory are intricately tied in the production of and actualization of southern, white, masculinity.
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Searcy, Anne Ashby. "Soviet and American Cold War Ballet Exchange, 1959–1962." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493533.

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The spring of 1959 marked the beginning of a hugely successful ballet exchange between the United States and the Soviet Union that lasted over three decades. In this dissertation, I examine the opening years of this exchange, when ballet suddenly became an important arena for political and aesthetic conflict between the world’s two superpowers. Ballet had a significant place in the cultural Cold War. Russians considered it a national art form, while Americans were proud of their young but innovative companies. Soviet and American ballet underwent surprisingly similar aesthetic shifts during the mid-twentieth-century, away from realistic narrative ballets and towards musically-focused ballets. Despite these similarities, critics and audiences often saw the touring works through their own domestic political and aesthetic lenses, interpreting them in very different light from their creators and creating a series of deep aesthetic misunderstandings. The exchange tours were enormously popular, and yet the curtain onstage could be just as iron as the one in the middle of Europe. I employ a transnational perspective, drawing on a combination of Russian and American sources to investigate both the conciliatory and the alienating effects of the exchanges. Using reception theory as a model for understanding cultural diplomacy, I show how ballet played a substantive role in developing the Soviet-American relationship, though not always for the better. In the short term, the goodwill generated by the successful tours helped normalize relations between the Soviet and American governments at a time when nuclear conflict was a real threat. However, the cultural misunderstandings raised by the ballet tours also formed part of a pattern of miscommunication and circular internal discourse that contributed to the inability of the two superpowers to resolve or mediate their opposing world views. At the same time I argue that the very misunderstandings generated by Cold War exchange continue to inform American attitudes towards ballet. Reexamining the ballets performed during the tours through the defamiliarizing process of exchange can suggest new ways of interpreting 20th-century ballet aesthetics.
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Books on the topic "Music and the war"

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Cliffe, Peter. The Civil War in music. Nashville: J.S. Sanders, 1999.

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group), EXO (Musical. Ko Ko Bop: The war. [Korea]: S.M. Entertainment, 2017.

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Horton, Bobby, and Anita Quick. Civil War camp songs. Shattuc, Ill: Long Branch Books, 2012.

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Kraaz, Sarah Mahler, ed. Music and War in the United States. New York: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315194981.

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Stone-Honigsberg, Peggy. A life of love, war and music. Raanana: Docostory, 2004.

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1960-, Pettan Svanibor, and Institut za etnologiju i folkloristiku (Zagreb, Croatia), eds. Music, politics, and war: Views from Croatia. Zagreb: Institute of Ethnology and Folklore Research, 1998.

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H, Young William. Music of the World War II era. Westport, Conn: Greenwood Presss, 2008.

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Evans, Max. War and music: A medley of love. Albuquerque: University of New Mexico Press, 2010.

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group), Bone Thugs-n.-harmony (Musical. Art of war: WW III. [Los Angeles, Calif.]: Seven Arts Music, 2013.

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Bingham, Charlotte. Distant music. London: Doubleday, 2002.

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Book chapters on the topic "Music and the war"

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Cornelius, Steven, and Mary Natvig. "Music and War." In Music a Social Experience, 163–83. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-11.

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Cornelius, Steven, and Mary Natvig. "Music and War." In MusicA Social Experience, 185–209. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003155812-12.

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Downing, Taylor. "Music and Words." In The World at War, 77–91. London: British Film Institute, 2012. http://dx.doi.org/10.1007/978-1-84457-717-0_9.

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Tan-Tangbau, Stan BH, Lưu Quang Minh, and Quyền Thiện Đắc. "Music, War and Revolution." In Jazz in Socialist Hà Nội, 78–102. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003165927-5.

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Stauss, Sebastian. "Checkpoint Music Drama." In Theatre, Globalization and the Cold War, 259–70. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8_15.

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Hildebrand, David K. "The Revolutionary War and War of 1812." In Music and War in the United States, 20–40. New York: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-2.

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Camus, Raoul F. "The Revolutionary War." In Music and War in the United States, 3–19. New York: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-1.

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Bombola, Gina. "World War II." In Music and War in the United States, 162–77. New York: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-10.

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McWhirter, Christian. "The Civil War." In Music and War in the United States, 54–66. New York: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-4.

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Kelley, Bruce. "The Civil War." In Music and War in the United States, 67–86. New York: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-5.

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Conference papers on the topic "Music and the war"

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Terroso-Sáenz, Fernando, Andres Muñoz, and Philippe Roose. "War & Music: The impact of the Ukrainian War on the Music Listening Behaviour in Eastern Europe*." In 2023 IEEE International Symposium on Multimedia (ISM). IEEE, 2023. http://dx.doi.org/10.1109/ism59092.2023.00037.

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Ramelli, Marco. "The Influence of the Spanish Civil War in Gerhard’s Guitar Music." In Roberto Gerhard (1896-1970): Re-appraising a Musical Visionary. University of Huddersfield, 2021. http://dx.doi.org/10.5920/gerhardwarguitar.

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Tsykina, Iuliia Iurevna, and Rafael' Robertovich Shamsutdinov. "Music during the Great Patriotic war – the example of the Republic of Tatarstan." In Proceedings of the conference. Publishing house Sreda, 2024. http://dx.doi.org/10.31483/r-110994.

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The article deals with music of the Great Patriotic War period. The musical culture of the war years in the Tatar ASSR. It is revealed that in these years the Tatar musical art developed in the spirit of the trends of the time, under the slogan «All for the front – all for the Victory!».
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Rossi Rognoni, Gabriele, Marie Martens, Arnold Myers, and Jen Schnitker. "CIMCIM Call for Papers ‘Global Crises and Music Museums: Representing Music after the Pandemic’." In Global Crises and Music Museums: Representing Music after the Pandemic, edited by Mimi Waitzman and Esteban Mariño. CIMCIM, 2023. http://dx.doi.org/10.46477/seca7941.

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The COVID-19 pandemic has arguably caused the biggest disruption to the museum and heritage sector since the Second World War. All over the world, museums have had to close, some never to reopen, and many have had to suspend their operations for prolonged periods. However, the disruption has also invited – sometimes forced – substantial changes in the way museums perceive themselves and their interactions with their audiences. This has included an increased focus on digital offers, a reconsideration of the human relationships with external as well as internal stakeholders, new ways to guarantee the preservation, documentation and availability of collections and revised financial and sustainability planning. Some of these changes will be transitory, while others are likely to leave permanent footprints on the identity of museums and the way they operate even after the emergency has passed. This conference will highlight and discuss some of the initiatives and innovations that emerged from the past year, with particular attention to curatorship, conservation, learning and participation, and documentation and research. Critical perspectives, as well as case studies are invited to focus on the long-term impact of the pandemic and on the way the identity of music museums, their value and relevance to society and research, and their ways of operating internally and externally may have been transformed. CIMCIM 2021 Conference Organising Committee Gabriele Rossi Rognoni (Royal College of Music, London, UK) Mimi Waitzman (Horniman Museum and Gardens, London, UK) Marie Martens (The Danish Music Museum, Copenhagen, Denmark) Arnold Myers (University of Edinburgh and Royal Conservatoire of Scotland, Glasgow, UK) Jen Schnitker (Metropolitan Museum of Art, New York, USA)
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Jahamou, M., and W. Wiswayana. "Music as A Weapon on Asymmetric War between FWPC (Free West Papua Campaign) Against Indonesia." In Proceedings of the First Brawijaya International Conference on Social and Political Sciences, BSPACE, 26-28 November, 2019, Malang, East Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.26-11-2019.2295195.

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Jabrayilzade, Arzu. "Turkish and Hungarian Political and Economic Relations in the Post Cold War Period." In MultiScience - XXXI. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2017. http://dx.doi.org/10.26649/musci.2017.126.

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Škojo, Tihana, and Zdravko Drenjančević. "THE ROLE OF POPULAR SONGS IN CONFIRMING CROATIAN NATIONAL IDENTITY." In European realities - Power : 5th International Scientific Conference. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2023. http://dx.doi.org/10.59014/xzuf4839.

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The experiential, emotional reception of a piece of music depends on a number of factors. Considering this complex phenomenon from a subjective aspect, the individual experience of a particular piece of music is influenced by the time and place of listening, as well as by physical and social factors, structural elements of the music, and other qualitative elements. Popular music, due to its distinctive features, which are manifested through a simpler melodic and rhythmic structure, elicits an intense emotional response from the listener even at the first listening. The textual element plays a significant role in this, as it can completely change the affective valence of the piece of music. Based on the musical analysis of nine popular songs from the Homeland War, the most intensive period in Croatian history in social and political terms, the paper discusses all the experiential elements that influenced the emotional reception and the popularity of these songs. The impact of lyrics on the affective dimension of the acceptance of the songs is highlighted, as is the setting in which they were composed and the significance they had for the formation of national identity.
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Korepanova, V. V., N. V. Pokoev, and A. A. Danilova. "Labelling music. The influence of music on human behavior." In 2022 33th All-Russian Youth Exhibition of Innovations. Publishing House of Kalashnikov ISTU, 2022. http://dx.doi.org/10.22213/ie022127.

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The article examines the experimental statistics of scientists on the influence of various genres of music on human behavior. An accurate system of marking music by belonging to a person's activity with recommendations for listening is proposed and characterized. Based on the update of the streaming service for listening to music, it is proposed to develop and introduce the software of the created label with an explanation. The article shows how the chosen music affects the formation of character and mental abilities. The findings of this study can be used as a basis for further research that affects the field of technology, psychology, and music. This article was formed in several stages. The subject of the study and the topic of the article were formulated, the relevance was justified. Further, the goals and objectives of the study were determined. A search and study of scientific literature on this topic was carried out. General scientific and private research methods were applied in the article.
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Yuan, Xiaoxia. "Research on music information retrieval algorithm based on deep learning." In 2022 World Automation Congress (WAC). IEEE, 2022. http://dx.doi.org/10.23919/wac55640.2022.9934127.

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Gao, Xinwei, Deng Kai Chen, Zhiming Gou, Lin Ma, Ruisi Liu, Di Zhao, and Jaap Ham. "AI-Driven Music Generation and Emotion Conversion." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004679.

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With the integration of Generalized Adversarial Networks (GANs), Artificial Intelligence Generated Content (AIGC) overcomes algorithmic limitations, significantly enhancing generation quality and diversifying generation types. This advancement profoundly impacts AI music generation, fostering emotionally warm compositions capable of forging empathetic connections with audiences. AI interprets input prompts to generate music imbued with semantic emotions. This study aims to assess the accuracy of AI music generation in conveying semantic emotions, and its impact on empathetic audience connections. ninety audios were generated across three music-generated software (Google musicLM, Stable Audio, and MusicGen), using four emotion prompts (Energetic, Distressed, Sluggish, and Peaceful) based on the Dimensional Emotion Model, and two generated forms (text-to-music and music-to-music). Emotional judgment experiment involving 26 subjects were conducted, comparing their valance and arousal judgments of the audios. Through Multi-way variance analysis, the AI-music-generated software had a significant main effect on the accuracy of conversion. Due to the diversity of generated forms of MusicGen, it has a lower accuracy of conversion compared to Google musicLM and Stable Audio. There was a significant interaction effect of generated forms and emotion prompts on the accuracy of conversion. The differences in accuracy between emotion prompts in the form of text-to-music were statistically significant, except for the differences between the accuracy of Distressed and Peaceful. Compared with the generated form of text-to-music, the form of music-to-music showed statistically significant emotional conversion ability for low arousal. The diversity of AI software input elements (i.e., text or music) may affect the effectiveness of emotional expression in music generation. The ability of different software to convey different emotions according to different prompts was unsteady in the form of text-to-music. This study advance computer music co-composition and improvisation abilities, facilitating AI music applications in fields such as medical rehabilitation, education, psychological healing, and virtual reality experiences.
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Reports on the topic "Music and the war"

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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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Templeton, Patricia. Atomic tunes: The intersection of Lab science and popular music from 1945-1962 How American music was influenced by nuclear science. Office of Scientific and Technical Information (OSTI), October 2021. http://dx.doi.org/10.2172/1826489.

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Ding, Cong, Soh Kim Geok, and He Sun. Does Listening to Music During Warm-up Impact Subsequent physical and skill Performance? A Systematic Review and Meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, May 2024. http://dx.doi.org/10.37766/inplasy2024.5.0062.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Ramnath, Rishabh, Neale Kinnear, Sritika Chowdhury, and T. Hyatt. Interacting with Android Auto and Apple CarPlay when driving: The effect on driver performance. TRL, January 2020. http://dx.doi.org/10.58446/sjxj5756.

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This study aimed to assess the impact of interacting with two infotainment systems, Android Auto and Apple CarPlay, on four driver performance measures: reaction time, driving behaviour, eyes-off road and self-reported performance. It also compared the results with other forms of driver impairment studied previously. Twenty regular Android users took part in the Android Auto trial and 20 regular Apple users took part in the Apple CarPlay trial. Each participant completed three 20 minute drives in TRL’s DigiCar simulator: control (no interaction with infotainment system), voice enabled and touch enabled. The route was divided into sections and participants performed music, navigation, texting and calling tasks at specific times during the drive. Compared with the control drive, participants in both trials showed a reduction in average speed, increase in deviation of headway and larger deviation of lane position for most tasks; this effect was greater when using touch features than voice features. Eye gaze measures indicated that participants did not meet the NHTSA criteria for most of the tasks when using touch controls for both systems, but they met the criteria when using voice control. Self-reported data suggested that participants found interacting through touch to be more difficult and distracting than voice. Most critically, reaction time to a stimulus on the road ahead was significantly higher when selecting music through Spotify when using Android Auto and Apple CarPlay. Participants also failed to react more to the stimulus on the road ahead when engaging with either Android Auto or Apple CarPlay compared with a control drive. Comparison with previous driver impairment studies showed that the increase in reaction time when interacting with either system using touch was higher than previously measured forms of impairment, including texting and hand-held calls.
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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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Nucera, Diana J., and Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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