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Journal articles on the topic 'Music appreciation Style'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Chowrimootoo, Christopher. "Copland’s Styles." Journal of Musicology 37, no. 4 (2020): 518–59. http://dx.doi.org/10.1525/jm.2020.37.4.518.

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This article examines the relationship between Aaron Copland’s activities as composer and as pedagogue in order to illuminate the fraught midcentury relationship between musical modernism and middlebrow culture. I situate his unpublished lecture notes and music appreciation books within the middlebrow context and trace their connections with the works he composed during this period. At the center of my investigation is the contentious midcentury category of “style,” which implicated both Copland’s music and his pedagogy in ways that illuminate middlebrow cultural appreciation at large. Challen

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2

Zalanowski, Annette H. "The Effects of Listening Instructions and Cognitive Style on Music Appreciation." Journal of Research in Music Education 34, no. 1 (1986): 43. http://dx.doi.org/10.2307/3344797.

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Wicks, Robert. "Dependent Beauty as the Appreciation of Teleological Style." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 387. http://dx.doi.org/10.2307/430926.

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WICKS, ROBERT. "Dependent Beauty As The Appreciation of Teleological Style." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 387–400. http://dx.doi.org/10.1111/1540_6245.jaac55.4.0387.

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Davies, Matthew, Guy Madison, Pedro Silva, and Fabien Gouyon. "The Effect of Microtiming Deviations on the Perception of Groove in Short Rhythms." Music Perception 30, no. 5 (2012): 497–510. http://dx.doi.org/10.1525/mp.2013.30.5.497.

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Groove is a sensation of movement or wanting to move when we listen to certain types of music; it is central to the appreciation of many styles such as Jazz, Funk, Latin, and many more. To better understand the mechanisms that lead to the sensation of groove, we explore the relationship between groove and systematic microtiming deviations. Manifested as small, intentional deviations in timing, systematic microtiming is widely considered within the music community to be a critical component of music performances that groove. To investigate the effect of microtiming on the perception of groove w

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Gotlieb, Heidi, and Vladimir J. Konečni. "The Effects of Instrumentation, Playing Style, and Structure in the Goldberg Variations by Johann Sebastian Bach." Music Perception 3, no. 1 (1985): 87–101. http://dx.doi.org/10.2307/40285323.

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Different recordings and arrangements of the Goldberg Variations by Johann Sebastian Bach were evaluated on cognitive, emotional, and perceptual dimensions. In Study 1, eight different renditions of the piece were classified as Classical or Romantic interpretations. Both harpsichord and piano versions of each style were included. Only minimal differences were found in subjects' appreciation for the harpsichord versus the piano recordings. Comparisons between the Classical and Romantic styles also revealed only slight differences in subjects' ratings. In addition, no differences were found in s

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Agawu, Kofi. "The Amu Legacy." Africa 66, no. 2 (1996): 274–79. http://dx.doi.org/10.1017/s0001972000082437.

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AbstractEphraim Amu, 1899–1995, was the leading Ghanaian composer of ‘art music’ (the music of concerts, churches, schools and formal performance). This article is both a brief appreciation of the man as his ideas, personal practice and musical style developed over the years, and an account of the influence Ephraim Amu exercised over Ghanaian musical life.

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Smialek, Thomas, and Renee Reiter Boburka. "The Effect of Cooperative Listening Exercises on the Critical Listening Skills of College Music-Appreciation Students." Journal of Research in Music Education 54, no. 1 (2006): 57–72. http://dx.doi.org/10.1177/002242940605400105.

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The authors investigated the effectiveness of cooperative listening exercises in developing critical music-listening skills in nonmusic majors. Subjects were college freshmen and sophomores enrolled in Introduction to Western Music. Control-group subjects attended classes taught exclusively in lecture format. Two experimental groups participated in four 50-minute group-listening exercises. Experimental Group 2 engaged in five additional group-analysis exercises, comparing known and unfamiliar musical styles. The consistent use of cooperative-listening exercises proved to be more effective in d

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Urquhart, Peter. "Issues of Counterpoint in Gombert’s Missa Tempore paschali." Journal of Musicology 32, no. 3 (2015): 410–39. http://dx.doi.org/10.1525/jm.2015.32.3.410.

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Creating a new edition of the Missa Tempore paschali forces one to confront the extensive parallelisms found in the collected works edition and to consider a set of questions that are comparable to those raised by musica ficta in Gombert’s music: is an aggressive editorial stance justifiable when stylistic norms are exceeded, or might the composer have intended these unusual patterns? Answers emerge from the dense eight-voice Credo and twelve-voice Agnus dei II that both maintain our preconceptions about the style, and challenge them deeply. A new source for the Agnus dei II enriches our under

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Leder, Helmut. "Familiar and Fluent! Style-Related Processing Hypotheses in Aesthetic Appreciation." Empirical Studies of the Arts 21, no. 2 (2003): 165–75. http://dx.doi.org/10.2190/g6mk-6kl7-ketb-elnd.

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Cheng, Min-Yu, Jaclyn B. Spitzer, Valeriy Shafiro, Stanley Sheft, and Dean Mancuso. "Reliability Measure of a Clinical Test: Appreciation of Music in Cochlear Implantees (AMICI)." Journal of the American Academy of Audiology 24, no. 10 (2013): 969–79. http://dx.doi.org/10.3766/jaaa.24.10.8.

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Purpose: The goals of this study were (1) to investigate the reliability of a clinical music perception test, Appreciation of Music in Cochlear Implantees (AMICI), and (2) examine associations between the perception of music and speech. AMICI was developed as a clinical instrument for assessing music perception in persons with cochlear implants (CIs). The test consists of four subtests: (1) music versus environmental noise discrimination, (2) musical instrument identification (closed-set), (3) musical style identification (closed-set), and (4) identification of musical pieces (open-set). To be

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NOVAK, DAVID. "2·5×6 metres of space: Japanese music coffeehouses and experimental practices of listening." Popular Music 27, no. 1 (2007): 15–34. http://dx.doi.org/10.1017/s0261143008001517.

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AbstractThis article describes a specific history of technological mediation in the circulation of popular music by examining local practices of listening to recordings in Japanese kissaten (often shortened to kissa and meaning, loosely, ‘coffeehouse’). In postwar music kissaten, Japanese listeners were socialised to recordings of foreign music through new modes of hyper-attentive listening. While jazz kissa (though famous as crucibles for radical pro-democracy politics and the explosion of modern urban cool in post-war Japanese cities) encouraged local listeners to develop musical appreciatio

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Briand, Michel. "Mouvement, regard et son dans la Newest Sappho." Greek and Roman Musical Studies 9, no. 1 (2021): 13–48. http://dx.doi.org/10.1163/22129758-12341376.

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Abstract In Greek Archaic poetry song, dance, music and text interact through multisensorial emotions (empathy, pleasure) and synaesthesias (sound/sight/movement), represented and perceived in textual devices and real or imaginary performances. In a group of poems in the Newest Sappho (frs 15, 16, 16a, Kypris Song) eros prevails, connecting the audience/readers and ego, as feeling, thinking, and acting subjects. Frs 9, 17, 18, and the Brothers Song are more about public rituals, journeys, and family relations. Fr. 5 is composite: impulses of love share characteristics with addresses to deities

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Friesen, Cari. "Musica Reservata: Two Initiatory Chants for the Vòdún Worship Society in Benin. By Gilbert Rouget. Translated by Cari Friesen." Ethnomusicology Translations, no. 12 (July 15, 2021): 1–33. http://dx.doi.org/10.14434/emt.no.12.33064.

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Rouget analyzes the recordings of two pieces for vòdún initiation ceremonies for the deities of Xɛvyòsò (thunder and lightning) and Sakpàtá (the Earth), which he recorded near Porto Novo, Benin (formerly Dahomey), in 1958 and 1969, respectively. These pieces are performed in great secrecy and differ significantly in form and style from the drumming, dancing, and singing performed for the public “coming-out” ceremonies at the end of the initiates’ period of seclusion. Using staff and sonogram transcriptions, Rouget focuses on melodic and strophic repetition, as well as the function of chromatic

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Pandey, Anjali. "THE CRAFTS OF MADHYA PRADESH - AN OVER VIEW." International Journal of Research -GRANTHAALAYAH 5, no. 1 (2017): 291–94. http://dx.doi.org/10.29121/granthaalayah.v5.i1.2017.1903.

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In Indian art, the eternal presence of the cosmos remains associated through centuries. Tradition executes to maintain the relationship of man in specific style and technique. All creative activity enjoyed high appreciation and prestige when the hands of a craftsman are engaged in his craft. It is always a ceremonial. “The aim of the artist is not to extract beauty from the nature but reveal the Life within life, the Noumenon within phenomenon, the reality within unreality and the soul within matter. When it is revealed, beauty reveals itself. It has been the constant endeavor the Indian

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Cupchik, Gerald C., and Robert Gebotys. "The Experience of Time, Pleasure, and Interest during Aesthetic Episodes." Empirical Studies of the Arts 6, no. 1 (1988): 1–12. http://dx.doi.org/10.2190/5yn3-j3p8-fwhy-udb3.

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This study examined time estimations as well as ratings of pleasure and interest for aesthetic episodes varying in duration. It was hypothesized that judgments of exposure duration would reflect the amount of perceptual/cognitive effort needed to appreciate a painting. Effortful processing would lead to overestimation of duration, and automatic or overlearned analysis would produce underestimation. The experiment also examined changes in aesthetic pleasure and interest as a function of exposure duration and stylistic properties of the paintings. Sixteen trained and sixteen naive subjects, incl

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Prokopov, S. "J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.

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Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortuna

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Craig, Todd. ""'Jackin’ for Beats'": DJing for Citation Critique." Radical Teacher 97 (October 28, 2013): 20–29. http://dx.doi.org/10.5195/rt.2013.40.

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A challenge in teaching English composition is helping students envision plagiarism as “borrowing” – showing love to author(s) and/or text(s) that further their argument(s), versus “stealing” – biting someone’s style and words. Alastair Pennycook (1996) and Sarah Wakefield (2006) have contributed pieces to the elaborate plagiarism/citation puzzle, while Houston Baker situated the hip-hop DJ in seminal text Black Studies, Rap and the Academy (1993). Merging these moments introduces critical questions: Did Diddy invent “the remix” or become the illest beat-biter ever? How did DJ/Producers Pete R

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Melita, Milin. "A composer’s inner biography a sketch for the study of influences in Ljubica Maric’s oeuvre." Muzikologija, no. 4 (2004): 61–82. http://dx.doi.org/10.2298/muz0404061m.

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Attempting to investigate works of music through frank examination of possible influences is a delicate thing, sometimes maybe dangerous - as has been suggested by Jonathan Cross in his book, The Stravinsky Legacy. While the originality of a composer may appear to be threatened with such types of critique, for musicologists it is important to draw upon a deeper appreciation for how a composer searched for his/her own creative voice. The music of Ljubica Maric (1909-2003), one of the most important Serbian composers of the 20th century, has been chosen to demonstrate how composers need differen

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AYANGIL, RUHI. "Western Notation in Turkish Music." Journal of the Royal Asiatic Society 18, no. 4 (2008): 401–47. http://dx.doi.org/10.1017/s1356186308008651.

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The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its m

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Strauss, Batia. "Music Appreciation through Participation." British Journal of Music Education 5, no. 1 (1988): 55–69. http://dx.doi.org/10.1017/s0265051700006331.

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A teaching method is described which is based on activity and participation in relation to recorded musical performances. The principles of repertoire choice are that it should represent various styles; that the expressive content should be in the realm of the emotional world of children; that there should be at least one compositional device in the music which is perceivable from the point of view of students. The relationship of participation and listening is explored through practical illustrations.

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Manuel, Peter. "Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics." Popular Music 14, no. 2 (1995): 227–39. http://dx.doi.org/10.1017/s0261143000007455.

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Postmodern aesthetics has come to be recognised as a salient feature of much popular culture, including music. Urban subcultures, and especially migrant subcultures, may have inherent inclinations toward postmodern aesthetics, while at the same time retaining ties to modern and even pre-modern cultural discourses. The syncretic popular musics created by such subcultures may reflect these multiple cultural orientations by combining postmodern and more traditional characteristics. Thus, for example, punk rock and rap music can be seen to combine postmodern techniques of pastiche, bricolage and b

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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (1994): 533–43. http://dx.doi.org/10.2307/1161372.

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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as

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Zhang, Yang. "Combination of Classical and Popular in College Music Teaching." Learning & Education 9, no. 2 (2020): 88. http://dx.doi.org/10.18282/l-e.v9i2.1410.

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In the context of quality education, music education occupies an increasingly important position in the university education system. Through the development of high-quality music teaching, teachers can not only effectively improve students’ music appreciation ability, but also cultivate students’ ideological and moral cultivation, and promote students to form a sound personality. Classical and popular are two different musical styles, the new era, college music teachers must organically combine these two styles in the process of conducting music teaching, so that students can contact more dive

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Amit, Mr. "Romanticism: Characteristics, Themes and Poets." SMART MOVES JOURNAL IJELLH 9, no. 5 (2021): 66–74. http://dx.doi.org/10.24113/ijellh.v9i5.11034.

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This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence. The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic dev

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Espeland, Magne. "Music in Use: Responsive Music Listening in the Primary School." British Journal of Music Education 4, no. 3 (1987): 283–97. http://dx.doi.org/10.1017/s026505170000615x.

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The author invites us to re-examine the case for ‘music appreciation’ teaching. In a two-year project, ‘Music in Use,’ conducted in Norwegian primary schools, Magne Espeland and his colleagues developed new principles and methods for encouraging children to listen to music of many different styles – including modern instrumental and orchestral music, pop and jazz. Working from the belief that response on the part of the listener is crucial in musical understanding, the project group involved the children with a variety of activities which, while primarily related to the music itself, engaged a

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Cooper, Shelly. "Marguerite V. Hood and Music Education Radio Broadcasts in Rural Montana (1937-39)." Journal of Research in Music Education 53, no. 4 (2005): 295–307. http://dx.doi.org/10.1177/002242940505300402.

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The impact of the radio in the 1930s can be compared to the force of change in people's lives today caused by current technology. Marguerite V Hood (1903-92), a recognized leader in the music education profession during the 1930s, understood the importance of music education radio broadcasts for rural one-room schools and music education classes. In 1936, she began a series of broadcasts in an effort to reach all children in Montana and was appointed radio director for the KGVO Montana School of the Air program. Hood recognized the necessity of using contemporary resources in music education,

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Tetyana, Slyusarenko. "BANDURIST CAPELLA “THE SUN” OF I. P. KOTLYAREVSKY KhNUA: DEVELOPMENT AND SPECIFICS OF EVOLUTION (for the 20th anniversary of the artistic life of the capella and the 50th anniversary of its leader Nadezhda Melnik)Background. The present of the national." Aspects of Historical Musicology 22, no. 22 (2021): 166–78. http://dx.doi.org/10.34064/khnum2-22.10.

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Background. The present of the national musical culture is characterized by a kind of synthesis between imitation of the original folk-instrumental traditions with the latest ideological models and performing means. The art of bandura players also occupies a proper place in the development of academic folk instruments of Ukraine. A prominent place in the diversity of ensemble groups of large forms is occupied by the bandura band “Sun” of Kharkiv I. P. Kotlyarevsky National University of Arts, whose artistic director and conductor is a famous and talented bandura player, senior lecturer at the

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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (2019): 85. http://dx.doi.org/10.3390/rel10020085.

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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle

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Knyt, Erinn E. "Ferruccio Busoni and the “Halfness” of Frédéric Chopin." Journal of Musicology 34, no. 2 (2017): 241–80. http://dx.doi.org/10.1525/jm.2017.34.02.241.

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Ferruccio Busoni (1866–1924) championed Frédéric Chopin’s music. Yet his performances often elicited responses of shock or amusement because they rebelled against the prevalent sentimental style of interpretation associated with an “effeminate” Chopin. Even some of his staunchest admirers had trouble appreciating his unprompted repeats of measures or structural wholes in the preludes or etudes, his registral alterations, and his overly intellectualized approach. Also unusual was his choice to program the preludes as a complete cycle. Scholars have documented Busoni’s interpretive eccentricitie

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Spitzer, Jaclyn B., Dean Mancuso, and Min-Yu Cheng. "Development of a Clinical Test of Musical Perception: Appreciation of Music in Cochlear Implantees (AMICI)." Journal of the American Academy of Audiology 19, no. 01 (2008): 056–81. http://dx.doi.org/10.3766/jaaa.19.1.6.

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The purpose of this study was to develop a test to assess the ability of persons with cochlear implants (CIs) to interpret musical signals. Up to this time, the main direction in outcomes studies of cochlear implantation has been in relation to speech recognition abilities. With improvement in CI hardware and processing strategies, there has been a growing interest in musical perception as a dimension that could improve greatly users' quality of life. The Appreciation of Music in Cochlear Implantees (AMICI) test was designed to measure the following abilities: discrimination of music versus no

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Newton, Elizabeth. "Lo-fi Listening as Active Reception." Leonardo Music Journal 26 (December 2016): 53–55. http://dx.doi.org/10.1162/lmj_a_00975.

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Literature on sound reproduction is largely concerned with “high-fidelity” recording, despite a multiplicity of modes of recording in practice throughout history. As a result, histories of listening have often tacitly privileged standards of appreciation rooted in high-fidelity culture. In an attempt to expand our conception of different listening styles, the author draws attention to latent histories of low-fidelity listening, positing “lo-fi” as a receptive mode that appreciates amateur and failed musical performances, aestheticizes noise in soundscapes and encourages listeners to participat

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Clark, Maribeth. "The Body and the Voice in La Muette de Portici." 19th-Century Music 27, no. 2 (2003): 116–31. http://dx.doi.org/10.1525/ncm.2003.27.2.116.

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This article explores changing attitudes toward actors' bodies at the Paris Opera through the performance history of D. F. E. Auber's opera La Muette de Portici from 1828 to 1879. Because a mime performed the role of Fenella and the chorus played an active role in the mise en scene, the opera placed unusual emphasis on the physical. Over this period, however, emphasis shifted from appreciation of acting to emphasis on singing. For example, during the tenor Adolphe Nourrit's tenure at the Opera critics admired his skill as an actor in the role of Masaniello. When replaced by Gilbert Duprez in 1

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Brauer-Benke, József. "Afrikai beszélő dobok." Afrika Tanulmányok / Hungarian Journal of African Studies 14, no. 1-2. (2020): 85–98. http://dx.doi.org/10.15170/at.2020.14.1-2.5.

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An overview of the available historical data regarding the so-called “talking drums” leads to the general conclusion that their most prominent shared feature is their original use for communication. On the grounds of the migrations of various ethnic groups and the comparison of the different types of drums, a likely explanation for the distribution over West Africa of these drums must be sought in the phenomenon of the so-called stimulus diffusion, and the basic idea behind such instruments must originate in the region north of the Sahara; it is also possible that the origin of such instrument

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Redhead, Steve. "SOCCER CASUALS: A SLIGHT RETURN OF YOUTH CULTURE." International Journal of Child, Youth and Family Studies 3, no. 1 (2012): 65. http://dx.doi.org/10.18357/ijcyfs31201210474.

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This essay reports from a long-term research project<a href="http://journals.uvic.ca/index.php/ijcyfs/author/submit/3?articleId=10474#_edn1">1</a> which interviewed participants in a post-war U.K. youth culture called “casuals” about all aspects of its history, especially the styles of music and fashion and its connection to British soccer spectatorship from the late 1970s to the present day. Original interview and ethnographic material from the project is presented and discussed, and situated within a context of the sociology of youth culture in general and soccer fandom in partic

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Wang, Ying. "A Preliminary Study on the Teaching Method of “Three Embeddings and Three Styles” in Ideological and Political Education Curriculum <br/>—Taking the Course of “Music Appreciation” as an Example." Creative Education 12, no. 06 (2021): 1333–37. http://dx.doi.org/10.4236/ce.2021.126101.

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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline

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Tönsing, J. Gertrud. "‘That song moves me to tears’ – Emotion, memory and identity in encountering Christian songs." HTS Teologiese Studies / Theological Studies 76, no. 3 (2020). http://dx.doi.org/10.4102/hts.v76i3.5618.

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This article aims to explore the complex issue of the emotive effect of Christian songs. It is based mainly on a literature survey, using sources both from Christian hymnology and musicology. It also uses illustrative examples from three informal surveys in congregations on the reasons particular songs are favourites. The point is made that exploring this issue scientifically is very complex as there are so many variables in people’s appreciation of songs. Some of these elements are discussed, such as the effect of the external setting in which people experience a song, factors important in th

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Elliott, Rachel. "Suspending the Habit Body through Immersive Resonance:Hesitation and Constitutive Duet in Jen Reimer and Max Stein’s Site-Specific Improvisation." Critical Studies in Improvisation / Études critiques en improvisation 12, no. 2 (2018). http://dx.doi.org/10.21083/csieci.v12i2.4096.

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There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline Oliveros. The argument made interpreting these performances is grounded in Maurice Merleau

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Yoo, Hyesoo. "Research-to-Resource: Instructional Strategies for Teaching Culturally Diverse Musics in Ensembles." Update: Applications of Research in Music Education, November 17, 2020, 875512332097346. http://dx.doi.org/10.1177/8755123320973464.

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The inclusion of musics from varied cultural traditions in school music curricula has become increasingly important. Research findings indicate that providing students with opportunities to learn musics from diverse cultures can increase acceptance and appreciation of different cultures, enrich music and cultural experiences, and nurture intercultural competence. The following research-to-resource article provides eight instructional strategies for integrating culturally diverse musics into music classes more effectively. These eight strategies can help expose students to culturally diverse mu

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., Indrayuda. "Kegiatan Apresiasi sebagai Sarana Kreativitas Siswa dalam Pembelajaran Seni Tari di SMP Negeri 1 Banuhampu." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 13, no. 1 (2012). http://dx.doi.org/10.24036/komposisi.v13i1.3933.

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This article aims to explain the role of appreciation activities in stimulating students’ creativity in learning the dance art in Junior High School (SMPN) 1 Banuhampu. The appreciation activities are capable of stimulating students to create ideas in performing the moving techniques. In addition, the appreciation activities are able to stimulate students to perform the local dances with a variety of styles. Appreciation activities are displayed by the visual presentation of a variety of local dance performances and a variety of local dance music accompaniment in the audio forms, as well as ta

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Brown, Andrew R. "Code Jamming." M/C Journal 9, no. 6 (2006). http://dx.doi.org/10.5204/mcj.2681.

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   Jamming culture has become associated with digital manipulation and reuse of materials. As well, the term jamming has long been used by musicians (and other performers) to mean improvisation, especially in collaborative situations. A practice that gets to the heart of both these meanings is live coding; where digital content (music and/or visuals predominantly) is created through computer programming as a performance. During live coding performances digital content is created and presented in real time. Normally the code from the performers screen is displayed via data pro

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McKenzie, Peter. "Jazz Culture in the North: A Comparative Study of Regional Jazz Communities in Cairns and Mackay, North Queensland." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1318.

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IntroductionMusicians and critics regard Australian jazz as vibrant and creative (Shand; Chessher; Rechniewski). From its tentative beginnings in the early twentieth century (Whiteoak), jazz has become a major aspect of Australia’s music and performance. Due to the large distances separating cities and towns, its development has been influenced by geographical isolation (Nikolsky; Chessher; Clare; Johnson; Stevens; McGuiness). While major cities have been the central hubs, it is increasingly acknowledged that regional centres also provide avenues for jazz performance (Curtis).This article disc

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Vavasour, Kris. "Pop Songs and Solastalgia in a Broken City." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1292.

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IntroductionMusically-inclined people often speak about the soundtrack of their life, with certain songs indelibly linked to a specific moment. When hearing a particular song, it can “easily evoke a whole time and place, distant feelings and emotions, and memories of where we were, and with whom” (Lewis 135). Music has the ability to provide maps to real and imagined spaces, positioning people within a larger social environment where songs “are never just a song, but a connection, a ticket, a pass, an invitation, a node in a complex network” (Kun 3). When someone is lost in the music, they can

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Mitchell, Peta, and E. Sean Rintel. "Editorial." M/C Journal 5, no. 4 (2002). http://dx.doi.org/10.5204/mcj.1968.

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This time last year we proposed the theme of the 'loop' issue to the M/C collective because it sounded deeply cool, satisfying our poststructuralist posturings about reflexivity and representation, while also tapping into everyday cultural objects and practices. We expected that the 'loop' issue would generate some interesting and varied responses, and it did. We received submissions about music, visual art, language, child development, pop-cultural artefacts, mathematics and culture in general. These explorations of disparate fields seemed, however, to be tied together by a common thread: the

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Mercieca, Paul Dominic. "‘Southern’ Northern Soul: Changing Senses of Direction, Place, Space, Identity and Time." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1361.

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Music from Another Time – One Perth Night in 2009The following extract is taken from fieldwork notes from research into the enduring Northern Soul dance scene in Perth, Western Australia.It’s 9.30 and I’m walking towards the Hyde Park Hotel on a warm May night. I stop to talk to Jenny, from London, who tells me about her 1970s trip to India and teenage visits to soul clubs in Soho. I enter a cavernous low-ceilinged hall, which used to be a jazz venue and will be a Dan Murphy’s bottle shop before the year ends. South West Soul organiser Tommy, wearing 34-inch baggy trousers, gives me a Northern

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Nazar, Sahrul. "Pamenan as an Aesthetic Concept of Creating a Wayang Padang Theatre." Dance & Theatre Review 1, no. 1 (2018). http://dx.doi.org/10.24821/dtr.v1i1.2248.

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AbstractWayang Padang Theater performance, perceived from the communication perspective, commonly uses a lapau—a traditional coffeestall (pamenan kato)—style dialogue. Meanwhile, Wisran Hadi also makes use of visual aesthetic (pamenan mato). Pamenan is defined as a game, both creatively or philosophically. Dialogue plays an essential role in the performance that can provide a playful sense that sometimes sounds like there is a misscommunication or an altered meaning. This is actually a distinct characteristic of Wisran Hadi in presenting an entertainment through words. Pamenankato is a techniq

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Caldwell, Nick. "Spoilers and Cheaters." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1804.

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Rosebud is the sleigh. Consumers of popular culture texts -- films, popular fiction, games -- have an enormous emotional investment in the narrative details of the texts they consume. Particularly, readers invest strongly in the accumulation of plot and development of narrative that produces the end of a text. In other words, that which gives the text closure. Darth Vader is really Luke's father. One only needs to look to the popular culture-oriented newsgroups (see for example rec.arts.movies.misc, aus.films, rec.arts.sf.written) on Usenet to see the extent of this investment. In the terminol

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Subramanian, Shreerekha Pillai. "Malayalee Diaspora in the Age of Satellite Television." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.351.

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This article proposes that the growing popularity of reality television in the southernmost state of India, Kerala – disseminated locally and throughout the Indian diaspora – is not the product of an innocuous nostalgia for a fast-disappearing regional identity but rather a spectacular example of an emergent ideology that displaces cultural memory, collective identity, and secular nationalism with new, globalised forms of public sentiment. Further, it is arguable that this g/local media culture also displaces hard-won secular feminist constructions of gender and the contemporary modern “Indian

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Stephenson, John-Paul. "Reviewing Symbolic Capital." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2423.

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   Reviews are an integral aspect of creating economic capital through avenues of establishing and increasing the other forms of capital outlined by Pierre Bourdieu across his extensive body of work. The economic importance of reviews can be identified on the majority of film trailers, posters and DVD covers, where quotations attempt to convince potential audiences of the film’s credentials. Although economic capital is the obvious aim for both the film publicists and the reviewers, this article outlines the creation of symbolic capital through the assertion of cultural and s

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