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Journal articles on the topic 'Music Boxes'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Sheppard, W. Anthony. "Puccini and the Music Boxes." Journal of the Royal Musical Association 140, no. 1 (2015): 41–92. http://dx.doi.org/10.1080/02690403.2015.1008863.

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ABSTRACTThis article reveals the source for two major themes in Madama Butterfly – one associated with Butterfly herself, the other with her patrimony. The assumption has been that Puccini based these themes on Japanese melodies, but his source was actually a Swiss music box playing Chinese tunes. Specific moments in the opera indicate that Puccini was aware of the titles of these tunes. The sound of music boxes in Butterfly and Turandot suggests previously unnoticed connections between these operas. The music-box melodies may be traced to Fritz Bovet's transcriptions. Puccini encountered ‘Jas

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2

Fenn, John. "The Building of Boutique Effects Pedals—The “Where” of Improvisation." Leonardo Music Journal 20 (December 2010): 67–72. http://dx.doi.org/10.1162/lmj_a_00014.

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Based on 2 years of ethnographic fieldwork with builders of boutique music effects boxes, this essay explores the ways in which improvisation figures into the creation of music technology. The author argues that expanding the rubric of improvisation to encompass the processes of designing and building effects boxes pushes scholars to understand relationships between music and improvisation as existing beyond the boundaries of performance. Ultimately he posits that improvisatory behavior and exploratory engagement with material at hand is central to building pedals, and should be assessed as pa

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Shanahan, Yvonne P., and Morris W. Shanahan. "A Teaching Case Study: Roxy Music Limited." Journal of Business Case Studies (JBCS) 1, no. 2 (2005): 15–18. http://dx.doi.org/10.19030/jbcs.v1i2.4918.

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Roxy Music Limited is a wholesale supplier of Compact Discs (CDs), Music Cassettes, Videos and, more recently DVDs, in the New Zealand music and entertainment market. All products are imported from Germany, the United Kingdom, the United States of America or Holland. Product arrives in boxes of 1,000 units. For the purpose of this case, we are focusing on CD sales.

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4

Lasen, Amparo. "Disruptive ambient music: Mobile phone music listening as portable urbanism." European Journal of Cultural Studies 21, no. 1 (2017): 96–110. http://dx.doi.org/10.1177/1367549417705607.

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This article explores the use of mobile phones as portable remediated sound devices for mobile listening – from boom boxes to personal stereos and mp3 players. This way of engaging the city through music playing and listening reveals a particular urban strategy and acoustic urban politics. It increases the sonic presence of mobile owners and plays a role in territorialisation dynamics, as well as in eliciting territorial conflicts in public. These digital practices play a key role in the enactment of the urban mood and ambience, as well as in the modulation of people’s presence – producing for

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Nasution, Faiz Albar, Muhammad Husni Thamrin, Randa Putra Kasea Sinaga, Muhammad Imanuddin Kandias Saraan, and Yofiendi Indah Indainanto. "Humbang Hasundutan Regional Head Election In 2020: Empty Box Volunteer Political Communication Movement." Studies in Media and Communication 11, no. 1 (2023): 52. http://dx.doi.org/10.11114/smc.v11i1.5807.

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The occurrence of a single candidate in the 2020 Humbang Hasundutan District Head Election has spawned political communication to choose an empty box. The empty box volunteer political movement influences voters to vote for blank ballots in the name of ideal democracy. This study examines how empty-box volunteers convey their political messages in music to voters. Qualitative research methods with framing analysis approaches are used to analyze data or political messages in songs against political movements of empty box volunteers. Data collection techniques through literature studies show fiv

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Repetto, Douglas Irving. "crash and bloom: A Self-Defeating Regenerative System." Leonardo Music Journal 14 (December 2004): 89–94. http://dx.doi.org/10.1162/0961121043067343.

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crash and bloom is an elec-tronic sculpture that undergoes population density cycles similar to those found in some natural systems. The system is made up of 42 boxes, their simple behaviors and the interconnec-tion topology of the boxes with one another, which enables them to pass “ping” messages around the network. Three simple rules determine how the boxes respond to the ping messages. These rules, coupled with a feedback loop topology, allow the emergence of crash and bloom cycles: The density of pings in the system rises rapidly, saturates the environ-ment, crashes and rises again.

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Howard, Ruth. "Holding On and Letting Go." Canadian Theatre Review 90 (March 1997): 15–19. http://dx.doi.org/10.3138/ctr.90.003.

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Community Plays? Designing them? I try to remember what it’s like. I see a solemn yet festive scene on a beach: a giant papier-maché puppet head - the prized work of myself and many others - in flames. The participants gather round, tearfully eye, I see picnics, dances, music-making. I see oceans of white silk in large cardboard boxes....

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TAN, MARCUS CHENG CHYE. "Between Sound and Sight: Framing the Exotic in Roysten Abel's The Manganiyar Seduction." Theatre Research International 38, no. 1 (2013): 47–61. http://dx.doi.org/10.1017/s0307883312000983.

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Roysten Abel's The Manganiyar Seduction is perhaps the most popular performance of Indian folk music on the global festival market today. This performance of Rajasthani folk music is an apt exemplification of an auto-exoticism framed as cultural commodity. Its mise en scène of musicians framed, literally, by illuminated red square boxes ‘theatricalizes’ Rajasthan's folk culture of orality and gives the performance a quality of strangeness that borders on theatre and music, contemporary and traditional. The ‘dazzling’ union of the Manganiyars' music and the scenography of Amsterdam's red-light

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Barry, Robert. "BBC Radio 3 Open Ear: EXAUDI Vocal Ensemble, We Spoke & Gwen Rouger LSO St Luke's, London." Tempo 72, no. 286 (2018): 81–82. http://dx.doi.org/10.1017/s0040298218000426.

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Simon Løffler's b presents to its audience an immediate question: where are the instruments? Three players sit on straight-backed chairs, joined by a daisy-chain of cables and guitar stomp boxes. The score directs a choreography of foot switching, demanding extraordinary pedal dexterity. Sounds pass down the line, modulated by distortion and equaliser effects, before bursting out of the PA in a series of abrupt electrical barks. But at the other end of the line there is nothing but an unplugged jack, held aloft, inserted nowhere but the open air.

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Fuhrmann, Christina. "Continental Opera Englished, English Opera Continentalized: Der Freischütz in London, 1824." Nineteenth-Century Music Review 1, no. 1 (2004): 115–42. http://dx.doi.org/10.1017/s1479409800001890.

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22 July 1824. Many Londoners had waited years for this night. They thronged to the English Opera House, filling the boxes and cramming the benches in the pit and gallery. It was worth the heat, the expense, the danger from pickpockets. After hearing of its success for three years, after glimpsing snatches of it in concert and sheet music excerpts, and after enduring weeks of advertising for the English Opera House production, they would finally be the first in London to witness the most celebrated German opera of the time: Weber's Der Freischütz.

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Nelson, Michelle, Bev Foster, Sarah Pearson, et al. "Optimizing music in complex rehabilitation and continuing care: A Community Site Facility Study (Part 2 of 3)." Music and Medicine 8, no. 3 (2016): 128. http://dx.doi.org/10.47513/mmd.v8i3.416.

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This article is the second in a three-part series on the theory and applications of a music care framework. Music is increasingly being recognized in health care as an effective psychosocial and rehabilitative intervention. Currently, there is little standardization as to how music may best be integrated into health care settings. It is the absence of standardization that prompted the authors to identify new possibilities for integrating music in health care. The purpose of this study was to explore how music could be optimized in complex rehabilitation and continuing care environments, using

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Lancioni, Giulio E., Gloria Alberti, Francesco Pezzuoli, et al. "Technology to Enable People with Intellectual Disabilities and Blindness to Collect Boxes with Objects and Transport Them to Different Rooms of Their Daily Context: A Single-Case Research Series." Technologies 13, no. 4 (2025): 131. https://doi.org/10.3390/technologies13040131.

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(1) Background: People with intellectual disabilities and blindness tend to be withdrawn and sedentary. This study was carried out to assess a new technology system to enable seven of these people to collect boxes containing different sets of objects from a storage room and transport them to the appropriate destination rooms. (2) Methods: The technology system used for the study involved tags with radio frequency identification codes, a tag reader, a smartphone, and mini speakers. At the start of a session, the participants were called by the system to take a box from the storage room. Once th

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Jones, Steve. "Music and the Internet." Popular Music 19, no. 2 (2000): 217–30. http://dx.doi.org/10.1017/s026114300000012x.

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The fact is, if you want to make a difference in music, you have to change the machine. (Christie 1998)In my book Rock Formation I borrowed from Walter Ong and Jacques Attali when I noted that, ‘The ability to record sound is power over sound.’ (Jones 1992, p. 51) I continue to believe that statement to be true. Arguments that I then made about the increasing role computers would play in the production of music have been borne out. They were not hard forecasts to make: one only had to imagine that the processing power of computer chips would continue to increase according to Moore's Law and th

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Miyar, Cristina, and Anthony Shou. "Coordination issues for concrete floating floors; san francisco conservatory of music bowes center, case study." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 264, no. 1 (2022): 282–91. http://dx.doi.org/10.3397/nc-2022-730.

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The San Francisco Conservatory of Music (SFCM) Bowes Center is a complex, vertical building housing SFCM's performance, rehearsal, instruction, and dormitory spaces. Coordination issues during design and construction that are not strictly acoustical but that are critical to achieving the floating floor's optimum sound and impact isolation performance are discussed. This paper examines issues from early design to construction phases applicable to many types of floating floor systems, such as: setting structural point loading criteria, developing a sound isolation envelope, coordination with aud

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CHOW, W. K., C. W. LEUNG, GAOWAN ZOU, HUI DONG, and YE GAO. "ASSESSMENT OF FIRE HAZARD IN TIMBER KARAOKE MUSIC BOXES WITH REAL-SCALE BURNING TESTS." Journal of Applied Fire Science 12, no. 2 (2003): 107–24. http://dx.doi.org/10.2190/eqrn-djwd-8cyd-flnr.

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Höstman, Anna. "I COULDN'T MAKE A PIECE AS BEAUTIFUL AS THAT: A CONVERSATION WITH ALLISON CAMERON." Tempo 72, no. 286 (2018): 17–30. http://dx.doi.org/10.1017/s0040298218000323.

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AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini

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Charrieras, Damien, and François Mouillot. "Getting Out of the Black Box: analogising the use of computers in electronic music and sound art." Organised Sound 20, no. 2 (2015): 191–99. http://dx.doi.org/10.1017/s1355771815000072.

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The process of creating computer-based music is increasingly being conceived in terms of complex chains of mediations involving composer/performer and computer software interactions that prompt us to reconsider notions of materiality within the context of digital cultures. Recent scholarship has offered particularly useful re-evaluations of computer music software in relation to musical instrumentality. In this article, we contend that given the ubiquitous presence of computer units within contemporary musical practices, it is not simply music software that needs to be reframed as musical inst

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Anderson, Martin. "Three BBC premières: Dean, Martinsson, Cresswell." Tempo 59, no. 234 (2005): 36–39. http://dx.doi.org/10.1017/s0040298205220302.

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Time was when it was almost axiomatic that a new concerto would be premièred by its composer, pretty well from the beginnings of the genre until the onset of the recording age, which captured Rachmaninov at the keyboard for his own concertos. These days, though Rachmaninov is barely 60 years dead, composers and performers inhabit such separate boxes that it's a surprise to see a composer step forward to perform his own piece – the more so when the composer is a violist; the last person to do that may well have been Hindemith. So when Brett Dean came to the front of the Barbican platform on 15

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19

Antović, Mihailo. "Multilevel-Grounded Semantics: Representation, Intension and Referentiality in Music." Balkan Journal of Philosophy 17, no. 1 (2025): 22–37. https://doi.org/10.5840/bjp20251713.

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The article introduces the author’s model of contextual constraints on the generation of musical meaning in an effort to suggest how the approach may be of interest to philosophers pursuing the problem of representation. Since the model is based on insights of linguistic semantics, representation is defined as an amodal functionalist construct relating music perception to an extramusical experience, which assumes varying degrees of imagistic and/or referential specificity. The theory proposes six such degrees, or “grounding boxes”: perceptual, cross-modal, affective, conceptual, culturally ric

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Anderson, Martin. "London, Barbican: Masterprize Final." Tempo 58, no. 228 (2004): 63–64. http://dx.doi.org/10.1017/s0040298204260156.

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There's no doubt that Masterprize, the international composition competition with a mission ‘to bring music lovers and composers closer together’, is a slick and professional operation, with a tremendous outreach. The CD with the six pieces which made it to the final (of some 1,000 entries) was stuck on the front of both Gramophone and Classic FM magazines, with a joint print-run of around 100,000. The ‘gala final’ in the Barbican on 30 October, when the London Symphony Orchestra was conducted by Daniel Harding, was broadcast live on Classic FM (which reaches 6.5 million listeners a week), NPR

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21

Nakra, Teresa Marrin, and Brett F. BuSha. "Synchronous Sympathy at the Symphony." Music Perception 32, no. 2 (2014): 109–24. http://dx.doi.org/10.1525/mp.2014.32.2.109.

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This study compared the emotional intensities of a conductor and audience during a concert of the Boston Symphony Orchestra. The affective state of the conductor was estimated unobtrusively with a wearable electrocardiogram, and audience participants self-reported their affective states with manual slider boxes. Results indicated that: 1) the conductor’s heart rate variations were temporally aligned with structural patterns in the musical scores; and 2) these variations strongly correlated with the average emotional intensity measurement of the audience. Four consecutive musical selections yie

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Park, Youngshin, Hogul Park, and Seoung-Hey Paik. "Educational effects of a convergence education program including music box production and creative activities using 4Dframes." Korean Association For Learner-Centered Curriculum And Instruction 24, no. 10 (2024): 423–39. http://dx.doi.org/10.22251/jlcci.2024.24.10.423.

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Objectives In this study, we investigated the educational effectiveness of a convergence education program in which students make music boxes and participate in creative activities using 4Dframes. Methods For the purpose, we developed a convergence education program that includes music box production and creative activities using 4Dframes. And this research was conducted with a total of 12 students, including 4 students of middle school, and 8 students of elementary school. Students were divided into four teams and took classes, and a survey consisting of 6 items on a Likert scale was conducte

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Lewis, Hannah. "“The Music Has Something to Say”: The Musical Revisions of L'Atalante (1934)." Journal of the American Musicological Society 68, no. 3 (2015): 559–603. http://dx.doi.org/10.1525/jams.2015.68.3.559.

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L'Atalante (1934), the second collaboration between experimental French filmmaker Jean Vigo and composer Maurice Jaubert, has become a staple in the cinephile canon. But its profound influence on postwar filmmakers could not have been anticipated at the time of its disastrous initial release. As Vigo lay on his deathbed, the film's producers, finding L'Atalante narratively incoherent, attempted to make it more broadly accessible, replacing parts of Jaubert's score with the popular song “Le chaland qui passe” and renaming the film after the hit tune. These changes subtly altered an important na

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Niedenthal, Simon. "Learning from the Cornell Box." Leonardo 35, no. 3 (2002): 249–54. http://dx.doi.org/10.1162/002409402760105235.

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The Cornell Box serves as a visual emblem of the divide between arts and sciences first articulated by C.P. Snow over 40 years ago. To historians of American art, “Cornell Box” refers to the shadow boxes of Joseph Cornell; in the world of computer graphics the Cornell Box is the evaluative environment in which the Cornell University Program of Computer Graphics refined its radiosity rendering algorithms. Considering both boxes with reference to the perceptual thought of James J. Gibson allows us to generate a site for collaboration at the intersection of light and art for designers and compute

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Han, Eunyoung, Jinse Park, Haeyu Kim, Geunyeol Jo, Hwan-Kwon Do, and Byung In Lee. "Cognitive Intervention with Musical Stimuli Using Digital Devices on Mild Cognitive Impairment: A Pilot Study." Healthcare 8, no. 1 (2020): 45. http://dx.doi.org/10.3390/healthcare8010045.

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The effect of music therapy on cognitive function has been widely reported; however, its clinical implications remain controversial. Performing therapeutic musical activities in groups using individualized instruments can help overcome the issues of engagement and compliance. We aimed to evaluate the effect of a cognitive intervention with musical stimuli using digital devices on mild cognitive impairment (MCI). In this prospective study, 24 patients with MCI (intervention group, 12; and control group, 12) were enrolled. We developed an electronic device with musical instruments and the Song-b

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Antović, Mihailo. "Multilevel grounded semantics across cognitive modalities: Music, vision, poetry." Language and Literature: International Journal of Stylistics 30, no. 2 (2021): 147–73. http://dx.doi.org/10.1177/0963947021999182.

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This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so struct

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Aoki, Shin. "Japanese popular songs brought home: Histories and current circulations of post-Second World War audible souvenirs from US military bases in East Asia." East Asian Journal of Popular Culture 10, no. 1 (2024): 91–110. http://dx.doi.org/10.1386/eapc_00127_1.

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This article focuses on the transpacific circulations of Japanese popular songs alongside touring American military personnel in East Asia between 1945 and 1958: that is, from the end of the Second World War, across the span of the Korean War, and up to the year of the American ground forces’ withdrawal from ‘mainland’ Japan. By first tracing the trans-oceanic travels of musical souvenirs such as phonograph records and music boxes, and then by delving into their ‘afterlives’ as ex-souvenirs variously lost or preserved, this article reveals the seemingly minor yet no less significant histories

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Wang, Su, Yifan Shao, Jinsheng Duan, Huaidong He, and Qingqing Xiao. "Effects of Sound Wave and Water Management on Growth and Cd Accumulation by Water Spinach (Ipomoea aquatica Forsk.)." Agronomy 12, no. 10 (2022): 2257. http://dx.doi.org/10.3390/agronomy12102257.

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Vegetable contamination by cadmium (Cd) is of great concern. Water spinach (Ipomoea aquatica) is a common leafy vegetable in many countries and has a strong ability to accumulate Cd. The work was conducted to study the effects of sound wave, water management, and their combination on Cd accumulation and growth of water spinach, using the following three experiments: a hydroponic trial with the treatment of a plant acoustic frequency technology (PAFT) generator in test sheds, a hydroponic trial with three music treatments (electronic music (EM), rock music (RM), and classical music (CM)) in art

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Wu, Xinyi, Zhenyao Wu, Lili Ju, and Song Wang. "Binaural Audio-Visual Localization." Proceedings of the AAAI Conference on Artificial Intelligence 35, no. 4 (2021): 2961–68. http://dx.doi.org/10.1609/aaai.v35i4.16403.

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Localizing sound sources in a visual scene has many important applications and quite a few traditional or learning-based methods have been proposed for this task. Humans have the ability to roughly localize sound sources within or beyond the range of the vision using their binaural system. However most existing methods use monaural audio, instead of binaural audio, as a modality to help the localization. In addition, prior works usually localize sound sources in the form of object-level bounding boxes in images or videos and evaluate the localization accuracy by examining the overlap between t

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Pauw, Esther Marie. "Curating A Colonial Archive: The Tamássypauw Flute Scores Collection." Fontes Artis Musicae 72, no. 1 (2025): 78–96. https://doi.org/10.1353/fam.2025.a957872.

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English Abstract: The Tamássy-Pauw flute and chamber scores collection, housed at Pieter Okkers House, 7 Joubert Street, Stellenbosch University, South Africa (at the offices of Africa Open Institute for Music, Research and Innovation) comprises a collection of ninety-seven boxes of printed published sheet music and is believed to be the largest flute solo and flute-related chamber collection of scores in Africa. This collection is open to the public for short-term loans. Curation of this collection amounts to care, cataloguing, public lending and active performances of music from the collecti

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Horowitz, Joseph. "Music and the Gilded Age: Social Control and Sacralization Revisited." Journal of the Gilded Age and Progressive Era 3, no. 3 (2004): 227–45. http://dx.doi.org/10.1017/s1537781400003418.

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Edith Wharton's The Age of Innocence, set in Manhattan in the “early 1870s,” begins with Christine Nilsson singing at the Academy of Music. The opera is Gounod's Faust. The “world of fashion” has assembled in the boxes. In their own eyes the embodiment of “New York,” the fashionables are prisoners of convention: Newland Archer arrives late because “it was ‘not the thing’ to arrive early at the opera; and what was or was not ‘the thing’ played a part as important in Newland Archer's New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago.

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Livingstone, David. "God Bless the Grass”: The Environmental Songs of Malvina Reynolds." Literary Oracle 8, no. 1 (2024): 34–42. http://dx.doi.org/10.70532/https://literaryoracle.com/wp-content/uploads/2024/06/3.-god-bless-the-grass-the-environmental-songs-of-malvina-reynold.pdf.

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The American folk singer and activist Malvina Reynolds (1900-1978) was truly instrumental in spreading awareness of environmental and ecological issues through her songs. Reynolds only began composing in her forties and performing in her fifties, but soon made a name for herself, starting in the early 1960s, with her topical protest songs touching on a range of issues, most notably the environment. Her compositions have been covered and popularized by folk and pop giants such as Pete Seeger, Joan Baez, Harry Belafonte and many others. This paper will focus on her most well-known ecological son

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Sudrartono, Tiris, and Ratnanto Aditiarno. "KUALITAS PELAYANAN PADA TINGKAT KEPUASAN KONSUMEN." EKBIS (Ekonomi & Bisnis) 12, no. 1 (2024): 83–88. http://dx.doi.org/10.56689/ekbis.v12i1.1330.

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In the era of globalization in the business sector and very tight competition in various business units that require business managers to compete to attract consumers to buy the products they offer, this study aims to find out about the quality of service at the level of consumer satisfaction at "Café Jolie-Bee Bandung" which provides food and beverage menus, this research method uses a qualitative method with a direct observation approach by the author and interviews with consumers directly and with managers, it is known that the cafe has made efforts to improve the quality of service to cons

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Ангелов, Антон. "ПОГЛЕД ОТВЪН: БЪЛГАРИЯ И ИЗТОЧНА ЕВРОПА НА СТРАНИЦИТЕ НА МУЗИКАЛНОТО СПИСАНИЕ „BILLBOARD“". Терени, № 8 (18 червня 2025): 58–85. https://doi.org/10.60053/ter.2024.8.58-85.

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Списание The Billboard излиза от 1894 г. като седмично издание, насочено към музикалната и развлекателната индустрия и през ХХ век придобива значително влияние в популярната култура на Съединените щати. На страниците си отразява широк спектър от събития, творци, популярни жанрове, класации, реклами, информация за продуценти и управители от развлекателния бранш и т. н. Въпреки че е концентрирано върху капиталистическия начин на производство, разпространение и консумация на музикална продукция, с различна честота в периода на Студената война помества информации и репортажи, касаещи по един или д

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Cristina, Martí Martíne. "Una nueva mirada sobre Rafael del Olmo, a partir de los papeles de Torner conservados en la Biblioteca Tomas Navarro Tomás del CSIC (Madrid) A New Look at Rafael del Olmo Based on the Torner Papers in the Tomás Navarro Tomás Library of the CSIC (Madrid)." Música Oral del Sur, no. 11 (December 9, 2014): 215–45. https://doi.org/10.5281/zenodo.4636518.

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Resumen: En la Biblioteca Tomás Navarro Tomás del Centro de Ciencias Humanas y Sociales del Consejo Superior de Investigaciones Científicas (CSIC) existen dos cajas con no más de 84 cuadernillos y hojas con música, que hacen un total aproximado de 270 piezas musicales. Son parte de un fondo que perteneció a Eduardo Martínez Torner (1888-1955), y que algunos investigadores habían dado por perdidos. Estas partituras se presentan en este texto. Sin profundizar en todo su contenido, sí se dará noticia del nexo común a tod

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Adelaar, K. Alexander, James T. Collins, K. Alexander Adelaar, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 154, no. 4 (1998): 638–86. http://dx.doi.org/10.1163/22134379-90003888.

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- K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di pulau Sumatera. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1995, xliii + 201 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di pulau Jawa, Bali dan Sri Lanka. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1995, xxxvii + 213 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di Indonesia Timur. Kuala Lumpur: Dewan Bahasa

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Tronchin, Lamberto, Francesca Merli, Massimiliano Manfren, and Benedetto Nastasi. "The sound diffusion in Italian Opera Houses: Some examples." Building Acoustics 27, no. 4 (2020): 333–55. http://dx.doi.org/10.1177/1351010x20929216.

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Soundfield diffuseness in rooms is considered a fundamental aspect of a high-quality room acoustics. Since early studies by Hodgson up to more recent studies of Shtrepi and Embrechts, it was shown that high levels of sound diffuseness could guarantee blending of music, as well as spatial sound perception by listeners, and this could enhance the global indoor acoustic quality. Conversely, Italian-style Opera houses represent an important architectural place, in which the special features of the rich decorations, and the specific characteristics of the volume, give a unique atmosphere, including

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Tronchin, Lamberto, Antonella Bevilacqua, and Ruoran Yan. "Acoustic Characterization and Quality Assessment of Cremona’s Ponchielli Theater." Applied Sciences 13, no. 6 (2023): 4057. http://dx.doi.org/10.3390/app13064057.

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The Ponchielli theater of Cremona was built in 1808 after a fire destroyed the old wooden structure. The interior, the architecture and the shape of the plan layout are reminiscent of the Teatro alla Scala, Milan, a masterpiece by the architect Piermarini, albeit on a smaller scale. The four orders of balconies crowned by the top gallery are typical features of a 19th Century Italian Opera theater. Acoustic measurements have been undertaken across the stalls and in some selected boxes according to ISO 3382. The main acoustic parameters resulting from the measurements have been used for the aco

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Kolontári, Attila. "“Yo, heave-ho…” Budapest Tournees of Feodor Сhaliapin". Central-European Studies 2021, № 4(13) (2021): 273–300. http://dx.doi.org/10.31168/2619-0877.2021.4.11.

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This article examines Feodor Chaliapin’s guest performances in Budapest. The famous singer visited Hungary altogether eight times over ten years, playing the roles of Mephisto (Faust), Basilio (The Barber of Seville), and Don Quixote in the opera, as well as giving individual concerts. His performances were considered the most outstanding events during the opera and theatre season, taking place before full houses, the boxes being filled with representatives of the Hungarian elite, political actors, businessmen, writers, and actors. The Hungarian press followed Сhaliapin everywhere, corresponde

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paine, garth. "endangered sounds: a sound project." Organised Sound 10, no. 2 (2005): 149–62. http://dx.doi.org/10.1017/s1355771805000804.

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endangered sounds is a project that focuses on the exploration of sound marks (trade-marked sounds). the initial stage of this project was funded by arts victoria, and comprised legal searches that resulted in the listings of sound marks registered in australasia and the united states of america. this list was published on the internet with a call for volunteers to collect samples of the listed sounds internationally. the volunteer was sent a specimen tube with label and cap, and asked to collect the sound by placing the specimen tube close to the source (thereby capturing the air through whic

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Dike, Ibwari Caroline, Mkpoikanke Sunday Out, and Adannia Amalachukwu Dike. "Effect of Hands-On Instructional Approach on Pupils’ Achievement and Retention in Cultural and Creative Arts." International Journal of Professional Business Review 9, no. 1 (2024): e04207. http://dx.doi.org/10.26668/businessreview/2023.v9i1.4207.

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Purpose: The purpose of this study was to examine the effects of a hands-on educational approach on pupils' achievement and retention in the Cultural and Creative Arts.  Theoretical Framework: The theoretical framework for this study is based on cognitive learning and experiential learning.  Methodology: Study participants were primary five pupils in Oshimili South Local Government Area, Delta State. As part of this study, ten hands-on activities were used to engage primary five pupils in the learning process. Hands-on activities included magazine family puppets, musica

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Dike, Ibwari Caroline, Mkpoikanke Sunday Otu, and Adannia Amalachukwu Dike. "Effect of Hands-On Instructional Approach on Pupils’ Achievement and Retention in Cultural and Creative Arts." International Journal of Professional Business Review 8, no. 12 (2024): e04207. http://dx.doi.org/10.26668/businessreview/2023.v8i12.4207.

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Purpose: The purpose of this study was to examine the effects of a hands-on educational approach on pupils' achievement and retention in the Cultural and Creative Arts.  Theoretical Framework: The theoretical framework for this study is based on cognitive learning and experiential learning.  Methodology: Study participants were primary five pupils in Oshimili South Local Government Area, Delta State. As part of this study, ten hands-on activities were used to engage primary five pupils in the learning process. Hands-on activities included magazine family puppets, musica

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Hinderliter, Beth. "How Do You Play Bones?: Pia Lindman’s A Kalevala Duo, Playing Bones." TDR/The Drama Review 62, no. 1 (2018): 201–6. http://dx.doi.org/10.1162/dram_a_00733.

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Part of FinnFest 2015, Pia Lindman’s A Kalevala Duo, Playing Bones rubbed the history of Kalevala bone-setting against the grain by putting this otherwise private healing practice on a public stage at Kleinhans Music Hall in Buffalo, New York.

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Damisch, Hubert. "My Formative Years." October, no. 179 (2022): 3–10. http://dx.doi.org/10.1162/octo_a_00446.

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Abstract A pretty perilous and challenging exercise, especially for someone like me who indulges in thinking of himself, in a somewhat defensive and questionable way, I confess, as having no specific field or period of competence and evading any precise definition or classification in academic terms. As a matter of fact, I have been lucky enough to spend most of my life in an institution, the EHESS [École des hautes études en sciences sociales], which, in those days, having become an independent school, was open to people who refused to defer to the academic division of labor and which, under

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Brautbar, Shirli, Peter La Chapelle, and Jessica Hutchings. "The Valley of the Dry Bones." Journal of Popular Music Studies 32, no. 2 (2020): 191–213. http://dx.doi.org/10.1525/jpms.2020.32.2.191.

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This article explores Jewish contributions to, and influence on, the country music and bluegrass genres, arguing that there have been four key phases of Jewish-country interaction and that in recent years country and bluegrass Jews have taken a largely religious and liturgical turn as singer-songwriters in these genres. The first sections of this article identify several important stages of interaction, beginning with a phase between the 1940s and 1960s when Jews challenged antisemitism and sought assimilation and acceptance, a period in the 1970s when iconoclasts such as Kinky Friedman and Sh

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Hoffmann, Kathryn A. "“Vertebrae on Which a Seraph Might Make Music”." PMLA/Publications of the Modern Language Association of America 125, no. 1 (2010): 152–60. http://dx.doi.org/10.1632/pmla.2010.125.1.152.

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This Essay Took Shape in an Encounter with Bones: With Curving, Darkened Skeletons Propped on Shelves or Hanging Suspended in white cases. They are displays of tuberculosis, scoliosis, and osteomalacia (rickets) in the Royal College of Surgeons in Edinburgh (figs. 1 and 2). With bowed bones and spinal columns twisted into seemingly impossible shapes, the skeletons give the fantastic illusion of having been caught in mid-swirl in their cases, frail objects blown by invisible winds. A few of the bones of the feet at some point dropped off one of the skeletons with rickets. They were reattached w

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Honisch, Erika Supria. "Drowning Winter, Burning Bones, Singing Songs." Journal of Musicology 34, no. 4 (2017): 559–609. http://dx.doi.org/10.1525/jm.2017.34.4.559.

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In 1587 the Flemish composer Carolus Luython, employed by Holy Roman Emperor Rudolf II, published an unusual motet collection in Prague. Titled Popularis anni jubilus, the collection describes the sounds and rituals beloved by Central European peasants, recasting them as the ecstatic songs of rustic laborers (jubilus) famously celebrated by Saint Augustine in his Psalm commentaries. Highlighting the composer’s collaboration with the Czech cleric who wrote the motet texts, this study serves as a corrective to the interpretative frameworks that have broadly shaped discourses on Central European

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Maguire, Matthew. "Throwin' Bones." PAJ: A Journal of Performance and Art 21, no. 2 (1999): 80. http://dx.doi.org/10.2307/3246008.

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Vergano, Rina, and Roxana Vilk. "Songs that live in the bones." British Journal of Music Education 39, no. 3 (2022): 286–91. http://dx.doi.org/10.1017/s0265051722000328.

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AbstractIn conversation with playwright and theatre journalist Rina Vergano, multidisciplinary artist and musician Roxana Vilk unpicks her own experience of diaspora and the ways in which her cultural, familial and political roots have informed her artistic practice and inspired her current project about the power of lullabies.

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Sudirana, I. Wayan. "Exploring Elaboration in Balinese Music." Intersections 41, no. 1 (2021): 87–114. https://doi.org/10.7202/1114853ar.

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In previous publications, gamelan culture has often been associated with heterophonic characteristics. In this paper, I want to show its greater diversity through the analysis of several examples that represent the diversity of music and ensembles in Bali. I also want to demonstrate that the distinction between heterophonic and polyphonic has nothing to do with the melodic characteristics and melodic innovation of Balinese gamelan. In fact, much Balinese music displays polyphonic characteristics. I argue that Balinese music evades general categorization because it often occupies a liminal spac

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