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Journal articles on the topic 'Music Boxes'
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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 ‘Jasmine Flower’ on these boxes, and in Turandot reaffirmed its status as the token of Chinese music.
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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 part of the continuum of social-aesthetic practices composing music making.
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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 (April 1, 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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Lasen, Amparo. "Disruptive ambient music: Mobile phone music listening as portable urbanism." European Journal of Cultural Studies 21, no. 1 (May 24, 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 forms of what Spanish architect Roberto González calls portable urbanism: an entanglement of the digital, the urban and the online that activates a map of a reality over the fabric of the city, apparently not so present, visible or audible.
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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 (January 6, 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 five songs about the Empty Boxes in the 2020 Humbang Hasundutan Regional Head Election. The results show that the Empty Boxes volunteers place the issue of Empty Boxes Democracy as the main issue with various frames of political messages in the Empty Boxes song. The five songs of empty box volunteer articulate, frame, highlight, and disseminate political messages on three themes, among others, ideal democracy, democracy becomes a movement for change and democracy against political elites.
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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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Barry, Robert. "BBC Radio 3 Open Ear: EXAUDI Vocal Ensemble, We Spoke & Gwen Rouger LSO St Luke's, London." Tempo 72, no. 286 (September 6, 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 (June 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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TAN, MARCUS CHENG CHYE. "Between Sound and Sight: Framing the Exotic in Roysten Abel's The Manganiyar Seduction." Theatre Research International 38, no. 1 (February 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 district engendered an exotic seduction that garnered rave reviews on its global tour. This paper examines the production's performative interstices: the in-betweenness of sound and sight where aural tradition is ‘spectacularized’. It will also analyse the shifting convergences of tradition and cultural consumption and further interrogates the role of reception in the construction of such ‘exotic’ spectacles.
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Nelson, Michelle, Bev Foster, Sarah Pearson, Aimee Berends, Jennifer Ridgway, Renee Lyons, and Lee Bartel. "Optimizing music in complex rehabilitation and continuing care: A Community Site Facility Study (Part 2 of 3)." Music and Medicine 8, no. 3 (July 31, 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 one such facility in Ontario, Canada, as an example. Data collection focused on the feasibility of incorporating music in care delivery by surveying stakeholders regarding the potential for music in the facility, and collecting specific ideas for the integration of music within the space. Participants’ perspectives were collected using 4 methods: design charrettes, a musical café, an electronic questionnaire and ‘idea boxes’. Data revealed participants’ perceived values and assumptions about the importance of music in care. The researchers utilized a conceptual framework of music care, which was designed to help clarify various dimensions of music in care, assist in the mapping of existing music care initiatives, and identify opportunities to optimize the use of music in care. The study concluded with site specific recommendations, which may be applicable to other health care settingsSpanishOptimizando la Música en Rehabilitación Compleja y en Cuidado Continuo y Rehabilitación; un estudio en centros de atención comunitarias.Este artículo es el segundo de una serie de tres partes sobre la teoría y aplicación de la música en el marco de atención de salud. La música está siendo altamentereconocida en las comunidades de atención de salud como una intervención psicosocial y de rehabilitación efectiva, incrementando muchos aspectos de la calidad de vida. Actualmente, existe poca estandarización sobre cómo integrar de forma eficiente a la música dentro de los objetivos de atención individual y en los centros de atención. Es esta ausencia en la estandarización la que ha llevado a los autores a desarrollar un marco conceptual de atención musical, de esta manera los variados ámbitos de la práctica que incluyen a la música pueden ser distinguidos unos de otros y pueden ser identificadas nuevas posibilidades de optimización musical en los centros de atención.El primer estudio de esta serie examina la optimización de la música en centros de atención a largo plazo en Canadá [1], el propósito del mismo es explorar como la música puede ser optimizada en ambientes de atención compleja y continua, utilizando un centro de estas características como lugar de exploración, ubicado en Ontario, Canadá. Este estudio examina la viabilidad de incorporar música dentro de la atención de este lugar mediante encuestas a sus miembros sobre como ellos evalúan el potencial de la música en la institución, y sobre ideas específicas que pueden tener sobre como optimizar la música en ese espacio. Los datos fueron tomados utilizando 4 métodos: reuniones de directorio, café musical, cuestionarios electrónicos y caja de ideas. Los investigadores desarrollaron un marco conceptual de atención musical como una herramienta de investigación, diseñada para ayudar a clarificar las dimensiones de la música en atención de salud, mapear las iniciativas existentes en atención musical y optimizar el uso de la música en atención de salud. El estudio concluye con ideas y estrategias para la optimización musical, y una lista de recomendaciones para instituciones específicas. Los datos revelan que los participantes tienen valores y suposiciones sobre la importancia de la música en atención de salud que se correlaciona con la importancia de la atención centrada en la persona.Palabras claves: atención musical, cuidado centrado en el paciente, cuidado continuo complejo, optimización musical, diez dominios de la atención musical German Optimierung von Musik in dem Gesamt der Rehabilitation und der kontinuierlichen Versorgung und Rehabilitation: eine Studie über VersorgungseinrichtungenAbstract: Dieser Artikel ist der dritte einer dreiteiligen Serie über Theorie und Anwendung eines Versorgungsrahmens mit Musik. In Versorgungs-einrichtungen wird Musik zunehmend als eine effektive psychosoziale und rehabilitative Intervention anerkannt, die viele Aspekte der Lebensqualität verbessert. Zurzeit gibt es wenig Standardisierung wie Musik am besten in individuelle Versorgungsziele und –settings integriert werden kann. Die noch nicht vorhandene Standardisierung hat die Autoren angeregt, das Konzept eines Versorgungsrahmen mit Musik zu entwickeln, so dass die verschiedenen Praxisbereiche, die Musik integrieren, voneinander unterschieden und neue Möglichkeiten, die Anwendung von Musik in der Versorgung zu optimieren, identifiziert werden können.Während die erste Studie dieser Serie die Optimierung der Musikversorgung in kanadischen Langzeitpflegeheimen [1] untersuchten, ist der Zweck dieser Studie herauszufinden, wie man Musik in komplexen Pflegeeinrichtungen optimieren könnte, dafür wurde solch eine Einrichtung in Ontario/Canada ausgewählt. Diese Studie untersuchte die Möglichkeiten, Musik in die Pflege dieser Einrichtung einzubringen, indem sie die Mitglieder dieser Gemeinschaft beobachteten, wie sie das Potential von Musik der Einrichtung einschätzen, sowie ihre spezifischen Ideen, Musik in diesem Raum zu optimieren.Die Daten wurden mithilfe von vier Methoden erhoben: Design charettes, musikalisches Café, ein elektronischer Fragebogen und Boxen für Ideen. Die Forscher entwickelten einen konzeptuellen Rahmen für die Musikversorgung als Forschungstool, der helfen soll, die Dimensionen der Musikversorgung zu klären, Initiativen zur Musikversorgung zu kategorisieren, und die Anwendung von Musik in der Pflege zu optimieren. Die Studie schließt mit Ideen und Strategien zur Optimierung der Musik und eine Liste von Vorschlägen für spezifische Einrichtungen. Die Daten enthüllt, dass die von den Teilnehmern wahrgenommenen Werte und Annahmen über die Bedeutung von Musik in der Pflege mit der Bedeutung der personen-zentrierten Pflege korrelieren. Keywords: Versorgung mit Musik, patientenzentrierte Pflege, komplexe Langzeitpflege, Optimierung von Musik, zehn Bereiche von Pflege mit Musik.ItalianOttimizzazione della musica nelle Riabilitazioni Complesse e di Cura continua: A facility community site studyQuesto è il secondo di una serie di tre articoli sulla teoria e le applicazioni della cura (riabilitazione) tramite la musica. La musica è sempre piú riconosciuta nelle comunitá di assistenza sanitaria come un efficace intervento psicosociale e riabilitativo, aumentado molti aspetti della qualitá della vita. Ad oggi c’é una leggera standardizzazione su come la musica puó essere meglio integrata per obbiettivi di cura individuale e in altri ambiti di cura. É proprio questa assenza di standardizzazione che ha portato gli autori a creare un quadro concettuale di cura con la musica, cosi i diversi scopi delle pratiche che integrano la musica possono essere distinti gli uni dagli altri, rendendo quindi possible l’ identificazione di nuove possibilitá per utilizzare la musica come cura.Mentre il primo studio ha esaminato l’ottimizzazione della cura con la musica in strutture di assistenza a lungo termine canadesi [1], lo scopo di questo studio é quello di esplorare come la musica possa essere ottimizzata in complessi ambienti di cura continua, utilizzando un impianto in Ontario, Canada, come sito di esplorazione.Questo studio ha esaminato la fattibilitá di incorporare la cura con la musica all’interno di questa struttura, sorvegliando come I membri della comunitá valutano il potenziale della musica nella struttura e su idée specifiche che potrebbero avere per ottimizzare l’uso della musica nello spazio. I dati sono stati raccolti secondo 4 metodi: * (designed charrettes, musical café, an electronic questionnaire and idea boxes). I ricercatori hanno sviluppato un quadro concettuale di cura con la musica come strumento di ricerca, progettato per aiutare a chiarire il ruolo della musica nella cura ,e ottimizzarne l’ uso. Lo studio si é concluso con idée e strategie per l’ottimizzazione della musica, e un elenco di raccomandazioni per un istituto specifico. I dati hanno rilevato valori ed ipotesi fornite dai partecipanti circa l’importanza della musica nella cura correlalandola al significato di cura incentrata sulla persona.Parole Chiave: cura tramite musicaJapanese要旨：本論文は、３部の連続した音楽ケア構造の理論と応用の第２部である。音楽は、心理社会的かつ社会復帰のための効果ある介入としてヘルスケアコニュニティーにおいてますます認知され 、QOLの多くの様相を高めている。現時点では、音楽が個人ケアの目的とケア設定の中にどのように最適に調和させられるかに関して標準化されたものはわずかである。この標準化の欠乏が著者に音楽ケアの構造概念の構築を先導した。音楽を調和した臨床の異なる機会は相互から識別されることができ、ケアの中での音楽の最適化の新しい可能性を見極めることができるかもしれない。このシリーズの第一部でカナダの長期ケア施設での音楽ケアの最適化を考察したが、この研究の目的は音楽が複雑に継続するケア環境の中でどのように最適化されるか、カナダのオンタリオの施設を実地サイトとして探求することである。本研究では、このサイトでのケアに音楽を取り入れることの可能性について、施設コミュニティーのメンバーがどのように音楽の施設内利用の可能性について評価しているか、また、どのように音楽を最適化するか特定のアイディアについて、アンケートを用いて調査した。データは、4つのメソッドを用いて収集された：デザインシャレット、ミュージカルカフェ、電子アンケート、そしてアイディアボックス。研究者達は研究ツールとしての音楽ケアの構造概念を構築し、ケアの中での音楽の重要性を明確にすることを助長するデザインをし、存在する音楽ケア構想をマッピングし、ケアの中での音楽利用を最適化した。研究は音楽の最適化のためのアイディアと方法、特定の施設のための推奨事項を含めて完結した。データは、参加者が認めた有用性と、人間中心ケアの意義とケアの相互関係の中での音楽の重要性の仮説について明らかにしている キーワード：音楽ケア、患者中心ケア、複合継続ケア、音楽最適化、音楽ケアの10の領域
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Jones, Steve. "Music and the Internet." Popular Music 19, no. 2 (April 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 then extrapolate the possibilities such increases would create for sound recording and reproduction. Even comments I made, vaguely tongue-in-cheek, expecting that we would have, in addition to the ability to record high-quality digital audio in the home, the ability to press CDs at home, and print colour inserts for CD jewel boxes, thus creating not only home studios but home pressing plants, have become a reality. However, with but a few years' hindsight, I want to append to these an argument that recording sound matters less and less, and distributing it matters more and more, or, in other words, the ability to record and transport sound is power over sound. Consequently, technology is an even more important element to which popular music scholars must attend.
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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 (June 24, 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 audiovisual (AV) and theater consultants with respect to routing of conduits and locating recessed AV boxes in floating floor, coordination with the architect and structural engineer to identify high point loads on floating floor, consideration of seismic restraint elements, structural coordination to evaluate anchorage needs for elements supported on floating floor, construction sequencing coordination with pre-construction contractor with respect to anticipated needs for lifts on raised floating floors, and coordination of floating floor shop drawings with framing shop drawings for elements supported from the floating floor. This project case study outlines a useful list to help architects, consultants, and engineers navigate the complex and varied coordination issues that may arise on projects with concrete floating floors.
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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 (November 1, 2003): 107–24. http://dx.doi.org/10.2190/eqrn-djwd-8cyd-flnr.
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Anderson, Martin. "Three BBC premières: Dean, Martinsson, Cresswell." Tempo 59, no. 234 (September 21, 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 April, to join the BBC Symphony Orchestra under the baton of Ramon Gumba, he became an important link in a fairly short chain.
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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 (September 6, 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 amplifiers, crackle boxes, toys and keyboards, in collaboration with Éric Chenaux, the Draperies, Ryan Driver, Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald, Stephen Parkinson and Mauro Savo, among other musicians. In that same year she became Artistic Director of Toronto's experimental ensemble Arraymusic, a position she held for five years. In 2007, she founded the Allison Cameron Band with Eric Chenaux and Stephen Parkinson, and in 2009, the trio c_RL with Nicole Rampersaud (trumpet) and Germaine Liu (drums). Allison has experimented with graphic and notational scores that will soon be gathered and published as a collection. Additionally, she is the winner of the 2018 KM Hunter Award for music in Ontario.
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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 (July 7, 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 instruments, but rather the diverse material strata of machines identified as computers that need to be thought of as instruments within music environments. Specifically, we argue that computers, regardless of their technical specifications, are not only ‘black boxes’ or ‘meta-tools’ that serve to control music software, but are also material objects that are increasingly being used in a wide range of musical and sound art practices according to an ‘analog’ rather than ‘digital’ logic. Through a series of examples implicating both soft and hard dimensions of what constitutes computers, we provide a preliminary survey of practices calling for the need to rethink the conceptual divide between analog and digital forms of creativity and aesthetics.
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Anderson, Martin. "London, Barbican: Masterprize Final." Tempo 58, no. 228 (April 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 in the States (16 million) and Radio Latvia (you tell me); and NPR also packaged it for their deferred ‘Symphony Cast’. These are scarcely believable figures for contemporary classical music: Masterprize is plainly doing an enormous amount of good. Another statistic worth celebrating is that 1,300 children were involved in the associated education project, playing the six works up and down the UK. It's just a pity that most of the music that made it through to the final was so dull, a post-Hollywood syrup of feel-good consonance and glittering over-orchestration – slickly wrapped empty boxes.
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Nakra, Teresa Marrin, and Brett F. BuSha. "Synchronous Sympathy at the Symphony." Music Perception 32, no. 2 (December 1, 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 yielded significant positive correlations (p < .001; r = .86, .84, .48, .61), demonstrating a temporally related emotional intensity shared between the conductor and audience during the performance. Although a causal relationship was not determined, some evidence supported induction as the mechanism of emotional communication. These results suggest possible methods for better understanding the affective experiences of conductors, the reactions of listeners to various stimuli, and the interactions between audiences and musicians during concerts.
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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 narrative subtext of the film—a reflexive fixation on the recent arrival of synchronized sound film, expressed through a focus on musical playback technologies (phonographs, radios, and music boxes) and their ability to captivate. In this article, through a comparative analysis of scenes from L'Atalante (which has subsequently been restored) and Le chaland qui passe (the only surviving copy of which is housed at the Cinémathèque Royale de Belgique), I show how the differences between the two versions reflect a general anxiety over the arrival of sound film in France. Vigo's fascination with mediated music and its ability to create a magical cinematic world, and the distributors' attempt to fit the film's music into a commercially successful paradigm, reflect contemporary concerns about the potential impact of mediated sound on French cinema. Through my analysis, I demonstrate how film practitioners grappled with technological changes, using music as a powerful interventional force.
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Niedenthal, Simon. "Learning from the Cornell Box." Leonardo 35, no. 3 (June 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 computer scientists devoted to the development of new digital media.
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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 (February 25, 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-based Cognitive Stimulation Therapy protocol (SongCST). Patients in the intervention group underwent a 10-week cognitive intervention involving musical stimuli generated by our device. Effect of the intervention on cognitive function was evaluated by the Mini-Mental State Examination-Dementia Screening (MMSE-DS), Montreal Cognitive Assessment-Korean (MOCA-K), and Clinical Dementia Rating Scale Sum of Boxes (CDR-SOB). In the intervention group, MMSE-DS and MOCA-K scores improved significantly after the 10-week intervention. The changes in MOCA-K and CDR-SB scores were significantly different between the intervention and control groups. Our study showed that music therapy with digital devices has a positive effect on the executive function and overall disease severity in patients with MCI. Our study can facilitate individualization of music therapy using digital devices in groups.
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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 (March 22, 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 structured and the listener’s embodied experience; (3) affective, ascribing to this embodied appreciation dynamic sensations, as in the distinction between tense and lax parts of the perceptual flow; (4) conceptual, drawing analogies between such schematic and affective appreciation and elementary experiential imagery, resulting in outlines of narratives; (5) culturally rich, checking such a narrative outline against the recipient’s cultural knowledge; and (6) individual, adding to the levels above idiosyncratic recollections from the participant’s personal experience. The goal of the analysis is to show that the interpretation of constructs from different semiotic modes (music, vision and language) may rely on the same grounding levels as it ultimately depends on the same perceptual, embodied and contextual circumstances. Specifically, the article uses the system to analyse the possible reception of a section from the romance for violin and orchestra ‘The Lark Ascending’ by Ralph Vaughan Williams, the painting ‘The Last Supper’ by Leonardo da Vinci and the poem ‘No Man Is an Island’ by John Donne.
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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 (May 18, 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 the ground-truth and predicted bounding boxes. This is too rough since a real sound source is often only a part of an object. In this paper, we propose a deep learning method for pixel-level sound source localization by leveraging both binaural recordings and the corresponding videos. Specifically, we design a novel Binaural Audio-Visual Network (BAVNet), which concurrently extracts and integrates features from binaural recordings and videos. We also propose a point-annotation strategy to construct pixel-level ground truth for network training and performance evaluation. Experimental results on Fair-Play and YT-Music datasets demonstrate the effectiveness of the proposed method and show that binaural audio can greatly improve the performance of localizing the sound sources, especially when the quality of the visual information is limited.
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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 (September 21, 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 artificial climate boxes, and a soil pot trial with treatments of PAFT and EM under non-flooded and flooded conditions. The results showed that the hydroponic treatments of PAFT and EM significantly reduced the Cd concentrations in roots and shoots (edible parts) of water spinach by 22.01–36.50% compared with the control, possibly due to sound waves decreasing the root tip number per unit area and increasing average root diameter, root surface area, and total root length. Sound wave treatments clearly enhanced water spinach biomass by 28.27–38.32% in the hydroponic experiments. In the soil experiment, the flooded treatment significantly reduced the Cd concentrations in roots and shoots by 43.75–63.75%, compared with the non-flooded treatment. The Cd decrease and the biomass increase were further driven by the PAFT supplement under the flooding condition, likely related to the alteration in root porosity, rates of radial oxygen loss, extractable soil Cd, soil Eh, and soil pH. Our results indicate that the co-application of plant acoustic frequency technology and flooded management may be an effective approach to reduce Cd accumulation in water spinach.
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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 (July 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.” Newland takes his place among “all the carefully-brushed, white-waist coated, buttonhole-flowered gentlemen who succeeded each other in the club box, exchanged friendly greetings with him, and turned their opera glasses critically on the circle of ladies who were the product of the system.” That “the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences” seems “as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver-baked brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (preferably a gardenia) in his buttonhole.” The box opposite belongs to “old Mrs. Manson Mingott, whose monstrous obesity had long since made it impossible for her to attend the Opera.” It contains a surprise: the Countess Olenska. This finding is assessed by Laurence Lefferts; the “foremost authority of ‘form’ in New York,” he has devoted long hours to such questions as when to wear a black tie with evening clothes and the matter of pumps versus Oxfords for the feet. The countess is next appraised by Sillerton Jackson, as great an expert on “family” as Leffert is on form.
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Adelaar, K. Alexander, James T. Collins, K. Alexander Adelaar, James T. Collins, K. Alexander Adelaar, 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 dan Pustaka (Kementerian Pendidikan Malaysia), 1996, xxx + 103 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di pulau Borneo. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1990, xxviii + 100 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - Freek L. Bakker, Samuel Wälty, Kintamani; Dorf, Land und Rituale; Entwicklung und institutioneller Wandel in einer Bergregion auf Bali. Münster: Lit Verlag, 1997, xii + 352 pp. - René van den Berg, Linda Barsel, The verb morphology of Mori, Sulawesi. Canberra: Department of Linguistics, Research School of Pacific and Asian Studies, Australian National University, 1994, x + 139 pp. [Pacific Linguistics Series B-111.] - Martin van Bruinessen, Darul Aqsha, Islam in Indonesia; A survey of events and developments from 1988 to March 1993. Jakarta: INIS, 1995, 535 pp., Dick van der Meij, Johan Hendrik Meuleman (eds.) - Martin van Bruinessen, Niels Mulder, Inside Indonesian society; Cultural change in Java. Amsterdam: Pepin Press, 1996, 240 pp. [Previously published Bangkok, Duang Kamol, 1994.] - Matthew Isaac Cohen, Craig A, Lockard, Dance of life; Popular music and politics in Southeast Asia. Honolulu: University of Hawai’i Press, 1998, xix + 390 pp. - Will Derks, Tenas Effendy, Bujang Tan Domang; Sastra lisan orang Petalangan. Yogyakarta: Yayasan Benteng Budaya/Ecole Francaise d’Extrême Orient/The Toyota Foundation, 1997, 818 pp. [Al Azhar and Henri Chambert-Loir (eds).] - Will Derks, Philip Yampolsky, Music from the forests of Riau and Mentawai. Recorded and compiled by Philip Yampolsky; annotated by Hanefi, Ashley Turner, and Philip Yampolsky. Washington, D.C.: Smithsonian Folkways, 1995. [Music of Indonesia 7SF; CD 40423.] - Will Derks, Philip Yampolsky, Melayu music of Sumatra and the Riau Islands: Zapin, Mak Yong, Mendu, Ronggeng. Recorded, compiled , and annotated by Philip Yampolsky. Washington D.C.: Smithsonian Folkways, 1996. [Music of Indonesia 11 SF; CD 40427.] - Rens Heringa, Roy W. Hamilton, Gift of the cotton maiden; Textiles of Flores and the Solor Islands. Los Angeles: Fowler Museum of Cultural History, University of California, 1994, 287 pp. - Bernice de Jong Boers, Willemijn de Jong, Geschlechtersymmetrie in einer Brautpreisgesellschaft; Die Stoffproduzentinnen der Lio in Indonesien. Berlin: Reimer, 1998, 341 pp. - C. de Jonge, A.Th. Boone, Bekering en beschaving; De agogische activititeiten van het Nederlandsch Zendelinggenootschap in Oost-Java (1840-1865). Zoetermeer: Boekencenturm, 1997, xiv + 222 pp. - Nico Kaptein, Peter G. Riddell, Islam; Essays on scripture, thought and society; A Festschrift in honour of Anthony H. Johns. Leiden: Brill, 1997, xliii + 361 pp., Tony Street (eds.) - Hugo Klooster, Janny de Jong, Niet-westerse geschiedenis; Benaderingen en thema’s. Assen: Van Gorcum, 1998, 185 pp., Gé Prince, Hugo s’Jacob (eds.) - Jean Robert Opgenort, L. Smits, The J.C. Anceaux collection of wordlists of Irian Jaya languages, B: Non-Austronesian (Papuan) languages (Part I). Leiden/Jakarta: Department of Languages and Cultures of Southeast Asia and Oceania, Rijksuniversiteit Leiden/Irian Jaya Studies Interdisciplinary Research Programme (IRIS), 1994, vi + 281 pp. [Irian Jaya Source Materials 9 (Series B No. 3).], C.L. Voorhoeve (eds) (eds.) - Pim Schoorl, Albert Hahl, Gouverneursjahre in Neuguinea. Edited by Wilfried Wagner. Hamburg: Abera Verlag Meyer, 1997, xxxi + 230 pp. - Elly Touwen-Bouwsma, Dieuwke Wendelaar Bonga, Eight prison camps; A Dutch family in Japanese Java. Athens, Ohio: University Center for International Studies, 1996, xii + 219 pp. - Freek Colombijn, Anthony J. Whitten, The ecology of Sumatra. Yogyakarta: Gadjah Mada University Press, 1987 [First edition 1984], xxiii + 583 pp., photographs, figures, tables, index., Sengli J. Damanik, Jazanul Anwar (eds.) - David Henley, Anthony J. Whitten, The ecology of Sulawesi. Yogyakarta: Gadjah Mada University Press, 1987, xxi + 777 pp., Muslimin Mustafa, Gregory S. Henderson (eds.) - Peter Boomgaard, Tony Whitten, The ecology of Java and Bali. [Singapore]: Periplus Editions, 1996, xxiii + 969 pp. [The Ecology of Indonesia Series 2.], Roehayat Emon Soeriaatmadja, Surya A. Afiff (eds.) - Han Knapen, Kathy MacKinnon, The ecology of Kalimantan. [Singapore]: Periplus Editions, 1996, xxiv + 802 pp., tables, figures, boxes, index. [The Ecology of Indonesia Series 3.], Gusti Hatta, Hakimah Halim (eds.) - Bernice de Jong Boers, Manon Ossewiejer, Kathryn A. Monk, The ecology of Nusa Tenggara and Maluku. [Singapore]: Periplus Editions, Oxford: Oxford University Press, 1997, xvii + 966 pages, tables, figures, boxes, annexes, appendixes, index. [The Ecology of Indonesia Series 5.], Yance de Fretes, Gayatri Reksodiharjo-Lilley (eds.) - Freek Colombijn, Tomas Tomascik, The ecology of the Indonesian seas [2 volumes]. Hong Kong: Periplus, 1997, xiv + vi + 1388 pp., photographs, figures, tables, indexes. [The Ecology of Indonesia Series 7-8.], Anmarie Janice Mah, Anugerah Nontji (eds.)
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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 (June 7, 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 a peculiar psycho-acoustics impression. However, some geometric properties of the opera houses could influence the global acoustic perception. The shape of the marmorino wall on the stalls, as well as the parallelism of the lateral walls in the boxes, often causes a lack of spaciousness and sometimes in the worst cases provokes focalization. This phenomenon leads to design special devices that could be inserted in the theatres, to avoid focalization, even if they are rarely accepted. This article deals with the design of some acoustic diffusing panels and their functioning in three different theatres, combining both acoustics needs with architectural constraints. The article starts analysing and commenting on the issues that resulted from the measurements conducted in an Italian opera house. In the following step, three examples of the design of diffusing panels are proposed. Finally, the results of diffusion and scattering coefficient of panels realized in the last theatre considered here are reported.
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Kolontári, Attila. "“Yo, heave-ho…” Budapest Tournees of Feodor Сhaliapin." Central-European Studies 2021, no. 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, correspondents tried to inform readers about each and every moment of his stay in Hungary, and he obliged journalists — that problematic group — with great patience and professionalism by never declining an interview. Prestigious critics and musicologists (including Aladár Tóth, Emil Haraszti, and Dezső Szomory) wrote laudatory commentaries on Сhaliapin’s performances on the pages of Hungarian journals and newspapers. They all praised his talent, creative power, amazing bass, and charm as well as his ability to win the hearts of the audience from the very first moment. Hungarian people regarded Сhaliapin not only as the king of the opera, but also as the embodiment of Russia and Russian culture. Сhaliapin used his tournees to Budapest to get acquainted with the Hungarian capital; he visited the most famous sights of the city (he especially loved walking on the banks of the Danube) and he enjoyed spending his time eating out in restaurants and bars while listening to Hungarian gypsy music. Journal articles enable us to reconstruct this somewhat forgotten episode in Russian-Hungarian cultural relations.
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paine, garth. "endangered sounds: a sound project." Organised Sound 10, no. 2 (August 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 which the sound travelled), securing the cap and then completing the label, documenting the time, place and nature of the sound (sound mark reg. no., sound mark description, time of capture, date of capture, location, etc.). these specimen tubes were collected and displayed in chemistry racks in the exhibition in the biennale of electronic arts, perth in 2004, illustrating the frequency and diversity of the environment into which these ‘private’, protected sounds have been released. the exhibition project consisted of:(1) a web portal listing all the sound marks listed in australasia and the usa, and negotiations are underway to expand that to include the eu.(2) a collection of sound marks in specimen tubes with caps and labels gathered internationally by people who volunteered to collect samples of sound marks in their environment.(3) a number of glass vacuum desiccator vessels containing a small loudspeaker and sound reproduction chip suspended in a vacuum, reproducing sound marks in the vacuum, notionally breaking the law, but as sound does not travel in a vacuum the gallery visitor hears no sound – what then is the jurisdiction of the sound mark?(4) a card index register of lost and deceased sounds.this project questions the legitimacy of privatising and protecting sounds that are released at random in public spaces. if i own a multi-million dollar penthouse in a city, and work night shifts, i have no recourse against the loud harley davidson or australian football league (afl) siren that wakes me from my precious sleep – both sounds are privately protected, making their recording, reproduction and broadcast illegal.while there are legal mechanisms for protection against repeat offenders, and many of us are committed to a culturally conditioned moral obligation re sound dispersion, there are no legal limits – i can call the police, but the football siren is already within legal standards and still permeates the private domain of city dwellings. the noise abatement legislation is only applicable to regular breaches of the law, and takes some time to sort out, but it does not apply to singular occurrences which, although within legislated limits, still disturb. additionally, the laws are based on amplitude and do not really address the issue of propagation. the ownership of the sound is not addressed in these legislative mechanisms – it should be; if the sound is an emblem of corporate identity, we should be able to choose not to be exposed to it, in the same way that we can place a ‘no junk mail’ sign on our letter boxes. acknowledgement of the private domain is sacrosanct in other areas of legislation, in fact heavily policed, but not addressed in discussions of the acoustic environment beyond amplitude limitations.
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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 (March 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 the rule of great personalities like Fernand Braudel and my friend Jacques Le Goff, would welcome young people with non-conformist backgrounds in order for them to develop their formation according to their own lines. To develop it—I wouldn't say to achieve it, for as far as I am concerned there seems to be no end to it: hence the challenge, which consists in having to look back at one's own intellectual past through the viewer and the lens of the present. Part of the picture, which happened to be of great consequence to me, was, and still is, a great freedom and encouragement to travel, lecture, teach, and study abroad, in my case especially in the States, where, for a long time, I felt much more at ease with authentic art historians and critics than I did in France, and developed some deep and enduring friendships with great individuals like Meyer Schapiro, Rosalind Krauss, Tony Vidler, Tim Clark, and Hank Millon, not to mention several artists and architects I will refer to later. Travelling: I don't claim any originality when saying that I owe to my urge to travel a large part of my formation as an art historian. I remember with emotion looking with Meyer Schapiro through his travel notebooks. I keep boxes filled with my own.
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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 (June 1, 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 Shel Silverstein came to the fore and substantially reshaped country music, and a phase from the 1980s to early 2000s when an instrumental-focused klezmer-bluegrass fusionism was central to constructing a Jewish-country identity. A longer, final section explores the more recent, religiously-themed country and bluegrass of performers such as Mare Winningham, Nefesh Mountain, and Joe Buchanan, and argues that Jewish country and bluegrass has taken an important liturgical turn.
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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 (January 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 with small and now faded ribbons.
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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 musical and religious practices in the early modern period. To make sense of the print’s raucous parade of drunken revelers, mythological figures, honking geese, and the Christ child, this analysis sets aside the hermetic lens typically used to account for the cultural products of the Rudolfine court and turns instead to contemporary theological tracts and writings by Augustine and Ovid that were foundational to the literary worlds of Renaissance humanists. Doing so brings into focus an ordered sequence of motets that offers some of the earliest and most vivid documentation in Central Europe of lay practices associated with the major feasts of the church year, from the bonfires on the Nativity of St. John the Baptist to the drowning of winter on Laetare Sunday. At the same time, this study shows the extent to which such “folk” traditions, parsed along national lines since the nineteenth century, had in fact long occupied common ground in the diverse territories of Habsburg Central Europe.
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Maguire, Matthew. "Throwin' Bones." PAJ: A Journal of Performance and Art 21, no. 2 (May 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 (November 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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Obmiński, Zbigniew. "Music listening reduces biochemical and perceptual responses to a single intensified interval training." Polish Journal of Sports Medicine 37, no. 2 (June 30, 2021): 87–94. http://dx.doi.org/10.5604/01.3001.0015.0447.
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Background. Music listening is a helpful way for reduction of psychological tension state anxiety, and improvement of mood state in humans, who often experience worries, threats or anticipating stressful events. Few is known about effect of music listening on both biochemical and perceptual responses to high intensity interval training session among females practicing combat sports. The purpose of this study was to verify hypothesis that listening music during training lowers psycho-physiological stress markers. Material and methods. 16 female boxers took part in two 1-hour high intensive interval training separated 3 day apart. These sessions were of the same structures, loads, intensities. Athletes were assigned into two equal sub-groups and performed sessions with special selected dance music (MS) and without it (non-MS) Capillary blood samples were taken directly before and after training. Plasma cortisol (C), glucose (Glu) and blood lactate (LA) were determined in the samples.10-point scale was used for self-reported Rating of Perceived Exertion (RPE). Results. When the training session was accompanied music, the post-session increments of C and Glu and post-session RPE were significantly lower. The impact of music on LA was not statistically significant. Conclusions. The lowered reactivity of markers of exercise stress such as C, Glu levels and RPE scores in response to training with preferred music confirmed beneficial effect of music use in female athletes performing an intensive workout. This reduction of psychological component of exercise stress may improve a training tolerance.
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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (January 2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.
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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.
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Loy, D. Gareth. "The Systems Concepts Digital Synthesizer: An Architectural Retrospective." Computer Music Journal 37, no. 3 (September 2013): 49–67. http://dx.doi.org/10.1162/comj_a_00193.
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In the mid 1970s, specialized hardware for synthesizing digital audio helped computer music research move beyond its early reliance on software synthesis running on slow mainframe computers. This hardware allowed for synthesis of complex musical scores in real time and for dynamic, interactive control of synthesis. Peter Samson developed one such device, the Systems Concepts Digital Synthesizer, for Stanford University's Center for Computer Research in Music and Acoustics. The “Samson Box” addressed the classical problems of digital audio synthesis with an elegance that still rewards study. This article thoroughly examines the principles underlying the Box's design—while considering how it was actually employed by its users—and describes the architecture's advantages and disadvantages. An interview with Samson is included.
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Mattox, Mickey L. "Music in the Old Bones: Jezebel Through the Ages. Janet Howe Gaines." Journal of Religion 82, no. 1 (January 2002): 97–98. http://dx.doi.org/10.1086/490996.
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WEBER, JEROME F. "Recent releases of plainchant." Plainsong and Medieval Music 10, no. 1 (April 2001): 81–90. http://dx.doi.org/10.1017/s0961137101000067.
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The most impressive recent recording is undoubtedly ‘Codex Calixtinus’ (no. 1 in the list below), a boxed set of four discs that presents virtually the complete music of the manuscript entitled ‘Jacobus’, still preserved at the cathedral of Santiago de Compostela. To be sure, though it has not drawn any comment in this department, the twenty polyphonic pieces that form the appendix to this collection of music have been recorded complete in recent years (Sequentia and Ensemble Venance Fortunat have each devoted a disc to the collection), and the fourth disc of this set duplicates them. Some of these pieces have long been known on records, for they rank with the St Martial sources as the most important examples of polyphony before the Notre Dame period.
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Wintle, Christopher. "'Skin and Bones': The C Minor Prelude from J. S. Bach's Well-Tempered Clavier, Book 2." Music Analysis 5, no. 1 (March 1986): 85. http://dx.doi.org/10.2307/854342.
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Onič, Tomaž. "Music Becomes Emotions: The Musical Score in Two Productions of A Streetcar Named Desire." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (June 20, 2016): 59–68. http://dx.doi.org/10.4312/elope.13.1.59-68.
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From today’s perspective, Alex North’s score for the 1951 film A Streetcar Named Desire, which was considered remarkable even at the time, can claim legendary status. The titles of the 16-track score suggest that the music focuses on the characters, the setting, main motifs, crucial events and states of mind. The film soundtrack could thus be denoted as integral to and harmonized with the dramatic action. This is not the case in the 2008 staging at the Slovene National Theatre in Maribor, where the music composed and selected by Hrvoje Crnić Boxer seems to focus on the protagonist only. The performance revolves around Blanche and could be interpreted as a psychoanalytic study of the play through her subconscious. Analysing the musical layers of these two considerably different productions of Williams’ play opens new interpretative aspects of this complex theatre and film classic from the Deep South literary tradition.
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Mu, Jin. "Pose Estimation-Assisted Dance Tracking System Based on Convolutional Neural Network." Computational Intelligence and Neuroscience 2022 (June 3, 2022): 1–10. http://dx.doi.org/10.1155/2022/2301395.
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In the field of music-driven, computer-assisted dance movement generation, traditional music movement adaptations and statistical mapping models have the following problems: Firstly, the dance sequences generated by the model are not powerful enough to fit the music itself. Secondly, the integrity of the dance movements produced is not sufficient. Thirdly, it is necessary to improve the suppleness and rationality of long-term dance sequences. Fourthly, traditional models cannot produce new dance movements. How to create smooth and complete dance gesture sequences after music is a problem that needs to be investigated in this paper. To address these problems, we design a deep learning dance generation algorithm to extract the association between sound and movement characteristics. During the feature extraction phase, rhythmic features extracted from music and audio beat features are used as musical features, and coordinates of the main points of human bones extracted from dance videos are used for training as movement characteristics. During the model building phase, the model’s generator module is used to achieve a basic mapping of music and dance movements and to generate gentle dance gestures. The identification module is used to achieve consistency between dance and music. The self-encoder module is used to make the audio function more representative. Experimental results on the DeepFashion dataset show that the generated model can synthesize the new view of the target person in any human posture of a given posture, complete the transformation of different postures of the same person, and retain the external features and clothing textures of the target person. Using a whole-to-detail generation strategy can improve the final video composition. For the problem of incoherent character movements in video synthesis, we propose to optimize the character movements by using a generative adversarial network, specifically by inserting generated motion compensation frames into the incoherent movement sequences to improve the smoothness of the synthesized video.
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Ferrand, Hortense Le. "Could Bio-Inspired Nacre-Like Ceramics be Suitable to Fabricate Musical Instruments?" Music & Science 5 (January 2022): 205920432211461. http://dx.doi.org/10.1177/20592043221146184.
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In the past, natural ceramic biomaterials like bones and seashells were used to make music. Today, ceramics are largely absent from the musical scene. Yet, recent development of bio-inspired ceramics could be used to create musical instruments that emulate sound from ancient times, that do not make use of endangered animal species or that enable exploration of new types of music. In this paper, the question of whether bio-inspired ceramics would be suitable for usage in musical instrument is posed. The study focusses on nacre-like alumina ceramics of various compositions and their suitability to be used, fabricated, and to produce sound are discussed based on materials’ properties. It is found that flat pieces could be produced with high throughput for making idiophones or parts of musical instruments to increase the sound radiance, for example, and that complex shapes could be produced by a craftsperson to reproduce other musical instruments’ designs or create new ones using 3D printing technologies. The potential application of such ceramics for music could also open ideas in architecture where tiles are used, for example. Future work to enable these applications should be on more thorough characterisation of dynamic properties according to standards, scaled-up and reliable fabrication processes, and evaluation of the sound produced.
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Snickars, Pelle. "More of the Same – On Spotify Radio." Culture Unbound 9, no. 2 (October 31, 2017): 184–211. http://dx.doi.org/10.3384/10.3384/cu.2000.1525.1792184.
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Spotify Radio allows users to find new music within Spotify’s vast back-catalogue, offering a potential infinite avenue of discovery. Nevertheless, the radio service has also been disliked and accused of playing the same artists over and over. We decided to set up an experiment with the purpose to explore the possible limitations found within “infinite archives” of music streaming services. Our hypothesis was that Spotify Radio appears to consist of an infinite series of songs. It claims to be personalised and never-ending, yet music seems to be delivered in limited loop patterns. What would such loop patterns look like? Are Spotify Radio’s music loops finite or infinite? How many tracks (or steps) does a normal loop consist of? To answer these research questions, at Umeå University’s digital humanities hub, Humlab, we set up an intervention using 160 bot listeners. Our bots were all Spotify Free users. They literally had no track record and were programmed to listen to different Swedish music from the 1970s. All bots were to document all subsequent tracks played in the radio loop and (inter)act within the Spotify Web client as an obedient bot listener, a liker, a disliker, and a skipper. The article describes different research strategies when dealing with proprietary data. Foremost, however, it empirically recounts the radio looping interventions set up at Humlab. Essentially, the article suggests a set of methodologies for performing humanist inquiry on big data and black-boxed media services that increasingly provide key delivery mechanisms for cultural materials. Spotify serves as a case in point, yet principally any other platform or service could be studied in similar ways. Using bots as research informants can be deployed within a range of different digital scholarship, so this article appeals not only to media or software studies scholars, but also to digitally inclined cultural studies such as the digital humanities.
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Snickars, Pelle. "More of the Same – On Spotify Radio." Culture Unbound 9, no. 2 (October 31, 2017): 184–211. http://dx.doi.org/10.3384/cu.2000.1525.1792184.
Full textAbstract:
Spotify Radio allows users to find new music within Spotify’s vast back-catalogue, offering a potential infinite avenue of discovery. Nevertheless, the radio service has also been disliked and accused of playing the same artists over and over. We decided to set up an experiment with the purpose to explore the possible limitations found within “infinite archives” of music streaming services. Our hypothesis was that Spotify Radio appears to consist of an infinite series of songs. It claims to be personalised and never-ending, yet music seems to be delivered in limited loop patterns. What would such loop patterns look like? Are Spotify Radio’s music loops finite or infinite? How many tracks (or steps) does a normal loop consist of? To answer these research questions, at Umeå University’s digital humanities hub, Humlab, we set up an intervention using 160 bot listeners. Our bots were all Spotify Free users. They literally had no track record and were programmed to listen to different Swedish music from the 1970s. All bots were to document all subsequent tracks played in the radio loop and (inter)act within the Spotify Web client as an obedient bot listener, a liker, a disliker, and a skipper. The article describes different research strategies when dealing with proprietary data. Foremost, however, it empirically recounts the radio looping interventions set up at Humlab. Essentially, the article suggests a set of methodologies for performing humanist inquiry on big data and black-boxed media services that increasingly provide key delivery mechanisms for cultural materials. Spotify serves as a case in point, yet principally any other platform or service could be studied in similar ways. Using bots as research informants can be deployed within a range of different digital scholarship, so this article appeals not only to media or software studies scholars, but also to digitally inclined cultural studies such as the digital humanities.
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Mikołajko, Annika. "Bones and Concertina: The Sailors’ Instruments that Have Survived Over the Centuries." Kwartalnik Młodych Muzykologów UJ, no. 45 (2) (2020): 121–38. http://dx.doi.org/10.4467/23537094kmmuj.20.033.13906.
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The history of the sailors’ instruments is currently a barely investigated area. In the past, bones were used frequently in a variety of music genres, whereas today they seem to be forgotten in certain countries. The simplicity of playing that once was their advantage has also resulted in the small number of written sources concerning the technique of playing as well as the way of producing of this instrument. Despite this fact, bones were the ground for what is called the “musical recycling”. Concertina, in spite of its much more complicated structure and technique of playing, is more popular and has been described in several secondary sources. There are even schools of playing on this instrument available. Unfortunately, concertina is rarely used in concert halls too. Both instruments, thanks to their simplicity and small size, visited almost every part of the world in the era of great sailing ships, but today they remain known and used only in specialised environments.
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Lu, Junjie, Panpan Wang, Sen Duan, Liping Shi, and Li Han. "Detection of Broken Rotor Bars Fault in Induction Motors by Using an Improved MUSIC and Least-Squares Amplitude Estimation." Mathematical Problems in Engineering 2018 (November 15, 2018): 1–12. http://dx.doi.org/10.1155/2018/5942890.
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The frequencies and amplitudes of the broken rotor bar (BRB) fault features are the basis for the accurate diagnosis of the BRB fault. However, how to accurately detect their frequency and amplitudes has always been a difficult problem for induction motor fault detection. For this problem, a new fault detection method based on an improved multiple signal classification (MUSIC) and least-squares magnitude estimation is proposed. First, since the fixed-step traversal search reduces the computational efficiency of MUSIC, a niche bare-bones particle swarm optimization (NBPSO) for multimodal peaks search is proposed to improve MUSIC, which is used to compute the frequency values of fault-related and fundamental components in stator current signal. Second, using these frequency values, a fault current signal model is established to convert the magnitude estimation problem into a linear least-squares problem. On this basis, the amplitudes and phases of fault-related and fundamental components could be estimated accurately with the singular value decomposition (SVD). A simulation signal is used to test the new method and the results show that the proposed method not only has higher frequency resolution, but also improves estimation accuracy of parameters greatly even with short data window. Finally, experiments for a real induction motor are performed, and the effectiveness and superiority of the proposed method are proved again.
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Tsadka, Maayan. "A FIELD GUIDE TO SONIC BOTANY: THOUGHTS ABOUT ECO-COMPOSITION." Tempo 75, no. 295 (December 17, 2020): 31–44. http://dx.doi.org/10.1017/s0040298220000662.
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AbstractSonic botany is an ongoing project that I have been developing over the past few years. It incorporates natural artefacts: dry leaves, pods, flowers, branches, rocks, bones and other organic findings. These are used as musical instruments that are played on with a scientific/musical tool: tuning forks in various frequencies. The vibration from the tuning forks resonates through the natural artefacts which amplify the vibration and – via sound – reveal the texture, size, material and condition of the organic matter. This process generates new sonic material, new context and new forms of musical composition. The practice developed into several compositions and projects, a performance practice, a notation system and a way of listening. Here I share some of the insights I gained through this process, the tools and the compositional framework.