Journal articles: 'Music Motion pictures and music'

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Haines. "Stephen Foster’s Music in Motion Pictures and Television." American Music 30, no. 3 (2012): 373. http://dx.doi.org/10.5406/americanmusic.30.3.0373.

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Taranto, Cheryl, and Sharon Almquist. "Opera Mediagraphy: Video Recordings and Motion Pictures." Notes 52, no. 1 (September 1995): 81. http://dx.doi.org/10.2307/898803.

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Riethmüller, Albrecht. "Musik als Emblem in Billy Wilders Film The Emperor Waltz (1948)." Archiv für Musikwissenschaft 76, no. 3 (2019): 166. http://dx.doi.org/10.25162/afmw-2019-0008.

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Ringle, Carter. "Mind, Music, and Motion Pictures: The Making and Remaking of the Sensuous Consumer." Enterprise & Society 16, no. 2 (2015): 446–63. http://dx.doi.org/10.1353/ens.2015.0016.

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Simonton, Dean Keith. "Film music: Are award-winning scores and songs heard in successful motion pictures?" Psychology of Aesthetics, Creativity, and the Arts 1, no. 2 (May 2007): 53–60. http://dx.doi.org/10.1037/1931-3896.1.2.53.

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Tan, Siu-Lan, Matthew P. Spackman, and Elizabeth M. Wakefield. "The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene." Music Perception 34, no. 5 (June 1, 2017): 605–23. http://dx.doi.org/10.1525/mp.2017.34.5.605.

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Previous studies have shown that pairing a film excerpt with different musical soundtracks can change the audience’s interpretation of the scene. This study examined the effects of mixing the same piece of music at different levels of loudness in a film soundtrack to suggest diegeticmusic (“source music,” presented as if arising from within the fictional world of the film characters) or to suggest nondiegetic music (a “dramatic score” accompanying the scene but not originating from within the fictional world). Adjusting the level of loudness significantly altered viewers’ perceptions of many elements that are fundamental to the storyline, including inferences about the relationship, intentions, and emotions of the film characters, their romantic interest toward each other, and the overall perceived tension of the scene. Surprisingly, varying the loudness (and resulting timbre) of the same piece of music produced greater differences in viewers’ interpretations of the film scene and characters than switching to a different music track. This finding is of theoretical and practical interest as changes in loudness and timbre are among the primary post-production modifications sound editors make to differentiate “source music” from “dramatic score” in motion pictures, and the effects on viewers have rarely been empirically investigated.

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Rusinova, Elena A. "Music in the Metadigetic Space of the Motion Picture." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 80–87. http://dx.doi.org/10.17816/vgik9280-87.

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This extension of the authors previous article udiovisual Means of Creating Metadiegetic Space in Cinema (see Vestnik VGIK #1 (31), 2017) is a historic survey of the sound design techniques which make it possible to use musical expressive means for designating the films subjective space (metadiegesis) and separating the metadiegesis from diegesis by means of music.

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Durst, Samantha L., and Charldean Newell. "Two Thumbs Up: The Media Are the Message." Public Voices 3, no. 3 (April 11, 2017): 29. http://dx.doi.org/10.22140/pv.352.

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This account is a commentary on efforts to incorporate a "creative" project into a graduate-level public management course. Students must complete an "Images of the Public Sector" project for which they review, reflect on, and analyze the effect of specific media images of the public sector on public perceptions. The students select the images from books, music, television, motion pictures, or other art or literary form.

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Schubert, Linda. "Plainchant in Motion Pictures: The "Dies irae" in Film Scores." Florilegium 15, no. 1 (January 1998): 207–29. http://dx.doi.org/10.3138/flor.15.011.

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Several summers ago, the album Chant, a collection of plainsong performed by the monks of Santo Domingo de Silos, hit the top of the popular music charts, triggering the release and reissue of more chant albums by other groups. These included Greatest Hits—Chant, Mad About the Monks, and Chill to the Chant. In the meantime, the monks of Santo Domingo de Silos have followed up Chant with several other albums (Chant Noel, Chant II, Easter), and there is also a Chant video (see Chant, Visions, and Requiem). Though it may seem that plainchant has only just been discovered in popular culture, it has been heard for many years in film, a medium with strong ties to popular as well as "art" audiences. Some chants have become standard melodies for films, in particular the "Dies irae" from the Roman Catholic Mass for the Dead. The "Dies irae" is, in fact, one of the most frequently heard chants in film, used in television theme songs, commercials, and even a Christmas film (It's a Wonderful Life). Death, danger or the supernatural are invariably part of the story or visual situation where it is used.

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Bolivar, Valerie J., Annabel J. Cohen, and John C. Fentress. "Semantic and formal congruency in music and motion pictures: Effects on the interpretation of visual action." Psychomusicology: A Journal of Research in Music Cognition 13, no. 1-2 (1994): 28–59. http://dx.doi.org/10.1037/h0094102.

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Holbrook, Morris B. "Reflections on jazz training and marketing education." Marketing Theory 16, no. 4 (July 31, 2016): 429–44. http://dx.doi.org/10.1177/1470593116652672.

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In recent years, numerous marketing and organizational theorists have called attention to the analogy between jazz and management strategy. From the perspective of this jazz metaphor, key questions concern the implications of jazz training for marketing education. Too often—say, in motion pictures or television dramas—jazz is portrayed as an innocent folk music whose performance requires more feeling than knowledge. This inaccurate stereotype colors the treatment of music instruction found in the film Mr. Holland’s Opus (1995). A contrasting view of jazz as a technically demanding art form appears in the movie Whiplash (2014). These two films also represent diametrically opposed teaching styles—the first nurturing and customer-oriented, the second sadistic and product-oriented. A third motion picture entitled Keep On Keepin’ On (2014) presents a resolution of this dialectic in the form of a marketing-oriented instructor whose method of teaching combines kindness (the customer-oriented thesis) with rigor (the product-oriented antithesis) to achieve a balanced reconciliation (the marketing-oriented synthesis). From this perspective, like jazz training, marketing education is itself embarked on a marketing project that benefits from a rapprochement of customer-oriented and product-oriented impulses to attain a marketing-oriented synthesis. Thus, insights about jazz training become relevant to the challenges of marketing education—as illustrated by various examples from the author’s own experiences.

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Mehr, Linda Harris. "Oscar’s very special library: the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences." Art Libraries Journal 34, no. 3 (2009): 29–34. http://dx.doi.org/10.1017/s0307472200015996.

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‘Oscar’ is the best-known symbol of the Academy of Motion Picture Arts and Sciences. But there is more to the Academy than the golden statuette. The Academy’s Margaret Herrick Library, which has been in existence for 80 years, is widely regarded as the pre-eminent research and reference facility for the study of all aspects of motion pictures, as an art form and an industry. The non-circulating research and reference collection, located in Beverly Hills, California, is open to the public, free of charge, and is heavily used by students, scholars, industry personnel, journalists, filmmakers and the general public. Its holdings document the multiple facets of the film industry and its personnel, past and present, and include books, periodicals, clipping files and screenplays, as well as special collections of photographs, manuscripts, posters, graphic art materials, music and recorded sound, and oral histories.

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Hirschman, Elizabeth C. "Consumer Preferences in Literature, Motion Pictures, and Television Programs." Empirical Studies of the Arts 5, no. 1 (January 1987): 31–46. http://dx.doi.org/10.2190/3c9d-4vf6-v7nt-hbpw.

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This study examined the relationship between five motives—sensory arousal, cognitive arousal, escapism, mastery-control, and emotional involvement—and preferences for different types of content in three cultural media—television programs, motion pictures, and books. The findings both confirmed and extended prior theorization and found some intriguing differences in content preferences between women and men.

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Wen-Xia, Xu. "A Daughter’s Recollection: Xu Ru-Hui and Chinese Early Motion Picture Music." Asian Cinema 17, no. 1 (March 1, 2006): 194–220. http://dx.doi.org/10.1386/ac.17.1.194_1.

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Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.

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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.

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SMEETS, D. J. H., and A. G. BUS. "The interactive animated e-book as a word learning device for kindergartners." Applied Psycholinguistics 36, no. 4 (January 17, 2014): 899–920. http://dx.doi.org/10.1017/s0142716413000556.

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ABSTRACTElectronic picture storybooks often include motion pictures, sounds, and background music instead of static pictures, and hotspots that label/define words when clicked on. The current study was designed to examine whether these additional elements aid word learning and story comprehension and whether effects accumulate making the animated e-book that also includes hotspots the most promising device. A sample group of 136 4- and 5-year-old kindergarten children were randomly assigned to one of four conditions: static e-books, animated e-books, interactive animated e-books, and a control group. In experimental conditions, four on-screen stories were each presented four times during a 4-week intervention period. Children in the control condition played nonliteracy related computer games during the same time. In all conditions, children worked independently with the computer programs. Strong treatment effects were found on target vocabulary originating from the story. Pupils gained most in vocabulary after reading interactive animated e-books, followed by (noninteractive) animated e-books and then static e-books. E-books including animations and interactivity were neither beneficial nor detrimental for story comprehension. Findings suggest that electronic storybooks are valuable additions in support of the classroom curriculum with interactive animated e-books being the best alternative.

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Khouja, M., and H. K. Rajagopalan. "Can piracy lead to higher prices in the music and motion picture industries?" Journal of the Operational Research Society 60, no. 3 (March 2009): 372–83. http://dx.doi.org/10.1057/palgrave.jors.2602552.

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Carlson, Gretchen. "Antonio Sanchez, Birdman or (The Unexpected Virtue of Ignorance) Original Motion Picture Soundtrack. Milan M2-36689, 2014, CD." Journal of the Society for American Music 10, no. 2 (May 2016): 229–33. http://dx.doi.org/10.1017/s1752196316000158.

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Maine, Barry. "Late Nineteenth-Century Trompe L'Oeil and Other Performances of the Real." Prospects 16 (October 1991): 281–95. http://dx.doi.org/10.1017/s0361233300004555.

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“We live in an age of wonders!” exclaims a character in Henry James's The Bostonians (1886). And so it must have seemed to any American who could read the newspapers, which thrived, in the 1880s, on the business of proclaiming marvels. In The Bostonians one of the “wonders” is Miss Verena Tarrant, whose precocious and hypnotic speaking powers on the subject of women's rights — together with a pretty face and trim figure — succeeded in selling out the Boston Music Hall. Other wonders of the decade were less comely but more enduring: the lightbulb, the electric generator (which so awed Henry Adams), the telephone, the automobile, motion pictures, the linotype machine, the Kodak camera. The hawking of Verena Tarrant outside the Music Hall followed the American pattern of packaging, promoting, and generally celebrating (in a chauvinistic spirit) all manner of sensational feats, new technologies, and even writers and painters who caught the public's fancy. One of these was, of course, Mark Twain, who successfully promoted his own works through direct subscription sales. Also included among the sensational feats of the period were the trompe l'oeil (trick of the eye) still-life paintings by William Michael Harnett, who was heralded in a feature article that appeared in the New York News at the end of the decade. The headline ran as follows:Painted Like Real Things. The Man Whose Pictures Are a Wonder and a Puzzle. How He Began and the Success He Has Met With — Poverty Forced Him to Earn a Living in the Line in Which He Excells.

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Kubick, Chris, and Anne Walsh. "Sound Library: A Motion Picture Event." Leonardo Music Journal 16 (December 2006): 54–55. http://dx.doi.org/10.1162/lmj.2006.16.54.

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Lana, Jonas Soares. "Crítica musical e a significação social de gravações de Prince nos anos 1980." Per Musi, no. 40 (April 9, 2021): 1–18. http://dx.doi.org/10.35699/2317-6377.2020.19860.

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Este trabalho aborda um debate social iniciado em meados dos anos 1980 por jornalistas e críticos musicais norte-americanos a respeito de dois discos de Prince. O primeiro, Around the World in A Day, foi lançado em 1985; o segundo, Parade: Music from the Motion Picture Under the Cherry Moon, foi lançado em 1986. O debate em torno desses álbuns foi instigado pela suposição de que eles fariam referências a gravações produzidas pelos Beatles em meados dos anos 1960. Este artigo propõe investigar a relação de Prince com jornalistas e críticos musicais, bem como os papéis exercidos por estes e outros agentes sociais no processo coletivo de significação dos álbuns do artista, incluindo músicos que colaboraram na produção deles.

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Fauser, Annegret. "Sounding the Tricolore: France and the United States during World War ii." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (April 25, 2017): 9–21. http://dx.doi.org/10.7202/1039609ar.

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During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.

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Black, Joel E. "Ferlinghetti on Trial." Boom 2, no. 4 (2012): 27–43. http://dx.doi.org/10.1525/boom.2012.2.4.27.

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In spring 1957 the Juvenile Division of the San Francisco Police Department seized copies of Howl and charged the poem's publisher, Lawrence Felinghetti, with obscenity. Tried in summer 1957 and defended by the American Civil Liberties Union, Ferlinghetti was exonerated by a District Court judge. Scholars typically place the Howl trial at the beginning of a cultural and social revolution that flourished in the 1960s or place it amid the personal lives and rebellions of the actors composing the Beat Generation. However, these treatments do not fully consider the ways the prosecution reflected trends in law, shaped debates over juvenile delinquency, and amplified distinctions between legal censorship and public censuring. This paper situates the Howl prosecution amid the regulation of comics, rock music, motion pictures, narcotics in postwar America, to tell a story about California, conservatism, radicalism, and censorship in the Cold War Era.

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Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.

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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.

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TRIPPETT, DAVID. "Composing Time: Zeno's Arrow, Hindemith's Erinnerung, and Satie's Instantanééisme." Journal of Musicology 24, no. 4 (2007): 522–80. http://dx.doi.org/10.1525/jm.2007.24.4.522.

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The concept of linear time as an irreversible succession of events dates back to the late 18th century. Though fundamental to the experience of music written thereafter, time's pure linearity was dented by technologies of mechanical reproduction during the early 20th century. Imagining possible temporal zigzags provided modernists such as Paul Hindemith and Renéé Clair with mechanical paradigms through which to explore the manipulation of time and motion——as infinitely divisible properties——in the decade that witnessed Lindbergh's transatlantic flight, the first radio broadcasts, and an increasing addiction to Edison's Duplex Telegraph wire. Apart from the modernism that exists on the historical timeline, this essay looks for a structural homology between historical and musical events in attempting to establish a distinct ““modernism of time”” for the 1920s; it argues that differing concepts of time were reflected in certain pieces from the early 20th century. Hindemith's one-act operatic epigram Hin und Zurüück (1927) plays with conceptions of time as a narrative of reversal from domestic disaster to ““happy beginning.”” The music, running forward and backward, evokes different processes of memory to illustrate this ““Time Axis Manipulation”” as it is intuitively lived by the stage characters. Clair's contrasting Dadaeque film Entr'acte (1924), set to Satie's music, is an illogical picture sequence that also embodies a construction of time, Instantanééisme, but denies that it can be understood. Both works were conceived as proportional, imperfect mirror forms, indicating an implicit temporal reversal, though from antithetical perspectives. Drawing on the master paradigm of Zeno's arrow, this enquiry explores qualities of musical and visual time as both construction and manipulation of the modernist imagination.

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THOMSON-JONES, KATHERINE. "The Philosophy of Motion Picturesby carroll, noël." Journal of Aesthetics and Art Criticism 66, no. 4 (September 2008): 401–3. http://dx.doi.org/10.1111/j.1540-6245.2008.00321_2.x.

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Ferraro, Fabrizio, and Kerem Gurses. "Building architectural advantage in the US motion picture industry: Lew Wasserman and the Music Corporation of America." European Management Review 6, no. 4 (2009): 233–49. http://dx.doi.org/10.1057/emr.2009.24.

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Zhu, Dong. "The Composition of Digital Wushu Instruction Court." Advanced Materials Research 271-273 (July 2011): 423–27. http://dx.doi.org/10.4028/www.scientific.net/amr.271-273.423.

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Hard to learn and easy to forget are real problems in Wushu practice. Digital Wushu instruction court as the computer assisted technology increases alternative teaching method in Wushu teaching activities. Digital Wushu instruction court includes hardware system and software system. Hard ware is mainly composed by digital floor, digital periphery, digital terminal and communication platform. Software includes picture, video, music, text, motion analysis system and so on. The purpose of digital Wushu instruction court is to cultivate students’ interests to Wushu, increase Wushu instruction effect, and develop their self-learning ability.

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McCormick, Don, and Richard Chigley Lynch. "Movie Musicals on Record: A Directory of Recordings of Motion Picture Musicals, 1927-1987." Notes 49, no. 1 (September 1992): 172. http://dx.doi.org/10.2307/897249.

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Leafstedt, Carl. "Rediscovering Victor Bator, founder of the New York Bartók Archives." Studia Musicologica 53, no. 1-3 (September 1, 2012): 349–72. http://dx.doi.org/10.1556/smus.53.2012.1-3.24.

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Bartók’s American estate dates its origins to 1943, when he entrusted his music manuscript collection to the care of two fellow Hungarian emigrés, Gyula Báron and Victor Bator, both then living in the United States. After his death in 1945 the estate devolved into their care, in accord with the legal provisions of the will. For the next 22 years it was carefully managed by Bator, a lawyer and businessman who lived in New York City for the rest of his life. The onset of Cold War politics in the late 1940s presented numerous challenges to the estate, out of which emerged the tangled thicket of rumor, litigation, misunderstanding, confusion, and personal animosity that has been the American Bartók estate’s unfortunate legacy since the 1950s.As one of Hungary’s most significant cultural assets located outside the country’s borders, the American Bartók estate has since 1981 been under the control and careful supervision of Peter Bartók, now the composer’s only remaining heir. All but forgotten is the role Victor Bator played in managing the estate during the difficult years after World War II, when its beneficiaries became separated by the Iron Curtain, setting in motion legal and emotional difficulties that no one in the immediate family could have predicted. Equally overlooked is the role he played in enhancing the collection to become the world’s largest repository of Bartók materials.A considerable amount of Bator’s personal correspondence related to the early years of the Bartók estate has recently come to light in the U.S. Together with U.S. court documents and information gleaned from recent interviews with Bator’s son, Francis Bator, still living in Massachusetts, and the late Ivan Waldbauer, we can now reconstruct with reasonable accuracy the early history of Bartók’s estate. A strikingly favorable picture of Bator emerges. Bartók, it turns out, chose his executors wisely. A cultivated and broadly learned man, by the late 1920s Victor Bator had gained recognition as one of Hungary’s most prominent legal minds in the field of international business and banking law. His professional experience became useful to the Bartók estate as the Communist party gradually took hold of Hungary after World War II, seizing assets and nationalizing property previously belonging to individual citizens. His comfort in the arena of business law also thrust him into prominence as a public advocate for increased fees for American composers in the late 1940s - a matter of tremendous urgency for composers of serious music at the time. By reconstructing Bator’s professional career prior to 1943 his actions as executor and trustee become more understandable. We gain new insight into a figure of tremendous personal importance for Bartók and his family.

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Hirschman, Elizabeth C. "Resource Exchange in the Production and Distribution of a Motion Picture." Empirical Studies of the Arts 8, no. 1 (January 1990): 31–51. http://dx.doi.org/10.2190/ahpj-p6fc-y9b5-9dty.

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An independently produced motion picture was used as a case study of the resource exchange pattern underlying project-based aesthetic production systems. Several exploratory propositions resulted concerning 1) sources of processual conflict, 2) the nature of resource criticality during the production process, 3) the timing of returns on invested resources, and 4) the commercialization of aesthetic products.

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McLaughlin, John P., and Julie Kermisch. "Salience of Compositional Cues and the Order of Presentation in the Picture Reversal Effect." Empirical Studies of the Arts 15, no. 1 (January 1997): 21–27. http://dx.doi.org/10.2190/dckt-46w3-hvea-um76.

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Paintings containing cues suggesting left-to-right (LTR) motion are preferred by dextrals over their mirror-reversed versions (RTL) in forced-choices between the simultaneously-presented alternatives. To eliminate a simultaneous-contrast interpretation of the effect and to determine whether motion cues influence choice when paintings are seen alone, a successive-presentation procedure was used. When an LTR version preceded the RTL version, the LTR version was preferred within the pair by dextrals and also was preferred more frequently than RTL versions shown first Thus, these compositional features of single versions were noticed and affected judgment. An order-of-presentation effect was also found, in that the first member of a pair was preferred. Possible explanations for this are considered.

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Fautley, Martin. "Pictures of music education." Music Education Research 16, no. 1 (January 2, 2014): 123–25. http://dx.doi.org/10.1080/14613808.2013.878998.

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Leggett, Mike. "Generative Systems and the Cinematic Spaces of Film and Installation Art." Leonardo 40, no. 2 (April 2007): 123–28. http://dx.doi.org/10.1162/leon.2007.40.2.123.

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The author's informal research in the 1970s explored iterative and generative systems using motion-picture film. His approach was practice-based and occurred in the context of artists studying the structure and materiality of the film experience. Based on historical and contemporary notes he accumulated about his film Red+Green+Blue, the author evaluates the generative art that emerged using this analogue-based medium in the light of recent discussion of digital and binary-based interactive installations.

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Simonton, Dean Keith. "Is Bad Art the opposite of Good Art? Positive versus Negative Cinematic Assessments of 877 Feature Films." Empirical Studies of the Arts 25, no. 2 (July 2007): 143–61. http://dx.doi.org/10.2190/2447-30t2-6088-7752.

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Although some research suggests that negative judgments might be more complex and more potent than positive judgments, cinematic assessments may offer an instance of a genuine bipolar evaluative dimension. This is shown in an analysis of 877 feature films that received positive (Oscars) or negative (Razzie) recognition in the categories of best/worst picture, director, male and female lead, male and female supporting actor, screenplay, and original song (whether nomination or actual award). These assessments were compared with film critic evaluations, financial and box office data, and several relevant cinematic attributes (e.g., literary adaptations, writer-directors, biopics, sequels, remakes, film genres, runtime, and Motion Picture Association of America ratings). Analyses indicated that negative assessments were largely the inverse of positive assessments, with similar weights being assigned to most cinematic attributes. However, the negative judgments were somewhat less consequential regarding those same attributes.

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Gonzalez, Mike. "Maestra vida. Rubén Blades. Fania JM 576, (1980) - El que la hace la paga. Rubén Blades. Fania JM 624; Sono Disc (France) SD 15, (1983) - Mucho mejor. Rubén Blades. Fania JM 630; Sono Disc (France) SD 16. - Buscando America. Rubén Blades y Seis del Solar. Elektra 1–60352 (US), 690.352 (UK), (1985) - Escenas. Rubén Blades y Seis del Solar. Elektra LC 0192 (US), EKT 29 (UK), (1985) - Crossover Dreams: Original Motion Picture Soundtrack. Elektra EKT 36 (36), (1986)." Popular Music 6, no. 2 (May 1987): 252–55. http://dx.doi.org/10.1017/s0261143000006097.

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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum2-49.05.

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Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.

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38

Barrett, Ellen M. "Music in motion." Music Educators Journal 74, no. 9 (May 1988): 43. http://dx.doi.org/10.1177/002743218807400902.

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Levy, Emanuel. "Stage, Sex, and Suffering: Images of Women in American Films." Empirical Studies of the Arts 8, no. 1 (January 1990): 53–76. http://dx.doi.org/10.2190/90lj-px9t-q0j8-kb0g.

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This article systematically examines the portrayal of women in the American cinema over the last sixty years, from 1927. More specifically, it addresses itself to the following issues: the main attributes of screen women in terms of age, marital status, and occupation; the guidelines prescribed by American films for structuring women's lifestyles; the degree of rigidity of these normative prescriptions and proscriptions; and recent changes in the portrayal of women. The research is based on content analysis, quantitative and qualitative, of 218 screen roles, male and female, which have won the Academy Award, bestowed annually by the Academy of Motion Picture Arts and Sciences for the best achievements in film acting. The study demonstrates the differential treatment of gender in American films and the durability of specific screen stereotypes for men and for women. The prevalence of rigid conventions in the portrayal of women for half a century is explained in relation to male economic and ideological dominance in Hollywood and in American society at large.

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Malina, Frank J. "Kinetic Painting: The Lumidyne System." Leonardo 40, no. 1 (February 2007): 81–90. http://dx.doi.org/10.1162/leon.2007.40.1.81.

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The paper discusses briefly kinetic painting systems that have been devised for producing a pictorial composition on a transluscent flat surface that changes with time without resorting to the projection of light through film in a darkened room. The Lumidyne system developed by the author in 1956 is described in detail. Basic principles of its design, together with variations of the system, are given as well as the method of painting used by the author. Examples of several works are shown. The picture produced by the system is considered from the point of view of real motion and of change of transparent colour with time. The need for aesthetic guide lines for the kinetic painter is stressed. The author concludes that the Lumidyne system, after ten years of experience with it, as a practical, controllable and economical artistic medium.

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41

Botstein, L. "Sanctioned Daydreams: Music, Pictures, and Architecture." Musical Quarterly 94, no. 3 (September 1, 2011): 271–77. http://dx.doi.org/10.1093/musqtl/gdr015.

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42

Sunardi, Mathias, and Marek Perkowski. "Music to Motion: Using Music Information to Create Expressive Robot Motion." International Journal of Social Robotics 10, no. 1 (October 13, 2017): 43–63. http://dx.doi.org/10.1007/s12369-017-0432-9.

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43

Milsom, John. "Pictures at an exhibition." Early Music 33, no. 2 (May 1, 2005): 348–50. http://dx.doi.org/10.1093/em/cah093.

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Kohn, Dafna, and Zohar Eitan. "Moving Music." Music Perception 34, no. 1 (September 1, 2016): 40–55. http://dx.doi.org/10.1525/mp.2016.34.1.40.

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We examined how children (5- and 8-year-olds) associate changes in musical parameters with bodily motion, using movement and verbal tasks. In Task 1, participants moved to short musical stimuli involving bidirectional changes in pitch, loudness, or tempo. In Task 2, participants selected motion features appropriate to the same stimuli (forced-choice verbal task). In Task 1 the distribution of movement features significantly varied for different musical parameters: pitch change associated most strongly with vertical motion, loudness change with muscular energy and vertical motion, and tempo change with speed and muscular energy. In both tasks and for both ages, directions of change in motion and musical parameters correlated, e.g., increase in loudness was associated with increasing speed, increasing muscular energy, and spatial rise. The effect of pitch direction was mediated by temporal order, suggesting that overall pitch contour, rather than local direction only, affects bodily motion. Age affected responses to pitch direction, rather than loudness or tempo change. Results suggest that children consistently correlate musical and movement features through both verbal and motion responses, presenting an intricate web of auditory-motor-cognitive mappings.

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45

Gjerdingen, Robert O. "Apparent Motion in Music?" Music Perception 11, no. 4 (1994): 335–70. http://dx.doi.org/10.2307/40285631.

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A great deal of the motion perceived in music is apparent rather than real. On the piano, for example, no continuous movement in frequency occurs between two sequentially sounded tones. Though a listener may perceive a movement from the first tone to the second, each tone merely begins and ends at its stationary position on the frequency continuum. Recent advances in the modeling of apparent- motion effects in vision provide a starting point for the modeling of the strong apparent- motion effects in music. An adaptation of the Grossberg- Rudd model of apparent motion in vision, when given input representing the strengths of pitch sensations positioned along a one- dimensional frequency continuum, can simulate important musical phenomena of auditory stream segregation, van Noorden's melodic- fission/ temporal- coherence boundaries, various Gestalt effects, aspects of dynamic attending, and Narmour's predicted categorical distinction between musical intervals implying a continuation and those implying a reversal of direction.

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Meidner, Olga McDonald. "MOTION AND E-MOTION IN MUSIC." British Journal of Aesthetics 25, no. 4 (1985): 349–56. http://dx.doi.org/10.1093/bjaesthetics/25.4.349.

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John, Eileen, and Malcolm Budd. "Values of Art: Pictures, Poetry, and Music." Journal of Aesthetics and Art Criticism 57, no. 1 (1999): 76. http://dx.doi.org/10.2307/432068.

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Sankowski, Edward, and Malcolm Budd. "Values of Art. Pictures, Poetry and Music." Journal of Aesthetic Education 31, no. 2 (1997): 108. http://dx.doi.org/10.2307/3333441.

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Baumgartner, Thomas, Kai Lutz, Conny F. Schmidt, and Lutz Jäncke. "The emotional power of music: How music enhances the feeling of affective pictures." Brain Research 1075, no. 1 (February 2006): 151–64. http://dx.doi.org/10.1016/j.brainres.2005.12.065.

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Head, Matthew. ""If the Pretty Little Hand Won't Stretch": Music for the Fair Sex in Eighteenth-Century Germany." Journal of the American Musicological Society 52, no. 2 (1999): 203–54. http://dx.doi.org/10.2307/831998.

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The image of the young lady at music is part of the mythology of the eighteenth century, nostalgically summoning a bygone era in European manners. How should such images be read, and to what uses are they put in the construction of the past and the present? Richard Leppert appeals to eighteenth-century iconography to argue the disciplinary function of music on women. This article extends Leppert's arguments in a newly uncovered repertory of songs and keyboard works published in eighteenth-century Germany "for the fair sex." Moving between prescriptions about musical practice specifically and women's character and place in the world more broadly, this music evinces cautionary and disciplinary rhetorics that accord with Leppert's readings. But whereas Leppert deals with paintings-more or less official representations-musical performance and reception complicate the picture. In performance, music offers possibilities for negotiation. On closer examination, instrumental music for the fair sex reveals a complex web of generic and stylistic motifs that undermine the manifest rhetoric of easiness and simplicity in the repertory and invoke the professional and public spheres. Questioning as well as espousing virtue, and haunted by the figure of the rake, songs for ladies reflect the instability in the emergent discourses of bourgeois femininity and the private sphere.

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Journal articles on the topic 'Music Motion pictures and music'

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