Academic literature on the topic 'Music quote'
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Journal articles on the topic "Music quote"
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Frith, Simon. "Debate: Quote Unquote." Popular Music 14, no. 2 (May 1995): 257–60. http://dx.doi.org/10.1017/s0261143000007480.
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CAPDEVILA-WERNING, REMEI. "Can Buildings Quote?" Journal of Aesthetics and Art Criticism 69, no. 1 (February 2011): 115–24. http://dx.doi.org/10.1111/j.1540-6245.2010.01452.x.
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Jas, E. "What's in a quote? Josquin's (?) Jubilate Deo, omnis terra reconsidered." Early Music 37, no. 1 (February 1, 2009): 9–20. http://dx.doi.org/10.1093/em/can156.
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Martynenko, Elena P. "TECHNO-SYMPHONY “RETHINKING PROGRESS” BY VICTOR ARGONOV: CULTURAL CONTEXT AND FACETS OF POLYSTYLISTICS." Articult, no. 2 (2021): 36–48. http://dx.doi.org/10.28995/2227-6165-2021-2-36-48.
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The symphony “Rethinking Progress” by V. Argonov is considered to be the first techno-symphony in Russian musical culture. The origin of techno-symphony is connected to the process of convergence of academic and electronic music at the turn of the 20–21st centuries and the emergence of new techno-art forms. The conditionality is revealed between the style specifics of the symphony “Rethinking Progress”, the cultural context of the epoch and the influence of polystylistic trends. The musical text of the techno-symphony contains features of an academic symphonism, including the preservation of the cyclic structure and the dramaturgical functions of parts, the existence of the conflict between the main thematic areas, the elements of programme music and the system of leitmotifs. The composer follows the style of electronic music in general, however, in each of the five movements of the techno-symphony, different styles are found: “pixel music”, techno-trance and other styles. Also the polystylistics appears in the using of typical techniques – quote, auto-quote, allusions.
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Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.
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Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267
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Hess, Mickey. "“Don't Quote Me, Boy”: Dynamite Hack Covers NWA's “Boyz‐N‐The‐Hood”." Popular Music and Society 28, no. 2 (May 2005): 179–91. http://dx.doi.org/10.1080/03007760500045295.
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Atlas, Allan W. "Vaughan Williams's Songs of Travel: A Note on the Structural Role of the Thematic Recollections in Songs 4 and 9." Nineteenth-Century Music Review 7, no. 1 (June 2010): 105–19. http://dx.doi.org/10.1017/s1479409800001166.
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To begin with two observations: (1) of the nine songs that eventually came to comprise Vaughan Williams's Songs of Travel, two – Nos 4 (‘Youth and Love’) and 9 (‘I Have Trod the Upward and the Downward Slope’) – quote material from earlier songs; and (2) in an article published in 1897, Vaughan Williams criticized some of his predecessors for lacking a ‘nice sense of proportion’ in their music, surely implying, therefore, that he valued it in his own music. And it is with the interaction of those recollections and that ‘nice sense of proportion’ in songs 4 and 9 that we will be concerned.
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McConville, Brendan P. "RECONNOITERING THE SONIC SPECTRUM OF SALVATORE SCIARRINO IN ‘ALL' AURE IN UNA LONTANANZA’." Tempo 65, no. 255 (January 2011): 31–44. http://dx.doi.org/10.1017/s0040298211000040.
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The above quote, extracted from his L'Opere per Flauto (1977–1990), provides not only a colorful introduction to the effusive imagination of Italian composer Salvatore Sciarrino, but also a preview of what an unfamiliar listener may expect to find in his music. His largely unchanging musical language has slowly yet deliberately – like the four-minute unbroken cello glissando found near the end of his Vanitas for voice, cello and piano (1981)– captured the attention of composers, performers, scholars, and new music enthusiasts for over 30 years. Moreover, examination of Sciarrino's music provokes consideration for fascinating compositional comparisons, particularly in 20th-century Italian music, as his oeuvre demonstrates similarities with, and advancements of, the music of his compatriots. In this article, we will ‘reconnoiter’ the music of Sciarrino on two different levels, by: 1) contextualizing the formulization of his compositional language from developmental and sociological perspectives, and 2) conceptualizing these investigations in All'Aure in Una Lontananza (1977), a work which would perhaps forecast goals of his life output.
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Spencer, Piers. "John Paynter, 1931–2010: an appreciation." British Journal of Music Education 27, no. 3 (September 22, 2010): 221–23. http://dx.doi.org/10.1017/s0265051710000306.
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John Paynter's death this year has deprived British music education of its most inspirational advocate during the second half of the 20th century. John's teaching in primary and secondary schools during the 1950s played a major role in shaping his vision of music at the heart of the curriculum. With his ear for an apt phrase, John loved to quote American novelist Toni Morrison's description of the wonderful presence and power of music as ‘a way of being in the world’. During the 1960s, John trained teachers in colleges in Liverpool and Chichester, before joining the innovative music department at the University of York, where he remained until his retirement in 1997. It was with the publication in 1970 of Sound and Silence that his years of pioneering work with children and older students came to fruition and the force and originality of his ideas about music education made their first big impact.
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Edwards, Warwick. "Phrasing in medieval song: perspectives from traditional music." Plainsong and Medieval Music 5, no. 1 (April 1996): 1–22. http://dx.doi.org/10.1017/s0961137100001042.
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During the course of a series of articles relating medieval Italian songs to oral and unwritten traditions, Nino Pirrotta comments on a peculiar anonymous two-voice setting from the fourteenth century whose verses seem to have been broken and shattered by the music. Word repetition ‘does not result in a more effective or more understandable rendition of the text; on the contrary, it so fragments and stutters it that any meaning is lost, except as a pretext for the melody which submerges it’. The song in question, Dolce lo mio drudo, is part of a group of unica with Calabrian associations found in the oldest layer of the Reina manuscript. Pirrotta transcribes the song in full and analyses the text and its cognates in detail. It is a ballata with irregularities. I quote in Example 1 just the refrain, together with an indication of the syllable count, in order to facilitate comparison with what follows.
Dissertations / Theses on the topic "Music quote"
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Laurier-Cromp, Méliane 1983. "L'identité culturelle dans "Montreal", d'Ariane Moffatt : une analyse musicale sémiologique." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116006.
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The song " Montreal ", by Ariane Moffatt, has achieved a great success in the Summer of 2006. This thesis scrutinizes the causes of this popularity. After a review of the diverse existing methods in popular music research, three modes of analysis are presented. First, the study shown here describes the song through a music-theoretical approach; it observes the rules governing the voice, the melody, the rhythm, the phrases, the bass, the tonality, the chords, and the instruments used, supported by a precise transcription of the song. Then, this paper studies the musical codes that are found in "Montreal". In this section, the musical message of the piece is analyzed, while taking in consideration the sociohistorical context of the Summer of 2006, the national history that preceded the release of this piece, and the lyrics of the song. Finally, this study investigates the issue of national identity in Quebec, the place of "Montreal" into the collective imagination of Quebeckers, and the popular music tradition of the province.
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Shortway, Nicholas. ""This one goes to eleven--" : a methodological study of the recording and evaluation of emotional response to music." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99605.
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The distinction between emotions expressed by and evoked by music is often blurred by the use of methodologies that are difficult to compare, preventing progress towards a unifying theory of emotion and music. In this thesis, a methodology for experimentation that clarifies how research in these areas can be conducted clearly and independently is proposed. The study of evoked emotions is emphasized, and two novel controllers are developed to examine methods of recording emotional response continuously. These controllers, along with a number of the proposed methodological changes, are tested against an established controller in an experiment designed to record emotional changes to participant-selected musical pieces. The results support predictions regarding the effects that the experimental setting can have on the emotional responses of the participant. Usability ratings of one of the new controllers were found to be slightly higher than those of the established controller, while providing an interface that is less emotionally distracting for the participant. It also provides the ability to record instances of physiological reactions evoked in the participant.
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LeBlanc, Sylvie. ""Le monde qu'on connaǐt" : the music of 1755 and the construction of Acadian identity." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98548.
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This thesis explores the role of popular music in articulating socio-cultural identities by examining the contribution of the Acadian group, 1755. As the rapid modernization of Acadians' way of life led to a sense of cultural alienation, cultural products played a prominent role in asserting their cultural specificity. Accordingly, the 1970s were not only rich in artistic production, but also saw the development of a distinctive Acadian popular music practice. Responding to fears of acculturation and folklorization, Acadian popular music embodied Acadians' desire to embrace a modern identity all the while maintaining ties with their traditional identity. 1755's music actively took part in reinventing Acadian identity by constructing a cultural narrative that reflected Acadians' contemporary reality and by renegotiating what was commonly held as "Acadian" music. As a result, it became invested with ideological significance by Acadian consumers, regarded not merely as commercial music but rather as a symbol of their cultural emancipation.
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MacDonald, Jennifer Marie. ""Devil on the fiddle" : the musical and social ramifications of genre transformation in Cape Breton music." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99381.
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In 1995, fiddler Ashley MacIsaac released the album Hi, How Are You Today? that featured MacIsaac performing traditional Celtic tunes accompanied by modern rock instruments. The musical genre transformation on the album (notable because people who were not fans of Celtic music bought this album, tracks were released for airplay, and music videos accompanied the singles) can be studied according to the types of genre transformation outlined by Alastair Fowler in Kinds of Literature. If MacIsaac's goal was to offer a popular rock album while playing traditional tunes on the fiddle, critics and members of his audience inevitably questioned his motivation, from which charges of pandering and exploitation followed. Alternate interpretations stressed that MacIsaac was merely adapting traditional music to reflect a changing musical climate. This thesis examines such perspectives, along with the global phenomenon of modernizing folk music amidst the ambiguous boundary between popular and folk musical genres.
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Zhu, Winstead Xingran. "Hotspot Detection for Automatic Podcast Trailer Generation." Thesis, Uppsala universitet, Institutionen för lingvistik och filologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444887.
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With podcasts being a fast growing audio-only form of media, an effective way of promoting different podcast shows becomes more and more vital to all the stakeholders concerned, including the podcast creators, the podcast streaming platforms, and the podcast listeners. This thesis investigates the relatively little studied topic of automatic podcast trailer generation, with the purpose of en- hancing the overall visibility and publicity of different podcast contents and gen- erating more user engagement in podcast listening. This thesis takes a hotspot- based approach, by specifically defining the vague concept of “hotspot” and designing different appropriate methods for hotspot detection. Different meth- ods are analyzed and compared, and the best methods are selected. The selected methods are then used to construct an automatic podcast trailer generation sys- tem, which consists of four major components and one schema to coordinate the components. The system can take a random podcast episode audio as input and generate an around 1 minute long trailer for it. This thesis also proposes two human-based podcast trailer evaluation approaches, and the evaluation results show that the proposed system outperforms the baseline with a large margin and achieves promising results in terms of both aesthetics and functionality.
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Gheorghita, Cornel. "En quête de la forme filmique." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20152.
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Comme toute forme artistique, le film qui s'exprime à travers le langage cinématographique est une communication entre émetteur (réalisateur) et récepteur (spectateur). Voici un exposé de mes recherches personnelles et de mes expériences de cinéaste, relatives au processus de la fabrication d’un filmAs any art form, a movie that expresses itself through cinematographic language is a communication between a sender (the director) and a receiver (the spectator). Here is a presentation of my personal researches and experiences as a film-maker, concerning the process of fabricating a movie
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Maqina, Bandile Chumani. "Impact of an increase of the local content quota on radio broadcasters." Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020594.
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With the ever growing disenfranchisement of musicians and artist in the in ability of government entities to enforce stricter and favourable music quota which aim to increase the consumption of local music by increasing the current music quota as it stands from 25 percent to at least 60 percent for commercial radio, with more and more musicians calling for an increase in the current quota. In an open letter to the then Minister of Arts and Culture, Mr Pallo Jordan from the South African Music Quota Committee (SAMQC) (Oct 2007) they voiced their concerns: “The SA content quota of 25 percent for commercial radio is not only too low, it is also often meaningless, because The Independent Communications Authority of South Africa (ICASA) allows stations to include gig guides, interviews and promotions as part of their local quota. You state, and we agree, that “cultural industries are serious business”. The structures protecting the national interest in iron, minerals, fishing, sport and many other areas are strongly enforced and defended here in South Africa. Why not our music?” More initiatives such as the “Play Local of Die” campaign whose aim is to urge commercial broadcasters to increase their local content with regards to commercial radios stations playlist was launched by South African Hip Hop artist commonly known as JR (Real Name: JR Bogopa) to further exhibit the South African musicians plight in how pivotal it is to their careers and overall financial well-being that the current quota be raised significantly. The aim of this study was to investigate the impact of local content quota on domestic radio broadcasters in South Africa. The population for this study included 100 radio station which broadcast in the republic of South Africa. The response rate for the e-mail questionnaire was 100 percent of the 100 respondents. A Likert-type scale instrument consisted of 39 questions divided into two sections: Section one looked at the demographic profile of the respondents and section two focused on getting responses on the factors impacting local content quotaand domestic broadcasters, namely local content quota, implications for domestic broadcasters, revenue streams, impact on local musicians, governments role in local content quota, success factors, globalisation and piracy. In order to realise the purpose of this study, the following research design was used: Step 1 A literature review was conducted to determine the various factors impacting local artists, local broadcasters and local content quota. Step 2 A questionnaire was composed according to the principles and guidelines in steps 1. Step 3 Empirical data was obtained with the aid of an e-mail survey. Step 4 The results of the data were analysed and interpreted. Step 5 The empirical results were integrated with Step 3. Step 6 Conclusions and recommendations were completed. The main findings from the study were: The study revealed that the radio industry is not unanimous in the call from artists for government to increase the local content quota and thus prefer that the current status quo continue. That local content quota are not the only way to curb the South African music industry‟s woes, artists should seek to maximise their revenue by exploiting the infinite avenues for revenue that globalisation avails.
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Snyder, Tara. "NOT QUITE THE INGéNUE: THE DEVELOPMENT OF THE MIDDLE-AGED FEMALE CHARACTER IN MUSICAL THEATRE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4085.
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Not Quite the Ingénue: The Development of the Middle-Aged Female Character in Musical Theatre is an exploration of the influences which have defined the function of middle-aged female characters within the musical theatre genre. This author was cast in the role of Arlene MacNalley, a forty-three year old woman, in the University of Central Florida's fall 2006 production of the musical Baby. Preparation for performance of this thesis role required identification of the traits and factors which would be vital for a realistic and relevant portrayal of Arlene. This document provides the reader with a working definition of middle age. It also furnishes a sampling of types, or stereotypes, of middle age female characters in musicals. The major thrust of the document emphasizes researching and understanding the importance of key socio-economic events' influence on the creation, direction, or depiction of middle-aged female characters. Three distinct characters are used to develop this theory, Aunt Eller in Oklahoma!, Dolly Levi in Hello, Dolly! and Arlene MacNalley in Baby. Further analysis within the thesis details essential differences between the original version of Arlene and the updated 2006 version of Arlene portrayed in the University of Central Florida's production of Baby. Conclusions drawn from the research, performance and writing processes indicate an increasing significance for the middle age female character as the genre of musical theatre continues to develop.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Mallangi, Siva Sai Reddy. "Low-Power Policies Based on DVFS for the MUSEIC v2 System-on-Chip." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-229443.
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Multi functional health monitoring wearable devices are quite prominent these days. Usually these devices are battery-operated and consequently are limited by their battery life (from few hours to a few weeks depending on the application). Of late, it was realized that these devices, which are currently being operated at fixed voltage and frequency, are capable of operating at multiple voltages and frequencies. By switching these voltages and frequencies to lower values based upon power requirements, these devices can achieve tremendous benefits in the form of energy savings. Dynamic Voltage and Frequency Scaling (DVFS) techniques have proven to be handy in this situation for an efficient trade-off between energy and timely behavior. Within imec, wearable devices make use of the indigenously developed MUSEIC v2 (Multi Sensor Integrated circuit version 2.0). This system is optimized for efficient and accurate collection, processing, and transfer of data from multiple (health) sensors. MUSEIC v2 has limited means in controlling the voltage and frequency dynamically. In this thesis we explore how traditional DVFS techniques can be applied to the MUSEIC v2. Experiments were conducted to find out the optimum power modes to efficiently operate and also to scale up-down the supply voltage and frequency. Considering the overhead caused when switching voltage and frequency, transition analysis was also done. Real-time and non real-time benchmarks were implemented based on these techniques and their performance results were obtained and analyzed. In this process, several state of the art scheduling algorithms and scaling techniques were reviewed in identifying a suitable technique. Using our proposed scaling technique implementation, we have achieved 86.95% power reduction in average, in contrast to the conventional way of the MUSEIC v2 chip’s processor operating at a fixed voltage and frequency. Techniques that include light sleep and deep sleep mode were also studied and implemented, which tested the system’s capability in accommodating Dynamic Power Management (DPM) techniques that can achieve greater benefits. A novel approach for implementing the deep sleep mechanism was also proposed and found that it can obtain up to 71.54% power savings, when compared to a traditional way of executing deep sleep mode.Nuförtiden så har multifunktionella bärbara hälsoenheter fått en betydande roll. Dessa enheter drivs vanligtvis av batterier och är därför begränsade av batteritiden (från ett par timmar till ett par veckor beroende på tillämpningen). På senaste tiden har det framkommit att dessa enheter som används vid en fast spänning och frekvens kan användas vid flera spänningar och frekvenser. Genom att byta till lägre spänning och frekvens på grund av effektbehov så kan enheterna få enorma fördelar när det kommer till energibesparing. Dynamisk skalning av spänning och frekvens-tekniker (såkallad Dynamic Voltage and Frequency Scaling, DVFS) har visat sig vara användbara i detta sammanhang för en effektiv avvägning mellan energi och beteende. Hos Imec så använder sig bärbara enheter av den internt utvecklade MUSEIC v2 (Multi Sensor Integrated circuit version 2.0). Systemet är optimerat för effektiv och korrekt insamling, bearbetning och överföring av data från flera (hälso) sensorer. MUSEIC v2 har begränsad möjlighet att styra spänningen och frekvensen dynamiskt. I detta examensarbete undersöker vi hur traditionella DVFS-tekniker kan appliceras på MUSEIC v2. Experiment utfördes för att ta reda på de optimala effektlägena och för att effektivt kunna styra och även skala upp matningsspänningen och frekvensen. Eftersom att ”overhead” skapades vid växling av spänning och frekvens gjordes också en övergångsanalys. Realtidsoch icke-realtidskalkyler genomfördes baserat på dessa tekniker och resultaten sammanställdes och analyserades. I denna process granskades flera toppmoderna schemaläggningsalgoritmer och skalningstekniker för att hitta en lämplig teknik. Genom att använda vår föreslagna skalningsteknikimplementering har vi uppnått 86,95% effektreduktion i jämförelse med det konventionella sättet att MUSEIC v2-chipets processor arbetar med en fast spänning och frekvens. Tekniker som inkluderar lätt sömn och djupt sömnläge studerades och implementerades, vilket testade systemets förmåga att tillgodose DPM-tekniker (Dynamic Power Management) som kan uppnå ännu större fördelar. En ny metod för att genomföra den djupa sömnmekanismen föreslogs också och enligt erhållna resultat så kan den ge upp till 71,54% lägre energiförbrukning jämfört med det traditionella sättet att implementera djupt sömnläge.
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Galane, Sello Edwin. "The music of Philip Tabane - An historical analytical study of Malombo music of South Africa." Thesis, 2010. http://hdl.handle.net/2263/24447.
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This study seeks to investigate the origin and development of the thinking, make up, evolution, meaning, impact, essence of originality, and attempts to reclaim the true identity of African music of South Africa from 1963 to date by Philip Tabane through his concept of Malombo Music. This study introduces Philip Tabane’s biographical background, and sketches out the socio political milieu in which he has had to do creative work, maps out stages of development of Malombo music, and investigates how media was bent on shaping a particular public opinion about Malombo music. The latter is juxtaposed against Philip Tabane’s own philosophy of music making. The research further investigates what Tabane’s own definition of Malombo is. Primary and secondary sources of data are consulted, including a collection of primary data drawn from continuous dialogue with Dr Philip Tabane himself from 1990 to 2008, and getting to do media scan of public statements made in interviews with journalists. One on one discussions were held with Dr Philip Tabane in order to understand and verify popular views held about him and about his work. Secondary sources included newspaper articles, journals, policy documents, and internet survey. Findings of this research are a record of Philip Tabane’s life, discography; philosophy; compositions; key debates on the management of heritage; rights and ownership of intellectual property in South Africa; analysis of Tabane’s compositional and stylistic format; Tabane’s national and international profile; and suggestions for the development of true national heritage and culture. Above all the research findings will help in providing necessary understanding of South African music history, especially future challenges on concept development in music, ownership and rights, recommended amendments to the existing legislative framework that governs broadcast and copyrights, as well as the very history of one of the least celebrated but honoured son of the soil, Dr Philip Nchipi Tabane. Additional information available on a CD, DVD stored at the Merensky Library on Level 3 CopyrightThesis (DMus)--University of Pretoria, 2010.
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Books on the topic "Music quote"
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Clara, Steuermann, Porter David H. 1935-, and Schuller Gunther, eds. The not quite innocent bystander: Writings of Edward Steuermann. Lincoln: University of Nebraska Press, 1989.
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Pereira, Matheus. “Grandiosos Batuques”: Tensões, arranjos e experiências coloniais em Moçambique. Lisbon: Imprensa de História Contemporânea, 2020.
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Gudenkauf, Stephanie. Notebook: La Cantante Mexican Lottery Female Singer Funny Music Inspirational Quote Notebook Journal Funny Inspirational Quote. Independently Published, 2020.
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karim, Oussama. My Brain Is 99,9% Song Lyrics: Funny Musican Quotes Notes Best Music Lover Quote Gift Ideas Composition. Independently Published, 2020.
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(Editor), Joe Kohut, John J. Kohul (Editor), and John J. Kohut (Editor), eds. Rock Talk: The Great Rock and Roll Quote Book. Faber & Faber, 1994.
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Joe, Kohut, and Kohut John J, eds. Rock talk: The great rock and roll quote book. Boston: Faber and Faber, 1994.
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Printables, Pomelo. Without Music, Life Would Be a Blank to Me: Jane Austen Quote. Independently Published, 2020.
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Rioli, Maria Chiara, and Riccardo Castagnetti. "Sound Power: Musical Diplomacy Within the Franciscan Custody in Mandate Jerusalem." In European Cultural Diplomacy and Arab Christians in Palestine, 1918–1948, 79–104. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55540-5_5.
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AbstractAlthough often underestimated or barely quoted by historical studies, music plays a crucial role in the cultural agenda of Church institutions and missionary congregations. Among the Catholic actors, the Franciscan Custody of the Holy Land was a central one connecting two of their main goals: evangelisation and education. These two tasks were strictly linked: music was a central element in the liturgies celebrated in the parishes and in the Holy Places and at the same time a pedagogical tool, taught in the schools ruled by the Friars. Music reveals also the complex process of encounter of Palestinian and Western patterns in modern Palestine. In this way the music sung and taught in the St Saviour also contributed to shape the soundscape of Jerusalem. The chapter discusses various sources related to Augustine Lama, at that time the director of the schola cantorum of St Saviour.
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Nakanishi, Tohru. "How to Make an Impression of Classical Music on Students." In Advances in Early Childhood and K-12 Education, 235–50. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch013.
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In this article, the author introduces one interesting method to attract the attention of students considerably to classical music. That is a method to introduce quotation of music. Quotation of music means to quote a work by incorporating some of past composer's melodies or melodies of others to one's composing music. In some cases, it is done intentionally. Quotation is a kind of symbiosis of past composers and recent composers, and we can understand the intension of composers clearly by finding these quotations in the music.
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Smith, Steven C. "Falling Star." In Music by Max Steiner, 345–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0023.
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This chapter dissects the demise of the Hollywood studio system, caused by several factors including the incursion of television. Warner Bros.’ legendary music department became, to quote Steiner, “a ghost town”; Max was among the few composers remaining on staff. Amid constant pressure to economize, Steiner continued to do fine work. He earned Ayn Rand’s praise for his musical depiction of nonconformity in The Fountainhead, created incendiary accompaniment for James Cagney’s valedictory gangster film White Heat; and devised an evocative “glass effect in music” for The Glass Menagerie. “Steiner has written a beautiful score,” Tennessee Williams wrote Jack Warner, “one that blends perfectly with the moods of the play.” Steiner also innovated as musical supervisor of the stereo-surround blockbuster This Is Cinerama, whose panoramic image foreshadowed IMAX. But most of his assignments were cheap, forgettable programmers, and his battles with Louise over Ronald grew increasingly bitter.
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Greher, Gena R., and Jesse M. Heines. "Notation and Representation: How We Get ’Em to Crack the Code." In Computational Thinking in Sound. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199826179.003.0009.
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Music can and does exist without notation. In fact, its existence predates what we have come to accept as traditional music notation. Many musical traditions have thrived for centuries without any kind of formal codified symbol system to make musical replication easier. Music has existed, and often still exists, as an aurally transmitted art form. The same can’t be said for computers. Though the tongue-in-cheek Hart and Lieberman quote at the beginning of the chapter gets to the heart of the aural and intuitive nature of music’s origins, computer code relies on complex mathematics built, amazingly, on the seemingly simple 1s and 0s of binary arithmetic. Yet just as with music, there are tools and applications that your students can use to express themselves without even thinking about the underlying mathematics. For many of your students, the act of creating, whether it’s making music or developing web content, is accomplished intuitively, without formal training and knowledge of the “tools of the trade”: musical notation and computer code. Sherry Turkle asserts that “today’s children are growing up in the computer culture; all the rest of us are at best its naturalized citizens”. Following that line of reasoning a bit further, let’s assume for a moment that for your students music and computers are ingrained components of their culture. As is sometimes the case, however, the formal acquisition of these tools can often serve as a barrier to further understanding rather than the gateway this knowledge is meant to serve: impeding rather than enabling the creative process. Gardner feels that formal musical training can “be the beginning of the end of most children’s musical development” (p. 38). He believes “the challenge of musical education is to respect and build upon the young child’s own skills and understanding of music rather than impose a curriculum designed largely for adults” (p. 38). Bamberger’s research with college students suggests that students of any age possess musical instincts that, in the proper environment, can be developed and nurtured.
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"Not Quite English: Helen Shapiro’s Jewishness and English Exclusivity." In Jews, Race and Popular Music, 153–74. Routledge, 2017. http://dx.doi.org/10.4324/9781315092300-8.
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Goodman, Glenda. "Learning Music." In Cultivated by Hand, 61–102. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190884901.003.0003.
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As the eighteenth century witnessed an expansion of educational opportunities, learning to read and write music imbued amateurs with erudition and discipline. Printed instructional volumes utilized archaic abstract visualizations that encouraged a cerebral approach to learning music, and singing school classes relied on rote memorization of the “rules of music.” The potential drudgery of this approach was mitigated by the sociability of the schools. By the end of the century, volumes of instruction for instruments were increasingly available to American amateurs; these, too, relied on charts that abstracted musical knowledge. The expansion of secular instrumental instruction shifted the emphasis of education from piety (for sacred singing) to refinement. Even as printed instructions pushed toward standardized “rules,” manuscript music books reveal that amateurs embraced a wide range of literate practices, from quite rudimentary to highly advanced. Manuscripts also reveal individuals’ gradual improvement in the technical ability, aural skill, and knowledge of musical vocabulary.
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Whitmore, Aleysia K. "Introduction—Collaborations." In World Music and the Black Atlantic, 1–37. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0001.
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The Introduction provides historical and theoretical background for the book. The chapter offers an historical overview of Cuban music in West Africa, and explains how histories and discourses of globalization, cosmopolitanism, Africa, the black Atlantic, and black internationalism intersect. Musicians, industry personnel, and audiences draw on these histories as they collaborate with each other to create international commodities. The chapter argues that all of these actors see their labor and its products quite differently as they move between and combine local and global markets, African and Afro-diasporic sounds, traditional and hybrid musics, and histories of slavery, colonialism, and independence. Musicians, industry personnel, and audiences work with and push against one another as they continually (re)position themselves in the world music industry.
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Conway, Colleen M. "Teaching Applied Music." In Teaching Music in Higher Education, 193–208. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190945305.003.0010.
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Chapter 10 is based on responses from applied music faculty around the country as well as responses from undergraduate students regarding applied lesson study. Quotes from both applied faculty and undergraduate students are included throughout the chapter. I have tried to represent the voice of the applied teacher in this chapter as a way of honoring the very specific culture that is created in each unique applied studio. Issues presented include scheduling logistics, pianists, choosing repertoire and materials, juries and auditions, practicing and motivation. Stories written by applied faculty as well as students from around the country are used to illustrate the characteristics of successful applied teachers.
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Snodgrass, Jennifer. "Taking the First Steps into Academia." In Teaching Music Theory, 274–88. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.003.0010.
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The learning curve is quite large when moving from the role of a graduate student to the role of a faculty member in academia. Preparation to move into full-time academia begins during one’s time in graduate school, and factors such as finding the right adviser and taking advantage of opportunities in research and teaching are imperative for success. Understanding the first steps in academia helps new PhD students not only to find the right position by creating a curriculum vitae and attending conferences, but also to the importance of surrounding oneself with a supportive network of scholars. A supportive environment embraces questions and celebrates both the successes and the learning opportunities that come from challenges that new faculty may face.
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Török, Ágnes. "The Notation of the 20th and 21st Century Choral Music." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/3.
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The Avant garde schools required a notation style different from the traditional one both in instrumental and vocal music. This study points to the historical background of contemporary notation and the interdependence of the graphic representation of sound and notation. The illustrations are primarily quotes selected from the Hungarian choir literature and further material is used to introduce the authentic elements used for modes of expression. Key words: choral music, contemporary musical notation, graphic elements, chance
Conference papers on the topic "Music quote"
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Serra, Vasco, and Teresa Chambel. "Quote Surfing in Music and Movies with an Emotional Flavor." In 4th International Conference on Human Computer Interaction Theory and Applications. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0009177300750085.
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"When "Everything" is Information: Irish Traditional Music and Information Retrieval." In iConference 2014 Proceedings: Breaking Down Walls. Culture - Context - Computing. iSchools, 2014. http://dx.doi.org/10.9776/14131.
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Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.
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The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.
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Loureiro, Mauricio. "The First Brazilian Symposium on Computer Music presents Brazilian computer music potentials - Caxambu, MG, 1994." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10463.
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The main objective of this talk is to report on the First Brazilian Symposium on Computer Music, which occurred in August 1994, at the city of Caxambu, Minas Gerais, promoted by the UFMG. The meeting occurred one year after the creation of NUCOM, a group of young academics dedicated to this emerging research field in Brazil gathered as a discussion list. This quite exciting and fancy event at Hotel Gloria in Caxambu was able to imposingly launch the group to the national, as well as to the international academic community. First, due to the excellency of the event’s output and its daring program, that included 34 selected papers by researchers from various institutions from Argentina, Brazil, Canada, Denmark, France, Hong Kong, Mexico, UK, and USA, five lectures an two panels of discussion offered by researchers from the most advanced computer music research centers all over the world. The program also included eight concerts, two of them featuring traditional music, such as Bach, Mozart, and Brazilian music.Six computer music concerts presented 48 selected compositions submitted to the symposium. Second, as the symposium happened as apart of the 14th Congress of Brazilian Computer Science Society (SBC), the excellency of its output was able to attract the interest of SBC’s board of directors. They invited NUCOM to integrate the society as a Special Committee, which are sub-groups of SBC dedicated to specific computer science topics. At the end of the description, this report aims at raising questions, arguments, and debates about today’s format of NUCOM meetings, considering more seriously the interdisciplinary character of the methodologic approaches adopted by the field. Interdisciplinarity should be pursued by striving to contaminate a growing number of different topics of musical sciences, as well as of other research fields.
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Kulbizhekov, V. "ARTIFICIAL INTELLIGENCE AND MUSIC: A DIALOGUE OF OPPOSITES?" In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2549.978-5-317-06726-7/70-74.
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The study of rational algorithms of musical creative activity is an important element on the way to creating working models of artificial intelligence in the future. Although nonverbal information is very difficult to discursively analyze and interpret, non-discursive methods of obtaining information, storing it, and transmitting it are increasingly used along with traditional rationality. To day, quite successful experiments have been conducted on verbalization and algorithmization of musical creative activity. Of course, there are more questions than answers, but, nevertheless, it is already necessary tostate a fairly successful application of computer technologies not only for describing musical creative processes, but alsofor simulating and reproducing the creative potentials of composers by artificially created computer programs. It is at this point that the possibilities of the human mind and computer programming converge, and this is an important step towards creating artificial intelligence.
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Shulman, Ami, and Jorge Soto-Andrade. "A random walk in stochastic dance." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.71.
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Stochastic music, developed last century by Xenakis, has older avatars, like Mozart, who showed how to compose minuets by tossing dice, in a similar way that contemporary choreographer Cunningham took apart the structural elements of what was considered to be a cohesive choreographic work (including movement, sound, light, set and costume) and reconstructed them in random ways. We intend to explore an enactive and experiential analogue of stochastic music, in the realm of dance, where the poetry of a choreographic spatial/floor pattern is elicited by a mathematical stochastic process, to wit a random walk – a stochastic dance of sorts. Among many possible random walks, we consider two simple examples, embodied in the following scenarios, proposed to the students/dancers: - a frog, jumping randomly on a row of stones, choosing right and left as if tossing a coin, - a person walking randomly on a square grid, starting a given node, and choosing each time randomly, equally likely N, S, E or W, and walking non-stop along the corresponding edge, up to the next node, and so on.When the dancers encounter these situations, quite natural questions arise for the choreographer, like: Where will the walker/dancer be after a while? Several ideas for a choreography emerge, which are more complex than just having one or more dancers perform the random walk, and which surprisingly turn our random process into a deterministic one!For instance, for the first random walk, 16 dancers start at the same node of a discrete line on the stage, and execute, each one, a different path of the 16 possible 4 – jump paths the frog can follow. They would need to agree first on how to carry this out. Interestingly, they may proceed without a Magister Ludi handing out scripts to every dancer. After arriving to their end node/position, they could try to retrace their steps, to come back all to the starting node.Analogously for the grid random walk, where we may have now 16 dancers enacting the 16 possible 2-edge paths of the walker. The dancers could also enter the stage (the grid or some other geometric pattern to walk around), one by one, sequentially, describing different random paths, or deterministic intertwined paths, in the spirit of Beckett’s Quadrat. Also, the dancers could choose their direction ad libitum, after some spinning, each time, on a grid-free stage, but keeping the same step length, as in statistician Pearson’s model for a mosquito random flight.We are interested in various possible spin-offs of these choreographies, which intertwine dance and mathematical cognition: For instance, when the dancers choose each one a different path, they will notice that their final distribution on the nodes is uneven (interesting shapes emerge). In this way, just by moving, choreographer and dancers can find a quantitative answer to the impossible question: where will the walker/dancer be after a while? Indeed, the percentage of dancers ending up at each node gives the probability of the random walker landing there.
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Untari, Rita. "The Effect of Brain Gym on Depression Levels in Elderly, Nogosari District, Boyolali, Central Java." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.05.19.
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ABSTRACT Background: Elderly interpreted as a period of decline in physical and psychological functioning. This will have a negative effect on stressful situation and result in depression. This depressive state has an impact on the implementation of daily activities. One cognitive therapy method that can be applied to treat depressive disorders is to do a brain gym. Brain gym strives to activate the left and right brain optimally with simple movements and accompanied by music. This study aimed to determine the effect of the brain gym on depression levels in the elderly. Subjects and Method: This was an experimental one group pre-test and post-test design conducted at Tegalgiri Village, Nogosari, Boyolali, Central Java, from October to November, 2017. A total sample of 27 elderlies was selected by quota sampling. The dependent variable was depression. The independent variables (intervention) were brain gym with eight times and each session lasting 10-15 minutes. The data were collected by Geriatric Depression Scale (GDS) version 15. The depression score uses a numerical scale. The data were analyzed by pairwise comparison test. Result: Depression before intervention (Mean= 7.96) after the intervention (Mean= 6.45). The results of the comparison test obtained (r= 0.89; 95% CI= 1.23 to 1.74; t= 11,98, p< 0.001, df= 26). Conclusion: There are different levels of depression before and after the intervention. Brain gym has an influence on the level of depression in the elderly in Tegalgiri Village, Nogosari Boyolali. Encourage local health cadres to further activate integrated healthcare center for the elderly, one of the activities is gymnastics, including a brain gym. Keywords: Elderly, Brain Gym, Depression Correspondence: Rita Untari. School of Health Polytechnic, Surakarta, Jl. Letjen Soetoyo Mojosongo, Surakarta. Email: ritauntari@gmail.com. Mobile: 08164278544 DOI: https://doi.org/10.26911/the7thicph.05.19
Reports on the topic "Music quote"
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.