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1
Kranz, Jack. "The Music Uniform Title:." Cataloging & Classification Quarterly 9, no. 2 (1988): 73–80. http://dx.doi.org/10.1300/j104v09n02_06.
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Wu, Verena S., Jennifer MacRitchie, and Catherine J. Stevens. "Non-musicians recognize unfamiliar contemporary classical music excerpts with increasing repetition." Musicae Scientiae 24, no. 2 (2018): 251–65. http://dx.doi.org/10.1177/1029864918797164.
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This article aims to determine the effects of exposure and title information when applied to music excerpts that are unfamiliar both in terms of the single excerpt, and in the underlying tonal structures used (i.e. contemporary classical music). Twenty-three non-musicians participated in a two-session experiment: 32 musical excerpts were presented on Day 1 immediately followed by presentation of a title varying by type (no title, descriptive, semantic, affective). Music excerpts were varied by number of exposures (1 vs. 3 exposures). Participants were asked whether they remembered the excerpt from earlier in the experiment, and to rate their liking on a 7-point Likert scale. On Day 2, recognition for the 32 “old” (Day 1) excerpts was tested, along with 32 “new” excerpts, which were all presented without titles. Participants were also asked to rate their liking for the excerpts, as per Day 1. Accounting for response bias, recognition was above chance level across all conditions. Results indicated a significant effect of exposure on recognition ([Formula: see text] = .79). No other effects were significant. Examining the liking ratings of accurately recognized excerpts, a significant interaction between exposure and title was found ([Formula: see text] = .20), where the difference in ratings across exposure levels for affective titles was greater than that of the semantic titles ( d = .60). This suggests that the title type, although not influencing memory of the piece, affected enjoyment of music at different exposures.
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Reeder, Ray, Steven G. Pallay, William E. Studwell, and David A. Hamilton. "Cross Index Title Guide to Classical Music." Notes 47, no. 2 (1990): 407. http://dx.doi.org/10.2307/941998.
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Wilder, JaNell Lynn. "Carnival Music in Trinidad, a title in the Global Music Series." Music Educators Journal 91, no. 2 (2004): 54–55. http://dx.doi.org/10.2307/3400053.
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Snoj, Jurij. "Matjaž Barbo: Meaning in Music and Music in Meaning." Musicological Annual 52, no. 1 (2016): 211–16. http://dx.doi.org/10.4312/mz.52.1.211-216.
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Although it is not expressed in the title, this new book by professor Matjaž Barbo deals with the aesthetics of music; its chapters discuss classical topics of musical aesthetics, emphasizing to some extent issues that have dominated recent philosophical discourse on music.
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Warren, Jeff. "Music ethics politics." New Sound, no. 50-2 (2017): 25–41. http://dx.doi.org/10.5937/newso1750025w.
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In the twenty-teens, music has been wrapped up in politics and ethics in several prominent events, including violent attacks at the Bataclan theatre in Paris and the Pulse Nightclub in Orlando, and the profiling of musical listening habits in the French governments "stop jihadism" campaign. Significant scholarship exists on music and politics, and interest in music and ethical philosophy is growing. More work, however, is needed in theorizing the connections between music, ethics, and politics. In 1951, Heidegger's essay "Building Dwelling Thinking" lists the words in the title without punctuation in an attempt to show how these three terms are intertwined even though they are often considered separate. While these words and concepts are not interchangeable, each relies upon or invokes the other. My title structurally mirrors Heidegger's, and my aim here is to elucidate how music is intertwined with ethics and politics.
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Holman, Peter. "A Title Page of Michael Praetorius." De musica disserenda 15, no. 1-2 (2019): 9. http://dx.doi.org/10.3986/dmd15.1-2.01.
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GETMAN, JESSICA L. "A Series on the Edge: Social Tension in Star Trek's Title Cue—ADDENDUM." Journal of the Society for American Music 9, no. 4 (2015): 522. http://dx.doi.org/10.1017/s1752196315000486.
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Permission to use notation for the theme from “Star Trek” was received after the article by Getman in the August 2015 issue of Journal of the Society for American Music was published. The captions for Examples 1, 2, and 4 should carry the following credit:Theme from “Star Trek(R),” words by Gene Roddenberry, music by Alexander Courage. © 1966, 1970 Bruin Music Company. Copyright renewed. This arrangement © 2015 Bruin Music Company. All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard Corporation.
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Du, Yi. "Symposium Title: Sequence and Music Processing in the Brain." International Journal of Psychophysiology 168 (October 2021): S58. http://dx.doi.org/10.1016/j.ijpsycho.2021.07.176.
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Taylor-Jay, Claire. "The Third Biennial International Conference on Twentieth-Century Music, University of Nottingham, 26–29 June 2003." Twentieth-Century Music 1, no. 1 (2004): 147–51. http://dx.doi.org/10.1017/s1478572204000106.
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The great stylistic diversity of the music written during the twentieth century (and beyond) would seem to make the organization of any conference devoted to it a formidable task: can one really hope to cover a representative selection? While a decade ago such an event might well have covered only art music (a disparate enough field in itself), nowadays one would expect to see some attention given to jazz, popular music, and film. The organizers of the Third Biennial International Conference on Twentieth-Century Music at the University of Nottingham made a conscious attempt at inclusivity, selecting papers that might have been better put together under the title of ‘Twentieth-Century Musics’. The diversity of music represented by the papers was reflected in the plurality of approaches and methodologies. Indeed, one central feature of the conference was its concern not only with musical works, or with twentieth-century composers, but with musical practices. Alongside the statutory selection of more or less canonical art composers and their music, there were several sessions on popular music, jazz, and perspectives from ethnomusicology.
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Krumhansl, Carol L. "Plink: "Thin Slices" of Music." Music Perception 27, no. 5 (2010): 337–54. http://dx.doi.org/10.1525/mp.2010.27.5.337.
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SHORT CLIPS (300 AND 400 MS), TAKEN FROM POPULAR songs from the 1960's through the 2000's,were presented to participants in two experiments to study the detail and contents of musical memory. For 400 ms clips, participants identified both artist and title on more than 25% of the trials.Very accurate confidence ratings showed that this knowledge was recalled consciously. Performance was somewhat higher if the clip contained a word or partword from the title. Even when a clip was not identified, it conveyed information about emotional content, style and, to some extent, decade of release. Performance on song identification was markedly lower for 300 ms clips, although participants still gave consistent emotion and style judgments, and fairly accurate judgments of decade of release. The decade of release had no effect on identification, emotion consistency, or style consistency. However, older songs were preferred, suggesting that the availability of recorded music alters the pattern of preferences previously assumed to be established during adolescence and early adulthood. Taken together, the results point to extraordinary abilities to identify music based on highly reduced information.
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CLARKE, DAVID. "Defining Twentieth- and Twenty-First-Century Music." Twentieth-Century Music 14, no. 3 (2017): 411–62. http://dx.doi.org/10.1017/s1478572217000342.
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What do we mean by ‘twentieth-century music’? And how are we to square this with the musics of a twenty-first century that is now nearing the end of its second decade? These and other questions are salient for a journal that identifies the former century in its title yet regards the latter as equally within its remit. Just how are we to think the two centuries together? Should we consider the music of the twenty-first century as a continuation of tendencies from the late twentieth? Or are there tendencies within musical production and consumption that have a definitively twenty-first-century character and so mark out the beginning of a new era? If so, when and with what, iconically speaking, did the twenty-first century begin and the twentieth end? Or do these historiographic categories even continue to have currency?
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Jamnongsarn, Surasak. "Music deculturation: A traditional thai Music tool for Indonesian Music Adoption." International Journal of Creative and Arts Studies 5, no. 1 (2018): 31–40. http://dx.doi.org/10.24821/ijcas.v5i1.2213.
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There has been foreign music influence on traditional Thai music since Ayutthaya period. Pi Jawa ( Java flute), Klong Jawa ( Java drum) and some traditional Thai song with foreign title have been legally and literally evident in Ayutthaya era. Some said that Thai people are open-minded in music, harmonious mixing overseas music culture with their own. Ethnomusicologists have seen this social phenomenon via music context and explained the revolution of traditional Thai music differently from the acceptance of music in general. This article reviewed the acceptance of Indonesian music, including Javanese music from Central Java and Sundanese music from West Java, into the Javanese Idiomatic Melody in traditional Thai music and Angklung Thai style. Indonesian music was seriously and forcefully deculturated. Playing technique has been adjusted to suit Thai music playing. Tuning system of Javanese Gamelan in Thailand has been fine tuned to conform to that of Thai music. Physical appearance of Sundanese Angklung has been replaced with Angklung Thai style. Javanese song have undergone music elaboration and rewritten to satisfy Thai musicians, with approval from elite Thai musicians and previous Thai music institutes together with Thai people in the society.
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Nan, Yun. "Symposium Title: Music and Language: Two Domains in One Brain." International Journal of Psychophysiology 168 (October 2021): S30. http://dx.doi.org/10.1016/j.ijpsycho.2021.07.088.
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Gan, Lin. "Symposium Title: Research on the Psychological Influence of Film Music." International Journal of Psychophysiology 168 (October 2021): S35. http://dx.doi.org/10.1016/j.ijpsycho.2021.07.104.
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Mottershead, Tim. "Manchester, Bridgewater Hall: Yoshiro Kanno." Tempo 67, no. 263 (2013): 85–86. http://dx.doi.org/10.1017/s0040298212001453.
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Between April and June 2012, pianist Noriko Ogawa presented four recitals titled Reflections on Debussy, in the Mirror of the East, which presented his major piano works, with compositions by Japanese composers Takemitsu, Yoshimatsu, and two commissions from Yoshihiro Kanno (b.1953). The first of the Kanno works presented, on 25 May, was Sky Maze (2011) for piano and organ (featuring Jonathan Scott), oddly placed in a concert otherwise devoted to two-piano repertoire (with Martin Roscoe). The programme note revealed the work was originally to have been premièred in August 2011 at the MUZA Kawasaki concert hall – which was badly damaged by the earthquake and tsunami of the previous March – but offered no clue as to the work's intriguing title.
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Vellucci, Sherry L., and Ray Reeder. "The Bach English-Title Index." Notes 51, no. 1 (1994): 215. http://dx.doi.org/10.2307/899245.
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Davison, Annette. "The show starts here: viewers’ interactions with recent television serials’ main title sequences." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (2013): 6–22. http://dx.doi.org/10.7146/se.v3i1-2.15633.
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Recent title sequences for high production value television serials are generally one of two kinds: either extremely minimal, appearing part way through the episode with credits dispersed through the show, or as an extended format of c. ninety seconds’ duration, at or near the start of the show. In a previous book chapter I presented analyses of examples of the latter, arguing that the sequences form an efficient part of the brand image for both the show and commissioning channel. In order to explore the extent to which such sequences are watched or skipped by viewers, and how such decisions are made I organised a series of preliminary focus groups in February 2012 with participants who identified themselves as regular viewers of television serials, the findings of which are presented here. Two forms of stimuli were used: a main title sequence and an end credit sequence from a serial where different music is selected for this sequence for each episode. Analysis of the discussions indicates that the decision to view these sequences is dependent on a variety of factors. While for some the titles are required viewing, the participants in the groups are more likely to persistently view an end credit sequence where the music changes with the episode than an unchanging main title sequence. Perhaps most surprising, given the increase in opportunities for mobile viewing, is that for the participants of these groups television serials continue to be associated with social viewing in a domestic setting.
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Medić, Ivana. "Making a Case for Balkan Music Studies." Arts 9, no. 4 (2020): 99. http://dx.doi.org/10.3390/arts9040099.
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In his seminal comprehensive history of music(s) in the Balkan region, Jim Samson avoided the term “Balkan music” in favor of the less-binding title Music in the Balkans (Leiden: Brill, 2013). This, however, should not hinder us from probing the term “Balkan music” and its many connotations. In this editorial article for the Special Issue Balkan Music: Past, Present, Future, I aim to dissect the umbrella term “Balkan music” and its actual and presumed meanings and implications, while overviewing many different music traditions and styles that this term encompasses. I will also make a case for the establishment of Balkan Music Studies as a discipline and attempt to outline its scope and outreach.
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Domínguez-Chávez, Claudia Jennifer, Bertha Cecilia Salazar-González, and Carolyn J. Murrock. "Use of Music Therapy to Improve Cognition in Older Adults With Dementia: An Integrative Review." Research and Theory for Nursing Practice 33, no. 2 (2019): 183–95. http://dx.doi.org/10.1891/1541-6577.33.2.183.
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Background and purposeDementia is considered a public health priority due to physical, psychological, economic, and social repercussions in older adults, their families, and caregivers. To address this issue, healthcare providers can use music therapy as a complementary therapy. This manuscript was elaborated to analyze and synthesize the current evidence of the use of music therapy to improve cognition in older adults with dementia.MethodsUsing the Whittemore and Knafl (2005) method, databases searched were PubMed, CINAHL, Ovid, EBSCO, ProQuest, and PsycINFO, using the terms such as “Music Therapy,” “Acoustic Stimulation,” “Music,” “Cognition,” “Memory,” “Attention,” “Aged,” and “Dementia.” Studies that met the eligibility criteria were screened by title, abstract and full text. Quality of the studies were evaluated using critical appraisal tools and Cochrane “Risk of Bias” tool.ResultsA total of 211 articles were screened by title and abstract, but only 28 articles met the inclusion criteria and were full text screened. Of the 28 articles, only five studies were analyzed and synthesized as they focused specifically on music therapy and cognition. Three of the studies showed that active and active–passive approaches of music therapy produce significant effect on cognition in older adults with dementia. The common characteristic was the participation of music therapists or music teachers who delivered the music therapy sessions that resulted in improved cognition.Implications for practiceAs a safe, inexpensive intervention, it should be considered as a complementary therapy to positively impact cognition in older adults with different types of dementia and levels of severity.
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GETMAN, JESSICA L. "A Series on the Edge: Social Tension inStar Trek's Title Cue." Journal of the Society for American Music 9, no. 3 (2015): 293–320. http://dx.doi.org/10.1017/s1752196315000188.
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AbstractThe original series ofStar Trek(1966–69) documents the social tensions of the late 1960s, responding positively, on the one hand, to the progressive political and social movements of the Civil Rights era by supporting racial and gender equality, but resisting its own efforts on the other, remaining faithful to conservative power structures. As the representative musical statement of the series,Star Trek'stitle cue embodies and expresses this paradox. Using audio-visual analysis, as well as sketch scores, interviews, and correspondence from the archives of the series’ composers and producers, this article analyzes the cue's compositional history, its musical codes, its narrative structure, and its use as framing, referential, and leitmotivic material within the series’ underscore in order to demonstrate the ways in which it communicatesStar Trek'sconflicting ideologies.
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Xu, Yulan, and Qiaowei Li. "Music Classification and Detection of Location Factors of Feature Words in Complex Noise Environment." Complexity 2021 (April 20, 2021): 1–12. http://dx.doi.org/10.1155/2021/5518967.
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In order to solve the problem of the influence of feature word position in lyrics on music emotion classification, this paper designs a music classification and detection model in complex noise environment. Firstly, an intelligent detection algorithm for electronic music signals under complex noise scenes is proposed, which can solve the limitations existing in the current electronic music signal detection process. At the same time, denoising technology is introduced to eliminate the noise and extract the features from the signal. Secondly, from the perspective of audio and lyrics of song sentiment analysis and the unique characteristics of lyrics text, a lyric sentiment analysis method based on text title and position weight is proposed. Finally, considering the influence of the weight of feature words in different positions on the classification of lyrics, the analytic hierarchy process is used to calculate the weight of feature words in different positions of text title and lyrics before, in, and after the text. The results show that in the complex noise environment, the accuracy of music classification and detection of the proposed model is more than 90%, which is far beyond the control range of the actual application of music processing. The effect of music classification and detection is better than that of the contrast model, which has a certain practical application value.
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Conway, Colleen, and Al Holcomb. "Perceptions of Experienced Music Teachers Regarding Their Work as Music Mentors." Journal of Research in Music Education 56, no. 1 (2008): 55–67. http://dx.doi.org/10.1177/0022429408323073.
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The purpose of this study was to examine the perceptions of experienced music teachers regarding their preparation for and experience of mentoring in a 2-year mentor project focusing on the support of teachers in Title I schools in Orlando, Florida. Data included the following: initial expectations of mentoring from Year 1 (note cards), biggest challenges from Year 2 (note cards), mentor development session interactions from Years 1 and 2, interviews with mentors at the end of the study period, and research logs from the two researchers. Findings suggest that mentors need mentors; time management is a challenge for mentors; communication with the mentee is a challenge; observations of the mentees are necessary but difficult; technology can be a positive resource for mentor and mentee interaction; and mentors struggle to keep mentee interactions in the realm of support and not evaluation.
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Baldwin, Olive, and Thelma Wilson. "‘Reviv'd by the Publisher of the Former Masks’: The Firm of John Walsh and the Monthly Mask 1717–27 and 1737–8." Royal Musical Association Research Chronicle 42 (2009): 1–44. http://dx.doi.org/10.1080/14723808.2009.10541025.
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The 360 songs of the 103 surviving issues of John Walsh's Monthly Mask of Vocal Music 1702–1711 were published in a facsimile edition in 2007 with a commentary and indexes by the authors of this article. Walsh revived his periodical from July 1717 to March 1723 and during the following few years he occasionally employed Monthly Mask title-pages for sets of Italian opera songs. John Walsh the younger revived the periodical between May 1737 and January 1738. This article discusses the publishing history of the post-1711 runs, throwing interesting light on competition between music publishers and on the firm's relationship with Handel, and provides a catalogue giving transcriptions of first lines and titles, with additional information on composers, authors and performers, as well as full indexes.
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Olmstead, Andrea. "The Plum'd Serpent: Antonio Borgese and Roger Sessions's ‘Montezuma”." Tempo, no. 152 (March 1985): 13–22. http://dx.doi.org/10.1017/s0040298200059167.
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The Spanish Conquest of Mexico provides stirring drama for an epic opera on an American subject It has been set by some 30 composers; the earliest is Graun's Montezuma (1755), and the best-known Spontini's Fernand Cortez, ou la Conquête de Mexique (1809). Antonio Borgese, a Sicilian who ‘fell in love with the English language’, retold the epic story to music by Roger Sessions.How did such an unlikely alliance—a Sicilian poet, an American composer, and Mexican history—come about? Sessions first met Antonio Borgese in 1934 in his home town of Hadley, Massachusetts, when Borgese was teaching at Smith College. In 1935 Borgese made a trip to Mexico, where he was overwhelmed by the early history of that country; on his return, he proposed collaborating on an opera on the subject, although he had never written a libretto. Sessions knew nothing of Mexico's history, but did possess a first edition of Prescott's Conquest of Mexico given to his grandfather, possibly by Prescott himself. Sessions read the Prescott and Bernal Diaz's account, and he too became enthralled. Borgese wisely advised against Sessions's proposed title, Tenochtitlan, arguing, ‘The opera is written for titans; we don't need a title for titans, too’. Instead, he suggested the title Montezuma.
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Ceulemans, Anne-Emmanuelle. "INSTRUMENTS REAL AND IMAGINARY: AARON'S INTERPRETATION OF ISIDORE AND AN ILLUSTRATED COPY OF THE TOSCANELLO." Early Music History 21 (September 4, 2002): 1–35. http://dx.doi.org/10.1017/s0261127902002012.
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Pietro Aaron (c.1480-c.1550) is the author of five music treatises. The first, Libri tres de institutione harmonica (Bologna, 1516), was composed in Italian and then translated into Latin by the humanist Giovanni Antonio Flaminio (1464-1536); the other four appeared in Italian, which made Aaron a pioneer in this regard. The Thoscanello de la musica, the first of the vernacular treatises, proved very successful and was reissued three times in the course of the sixteenth century under the title Toscanello in musica (Venice, 1529, 1539, 1562). These reissues are very similar to each other, but are clearly distinct from the first edition, in particular by the addition of an appendix (aggiunta) on various questions concerning musica ficta and the modes of Gregorian chant.
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Gusāns, Ingars. "Latviešu metālmūzikas albumu nosaukumi." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 361–69. http://dx.doi.org/10.37384/aplkp.2021.26-1.361.
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The aim of the study is to describe the titles of Latvian metal music albums, from the perspective of content, by identifying the common and distinctive character of the metallic music tradition, and perhaps even the local one. Of 241 album titles (data on Dec. 31, 2019), most are in English, some in French, Latin, Russian, some consisting of digits, and 69 titles in Latvian. These titles are the subject of the research. The main source is Encyclopaedia Metallum (www.metal-archives.com), which still does not reflect the current situation concerning Latvian metal music. Album titles in this study are viewed separately from album designs and song titles and are analysed from the perspective of content. The album title is an important part of the work that has been issued because it is an element that makes the audience/buyer pay attention to the album because it must not be forgotten that today the album is also an item that you want to sell. In general, it can be concluded that Latvian metal musicians, with their album titles in Latvian, are mostly following world trends, as evidenced by the integration in the researcher Deena Weinstein’s classification of Dionysian discourse and discourse on chaos. Most titles are more relevant to the discourse on chaos because the thematic circle of chaos is wider. Latvian mythology, along with history, is an up-to-date source for the creative work of bands that is responsible for the local feeling of the titles. A large enough number are titles that are difficult to fit in the Weinstein’s division and form the third group with philosophical titles and simply all sorts of titles. If the philosophical titles follow the world’s trends, the simple titles include the names of the events, tributes, and the titles of literary works, which give them a local character.
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Johinke, Rebecca. "BEHIND THE COVERS OF AUSTRALIAN ROLLING STONE: NEGOTIATING THE PERSONA OF A FEMALE MUSIC MAGAZINE EDITOR." Persona Studies 5, no. 1 (2019): 75–91. http://dx.doi.org/10.21153/psj2019vol5no1art843.
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Singers, songwriters and musicians create personas and perform the (gendered) role of rock star, punk, heart-throb, crooner, diva, or rock chick. Magazine covers are a key factor in consolidating and marketing that constructed persona. Magazine covers have visual power that is calibrated for maximum impact with a defined audience and a key part of the editor’s role is to decide on the cover image and cover lines. Moreover, there is now an expectation that editors of glossy magazines are recognisable ‘influencers’ who personify the values and commodities that their titles promote. We expect performers to put on a show, but do we expect music magazine editors to adopt a gendered celebrity persona and a public self too? This article examines the persona of the music magazine editor and the construction of music celebrity with a particular focus on Australian Rolling Stone magazine. Interviews with Kathy Bail and Elissa Blake, the first two women to edit the title in magazine format, underscore the self-fashioning of cultural intermediaries and the challenges for women in leadership roles in Australian media workplaces.
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McBurney, Gerard. "Brian Elias's recent music." Tempo, no. 174 (September 1990): 12–18. http://dx.doi.org/10.1017/s0040298200019392.
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In the past ten years a remarkable change has come over Brian Elias. He has turned from being a miniaturist to being a composer on a symphonic scale and with symphonic aspirations. Not that he has written any work with so self-conscious a title as ‘symphony’ – at least, not yet. But in these few years he has given us two extended cycles for voice and symphony orchestra, a large-scale single-movement orchestral work that must certainly be called symphonic, a set of 49 Variations for piano inspired by Beethoven's set of 32 in C minor, and now an orchestral ballet in progress for Kenneth Macmillan and the Royal Ballet. All these, and some impressive chamber works too, have come from a composer whose earlier reputation was based on a tiny scattering of compositions including a rarified solo soprano piece (based on a particularly obscure bit of Browning), a piece for solo violin, and the microscopic Five Piano Pieces for right hand alone.
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Albéra, Philippe. "Pierre Boulez in Interview (2): on Elliott Carter, ‘a composer who spurs me on’." Tempo, no. 217 (July 2001): 2–6. http://dx.doi.org/10.1017/s0040298200017253.
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(In Tempo 216 Pierre Boulez, interviewed by Simon Mawhinney, talked about his own recent music. The present interview, conducted in French, in Paris in June 2000 was published under the title ‘…un Compositeur qui m'oblige a avancer…’; it appears here in English for the first time, translated by Sue Rose.)
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Letts, Richard. "Music: Universal language between all nations?" International Journal of Music Education os-29, no. 1 (1997): 22–31. http://dx.doi.org/10.1177/025576149702900104.
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The author was asked to address a flawed proposition. Music is a universal phenomenon but not a universal language. The title of the talk is therefore not a description of how things are, but perhaps an invocation (itself contentious) as to a more ideal situation. Further: since music is not a universal language, it takes more effort to understand the music of cultures other than one's own. A multinational music curriculum is inevitably superficial. But music's great advantage in education, compared to most other objects of study, is its rare value as a doorway to a deeper, more complex experience. We should not abandon this special possibility of depth. Finally, from a perspective of cultural evolution, our invocation can be seen as a political intervention in the evolutionary process which may not be universally welcome.
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Armstrong, Newton. "‘Bold Tendencies’: London Contemporary Music Festival, Peckham multi-storey car park, London, 25–28 July, 1–4 August 2013." Tempo 68, no. 267 (2014): 63–65. http://dx.doi.org/10.1017/s0040298213001393.
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There is a certain audacity to four young curators adopting the title ‘London Contemporary Music Festival’ for their first large-scale collective venture. For a festival that deliberately sets out to sidestep the musical establishment, there's an aspect of calculated provocation in the appropriation of a title that would seem to be the preserve of that establishment. The gesture, however, goes some way further than staking a symbolic claim. At the same time as the curators (Aisha Orazbayeva, Sam Mackay, Igor Toronyi-Lalic and Lucy Railton, in collaboration with the commissioning body Bold Tendencies, based at the Peckham Multi-Storey Car Park) have effectively bypassed the establishment networks and funding structures, they have set out a clear alternative narrative about how contemporary music may yet be practised and understood.
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FRANCISCO, MEGAN. "Battlestar Galactica and Space Opera: Transforming a Subgenre." Journal of the Society for American Music 15, no. 1 (2021): 99–123. http://dx.doi.org/10.1017/s1752196320000486.
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AbstractRon Moore, creator and producer of the reimagined Battlestar Galactica television series, outlined his proposed show's aesthetic in a manifesto aptly titled “Naturalistic Science Fiction or Taking the Opera out of Space Opera.” The title of this essay took a stand against the science fiction subgenre of space opera, asserting that it was outdated, overdone, and unrealistic. Moore's vision for his series revolutionized iconic elements of classic television space operas. Though Moore resisted the stigma of space opera, his reimagined series holds an inherent “operaticness”—a term first coined by opera scholar Marcia Citron. Battlestar Galactica has many operatic qualities, particularly in its narrative structure, cinematography, characters, and music. After analyzing Galactica's explicit evocations of opera, this article will explore the operatic features of the soundtrack and evaluate the characters intimately tied to the opera by tracing the tropes of gendered opera as outlined by Susan McClary and Catherine Clément. Through a detailed analysis of three episodes, I will demonstrate how Moore successfully constructed a series that relied deeply upon operatic qualities and resonances.
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Escudé, Nuria, and Fabrizio Acanfora. "Music and Medicine in Spain: History and New Developments of a Growing Discipline." Music and Medicine 10, no. 1 (2018): 45. http://dx.doi.org/10.47513/mmd.v10i1.600.
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The strong link between music and medicine has been documented in Spain since the 17th century, showing that the therapeutic effects of music have been known for centuries. The development of music therapy as a scientific, independent discipline on the Iberian Peninsula begins in the 1960s due to the pioneering work of Serafina Poch. Since then, the interest in music and medicine both by specialists and public has constantly increased. Nowadays, music therapy is taught in public universities and private institutions, and a growing number of health care and educational centers is implementing music therapy projects each year, producing also an increase in the research on the subject. A sore point, which we hope can be resolved soon, is that music therapy in Spain has not yet been recognized with an official title and as an independent profession, leading to fragmentation of the field and leaving the door open to professional intrusion. Keywords: music therapy, music medicine, Spain.
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Léveillé Gauvin, Hubert. "Drawing listener attention in popular music: Testing five musical features arising from the theory of attention economy." Musicae Scientiae 22, no. 3 (2017): 291–304. http://dx.doi.org/10.1177/1029864917698010.
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Technological changes in the last 30 years have influenced the way we consume music, not only granting immediate access to a much larger collection of songs than ever before, but also allowing us to instantly skip songs. This new reality can be explained in terms of attention economy, which posits that attention is the currency of the information age, since it is both scarce and valuable. The purpose of these two studies is to examine whether popular music compositional practices have changed in the last 30 years in a way that is consistent with attention economy principles. In the first study, 303 U.S. top-10 singles from 1986 to 2015 were analyzed according to five parameters: number of words in title, main tempo, time before the voice enters, time before the title is mentioned, and self-focus in lyrical content. The results revealed that popular music has been changing in a way that favors attention grabbing, consistent with attention economy principles. In the second study, 60 popular songs from 2015 were paired with 60 less popular songs from the same artists. The same parameters were evaluated. The data were not consistent with any of the hypotheses regarding the relationship between attention economy principles within a comparison of popular and less popular music.
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Flam, Gila. "Goodbye, My Friend - Shalom Chaver. CDI & NMC Music, Ltd., Israel. Distributed by NMC Marketing, 1995. NIS 55.00 METRIX 20197-2." Middle East Studies Association Bulletin 31, no. 1 (1997): 42–43. http://dx.doi.org/10.1017/s0026318400034878.
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A double CD album characterized as “a charity compilation of love and peace songs by Israel’s top artists in memory of Yitzhak Rabin,” has been issued by NMC Music Ltd., 1995. The title on the cover is taken from the eulogy of President Bill Clinton: Shalom Chaver [Goodbye, My Friend]. It appears with two doves in green and blue symbolizing peace. On the back cover there is a picture of Yitzhak Rabin next to the flag of Israel and a list of the songs. Next to their titles in Hebrew, the names of the singers appear in Hebrew and English. There are 17 numbers on each CD.
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Regmi, Aarati. "Redefining the Society in Hip-Hop Music: A Nepali Perspective." SCHOLARS: Journal of Arts & Humanities 3, no. 1 (2021): 18–25. http://dx.doi.org/10.3126/sjah.v3i1.35355.
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Nepali Rapper Utsaha Joshi, aka Uniq poet's title song “Mero Desh Birami” and Chirag Khadka's album 5:55 title song “Samadhi and Aaago ko Jhilko” display intimate relationships between the socio-political and cultural context and the youngsters' powerful voice through music. This paper analyzes rap music as a medium and power to convey socio-cultural values, truth of conspiracy, and interests among youngsters. Both singers have portrayed the mainstream culture, faith, and patriotism, which have shaped people’s minds and behaviours. Rap songs have become so popular among young people who have always been informed by specific phenomenal interests. It has touched the consciousness that shapes the relationship between humans and culture. The road to these rap songs speaks the voice of cultural roots via its elements. To add, rap singers display popular means of conveying cultural intimacy through their music and of introducing a phenomenal symbol of society. However, Nepali Hip-hop redefines a relative degree of social conspiracy rather, it promotes positivity among the youngsters as it motivates and generates energy. Yet, hip-hop generates and navigates a voice of fear, woes, dissatisfaction, disagreement, anxiety, and other sensitive anti-socio-political crimes like rape, homicide, power augmentation game, etc.
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GOODMAN, GLENDA. "Music before 1800." Journal of the Society for American Music 9, no. 4 (2015): 470–76. http://dx.doi.org/10.1017/s1752196315000395.
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Here are two important lessons about information control: first, there is always “too much to know.” This phrase comes from historian Ann Blair, who argues in her book of the same title that in the early modern period the attempt to gather and systematize knowledge was already regarded as a hubristic task. Second, information control is inherently ideological. Think of Denis Diderot and Jean le Rond d'Alembert's magisterial Encyclopédie (1751–77), which in thirty-two volumes attempted to map the world of knowledge and, in doing so, determined what counted as “knowable” and what was ruled out. Equally ambitious and ideological was Noah Webster's American Dictionary of the English Language (advertised 1800, completed 1828), a monumental undertaking aimed at codifying a national language for the new United States. Both of these lessons apply to the pre-1800 articles in AmeriGrove II, and, indeed, to the eight-volume dictionary as a whole. Confronted with the problem of “too much to know,” AmeriGrove II inherits the optimism of its Enlightenment ancestor and endeavors to expand systematically the knowable world of U.S. music history, yet it leaves much uncovered. Moreover, like Webster's dictionary, the focus of AmeriGrove II is confidently national. Whether it echoes Webster's nationalistic stance is a more complicated question, particularly for the articles on pre-1800 topics.
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Taruskin, Richard. "Two Serendipities." Journal of Musicology 33, no. 3 (2016): 401–31. http://dx.doi.org/10.1525/jm.2016.33.3.401.
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The purpose of the discussion, which served as keynote at a conference convened under the title “Music and Power,” is to complicate what is often a simplified and overly dichotomized view of that relationship. Two figures, Dmitry Kabalevsky and Tikhon Khrennikov, are singled out for commentary as musicians who wielded political power or conspicuously benefited from it under the Soviet regime. The titular serendipities were occasions through which the author was made unexpectedly aware of the ambiguities and nuances that attended the interactions of music and musicians with the Soviet state.
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Dourde, Orane. "Archipel Festival, Geneva ‘Multifaceted Games’." Tempo 70, no. 277 (2016): 94–96. http://dx.doi.org/10.1017/s0040298216000243.
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From 10 to 20 March 2016, Geneva was transformed into a giant musical playground of sorts: the title of this year's Archipel Festival was ‘Aires de jeux’. Over its 24 editions, the festival has been a showcase for musical creation and has promoted not contemporary music in a broad sense, but rather the music of our time. In a recent interview, the current festival director, Marc Texier, noted that a common misunderstanding is to ‘consider contemporary music as beginning in the post-war period, 70 years ago. That's quite extraordinary! The music of 1945 doesn't have much in common with what is created today. For today's composers, works from 1945 belong to their grandparents or great-grandparent's generations’.
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Trudzik, Artur Mariusz. "Wielowarstwowość pokładów muzyki hardrockowej/heavymetalowej w zasobach „Tylko Rocka”." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 165–75. http://dx.doi.org/10.24917/20837275.10.3.14.
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Multilayering hardrock/heavymetal music in „Only Rock” resources This article is composed of two parts. The first discusses the role of metal hardrock music (broadly understood) in the structure of the most opinion-making music magazine after 1989, ie „Only Rock”, and in the second study focused on analyzing the content of the monthly magazine in terms of title genres, but in the optics of genology. The text uses existing statistical data, studies and, of course, source materials. Methodologically and substantively – in a narrower sense, the publication encompasses two new streams: Metal Music Studies (humanistic) and Journalism and Music Media (social sciences, media studies), and in broader terms quantitative and qualitative research (including structural analysis). The research showed that metal music was a constitutive aspect of the subject matter in a strictly formal rock writing, and even some of the leading elements.
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Landy, Leigh. "EDITORIAL." Organised Sound 6, no. 2 (2001): 89. http://dx.doi.org/10.1017/s1355771801002011.
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This issue of Organised Sound is devoted to a conference, ‘Music without Walls? Music without Instruments’, which took place at De Montfort University, Leicester, UK in June of this year. It was hosted by the university's Music, Technology and Innovation Research Group. As one can easily discover, given the conference's title, the goal of this meeting was to investigate vision and plans for the future. The three-day event included papers, musical events, installations, demonstrations and a plenary. All artists whose pieces were selected for the conference concerts were requested to present vision papers to accompany their performance.
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Miller, Michael. "Sounds Useful: a Primary Music Project with the BBC Micro." British Journal of Music Education 3, no. 3 (1986): 259–66. http://dx.doi.org/10.1017/s0265051700000772.
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Sounds Useful is the title of a suite of music programs for the BBC microcomputer, designed for primary school use. The programs aim to allow the computer to be used as an instrumental resource in conjunction with other musical instruments. This article describes the programs, their purpose and how they came to be developed. It also looks at aspects of the development of music software in general and challenges in particular the view that the quality of sound produced by standard microcomputers is insufficient for creative use in primary schools.
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Dennis, Brian. "Cardew's ‘Treatise’ (mainly the visual aspects)." Tempo, no. 177 (June 1991): 10–16. http://dx.doi.org/10.1017/s0040298200013516.
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Cornelius Cardew's 193–page Treatise is the longest and most elaborate piece of Graphic Music ever made. Although it was intended for improvisation and realization, using as many or as few pages as required, and with no fixed rules of interpretation, the piece can be regarded as a graphic construction inspired by music – and with ‘music’, in the broadest sense, as its subject matter. It was influenced by the philosophy of Frege and Wittgenstein, and in particular the latter's exhaustive treatise Tractatus Logico-Philosophicus, which not only inspired the title but almost certainly the composer's economical approach to this endeavour and the rigorous development of his material. It was composed from 1963 to 67.
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Schulte, Christian, and Rainer Stollmann. "Moles Don't Use Systems: A Conversation with Oskar Negt." October 149 (July 2014): 69–88. http://dx.doi.org/10.1162/octo_a_00184.
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Rainer Stollmann: Oskar Negt, you and Alexander Kluge wrote three books together at intervals of ten years, which you republished in 2001 with the title Der unterschätzte Mensch [The undervalued human being]. Were there any other titles up for discussion?
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Young, Douglas. "Colin McPhee's Music: (II) ‘Tabuh-Tabuhan’." Tempo, no. 159 (December 1986): 16–19. http://dx.doi.org/10.1017/s0040298200022804.
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In his prefatory ‘Note’ to the full score of Tabuh-Tabuhan (eventually published by AMP Inc. 1960), McPhee wrote:Tabuh-Tabuhan was composed in Mexico in 1936 and first performed by Carlos Chavez and the National Orchestra of Mexico City. It was written after I had spent four years in Bali engaged in musical research, and is largely inspired, especially in its orchestration, by the various methods I had learned of Balinese gamelan technique. The title of the work derives from the Balinese word tabuh, originally meaning the mallet used for striking a percussion instrument, but extended to mean strike or beat… Tabuh-Tabuhan is thus a Balinese collective noun, meaning different drum rhythms, metric forms, gong punctuations, gamelans, and music essentially percussive. In a subtitle I call the work Toccata for Orchestra and two pianos.
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Sastra, Andar Indra. "Lareh Koto Piliang: Sistem Kekuasaan dan Musik Perunggu Dalam Kajian Konsep Estetika Musikal di Luhak Nan Tigo Mingkabau." Resital: Jurnal Seni Pertunjukan 17, no. 2 (2016): 75–86. http://dx.doi.org/10.24821/resital.v17i2.2220.
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This article aims to discover the concept of Lareh Kotopiliang: Power Systems and Bronze Music in a Study of the Concept of Musical Aesthetics in Luhak Nan Tigo Minangkabau. Lareh Kotopiliang is oriented towards a royal or autocratic system of power, in which the primary figure holds the title of Dt. Katumangguangan. A legendary figure, Dt. Katumangguangan is believed to be the one who first implemented this autocratic system of power or leadership. There are two types of bronze music, namely oguang and talempong. From the aspect of performance, there are two different concepts: (1) oguang (a gong ensemble); and (2) talempong bararak (processional music). As an ensemble, oguang is played on top of a frame (rea), with gandang palalu and paningkah, six talempong, and two gongs. Talempong bararak is performed in procession – in declaration of the title of a headman, and musically is made up of three pairs of talempong – talempong jantan, talempong paningkah, and talempong pangawinan. Each of the talempong pairs plays a different rhythmic pattern, and the combination of the three patterns forms the characteristic melody of talempong bararak. The problems addressed in this article are: first, the traditional historiography of Lareh Koto Piliang as part of the trilogy of power in Luhak Nan Tigo Minangkabau; second, Lareh Koto Piliang and the concept of bronze music; and third, the musical concept of talempong bararak.
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Miazga, Krystyna. "Novecento, celui qui n’existait pas." Quêtes littéraires, no. 2 (December 30, 2012): 124–33. http://dx.doi.org/10.31743/ql.4633.
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The division of the article into three parts represents the three phenomena of absence present in Novecento, a work of Alessandro Baricco. First, the author discusses the peculiar existence of a main character, which, on the internal level of the story told in the book, is full of absence. On the external level, the author focuses on the manner of narration and stage performance (didascalia). His second scope of interest is the lack of author’s unanimous statement concerning the text genre, as well as the interspersion of important elements of drama, theatre and both, pure narrative and music forms. This, recently quite popular phenomenon, has been called hybridity. It allows the juxtaposing of contrasts, joining of contradictions and departures from the accepted specific rules in favour of artistic generic disarray. Moreover, this part of the paper stresses the difference between the original title and its French translation. The extra information added in the French version highlights the lack of precision in the original title. This significantly influences the readers’ choice. The third phenomenon discussed in the article is music. It has its special place among Baricco’s works. In Novecento, music is the second, after the pianist, protagonist. It can be even treated as equally important. However, the lack of a musical code (a proper way of communication) reduces the domination of music. By using a linguistic sign, the author gave music an important function – being the catalyst and medium between what exists but cannot be seen and what can be felt but cannot be expressed in words. Absence, perceived by human senses and the inadequacy of verbal expression, is elicited through music and, paradoxically, it becomes present.
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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (2019): 285. http://dx.doi.org/10.31192/np.17.2.3.
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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensamble, composing procedures and use of musical expression elements, their purpose, and finally, their artistic range and significance. Created at the time of predominance of small, chamber music forms, especially solo songs, piano miniatures and reveilles, Livadić’s masses, among a multitude of works of the composers of the time, and especially within the Croatian church musical heritage, mean the continuity of a multi-Century tradition of that music genre. While Missa croatica pastoralis is related to the pastoral (folk) one voice masses with the organ accompaniment (with inserted text/extensions of the Kajkavian dialect), the concerto vocal-orchestral Missa in C, with its musical features and its base on the international music vocabulary, manifests a compound of Classicist simplicity and early Romantic lyricism, representing the essence of Livadić’s creativity in the area of sacral music.
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Grabowski, C. "Wessel's Complete Collection of the Compositions of Frederic Chopin: the history of a title-page." Early Music 29, no. 3 (2001): 425–34. http://dx.doi.org/10.1093/em/29.3.425.
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