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Journal articles on the topic 'Musical experimentation'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Karydis, Ioannis, Aggelos Gkiokas, Vassilis Katsouros, and Lazaros Iliadis. "Musical track popularity mining dataset: Extension & experimentation." Neurocomputing 280 (March 2018): 76–85. http://dx.doi.org/10.1016/j.neucom.2017.09.100.

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2

Persson, Roland S., and Colin Robson. "The Limits of Experimentation: On Researching Music and Musical Settings." Psychology of Music 23, no. 1 (1995): 39–47. http://dx.doi.org/10.1177/0305735695231003.

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Le Conte, Sandie, Sylvie Le Moyne, François Ollivier, and Stéphane Vaiedelich. "Using mechanical modelling and experimentation for the conservation of musical instruments." Journal of Cultural Heritage 13, no. 3 (2012): S161—S164. http://dx.doi.org/10.1016/j.culher.2012.04.004.

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Gmys, Marcin. "Integration Attempts Paweł Mykietyn and the Composer’s Self-Reflection." Musicology Today 12, no. 1 (2015): 51–62. http://dx.doi.org/10.1515/muso-2015-0006.

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Abstract In this paper, the author attempts to reconstruct the aesthetic views of Paweł Mykietyn, a leading Polish composer of the middle generation. Since Mykietyn has never presented his views comprehensively, the author reconstructs his opinions on the basis of published interviews with the composer, focusing on his ideas regarding musical and nonmusical inspirations, the significance of mathematical procedures in the compositional process, traditional musical forms, the role of quotations and self-quotations, experimentation with microtones and musical time, as well as the concept of music

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Bhalke, Daulappa Guranna, C. B. Rama Rao, and Dattatraya Bormane. "Hybridisation of Mel Frequency Cepstral Coefficient and Higher Order Spectral Features for Musical Instruments Classification." Archives of Acoustics 41, no. 3 (2016): 427–36. http://dx.doi.org/10.1515/aoa-2016-0042.

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Abstract This paper presents the classification of musical instruments using Mel Frequency Cepstral Coefficients (MFCC) and Higher Order Spectral features. MFCC, cepstral, temporal, spectral, and timbral features have been widely used in the task of musical instrument classification. As music sound signal is generated using non-linear dynamics, non-linearity and non-Gaussianity of the musical instruments are important features which have not been considered in the past. In this paper, hybridisation of MFCC and Higher Order Spectral (HOS) based features have been used in the task of musical ins

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Pettan, Svanibor, and Lasanthi Manaranjanie Kalinga Dona. "Ethnomusicology of the Individual: Vishnuchittan Balaji between Tradition and Innovativeness." Musicological Annual 54, no. 1 (2018): 107–22. http://dx.doi.org/10.4312/mz.54.1.107-122.

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The article presents the case of a creative Indian classical music artist respectful of tradition and open towards experimentation. Based on the interviews and participant observation, it presents the artist‘s views and his four innovative musical instruments. The article fits in the theoretical frame of ethnomusicology of the individual.

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VOORELT, MARTIJN. "New sounds, old technology." Organised Sound 5, no. 2 (2000): 67–73. http://dx.doi.org/10.1017/s1355771800002028.

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Contrary to the hi-tech reputation of pop, the most innovative pop musicians often use traditional, old-fashioned equipment, ignoring the latest technological developments. Musical innovation tends to precede technological innovation rather than the other way round. This article presents a birds eye view of pop experimentalism, grouping a number of influential or otherwise interesting examples into four main categories based on the type of equipment that is subject to experimentation: (i) abusing musical instruments, (ii) abusing amplification, (iii) abusing effects and mixing equipment, and (

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DEEMING, HELEN. "The song and the page: experiments with form and layout in manuscripts of medieval Latin song." Plainsong and Medieval Music 15, no. 1 (2006): 1–27. http://dx.doi.org/10.1017/s096113710600026x.

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The non-liturgical songs of twelfth- and thirteenth-century England were recorded, for the most part, not in dedicated song books, but on occasional pages in manuscript miscellanies. Away from the context of fully musical books, there were no fixed procedures for the layout of music, and scribes devised new approaches to layout as they worked. This article considers three Latin songs from such sources and explores the evidence for experimentation, both in scribal technique and in musical procedures, that may have contributed to their specific manuscript presentations.

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9

Park, Leo. "Inside Out: Integrating Creative Practices into the Orchestra Classroom." Music Educators Journal 105, no. 3 (2019): 54–59. http://dx.doi.org/10.1177/0027432118817813.

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Improvisation-based exercises may be the key to unlocking students’ innate musical creativities. This article focuses on two exercises—drone improvisation and circle stringing—that can be easily integrated into the orchestra curriculum and adapted to the learning needs of the individual student, small-ensemble, and large-ensemble settings. Of critical importance is fostering an environment of musical discovery and exploration that reaches beyond the purview of traditional ensemble-based classroom experiences. Such an approach promotes a comprehensive pedagogy that honors tradition, values expe

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Alves Araujo, Felipe, Fabricio Lima Brasil, Allison Candido Lima Santos, Luzenildo de Sousa Batista Junior, Savio Pereira Fonseca Dutra, and Carlos Eduardo Coelho Freire Batista. "Auris System: Providing Vibrotactile Feedback for Hearing Impaired Population." BioMed Research International 2017 (2017): 1–9. http://dx.doi.org/10.1155/2017/2181380.

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Deafness, an issue that affects millions of people around the globe, is manifested in different intensities and related to many causes. This impairment negatively affects different aspects of the social life of the deaf people, and music-centered situations (concerts, religious events, etc.) are obviously not inviting for them. The Auris System was conceived to provide the musical experimentation for people who have some type of hearing loss. This system is able to extract musical information from audio and create a representation for music pieces using different stimuli, a new media format to

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11

Bilbao, Stefan, James Perry, Paul Graham, et al. "Large-Scale Physical Modeling Synthesis, Parallel Computing, and Musical Experimentation: The NESS Project in Practice." Computer Music Journal 43, no. 2-3 (2020): 31–47. http://dx.doi.org/10.1162/comj_a_00517.

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Sound synthesis using physical modeling, emulating systems of a complexity approaching and even exceeding that of real-world acoustic musical instruments, is becoming possible, thanks to recent theoretical developments in musical acoustics and algorithm design. Severe practical difficulties remain, both at the level of the raw computational resources required, and at the level of user control. An approach to the first difficulty is through the use of large-scale parallelization, and results for a variety of physical modeling systems are presented here. Any progress with regard to the second di

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RODET, XAVIER. "SOUND AND MUSIC FROM CHUA'S CIRCUIT." Journal of Circuits, Systems and Computers 03, no. 01 (1993): 49–61. http://dx.doi.org/10.1142/s0218126693000058.

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Nonlinear Dynamics have been very inspiring for musicians, but have rarely been considered specifically for sound synthesis. We discuss here the signals produced by Chua's circuit from an acoustical and musical point of view. We have designed a real-time simulation of Chua's circuit on a digital workstation allowing for easy experimentation with the properties and behaviors of the circuit and of the sounds. A surprisingly rich and novel family of musical sounds has been obtained. The audification of the local properties of the parameter space allows for easy determination of very complex struc

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Peñalba, Alicia, María-José Valles, Elena Partesotti, María-Ángeles Sevillano, and Rosario Castañón. "Accessibility and participation in the use of an inclusive musical instrument: The case of MotionComposer." Journal of Music, Technology and Education 12, no. 1 (2019): 79–94. http://dx.doi.org/10.1386/jmte.12.1.79_1.

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Digital musical instruments (DMI) can make musical practice accessible to non-trained persons or to persons with limitations related to their age, gender or musical experience. The present study explores accessibility and participation in a sample of 266 individuals using a device named MotionComposer, a digital instrument based on motion capture. By experimenting with this device during four minutes in two different environments (one causal, the other one more aprioristically determined), we study the kind of participant interaction that takes place. Results show that MotionComposer allows fo

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Hart, Melanie, Laura E. Agnich, John Stogner, and Bryan Lee Miller. "‘Me and My Drank:’ Exploring the Relationship Between Musical Preferences and Purple Drank Experimentation." American Journal of Criminal Justice 39, no. 1 (2013): 172–86. http://dx.doi.org/10.1007/s12103-013-9213-7.

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Ponsatí, Imma, Joaquim Miranda, Miquel Amador, and Pere Godall. "Students’ performance when aurally identifying musical harmonic intervals: Experimentation of a teaching innovation proposal." International Journal of Music Education 34, no. 4 (2016): 445–58. http://dx.doi.org/10.1177/0255761415619391.

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Economidou Stavrou, Natassa. "Fostering musical creativity in pre-service teacher education: Challenges and possibilities." International Journal of Music Education 31, no. 1 (2012): 35–52. http://dx.doi.org/10.1177/0255761411431391.

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Research regarding music teaching in primary school reveals generalist teachers’ and student teachers’ low musical abilities and low confidence in teaching Music, and even more, in including creative activities in music teaching. This article reports on a study which sought to create a fruitful and supportive environment that would allow 64 primary school student teachers participating in a sound stories’ project, to unearth their creative skills and abilities, through active participation and direct experimentation with sound and music. The study focused on the exploration of the formation of

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Carter, Tim. "Music Publishing in Italy, c.1580–c.1625: Some Preliminary Observations." Royal Musical Association Research Chronicle 20 (1987): 19–37. http://dx.doi.org/10.1080/14723808.1987.10540917.

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Many scholars have attempted to come to terms with the stylistic diversification and experimentation that characterises Italian sacred and secular music at the turn of the sixteenth century. Changes in aesthetic attitudes and musical styles are both seen as typical of the transition from the Renaissance to the Baroque periods. However, an important source for documenting this transition-the activities of the major music publishing houses in Italy centred largely in Venice, Rome, Milan and Naples-has been unduly neglected. To what extent did these activities reflect, or even influence, the cour

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Shchitova, Svitlana. "Bandura concert style of the 21st century (on the example of the bandura concerto with orchestra „Bandura foreverˮ by V. Martyniuk)". Музикознавча думка Дніпропетровщини, № 17 (20 листопада 2019): 5–16. http://dx.doi.org/10.33287/222001.

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The purpose of this scientific article is to determine the location of the bandura for a bandura with a piano by celebrated Ukrainian composer Valentina Martyniuk „Bandura foreverˮ in professional Ukrainian music. The target of this investigative work is determined by the corresponding tasks that are to identify the genre-style features of the musical character-logical language of outstanding, distinguished V. Martyniuk. The round of methods for this represented investigation is based on the historical, typological, analytical and didactic approaches, which allows the practically study of this

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Eden, Bradford Lee. "The Sounds of Vatican II: Musical Change and Experimentation in Two U.S. Trappist Monasteries, 1965–1984." U.S. Catholic Historian 32, no. 4 (2014): 77–97. http://dx.doi.org/10.1353/cht.2014.0024.

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Fernandez-Santiago, Miriam. "Of Language and Music: A Neo-Baroque, Environmental Approach to the Human, Infrahuman and Superhuman in Richard Powers’ Orfeo." Anglia 137, no. 1 (2019): 126–46. http://dx.doi.org/10.1515/ang-2019-0008.

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Abstract In 2014, Richard Powers published Orfeo. Literally, a road novel, Orfeo tells the story of retired, avant-garde composer Peter Els as he flees Homeland Security for bioterrorism. However, Els’s intentions in biohacking Serratia marcescens are merely artistic, and concerned only with encoding his last musical composition in the DNA of this bacterium. Troubled as he is with the purpose and reach of art, Els does not anticipate the consequences of his artistic experimentation until Homeland Security is after him. In Orfeo, the power of music to move human and natural elements and the ill

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21

Sanfilippo, Dario, and Andrea Valle. "Feedback Systems: An Analytical Framework." Computer Music Journal 37, no. 2 (2013): 12–27. http://dx.doi.org/10.1162/comj_a_00176.

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The use of feedback-based systems in the music domain dates back to the 1960s. Their applications span from music composition and sound organization to audio synthesis and processing, as the interest in feedback resulted both from theoretical reflection on cybernetics and system theory, and from practical experimentation on analog circuits. The advent of computers has made possible the implementation of complex theoretical systems in audio-domain oriented applications, in some sense bridging the gap between theory and practice in the analog domain, and further increasing the range of audio and

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22

ANDERSON, LAURA. "Musique concrète, French New Wave cinema, and Jean Cocteau'sLe Testament d'Orphée(1960)." Twentieth-Century Music 12, no. 2 (2015): 197–224. http://dx.doi.org/10.1017/s1478572215000031.

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AbstractJean Cocteau (1889–1963) is recognized as one of France's most well-known film directors, directing six films over a thirty-year period. This article argues that his film soundscapes occupy a unique position in the history of French film sound, providing a key link between contemporary experimentation in art music and the sonic experimentation of the New Wave filmmakers. This argument is best exemplified byLe Testament d'Orphée(1960), which represents the apotheosis of Cocteau's artistic output as well as the stage at which he was most confident in handling the design of a film soundsc

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23

Thorn, Seth Dominicus. "Flows of Inhomogeneous Matter: Improvising an augmented violin." Organised Sound 26, no. 1 (2021): 65–77. http://dx.doi.org/10.1017/s1355771821000066.

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This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-s

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Kieffer, Alexandra. "Bells and the Problem of Realism in Ravel’s Early Piano Music." Journal of Musicology 34, no. 3 (2017): 432–72. http://dx.doi.org/10.1525/jm.2017.34.3.432.

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Early in his career Maurice Ravel composed two pieces that take bells as their subject: “Entre Cloches” from Sites auriculaires, composed in 1897, and “La vallée des cloches,” the final movement of the 1905 work Miroirs. Although these pieces can be contextualized within a nineteenth-century lineage of French piano pieces that depict bell peals, they also set themselves apart by virtue of their heightened attention to the particularities of bell sonorities. Relying heavily on repetitive ostinato patterns, quartal harmonies, and intense dissonances, these pieces play in the nebulous space betwe

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Rovner, Anton А. "Mark Belodubrovsky, a Versatile Contemporary Composer, Violinist and Educator." ICONI, no. 1 (2021): 111–25. http://dx.doi.org/10.33779/2658-4824.2021.1.111-125.

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Mark Belodubrovsky is one of the most accomplished contemporary composers living presently in Moscow who has written a substantial amount of solo, chamber and vocal musical compositions of high quality, which are performed in Russia and in a number of other countries. His musical output is especially noted for its versatility of different styles of music: some of his compositions are traditional and romantic in their style and tonal in their harmony, with a strong infl uence of Russian folk music which the composer actively employs in a number of his compositions, while other works follow inno

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Jones, Stephanie. "DARMSTADT: THE ‘ARTISTIC LABORATORY’." Tempo 69, no. 271 (2015): 66–68. http://dx.doi.org/10.1017/s0040298214000667.

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Throughout the 2014 International Summer Course for New Music, the correlations between Darmstadt's scientific and artistic nuclei resonated. In his ‘Greeting’ note in the Summer Course programme booklet, the Mayor of Darmstadt, Jochen Partsch, describes the Summer Course as ‘an artistic laboratory … in which new works are presented and developed, in which musicians from all over the world find a forum for exchange and experimentation’. As in previous years, the Summer Course took place at various locations around Darmstadt city, which ensured the establishment of a vibrant learning environmen

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Ilchenko, Petro. "The director's concept of the opera performance through the prism of modern theater aesthetics." Ukrainian musicology 46 (October 27, 2020): 45–57. http://dx.doi.org/10.31318/0130-5298.2020.46.234593.

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The aim of the study. Rethinking conceptual approaches to creating a director's concept for an opera performance through the prism of modern theatrical aesthetics.The object is to determine modern transformations of opera performances as the results of experimentation in the field of musical theatre of young directors of Ukraine.The methodology of research consists of an integrated approach to solving the problem of modern directorial incarnations of opera performances; it involves the use of a system and analytical method to study the factors of influence on modifications in musical theatre a

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EVERIST, MARK. "Motets, French Tenors, and the Polyphonic Chanson ca. 1300." Journal of Musicology 24, no. 3 (2007): 365–406. http://dx.doi.org/10.1525/jm.2007.24.3.365.

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Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the early 14th century, our understanding is dominated by views drawn from lyric poetry, romance, criticism of musical and literary register, traditions of performance, and other abstract conceptualizations of this remarkable moment in the history of music. But there exists an extensive body of musical evidence that points to an energetic and sophisticated experimentation with musical and poetic elements that anticipated the style of polyphonic song cultivated by Machaut and his contemporaries. One such

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Dudhale, Khaleda. "MUSIC AND MUSIC AND PSYCHOLOGY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3438.

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Music is a branch of psychology and musicology that aims to understand and explain musical behavior and musical experiences. At the same time, understanding how music is composed and how it reacts and how individuals adopt it in daily life.The psychology of morden music analyzes man's involvement with systemic observation. Its many areas are research and experimentation with execution (chamatvitundam) composition, education, criticism, medicine, etc. Music psychology helps in understanding social behavior by human intelligence, skill and functionality. संगीत मनोविज्ञान एवं संगीत शास्त्र

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Funk, Tiffany. "A Musical Suite Composed by an Electronic Brain: Reexamining the Illiac Suite and the Legacy of Lejaren A. Hiller Jr." Leonardo Music Journal 28 (December 2018): 19–24. http://dx.doi.org/10.1162/lmj_a_01037.

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In 1956, Lejaren A. Hiller, Jr., and Leonard Isaacson debuted the Illiac Suite, the first score composed with a computer. Its reception anticipated Hiller’s embattled career as an experimental composer. Though the Suite is an influential work of modern electronic music, Hiller’s accomplishment in computational experimentation is above all an impressive feat of postwar conceptual performance art. A reexamination of theoretical and methodological processes resulting in the Illiac Suite reveals a conceptual and performative emphasis reflecting larger trends in the experimental visual arts of the

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Stimeling, Travis D. "‘Phases and stages, circles and cycles’: Willie Nelson and the concept album." Popular Music 30, no. 3 (2011): 389–408. http://dx.doi.org/10.1017/s0261143011000213.

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AbstractWhile many rock artists explored the compositional possibilities of the concept album in the 1960s and 1970s, Nashville's country music community largely ignored the format. But a few artists working on the fringes of country music – and who, notably, aligned themselves with the countercultural images and attitudes of the time – did begin to experiment with the format in the first years of the 1970s. Chief among them was country songwriter and recording artist Willie Nelson who, by the dawn of the 1970s, was on the verge of breaking away from Music Row to seek more lucrative opportunit

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STRAUS, JOSEPH N. "A Revisionist History of Twelve-Tone Serialism in American Music." Journal of the Society for American Music 2, no. 3 (2008): 355–95. http://dx.doi.org/10.1017/s1752196308080115.

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AbstractThe history of twelve-tone serial music in the United States extends from the late 1920s to the present day. Practitioners of a distinctively American brand of twelve-tone music have included many well-known composers in three distinct waves of activity: prewar experimentation by native-born “ultra-modern” composers amid an influx of European émigrés; a postwar boom; and a third wave of twelve-tone activity since 1980. This extensive repertoire shares certain structural features, including twelve-note aggregates and serial ordering, but even these very general compositional commitments

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Brooks, Daphne A. "“A Woman Is a Sometime Thing”: (Re)Covering Black Womanhood in Porgy and Bess." Daedalus 150, no. 01 (2020): 98–117. http://dx.doi.org/10.1162/daed_a_01836.

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This essay reexamines the legendary opera-musical Porgy and Bess by first tending to its origins in the dual phenomenon of early 1920s racialized sonic experimentation and the Southern literary conceits of DuBose Heyward, author of the 1925 novel Porgy on which the theater production was based. It traces the ways in which Heyward and George Gershwin's undertheorized fascination with “the vice of Black womanhood” effectively shaped the form and the content of a work often referred to as “America's most famous opera,” and it ultimately considers the ways that Black women artists navigated, compl

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Edgar, Robert, Fraser Mann, and Helen Pleasance. "Music, Memory and Memoir: Critical and creative engagement with an emerging genre." Journal of Writing in Creative Practice 12, no. 1-2 (2019): 181–99. http://dx.doi.org/10.1386/jwcp.12.1-2.181_1.

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In this article, we outline and explore a plural and flexible methodology for engaging with the contemporary music memoir. These are texts in which narrative experimentation and self-conscious interrogations of voice shape content. They are texts that blur and blend the lines between memory, storytelling and myth. They offer a literate and culturally engaged reader the opportunity to shape their own musical histories and memories. We view these titles as a new and emerging genre. Our work, which we are developing in a forthcoming edited collection entitled Music, Memory and Memoir, approaches

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Carriere, Michael H. "Touch and Go Records and the Rise of Hardcore Punk in Late Twentieth-Century Detroit." Cultural History 4, no. 1 (2015): 19–41. http://dx.doi.org/10.3366/cult.2015.0082.

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This essay uses the history of Touch and Go Records – an independent record label founded in 1981 – to show how the late twentieth-century environment of Detroit became fertile ground for the rise of hardcore punk. As the landscape of the post-industrial city was transformed by such developments as deindustrialization and white flight, a cadre of white, suburban youth transformed spaces of abandonment into places of innovation and alternative urban redevelopment, particularly in the city's troubled Cass Corridor neighborhood. Such urban spaces provided the room for musical experimentation in w

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PALMER, JOHN R. "Yes, ‘Awaken’, and the progressive rock style." Popular Music 20, no. 2 (2001): 243–61. http://dx.doi.org/10.1017/s026114300100143x.

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Going for the One was a good rebirth of Yes at that time, to find its feet and really know what it wanted to do. And we made ‘Awaken’ . . . (Morse 1996, p. 58).Since the release of their third recording, The Yes Album, in March 1971, the music of the English band Yes has been associated with the rock music substyle called ‘progressive rock’. The first two Yes albums showcase a very capable, inventive group of musicians who drew freely from the multitude of sounds around them, emulating aspects of the various musical styles they found engaging. However, it was not until they composed the works

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FELLS, NICK. "Kendhang, Or and Vug: three works for performer and live computer system." Organised Sound 4, no. 2 (1999): 79–85. http://dx.doi.org/10.1017/s1355771899002034.

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This paper outlines some of the technical and aesthetic issues arising from my works which involve computer technology directly in live performance. A process of experimentation in algorithmic composition is described, particularly in relation to aspects of form and ways of automating musical processes at various structural levels. Three works are then described: Kendhang is a work in which a dancer influences the output of a simple algorithmic music system based on interpolation; Or is an instrumental trio which uses realtime sound granulation; and Vug extends this realtime granulation and ap

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Munarriz, Alberto. "Hybridization and the Creation of “Third Spaces”: an Analysis of Two Works by Tomás Gubitsch." Articles 30, no. 2 (2011): 75–100. http://dx.doi.org/10.7202/1006379ar.

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Tango’s recent resurgence has greatly intensified the momentum of a long process of “international dissemination” that began with the genre’s arrival in Paris during the first decade of the twentieth century. The many dialogues promoted by this renewed popularity have set the stage for an unprecedented period of development marked by artistic collaboration, experimentation, and hybridization. As a result, the genre is undergoing numerous changes; among the most striking are the new sonic shapes it is assuming. Through the detailed analysis of two compositions by Argentine guitarist and compose

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Bane, Michael A. "‘O Strange Transformation!’ The Monologue from Act II Scene 5 of Lully and Quinault's Armide (1686) and the Retelling of Tasso in France." Cambridge Opera Journal 31, no. 1 (2019): 1–25. http://dx.doi.org/10.1017/s0954586719000107.

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AbstractIn the famous monologue from Act II scene 5 of Lully and Quinault's Armide (1686), the title character attempts to slay the sleeping hero Renaud but, overcome by his beauty, falls in love with him instead. As commentators have noted, the monologue departs from the opera's source material, Tasso's epic poem La Gerusalemme liberata (1581). In contrast to the placid scene recounted by Tasso in canto 14 of the original work, the libretto depicts Armide's transformation from enemy to lover as a moment of struggle and psychological doubt. While scholarship has generally credited Quinault wit

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Rice, Hugh Collins. "WALTON'S FINAL WORK: HARMONY AND THE ART OF (MAKE-BELIEVE) FUGUE." Tempo 66, no. 262 (2012): 39–47. http://dx.doi.org/10.1017/s0040298212000368.

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AbstractWalton's Prologo e Fantasia, written at the end of his life, is one of the few completed original works of his final decade. Undoubtedly flawed, it can be seen simply as an exemplar of Walton's failing creative powers and his sheer difficulty in writing any music at all. But it is also possible to discern in it continued experimentation with developing aspects of his language, especially seen in the context of his exploration of similar devices in preceding works. Analysis of his harmony shows development of greater ambiguity in a tonal context. And, while many of his other works conta

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Krouk, Dean. "The Montage Rhetoric of Nordahl Grieg’s Interwar Drama." Humanities 7, no. 4 (2018): 99. http://dx.doi.org/10.3390/h7040099.

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This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusse

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Strange, Simon. "Cybernetic systems of music creation." Journal of Popular Music Education 3, no. 2 (2019): 261–76. http://dx.doi.org/10.1386/jpme.3.2.261_1.

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Simplicity of thought and operation can help to define complex end results, with cybernetic systems being a useful means of defining this within songwriting practices. This study outlines utilization of cybernetic practices by key popular music composers, including David Byrne and Brian Eno, who benefited from an art school education which supported these practices. As postmodern creation became more evident within art colleges, systemized processes of creation, where hierarchies were delineated, supported freedom and experimentation within the creative process. The non-musician was able to ex

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Naqvi, Erum. "Reinventing Ruhowzi." Middle East Journal of Culture and Communication 13, no. 1 (2020): 28–48. http://dx.doi.org/10.1163/18739865-01301002.

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Abstract In the last few years, Tehran’s arts culture has seen the re-emergence of a thriving theater scene, including experimentation with various performance practices that were restricted in public forums for several years. In this article, I address a 2017 production called Gonbadgah which is a choreographed regional ethnic dance interwoven with classical music and staged as a story inspired by ruhowzi, the erstwhile cabaret theater of early twentieth-century Iran. Offering a genealogy of ruhowzi that traces its artists from from elite performers with royal patronage to low-brow urban ente

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Pinto, Luís Aleixo H. Sofía, and Nuno Correia. "A computational creativity approach from music to images." ACM SIGEVOlution 14, no. 2 (2021): 1–5. http://dx.doi.org/10.1145/3477379.3477380.

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Our system generates abstract images from music that serve as inspiration for the creative process. We developed one of many possible approaches for a cross-domain association between the musical and visual domains, by extracting features from MIDI music files and associating them to visual characteristics. The associations were led by the authors' aesthetic preferences and some experimentation. Three different approaches were pursued, two with direct or random associations and a third using a genetic algorithm that considers music and color theory while searching for better results. The resul

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Nonken, Marilyn. "‘LA NOTATION NE PEUT RENDRE COMPTE DU FAIT’: PERFORMING MURAIL'S ‘TERRITOIRES DE L'OUBLI’." Tempo 62, no. 244 (2008): 2–10. http://dx.doi.org/10.1017/s0040298208000089.

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For contemporary music in America and Europe, the 1970s were a time in which the old order was changing, giving place to a new avant-garde. In Germany, the Darmstädter Ferienkurse für Neue Musik was stagnating under the inept leadership of Ernst Thomas, savaged by the press and ridden with inner squabbling and politics. For 25 years a bastion of musical innovation and experimentation, Darmstadt now seemed little more than ‘the crumbling edifice of the avant-garde's chief fortress’. The focus was shifting to Paris, where, in 1977, IRCAM opened beneath the Centre Georges Pompidou. Led by Pierre

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Kluth, Andrew J. "Intertextuality and the Construction of Meaning in Jazz Worlds: A Case Study of Joe Farrell’s “Moon Germs”." Journal of Jazz Studies 12, no. 1 (2019): 51–71. http://dx.doi.org/10.14713/jjs.v12i1.117.

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(Opening paragraph): In this article, I invoke the concept of intermusicality as defined by Ingrid Monson and develop its role in meaning-making in musical worlds. Her groundbreaking book, Saying Something: Jazz Improvisation and Interaction (1996) offers a sophisticated criticism of jazz improvisation and the construction of meaning therein. In doing so, it explores methods by which to nuance and/or rupture traditional historiographies that construct the jazz canon. More than intermusicality, though, I look to a more general intertextuality as a hermeneutic window disruptive to the “great man

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Major, Angela E., and Michelle Cottle. "Learning and teaching through talk: music composing in the classroom with children aged six to seven years." British Journal of Music Education 27, no. 3 (2010): 289–304. http://dx.doi.org/10.1017/s0265051710000240.

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We know that pupil talk is an integral part of the learning process. Previous research has not viewed affective engagement in a music composing task as a vehicle for developing higher order discourse skills. The aim of this study is to evaluate the significance of teacher questioning in encouraging quality dialogue with children during music composing. This paper reports on an empirical study investigating dialogue with young children during an imaginative music composing task. Pairs of children aged 6 and 7 years were audio recorded as they talked to each other and the researcher about the ta

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Fitzpatrick, Orla. "Vox magazine: Dublin street fashion and photography in an early 1980s magazine." Punk & Post Punk 9, no. 2 (2020): 267–85. http://dx.doi.org/10.1386/punk_00042_1.

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This article explores the editorial and photographic content of Vox, a Dublin magazine that covered the musical, artistic and sartorial tastes adopted by various subcultures on the streets of the Irish capital. Edited and published by Dave Clifford between 1980 and 1983, the magazine featured local and international post-punk bands, performance artists, writers and those on the scene. Particular reference is paid to the role of markets, such as the Gaiety Green, the Ivy and the Dandelion, as sites for the exchange of both ideas and goods. The creativity and self-expression embodied within thes

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Shulman, David. "Reading and re-reading the Vasu-caritramu." Indian Economic & Social History Review 56, no. 3 (2019): 339–60. http://dx.doi.org/10.1177/0019464619852441.

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Bhaṭṭumūrti’s mid-sixteenth-century masterpiece, Vasu-caritramu, is a tour de force of linguistic and poetic experimentation. Its complex verses, many of them paronomastic (śliṣṭa), require decoding by the adept listener of reader; but such decoding never exhausts their expressive potential, much of which depends upon powerful sonic, musical and rhythmic effects. This essay attempts to reconstruct the (lost) protocols of reading for this complex work, including the pervasive links to earlier intertexts, the magic of combining syllables to work upon both the world and the reader’s mind, and the

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Rocha, Maria Beatriz, Ohana Turcato Macacare, Roberta Carvalho Cesário, Mariana Benassi-Werke, and Roberta Ekuni. "INTERVENÇÃO MUSICALIZANDO : EXPERIMENTAÇÃO MUSICAL EM UMA AÇÃO EXTENSIONISTA." REVISTA BRASILEIRA DE EXTENSÃO UNIVERSITÁRIA 10, no. 3 (2019): 115–21. http://dx.doi.org/10.24317/2358-0399.2019v10i3.10965.

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A música expressa ideias individuais ou da sociedade, presentes em determinadas épocas da História, servindo como um importante instrumento pedagógico de entendimento interdisciplinar dos conteúdos, em todas as etapas da educação. Além disso, a música exerce um importante papel na plasticidade cerebral, que é a capacidade do cérebro de modificar sua organização estrutural e funcionamento. O objetivo do presente trabalho é relatar a exposição do estande Musicalizando, no evento Conhecendo o Cérebro, realizado pelo Grupo de Estudos em Neurociência da Universidade Estadual do Norte do Paraná (UEN

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