Relevant bibliographies by topics / Musical interplay

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Musical interplay'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Musical interplay"

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Kane, Jan. "Interplay: Societal Influences on Musical Perceptions." International Journal of Interdisciplinary Social Sciences: Annual Review 3, no. 10 (2009): 103–10. http://dx.doi.org/10.18848/1833-1882/cgp/v03i10/52747.

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Harer, Ingeborg. "The interplay of musicological research, musical performance, and musical education." European Legacy 1, no. 4 (July 1996): 1331–35. http://dx.doi.org/10.1080/10848779608579574.

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Brown, Helen. "The Interplay of Set Content and Temporal Context in a Functional Theory of Tonality Perception." Music Perception 5, no. 3 (1988): 219–49. http://dx.doi.org/10.2307/40285398.

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The purpose of this study was to provide evidence for the perceptual component of an analysis of pitch relationships in tonal music that includes consideration of both formal analytic systems and musical listeners' responses to tonal relationships in musical contexts. It was hypothesized (1) that perception of tonal centers in music develops from listeners' interpretations of time-dependent contextual (functional) relationships among pitches, rather than primarily through knowledge of psychoacoustical or structural characteristics of the pitch content of sets or scales and (2) that critical perceptual cues to functional relationships among pitches are provided by the manner in which particular intervallic relationships are expressed in musical time. Excerpts of tonal music were chosen to represent familiar harmonic relationships across a spectrum of tonal ambiguity/specificity. The pitch-class sets derived from these excerpts were ordered: (1) to evoke the same tonic response as the corresponding musical excerpt, 2) to evoke another tonal center, and (3) to be tonally ambiguous. The effect of the intervallic contents of musical excerpts and strings of pitches in determining listeners' choices of tonic and the effect of contextual manipulations of tones in the strings in directing subjects' responses were measured and compared. Results showed that the musically trained listeners in the study were very sensitive to tonal implications of temporal orderings of pitches in determining tonal centers. Temporal manipulations of intervallic relationships in stimuli had significant effects on concurrences of tonic responses and on tonal clarity ratings reported by listeners. The interval rarest in the diatonic set, the tritone, was the interval most effective in guiding tonal choices. These data indicate that perception of tonality is too complex a phenomenon to be explained in the time-independent terms of psychoacoustics or pitch- class collections, that perceived tonal relationships are too flexible to be forced into static structural representations, and that a functional interpretation of rare intervals in optimal temporal orderings in musical contexts is a critical feature of tonal listening strategy.
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Gribenski, Fanny. "Nature's “Disturbing Influence”: Sound and Temperature in the Age of Empire." 19th-Century Music 45, no. 1 (2021): 23–36. http://dx.doi.org/10.1525/ncm.2021.45.1.23.

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Today, knowledge concerning the relationship between temperature and musical pitch shapes many dimensions of Western musical practice, from the ambient conditions of performance sites to the design of musical instruments, and performers’ routines and techniques. But the history of how temperature came to play such a defining role in musical cultures remains unexamined. This article lays the foundations for such work by approaching musical instruments as sites of negotiation between acousticians, instrument makers, and players on the one hand, and music's variegated environments on the other. First, the article shows that the conceptualization of pitch in relation to temperature was a by-product of nineteenth-century international negotiations over musical standardization. These debates reveal that, while assessing the relation between pitch and temperature may seem like a decisive step toward the regulation of musical frequencies, in fact it was the source of countless epistemological and sociopolitical problems. Next, the article turns to David J. Blaikley, a British maker of wind instruments, whose experiments on the influence of extreme temperature variations on army-band instruments revealed the limits of Western attempts to control sound on a global scale, including in colonial contexts. Finally, I trace the implications of this new awareness of the interplay between sound and the environment to expose the silent ways in which that awareness continued to inform Western musical practice into the 1940s and beyond.
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Ferm Almqvist, Cecilia. "Becoming (Musical) Woman—Virtual Femininity Beyond Gender in Interplay with Spotify." Feminist Encounters: A Journal of Critical Studies in Culture and Politics 5, no. 1 (March 5, 2021): 10. http://dx.doi.org/10.20897/femenc/9747.

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Turker, Sabrina, and Susanne M. Reiterer. "Brain, musicality, and language aptitude: A complex interplay." Annual Review of Applied Linguistics 41 (March 2021): 95–107. http://dx.doi.org/10.1017/s0267190520000148.

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AbstractMusic and language are highly intertwined auditory phenomena that largely overlap on behavioral and neural levels. While the link between the two has been widely explored on a general level, comparably few studies have addressed the relationship between musical skills and language aptitude, defined as an individual's (partly innate) capacity for learning foreign languages. Behaviorally, past research has provided evidence that individuals’ musicality levels (expressed by singing, instrument playing, and/or perceptive musical abilities) are significantly associated with their foreign language learning, particularly the acquisition of phonetic and phonological skills (e.g., pronunciation, speech imitation). On the neural level, both skills recruit a wide array of overlapping brain areas, which are also involved in cognition and memory.The neurobiology of language aptitude is an area ripe for investigation, since there has been only limited research establishing neurofunctional and neuroanatomical markers characteristic of speech imitation and overall language aptitude (e.g., in the left/right auditory cortex and left inferior parietal areas of the brain). Thus, as noted above, in this short review for ARAL, the aim is to describe the most recent neuroscientific findings on the neurobiology of language aptitude, to discuss the complex interplay between language aptitude and musicality from neural and behavioral perspectives, and to briefly outline what the promise of future research in this area holds.
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Rehding, Alexander. "Liszt's Musical Monuments." 19th-Century Music 26, no. 1 (2002): 52–72. http://dx.doi.org/10.1525/ncm.2002.26.1.52.

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The music topic of "apotheosis" is examined in the context of Liszt's artistic biography. While the effect of the final apotheosis is familiar as a standard procedure in his symphonic poems, a prominent critical strand suggests that the overwhelming effect of the apotheosis may merely conceal a fundamental vacuity. Nietzsche in particular develops an incisive critique of this kind of monumentality, which he links with a historiographic model of what he calls "monumental history." Nietzsche's historical model is probed against an episode from Liszt's career, in which the apotheosis topic first entered his orchestral music: the Cantata for the inauguration of the Bonn Beethoven monument (1845). In this cantata, Liszt chooses a quotation from Beethoven's "Archduke" Trio for the apotheosis. In this way, the cantata pits a musical kind of monumentality against the physical Beethoven movement, not dissimilar from attempts by Schumann and Jean Paul to theorize nineteenth-century monumentality. Moreover, with this "secular sanctus" Liszt forges an artistic link between the dead composer and himself. This episode, by means of which Liszt succeeded in consolidating his fame as Beethoven's rightful heir, turns out to be crucial for his subsequent career when he settled in Weimar as a self-consciously great composer (and wrote his symphonic poems). The events surrounding Liszt's engagement in the Beethoven monument are used as an exemplar of a notion of nineteenth-century musical monumentality that thrives on the interplay between the musical structure, the events amid which the performance took place, and the biographical background of the (genius-)composer.
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Martínez-Molina, Noelia, Ernest Mas-Herrero, Antoni Rodríguez-Fornells, Robert J. Zatorre, and Josep Marco-Pallarés. "Neural correlates of specific musical anhedonia." Proceedings of the National Academy of Sciences 113, no. 46 (October 31, 2016): E7337—E7345. http://dx.doi.org/10.1073/pnas.1611211113.

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Although music is ubiquitous in human societies, there are some people for whom music holds no reward value despite normal perceptual ability and preserved reward-related responses in other domains. The study of these individuals with specific musical anhedonia may be crucial to understand better the neural correlates underlying musical reward. Previous neuroimaging studies have shown that musically induced pleasure may arise from the interaction between auditory cortical networks and mesolimbic reward networks. If such interaction is critical for music-induced pleasure to emerge, then those individuals who do not experience it should show alterations in the cortical-mesolimbic response. In the current study, we addressed this question using fMRI in three groups of 15 participants, each with different sensitivity to music reward. We demonstrate that the music anhedonic participants showed selective reduction of activity for music in the nucleus accumbens (NAcc), but normal activation levels for a monetary gambling task. Furthermore, this group also exhibited decreased functional connectivity between the right auditory cortex and ventral striatum (including the NAcc). In contrast, individuals with greater than average response to music showed enhanced connectivity between these structures. Thus, our results suggest that specific musical anhedonia may be associated with a reduction in the interplay between the auditory cortex and the subcortical reward network, indicating a pivotal role of this interaction for the enjoyment of music.
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Useche, Jorge E., Rafael G. Hurtado, and Federico Demmer. "Interplay between musical practices and tuning in the marimba de chonta music." Journal of New Music Research 48, no. 5 (September 24, 2019): 479–500. http://dx.doi.org/10.1080/09298215.2019.1667399.

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Stubley, Eleanor. "Field Theory and the Play of Musical Performance." British Journal of Music Education 12, no. 3 (November 1995): 273–83. http://dx.doi.org/10.1017/s0265051700002746.

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This paper utilizes the vocabulary and methodological concepts of field theory to explore how play can arise in and through performance. Field is defined as a space or potential for action. The action of play is grounded in an open and expanding space which through a dialectic interplay of feelings motivates self-exploration. The action of musical performance is grounded in a reaching out movement through which the performer forges and sustains a musical voice. The field can create a space for play when the music-making re-directs or challenges the focus of the musical voice. The methodological approach recognizes and respects differences in the way music is made in different cultural traditions. It also articulates a need to develop instructional strategies which treat musical style as a ritualistic process and which define the role of the teacher as a musician.1
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Dissertations / Theses on the topic "Musical interplay"

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Dooley, James. "Sounding the environment : research through composition exploring the interplay of space and place in musical and installation works." Thesis, Birmingham City University, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.691367.

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The relationship between sound and the environment is complex. How we present musical or sound works has a profound effect on the way we perceive them, and the way we perceive the performance or installation environment. Composers and sound artists can exploit and explore this fundamental relationship between sound and environment through creative works. From utilising a place's acoustic properties to exploring its cultural significance, the artist has access to a palette of resources to transform the audience's conceptualisation of sound and environment. When creating a work that explores a sound-environment relationship, it is important that we then ask how the work can engage with its performance or installation environment, how it can be adapted to different environments, and how it can transform a space into place. A range of approaches exploring and integrating sound-environment relationships into musical and sound works are investigated in this thesis. A practice-based methodology has been adopted, where I have iteratively contextualised and critically reflected upon my own creative practice. This has produced a portfolio of creative works, software and a written commentary. Emerging from the portfolio and works examined throughout this research, a typology of sound-environment relationships is proposed. In conclusion, an assessment is given of how the typology and portfolio each address the research questions. General conclusions are then presented, further discussing how to approach works with sound-environment relationships and suggestions for their possible applications. Finally, potential research beyond this thesis is also discussed.
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Stuart, Karyn Lesley. "Exploring the role of music therapy in the nurturing of personhood in a male psychogeriatic [i.e. psychogeriatric] ward." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/31349.

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This clinical enquiry, based on clinical work undertaken during an internship, explores the role of music therapy in the nurturing of personhood of persons in a male psychogeriatric ward. The purpose of the enquiry is to draw insights into the role of music therapy in fostering personhood, not only in patients, but nursing staff members, who were included in the weekly music therapy group. The music therapy sessions included a variety of musical activities with many opportunities for performing. Over the course of thirteen sessions, clinical material was selected via purposive sampling, in the form of three video excerpts, and text lifted from observation notes. This material was analyzed using the research methods of coding, categorizing and identifying themes. The emerging themes are opportunities for growth of personal worth; experience of a changing group and self-identity; community: being in social relationship with others; and musical interplay: expression through music. It appears that music therapy indeed played a role in nurturing the personhood of group members, through the affordance of opportunities, and through enablement and empowerment of the individuals and the group. It would seem that including staff in the music therapy groups, developed not only their own personhood, but the personhood of the patient. This may have implications in music therapists’ view of the role of the nursing staff member within a music therapy group. Staff may be seen as, not only perfunctory helpers, but as a contributing, equal members of a music therapy group.
Dissertation (MMus)--University of Pretoria, 2008.
Music
UCTD
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Bradfield, Ann. "An Annotated Bibliography of Selected Music for Saxophone by Charles Ruggiero with an Analysis of Interplay for Soprano Saxophone and Piano." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28397/.

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Ruggiero's contributions to contemporary music are noteworthy. They include 27 works written for solo instruments, voice, as well as chamber groups and large ensembles. This study serves as an annotated bibliography of selected works written for saxophone by Charles Ruggiero. They include a piece for large chamber ensemble, Dig: From Tunes My Grandmother Heard (2009), a trio for flute, clarinet, and alto saxophone titled Echoes of "Piano Red" (2006), two saxophone quartets, Dig: JSB 1 (2003), and Three Blues for Saxophone Quartet (1981), two works for alto saxophone and piano, Night Songs and Flights of Fancy (2005), and Strayhorn (1999-2000), one piece for soprano saxophone and piano, Interplay for Soprano Saxophone and Piano (1988), a single movement work for alto saxophone, piano, winds, and percussion, Dance Complusions (2004), one duo for tenor saxophone and percussion, Sizzlesax II (2001), one concerto for soprano saxophone and piano, Concerto for Soprano Saxophone and Orchestra (1995, rev. 1999), and a trio for violin, alto saxophone, and piano, Dances and Other Movements (1983, rev. 1984). In addition, an analysis of Ruggiero's composition Interplay for Soprano Saxophone and Piano offers an insight into the compositional style of the composer.
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Kupfer, Diana [Verfasser], and Dorothea [Akademischer Betreuer] Redepenning. ""Nec tecum nec sine te" : Language-Music Interplays in Musical Responses to Samuel Beckett / Diana Kupfer ; Betreuer: Dorothea Redepenning." Heidelberg : Universitätsbibliothek Heidelberg, 2011. http://d-nb.info/1179785185/34.

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Svensson, Christian. "Improvisationsundervisning i ensembleformat." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-14963.

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Syftet med studien är att definiera musikaliska redskap och plattformar för studenter i ämnet improvisation på eftergymnasial nivå. Mitt intresse för ämnet ligger i de positiva möjligheter improvisationen erbjuder vår undervisning och är utgångspunkten för detta arbete. Jag upplever att forskning som inriktar sig på improvisationsundervisningens didaktik för ensemble på högre nivå med fördel kan utökas från vad vi idag har att tillgå, därav utgår studien från ett didaktiskt perspektiv på undervisning.   För att söka svar på mina frågor har jag använt mig av den kvalitativa forskningsintervjun i mötet med mina informanter. De fyra utvalda musiklärarna har alla undervisat improvisation i ensembleformat, de flesta med inriktning mot rytmisk och improviserad musik.   I resultatet presenteras bland annat en syn hos de intervjuade musiklärarna som visar på vikten av ett personligt och ärligt musikutövande där den instrumentaltekniska färdigheten först får liv och mening då studenten har en konstnärlig åsikt att förmedla. Sedan diskuteras bland annat lärarnas kompetens som improvisationspedagoger i relation till Hanken och Johansens (1998) musikdidaktiska utgångspunkter, samt ämnets möjliga utveckling och framtida undervisningsstruktur.
The study aims to define musical tools and platforms for students in the subject of improvisation at the collegiate level. My interest in the subject, and starting point for this work, lies in the positive benefits of working with improvisation. I feel that research today, focused on teaching improvisation for ensemble at a higher level can be extended from what is currently available. I have therefore chosen didactics as my theoretical basis.   In search of answers to my questions, I am using the qualitative research interview method with my informants. The four selected informants have all been teaching improvisation in ensemble, most with a focus on rhythmic and improvised music.   The results are presented including a view of the interviewed music teachers on the importance of a personal and candid music performance in which instrumental technique emerges when the student has an artistic opinion to impart. Thereafter, the study will discuss the teachers' pedagogical skills as improvisation teachers in relation to Hanken and Johansen's (1998) music didactic viewpoints, and possible development and future educational structure for the subject of improvisation.
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Malmgren, Johanna, Louise Johansson, and Caroline Nilsson. "Musik sätter ton i film : En studie om filmmusiks betydelse för film och dess upplevelse." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-60216.

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Syfte Vårt syfte är att utreda och analysera vad som karaktäriserar filmmusik samt klarlägga musikens betydelse för film. Forskningsfrågor På vilket sätt kan film och musik influera varandra och hur kan samspelet mellan dem se ut? Hur kan musik användas som ett verktyg för att påverka helhetsupplevelsen av film?   Metod Vår studie är av en kvalitativ karaktär grundad i ett växelspel mellan en induktiv och en deduktiv ansats. Empirisk data baseras på sju semistrukturerade intervjuer.   Slutsats I studien har vi kommit fram till att filmmusik har stor betydelse för kundens slutgiltiga upplevelse av en film. Filmmusik kan fungera i ett sätt att guida konsumenten genom filmen och ta till sig det uttryck som vill förmedlas. För att musiken ska få sin ultimata kraft bör det finnas en fin balansgång i samspelet mellan komponenterna. Det finns ingen mall att följa när det kommer till musiksättande i samband med film, sammanhanget är det som spelar roll. De båda medieformerna kan vid rätt balans sinsemellan höja och även dra fokus till varandra.
Purpose          Our purpose of this study is to investigate and analyse what characterises film music and what makes the music significant for film.   Research questions In what way can film and music influence each other and how can the interaction between the two take form? How can music be used as a tool to influence the general experience of the film? Method Our method in this study is based on a qualitative approach with an interplay between an inductive and deductive hypothesis. Empirical data is based on seven semi structured interviews.   Conclusion Our study has shown that film music has great impact on the customer's experience of a film. Film music can work as a way to guide the consumer through the movie and absorb the expression that is transmitted. For the music to reach its full potential there should be a balance in the interaction between the components. There is no specific right or wrong when it comes to putting music into films, it is the context that matters. With the right balance both forms of media can accentuate and market each other.
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Leanderson-Andréas, Elinne. "Input - output : låtskrivandes utveckling genom samspel." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1453.

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Det här projektet handlar om att utveckla mitt låtskrivande och vikten av att få både input och output från mina medmusiker och därigenom inspiration till att komponera och arrangera. Jag skriver låtar i genren pop/singer-songwriter men då jag själv är violinist har jag valt att spela med bara stråkinstrument och sång. Bandet består av mig som sjunger och spelar fiol, en cellist och en violinist som även sjunger. I arbetet kan man läsa om processen genom komponerande, arrangerande och repeterande av de fyra låtarna jag har skrivit. Målet är att skriva låtar, arrangera dem, repetera dem, spela in dem i studio, mixa låtarna och sedan spela dem på en konsert. Dessutom finns det ett mål att utvecklas musikaliskt och personligt och våga stå för den musik jag skriver. Nu finns låtarna upplagda på internet (http:// soundcloud.com/violinne) och jag är mycket nöjd med resultatet.
This project is about developing my songwriting and the importance of getting both input and output from my fellow musicians and thereby inspired to compose and arrange. I write songs in the genre of pop / singer-songwriter but as I myself am a violinist, I have chosen to play with only stringed instruments and vocals. The band consists of me singing and playing the violin, a cello and a violin player who also sings. In this project, you can read about the process by composing, arranging and repeating the four songs I've written. The goal is to write songs, arrange them, repeat them, record them in the studio, mix songs and have a public play. There is also a personal goal to evolve musically and personally, and self courage of the music I write. Now there are songs uploaded on the Internet (http://soundcloud.com/ violinne) and I am very happy with the results.

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Anderberg, Elisabet. "Hierarkin i orkestern : en kvalitativ studie i upplevelsen av hierarkisk och icke-hierarkisk orkestersteuktur." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2419.

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From a hermeneutic perspective, a qualitative study based on interviews of six musicians has been conducted. The informants work or have worked in orchestras with hierarchical or non- hierarchical structure. The asked questions concerned the informants’ experiences of equality, interaction, motivation, their personal musical development and the quality of the orchestra’s performance. The biggest differences that were noticed concerned the perceived degree of equality, which was higher in the non-hierarchical orchestra. Furthermore, the psychosocial environment correlates with equality in the orchestra and is thus a structural issue. All the informants stated that the best musical performance can be achieved in a hierarchical orchestra, in which all musicians play the part they auditioned to. Contrary to the results from the interviews, the literature used in this study states that the best musical quality is achieved in orchestras with a non-hierarchical structure.
Med utgångspunkt i ett hermeneutiskt perspektiv har en kvalitativ studie genomförts, med intervjuer av sex musiker. Dessa arbetar eller har arbetat i hierarkisk eller icke- hierarkisk orkesterstruktur. Frågorna som ställts har handlat om informanternas upplevelse av jämlikhet, samspel, motivation, den egna musikaliska utvecklingen samt det musikaliska resultatet i orkestern. De skillnader som var störst framkom i upplevelsen av jämlikhet, som upplevdes starkast i den icke-hierarkiska orkestern. Den psykosociala miljön relateras till jämlikheten i orkestern och är således en strukturell fråga. En gemensam åsikt som framkom i undersökningen var att det bästa musikaliska resultatet uppnås i den hierarkiska orkesterstrukturen där alla spelar den stämma de har provspelat sig till och således spelar med högsta möjliga nivå. De exemplen från litteraturen som tas upp visar dock en annan bild av hög musikalisk nivå, som uppnås i orkestrar med icke-hierarkisk struktur.
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Falkstedt, Elna, and Jennie Kron. ""Jag vill röra på min kropp för det är så härligt" : ett utvecklingsarbete om de yngre barnens interaktion och delaktighet i musikundervisning i förskolan." Thesis, Högskolan Kristianstad, Sektionen för lärande och miljö, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-17704.

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Syftet med studien är att få syn på hur de yngre barnen i förskolan är delaktiga och hur de interagerar i musikundervisningen. Detta har undersökts genom observation av 1–3-åringar i ett musikrum på en förskola. Undersökningen är en del av ett utvecklingsarbete utifrån ett behov på förskolan där studien är gjord. Studien är utförd genom en kvalitativ forskningsmetod med deltagande observation. Empirin till studien är insamlad genom fältanteckningar och filmning. Vår teoretiska utgångspunkt i studien är det sociokulturella perspektivet som hanterar samspel. Aktuell och relevant forskning hanteras. Fokus läggs på begrepp som musicking, delaktighet, interaktion, samspel och undervisning. Resultatet visar att barnen är delaktiga på olika sätt, som genom verbal kommunikation, kroppsspråk, ögonkontakt och att utforska kreativt. Resultatet visar även att utformningen av miljön inverkar på hur musikaliskt stimulerande den är och hur den bidrar till barns delaktighet i musikundervisningen.
The purpose of this study is to see how the young children in preschool is participating and how they interact in music education. We have observed preschoolers at the age of 1-3 years old in a music room in a preschool. The study is a part of a development project from a need the preschool had. The study is made through a qualitative research method with observation. The data is collected through notes and filming. Our theoretical starting point is the socio-cultural perspective that handles interaction. We look at new and relevant research. Our focus is on words like musicking, participation, interaction, interplay and education. The result show us that the children are participating in different ways, by vocal communication, body language, eye contact and by exploring creatively. The result also shows us that the environment affects children’s participation.
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Björkgren, Johan. "Audiovisuella sensationer i den digitala tidsåldern : En kvalitativ studie om hur artister använder audiovisuell media i sin kommunikation." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101379.

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En kombination av ljud och bild, audiovisuell media, har under en längre tidsperiod varit ett sätt att skapa uppmärksamhet kring en artist. Den teknologiska utvecklingen har förbättrat de audiovisuella verktygen och gjort de mer tillgängliga. Dock har denna utveckling även skapat fler digitala kommunikationskanaler och ett informationsbrus som kan vara svårt för en artist att nå igenom. Utifrån detta kan artister behöva nå sin publik på ett djupare plan, vilket eventuellt kan uppnås genom sinnesmarknadsföring. Denna uppsats har därför som syfte att undersöka hur och varför artister använder audiovisuell media i sin kommunikation via sociala medier samt vilken betydelse samspel mellan flera sinnen har för att förmedla artistens identitet. Undersökningen har tillämpat en kvalitativ forskningsstrategi med hermeneutik som kunskapsteoretisk utgångspunkt. Utifrån denna har studien antagit en abduktiv ansats. Datainsamling för studien utfördes genom semistrukturerade intervjuer, varav två genomfördes personligen, tre via telefon och två respondenter besvarade intervjufrågor via e-mail. Respondenter valdes genom ett målstyrt urval med kriterierna att respondenterna skulle inneha kunskap eller erfarenhet om ämnet genom sitt arbete och inkludera olika åldrar, könstillhörigheter och geografiska hemvister. Resultatet av denna undersökning är att artister kan använda audiovisuell media på ett mångfacetterat sätt som beror på artistens genre, sammanhang och målgrupp. Studien har identifierat tre typer av audiovisuell media: kortare videor, fullskaliga musikvideor samt livestreaming. Artister använder audiovisuell media utifrån olika syften som kan innefatta att kommunicera sin varumärkesidentitet, att addera till ett konstnärligt uttryck eller att etablera närmare relationer till sin målgrupp. Semantisk kongruens mellan flera sinnen är av betydelse för att förmedla en autentisk helhetsbild av artisten. I framtiden kan audiovisuell media få ökad betydelse genom en allt snabbare konsumtionskultur och mer tillgänglig teknik. Denna teknik kan även komma att möjliggöra inkludering av fler sinnen och därmed bidra till en starkare immersiv upplevelse för konsumenten.
A combination of sound and image, audio-visual media, has for a long time been a way to create attention around an artist. Technological developments have improved the audio-visual tools and made them more accessible. However, this development has also created more digital communication channels and an information noise that can be difficult for an artist to get through. Based on this, artists may need to reach their audience on a deeper level, which can possibly be achieved through sensory marketing. This study therefore aims to investigate how and why artists use audio-visual media in their communication via social media and the importance of interplay between several senses in conveying the artist's identity. The study has applied a qualitative research strategy with hermeneutics as the epistemic foundation. Based on this, the study has adopted an abductive approach. Data collection was performed through semi-structured interviews, of which two were conducted in person, three by telephone and two respondents answered interview questions via e-mail. Respondents were selected through a goal-directed selection with the criteria that the respondents would have knowledge or experience of the subject through their work and include different ages, genders and geographical residences. The result of this study is that artists may use audio-visual media in a multifaceted way that depends on the artist's genre, context and target group. The study has identified three types of audio-visual media: shorter videos, full-scale music videos and live streaming. Artists use audio-visual media for various purposes that may include communicating their brand identity, adding to an artistic expression or establishing closer relationships with their target audience. Semantic congruence between several senses is important for conveying an authentic holistic picture of the artist. In the future, audio-visual media may become more important through an ever-intensifying consumer culture and more accessible technology. This technology may also enable the inclusion of more senses and thus contribute to a stronger immersive experience for the consumer.
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Books on the topic "Musical interplay"

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Johnston, Ian H. Measured tones: The interplay of physics and music. Bristol: Institute of Physics Publishing, 1989.

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Measured tones: The interplay of physics and music. 3rd ed. Boca Raton: CRC Press, 2009.

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Measured tones: The interplay of physics and music. 2nd ed. Bristol: Institute of Physics Pub., 2002.

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Johnston, Ian. Measured tones: The interplay of physics and music. Bristol: Hilger, 1989.

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Story and song: A postcolonial interplay between Christian education and worship. New York: Peter Lang, 2013.

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Ho, Wai-Chung. Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463729932.

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Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China examines the recent developments in school education and music education in Greater China – Mainland China, Hong Kong, and Taiwan – and the relationship between, and integration of, national cultural identity and globalization in their respective school curriculums. Regardless of their common history and cultural backgrounds, in recent decades, these localities have experienced divergent political, cultural, and educational structures. Through an analysis of the literature, official curriculum documents, approved music textbooks, and a survey questionnaire and in-depth interviews with music teachers, this book also examines the ways in which policies for national identity formation and globalization interact to complement and contradict each other in the context of music education in respect to national and cultural values in the three territories. Wai-Chung Ho’s substantive research interests include the sociology of music, China’s education system, and the comparative study of East Asian music education. Her research focuses on education and development, with an emphasis on the impact of the interplay between globalization, nationalization, and localization on cultural development and school music education.
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Voicing the Ineffable: Musical Representations of Religious Experience (Interplay (Hillsdale, N.Y.), No. 3.). Pendragon Press, 2002.

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O’Neill, Sinéad, and John Sloboda. Responding to performers. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0023.

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Musical performance is an irreducibly social phenomenon, manifested through the multiple relationships between performers and audience. In live contexts, the nature and meaning of performance encompass the two-way interplay between performers and audience. This chapter surveys a range of research, from the philosophical to the empirical, into the parameters of this interplay, both during and after performances, focusing most specifically on those aspects that have implications for the creative practice of the musician. These aspects go beyond sound parameters to features of the performance often seen as ‘extra-musical’, such as the visual and gestural aspects of performance, the architecture of the performance space and perceived norms of behaviour within the concert context. Consideration is given to how these elements contribute to different levels of experience, from the ‘basic’ appreciation of structural elements through to the ‘peak’ experiences which music performance sometimes engenders. Also considered is audience feedback, both formal and informal, and how it may have an impact on creative performance.
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De Souza, Jonathan. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0001.

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This introduction outlines three methodological strands that are central to the book: music theory, phenomenology, and cognitive science. It argues that interdisciplinary blending is characteristic of much music-theoretical research. At the same time, music analysis offers distinctive ways of examining musical data—or, indeed, musical evidence. In this book, such methods are used to investigate body-instrument interaction in diverse musical styles. The book combines performance analysis with philosophical and psychological insights on embodiment, highlighting an interplay of technique and technology that shapes instrumentalists’ musical experience.
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Ingalls, Monique M. Making Jesus Famous. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190499631.003.0002.

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Chapter 1 examines the worship concert, a mass gathering marked by participatory engagement that differentiates it from a “mere” concert, as a lens to investigate the interplay between pop-rock performance conventions and evangelical congregational singing. It identifies the range of performative strategies whereby a contemporary worship-music concert crowd becomes authenticated as a concert congregation united in worship. Through musical style, song lyrics, and discourse about music-making, many of the activities associated with rock concerts are reframed as acts of worship. This reframing has musical and political consequences: understanding the concert gathering as worship shapes evangelical expectations of the “worship experience,” which in turn influences what evangelicals expect from worship music in their local church congregations. The desire to realize these ideals fuels the sale of worship-related music commodities produced by the Christian recording industry.
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Book chapters on the topic "Musical interplay"

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Baalman, M. A. J. "Interplay Between Composition, Instrument Design and Performance." In Musical Instruments in the 21st Century, 225–41. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2951-6_15.

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Hughes, Mary Joe. "Musical Interplay: Tan Dun’s The Map and Other Examples." In The Move Beyond Form, 49–65. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137329226_4.

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Minors, Helen Julia. "Le Tombeau de Ronsard in La Revue musicale (1924)." In Historical Interplay in French Music and Culture, 1860–1960, 97–118. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-6.

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Mawer, Deborah. "Introduction." In Historical Interplay in French Music and Culture, 1860–1960, 1–12. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-1.

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Mawer, Deborah. "Jolivet’s Rameau." In Historical Interplay in French Music and Culture, 1860–1960, 176–97. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-10.

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Zubillaga-Pow, Jun. "Jolivet’s Beethoven." In Historical Interplay in French Music and Culture, 1860–1960, 198–214. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-11.

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Dingle, Christopher. "Commission and omission." In Historical Interplay in French Music and Culture, 1860–1960, 214–32. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-12.

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Ellis, Katharine. "Patrimoine in French music." In Historical Interplay in French Music and Culture, 1860–1960, 15–37. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-2.

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Smith, Richard Langham. "‘Le Paradis deux fois perdu’." In Historical Interplay in French Music and Culture, 1860–1960, 38–63. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-3.

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Sadler, Graham. "Saint-Saëns, d’Indy and the Rameau Œuvres complètes." In Historical Interplay in French Music and Culture, 1860–1960, 64–80. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-4.

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Conference papers on the topic "Musical interplay"

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Madalane, Ignatia Cynthia. "The interplay of ethnic and other identities in Tsonga popular music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.23.

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Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.

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The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.
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Konrad, Ulrich. "Philologie und Digitalität. Perspektiven für die Musikwissenschaft im Kontext fächerübergreifender Institutionen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.90.

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Currently, the qualitative spectrum of methods in the philological sciences is being substantially expanded, with far-reaching implications, through the integration of the empirical, quantitative, and evaluative possibilities of the Digital Humanities. The example of the planning and establishment of „Kallimachos,“ the Center for Philology and Digitality (ZPD) at the University of Würzburg, demonstrates how a research center in the field of interplay between the humanities and cultural studies, digital humanities, and computer science can bring about a surge of change by providing in-depth insights into each other‘s subjects and ways of thinking. It not only brings with it a new view of the epistemological interests of philology, its questions, its canon, and its key concepts, but also makes computer science aware of the ‚recalcitrance‘ of humanities subjects and thus confronts it with new tasks. The ZPD is the result of a systematic reflection on the digital transformation of philology, with its traditional focus on editing and analyzing, in order to advance this development both in terms of content and methodology. For example, the formation of linguistic conventions in speaking and writing about music in 19th-century composers‘ texts and in music journals would be an ideal subject for the application of digital methods of analysis and the development of new research questions based on them. Research networks that jointly develop and rethink methods on the level of data structures across disciplines are likely to be a proven means of preserving our own discipline in the future, even if this may occasionally be a relationship borne more by reason than by love.
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Reports on the topic "Musical interplay"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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