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Journal articles on the topic 'Musical interplay'
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1
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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Gaggioli, Andrea, Alice Chirico, Elvis Mazzoni, Luca Milani, and Giuseppe Riva. "Networked Flow in musical bands." Psychology of Music 45, no. 2 (September 21, 2016): 283–97. http://dx.doi.org/10.1177/0305735616665003.
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This study aimed at using the Networked Flow (NF) model to investigate group collaboration in the context of musical bands. We analyzed the relationship between flow, social presence, structural dynamics and performance as they related to 15 bands in a rehearsal room. Flow was measured using the Flow State Scale; social presence was assessed with the Networked Minds Social Presence scale; and interpersonal communication structure (exchange of gazes and verbal orders) was assessed by means of Social Network Analysis (SNA). In addition, we considered: (a) a subjective measure of performance, rated by each member on an ad-hoc questionnaire; and (b) an expert rating of performance, based on the evaluation of audio-video recordings of each group. Findings showed the multifaceted nature of the relationship between social presence and flow. Group flow score was a significant predictor of self-reported performance, but not of expert-evaluated performance. Moreover, several correlations were found between flow, social presence and patterns of interpersonal coordination (both implicit and explicit). Specifically, SNA reveals that flow was positively related to exchanges of gazes and negatively associated with exchanges of orders. Overall, this study contributes to further elucidating the complex interplay between group flow and intersubjective dynamics in music collaboration.
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Dermendzhieva, Stanimira. "The politicization of music during the period of totalitarian rule in Bulgaria (1944-1989)." Muzikologija, no. 25 (2018): 179–98. http://dx.doi.org/10.2298/muz1825179d.
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Since this is a phenomenon of recent times, the significance of the politicization of music during the period of totalitarian rule in Bulgaria (1944-1989) is still unexplored. This paper focuses on the interplay between the political regime, musical life in Bulgaria, and the status of Bulgarian composers. Many books, articles, conferences and PhDs have been presented recently in the field of cultural studies, promoting a multidisciplinary approach in several fields. A new approach tothis dynamic period would clarify the overall development of Bulgarian musical culture in the twentieth century.
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Tordjman, Sylvie, Maria Pereira Da Costa, and Silke Schauder. "Rethinking Human Potential in Terms of Strength and Fragility: A Case Study of Michael Jackson." Journal for the Education of the Gifted 43, no. 1 (January 8, 2020): 61–78. http://dx.doi.org/10.1177/0162353219894645.
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The case study of Michael Jackson illustrates the concepts of high potential, talent, and precocity in the musical domain. Studying this case of exceptional musical talent highlights the usefulness of a multidimensional approach to exploring human potential, which is not limited to academic abilities. It offers a better understanding of the process of transforming a gift into talent and allows us to examine the asynchronies observed in some high-potential individuals between extreme talent and impaired socioaffective development—the interplay between strength and fragility where cognitive functioning cannot be dissociated from emotional functioning.
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Gabrielsson, Alf. "Interplay between Analysis and Synthesis in Studies of Music Performance and Music Experience." Music Perception 3, no. 1 (1985): 59–86. http://dx.doi.org/10.2307/40285322.
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This article consists of three parts. In the first part, early empirical research on music performance is reviewed—with special emphasis on the contributions by C. E. Seashore and his co-workers at Iowa University in the 1930s. The second part presents a model for interplay between analysis and synthesis in studies of music performance and its relationship to listeners' experience of the music. The model means that music performance is analyzed with regard to various physical properties, and their relationships to listeners' experience are investigated by means of synthesized sound sequences that are systematically varied in different aspects. In the third part, this idea is illustrated by examples from an extensive research project on musical rhythm. It is shown that performance of musical rhythm is characterized by various systematic variations regarding the durations of the sound events relative to strict mechanical regularity and that these variations may be related to various aspects of the experienced rhythm.
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Johns, Unni Tanum. "Exploring musical dynamics in therapeutic interplay with children: A multilayered method of microanalysis." Nordic Journal of Music Therapy 27, no. 3 (March 7, 2018): 197–217. http://dx.doi.org/10.1080/08098131.2017.1421685.
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Bengtson, Matthew. "The “Szymanowski Clash”: Harmonic Conflict and Ambiguity in the Szymanowski Mazurkas." Articles 36, no. 1 (March 16, 2018): 3–27. http://dx.doi.org/10.7202/1043866ar.
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Among the greatest fascinations of Karol Szymanowski’s Mazurkas, op. 50 and op. 62, are their rich and sophisticated harmonic vocabulary. Many stylistic elements are combined together in this musical language, including pedal points, bagpipe fifths, modal mixture, and bitonality. The interplay of all these phenomena tends to destabilize functional harmonic relationships, leading to many instances of harmonic clashes by semitone, dubbed “Szymanowski clashes.” Considering this harmonic language through the lens of the Szymanowski clash can offer an understanding of this music that points to underlying compositional design and structural logic, while acting in accord with the listener’s perceptions of the musical surface.
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Gupfinger, Reinhard, and Martin Kaltenbrunner. "Animals Make Music: A Look at Non-Human Musical Expression." Multimodal Technologies and Interaction 2, no. 3 (September 2, 2018): 51. http://dx.doi.org/10.3390/mti2030051.
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The use of musical instruments and interfaces that involve animals in the interaction process is an emerging, yet not widespread practice. The projects that have been implemented in this unusual field are raising questions concerning ethical principles, animal-centered design processes, and the possible benefits and risks for the animals involved. Animal–Computer Interaction is a novel field of research that offers a framework (ACI manifesto) for implementing interactive technology for animals. Based on this framework, we have examined several projects focusing on the interplay between animals and music technology in order to arrive at a better understanding of animal-based musical projects. Building on this, we will discuss how the implementation of new musical instruments and interfaces could provide new opportunities for improving the quality of life for grey parrots living in captivity.
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Zoppelli, Luca. "‘Stage music’ in early nineteenth-century Italian opera." Cambridge Opera Journal 2, no. 1 (March 1990): 29–39. http://dx.doi.org/10.1017/s0954586700003098.
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It has become commonplace to assume that language and style in Italian opera are not a unified phenomenon, easily comparable with the language and style of a purely musical work. Rather they constitute the various elements of a plurilinguistic interplay in which the opposite pole from ‘the author’ is the characters: those figures whose personality, function and social condition command an individual musical language. Musical expression is determined by an interaction of the author's discourse with the fictive discourse of characters; even when one or the other seems to dominate, there remains an important, implicitly dialogic element, one that can sometimes be inferred solely from a sense of discordant context. In many instances, therefore, operatic discourse suggests analogies with the ‘dialogic’ nature of the modern novel posited by the Russian critic Mikhail Bakhtin.
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Pelosi, Francesco. "Music for Life: Embryology, Cookery and Harmonia in the Hippocratic On Regimen." Greek and Roman Musical Studies 4, no. 2 (September 1, 2016): 191–208. http://dx.doi.org/10.1163/22129758-12341275.
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The first book of the Hippocratic treatise On Regimen includes two interesting references to music. Somewhat obscurely, musical notions are evoked in the explanation of embryological processes (1.8) and in a comparison between technai and human nature (1.18). The paper analyses both the passages, mainly focusing on the interplay between philosophical and musical notions. It is argued that the musical analogies drawn in these passages are permeated by some of the philosophical concepts widely exploited in Book 1, in Heraclitean fashion. In particular, it is claimed that in Vict. 1.8 harmonia conveys the notion of ‘organised structure’, rather than numerical concepts, and that Vict. 1.18 hinges on harmonia as composition of unlike elements, which lies at the basis of cookery and the possibility for the tongue to appreciate its creations.
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Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Evaluating Digital Games for Competitive Music Composition." Organised Sound 25, no. 1 (March 4, 2020): 75–88. http://dx.doi.org/10.1017/s1355771819000487.
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Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.
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Koter, Darja. "Musical Symbols: The Symbiosis of Religious and Secular Themes in Art Heritage." Musicological Annual 50, no. 2 (April 3, 2015): 299–308. http://dx.doi.org/10.4312/mz.50.2.299-308.
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The interpretation of musical symbols the frescos, paintings and architectural details could explain the spiritual dimension of the symbolism. Some examples from the Slovenian art heritage of churches and palaces from the 16th to 18th century demonstrate the interplay between religious and secular content, which suggests that the symbolic value of the depictions is a priority, while the selection of themes which could be more or less spiritual or/and secular are not of the greatest significance
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Stephane, Massoud, and L. K. George Hsu. "Musical Hallucinations: Interplay of Degenerative Brain Disease, Psychosis, and Culture in a Chinese Woman." Journal of Nervous & Mental Disease 184, no. 1 (January 1996): 59–61. http://dx.doi.org/10.1097/00005053-199601000-00012.
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COLLINS, SARAH. "The Composer as ‘Good European’: Musical Modernism,Amor fatiand the Cosmopolitanism of Frederick Delius." Twentieth-Century Music 12, no. 1 (January 28, 2015): 97–123. http://dx.doi.org/10.1017/s1478572214000164.
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AbstractThis article argues that early twentieth-century debates about both musical modernism and the idea of Europe were conditioned by prevailing attitudes towards autonomy. It will challenge the current rendering of modernist autonomy as depoliticized by showing how the attribution of ‘cosmopolitan’ characteristics to the music and persona of Frederick Delius indicated both an absence of affiliation and a definitive marker of Englishness. Underpinning this argument is the idea that attending to the dialectical interplay between independence and cooperation in the notion of ‘rooted cosmopolitanism’ can offer a model for a renewed conception of autonomy and commitment in musical modernism. Delius’s devotion to the writings of Friedrich Nietzsche, and Nietzsche's own analysis of European nihilism, will act as the backdrop to this discussion and help to suggest how both ‘Europe’ and musical modernism can be understood – via the notion of cosmopolitanism – as dispositions extending beyond their conventional geographical and historical demarcations.
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Bernstein, Jeffrey A. "Is History New? Recent Modernist Interpretations of Hegel." Journal of the Philosophy of History 6, no. 2 (2012): 283–98. http://dx.doi.org/10.1163/187226312x650773.
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Abstract This review explores a recent trend in commentary on Hegel’s philosophy of history which owes much of its interpretive substance to the aesthetic modernism of the Frankfurt School. This modernist trend emphasizes the interplay of form and content, material conditions of rationality, and the temporal disjunction between experiencing and cognizing history. In so doing, it produces a deeply political, psychoanalytic, and musical reading of Hegel.
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Payne, Emily. "The craft of musical performance: skilled practice in collaboration." cultural geographies 25, no. 1 (January 3, 2017): 107–22. http://dx.doi.org/10.1177/1474474016684126.
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This article examines the nature of skilled practice within two settings of musical performance, the rehearsal and the compositional workshop. Drawing primarily on the work of Richard Sennett and Tim Ingold, I suggest that a characterisation of musical performance as a craft practice attends to the development of skill and expertise through the performer’s physical and everyday encounters with the world and provokes a reconsideration of the dimensions of performance that might otherwise be taken for granted. The first case study addresses rhythmic coordination during a rehearsal of Four Duets for clarinet and piano (2012), composed by Edmund Finnis for Mark Simpson and Víkingur Ólafsson, and the second traces the development of instrumental techniques by composer Evan Johnson and performer Carl Rosman as they collaborate on a new work for historical basset clarinet, ‘indolentiae ars’, a medium to be kept (2015). The article makes the case for skilled practice as an improvisatory interplay between performers and the meshwork of people, objects, histories and processes which they inhabit.
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Kellaris, James J., Anthony D. Cox, and Dena Cox. "The Effect of Background Music on Ad Processing: A Contingency Explanation." Journal of Marketing 57, no. 4 (October 1993): 114–25. http://dx.doi.org/10.1177/002224299305700409.
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Music is an increasingly prominent and expensive feature of broadcast ads, yet its effects on message reception are controversial. The authors propose and test a contingency that may help resolve this controversy. Experimental results suggest that message reception is influenced by the interplay of two musical properties: attention-gaining value and music-message congruency. Increasing audience attention to music enhances message reception when the music evokes message-congruent (versus incongruent) thoughts.
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Huovinen, Erkki, and Heli Rautanen. "Interaction affordances in traditional instruments and tablet computers: A study of children’s musical group creativity." Research Studies in Music Education 42, no. 1 (June 29, 2019): 94–112. http://dx.doi.org/10.1177/1321103x18809510.
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In order to promote children’s collaborative musical creativity in new digital environments, we need a better understanding not only of the sound production capabilities provided by the new digital tools, but also of the interaction affordances involved. This study focuses on the interactional patterns emerging in children’s musical creativity, comparing creative group processes on iPad tablet computers (with GarageBand software) to processes on traditional musical instruments. Both instrumentations were assigned to five groups of four 10–12-year-olds for creating sound landscapes for a “space” movie. The traditional instrument groups’ processes were characterized by peer teaching as well as multimodal, improvisatory negotiations with rapid exchanges between the participants, both kinds of processes involving the intertwining of deictic expressions with hands-on musical demonstrations, and clear signs of group flow. By contrast, the tablet groups relied on solitary, parallel planning processes where possible coordinations between the participants took on a more abstract, conceptual form, at a remove from the actual musical ideas and their interplay. Also, there were far fewer signs of group flow than in the traditional instrument groups. In sum, the tablets did not seem to match traditional musical instruments in terms of their interactional and creative affordances. This may be because the traditional instruments offer richer textures of gestural and tactile qualities, visual cues, and spatial anchoring points for facilitating concrete musical interaction, and because the GarageBand software actually requires some reliance on abstract conceptual labels, channelling the participants’ attention toward pre-planning rather than hands-on musical play. The results are problematized with a view to our decision to treat the tablet computer as akin to a musical instrument rather than as an action environment of its own.
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Zon, Bennett. "Disorienting Race: Humanizing the Musical Savage and the Rise of British Ethnomusicology." Nineteenth-Century Music Review 3, no. 1 (June 2006): 25–43. http://dx.doi.org/10.1017/s1479409800000331.
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Although definitions of orientalism and racism seldom achieve consensus, the significance of their interplay is universally acknowledged amongst theorists of non-Western cultures. Tony Ballantyne, in his recentOrientalism and Race: Aryanism in the British Empire, describes their relationship in terms of mutuality, and Ziauddin Sardar, inOrientalism, describes them as ‘circles within circles’. Edward Said, of course, deals with their relationship exhaustively inOrientalism, and describes them as inextricably linked. Writing of the nineteenth century, he suggests that ‘Theses of Oriental backwardness, degeneracy, and inequality with the West most easily associated themselves early in the nineteenth century with ideas about the biological bases of racial inequality.’
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Goodblatt, Chanita. "In other words: breaking the monologue in Whitman, Williams and Hughes." Language and Literature: International Journal of Stylistics 9, no. 1 (February 2000): 25–41. http://dx.doi.org/10.1177/096394700000900103.
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One important aspect of the ‘Whitman tradition’ in American poetry is its breaking of the monologic hegemony of the lyric voice. Focusing on this aspect necessarily assumes that a poem establishes a ‘fictional context of utterance’, particularly a ‘complex or shifting discourse situation … [which]may involve variations in deictic centre’ (Semino, 1995: 145). The resulting dialogic interplay of voices stands at the very centre of Walt Whitman’s poem ‘Out of the Cradle Endlessly Rocking’, William Carlos Williams’s ‘The Desert Music’ and Langston Hughes’s ‘Cultural Exchange’. The present discussion of dialogic interplay in the lyric text turns naturally to Bakhtin’s concept of heteroglossia. Making use of the cline of speech presentation developed by Leech and Short (1981), Bakhtin’s categories of ‘compositional-stylistic unities’ will be elaborated upon: direct authorial literary-artistic narration; the stylistically individualized speech of characters; and incorporated genres. In ‘Out of the Cradle Endlessly Rocking’ there is an interplay of voices between boy, bird and sea, within a narrative frame related by the adult and child lyric speakers. Within the more general conversation in ‘The Desert Music’ there is an interplay of the lyric speaker’s own social and poetic selves, while in ‘Cultural Exchange’ dialogic interplay is highlighted in the use Hughes makes of the ‘intimidating margins of silence’ (Culler, 1975: 161) which conventionally surround a lyric text, filling them with musical notations that comment on the lyric voice.
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Skandalis, Alexandros, Emma Banister, and John Byrom. "Musical Taste and the Creation of Place-Dependent Capital: Manchester and the Indie Music Field." Sociology 54, no. 1 (July 18, 2019): 124–41. http://dx.doi.org/10.1177/0038038519860399.
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Drawing on qualitative interviews with indie music fans in Manchester, UK, we explore how experiences in the indie music field inform spatial and place-specific understandings of musical taste. Inspired by Bourdieu’s sociology of taste, the concept of place-dependent capital incorporates the interplay of the experiential dimensions of taste, and the overall structures in which they are embedded. We develop our findings into three themes, which allow us to highlight the diversity of ways in which our participants create place-dependent capital: exploring the taste of place; dwelling in place; and creating a sense of place. We propose the usefulness of place-dependent capital as an alternative theoretical tool, which acknowledges both structural and experiential dimensions of musical taste, allowing us to demonstrate the situatedness of indie music fans’ tastes.
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Davidson, Jane W. "The Activity and Artistry of Solo Vocal Performance: Insights from Investigative Observations and Interviews with Western Classical Singers." Musicae Scientiae 11, no. 2_suppl (July 2007): 109–40. http://dx.doi.org/10.1177/10298649070110s206.
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This paper draws on data collected from four professional solo classical singers as they prepared and performed the same piece, each working with the same accompanist. It examines their thoughts and feelings — inner mental states — as recalled and expressed in interview, and their perceptible outer states as observed in their physical behaviours. Data were collected from both talk-aloud reflections on the activities of practice, rehearsal and performance, and observer evaluations of rehearsals and performance as observed in video recordings. The aims of these reflections were to investigate: I) the nature of mental and bodily action for technical and expressive musical communication; ii) the nature of social interaction within the rehearsal and performing contexts; iii) overall, this work is undertaken to broaden knowledge and understanding of how an expert vocal performance is prepared, delivered and perceived. Results suggest that a subtle interplay of social and musical communication is necessary to achieve a “good performance”. These ideas are discussed in terms of a social theory relating to how inner and outer mental states are displayed through the body in musical performance.
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Kearney, Michael R. "The Phenomenology of the Pipe Organ." Phenomenology & Practice 15, no. 2 (December 21, 2020): 24–38. http://dx.doi.org/10.29173/pandpr29432.
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An extended illustration from Merleau-Ponty’s Phenomenology of Perception describes the interplay of habit, sedimentation, and intersubjectivity in the practice and performance of a skilled organist. This paper takes up Merleau-Ponty’s example in order to describe some of the phenomenological characteristics of embodied musical performance. These characteristics point toward an intersubjective event of “consecration,” as Merleau-Ponty describes it, in which the musician adopts the role of rhetor, inviting the audience into a shared dwelling place.
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Goldberg, Halina. "Chopin's Album Leaves and the Aesthetics of Musical Album Inscription." Journal of the American Musicological Society 73, no. 3 (2020): 467–533. http://dx.doi.org/10.1525/jams.2020.73.3.467.
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Abstract During the nineteenth century, major composers—such as Schubert, Schumann, Wieck Schumann, Mendelssohn, Mendelssohn Hensel, Liszt, and Chopin—contributed musical compositions to a kind of volume known as a friendship album (also keepsake album, album amicorum, or Stammbüch). Album inscriptions penned by Fryderyk Chopin provide a lens through which we can study these compositions, thereby gaining an understanding of the ways in which musical meaning, genre, and text were governed by conventions of gift exchange. Complete compositions, musical fragments, and performative flourishes left in albums by music lovers as well as professional composers and performers took on the function of secular relics that were understood to preserve metaphysical traces of the inscribers, while handwriting was believed to represent the writer's character or momentary state of mind. These ideas intersect with a broader Romantic culture of collectorship. To invoke experiences and memories shared by the inscriber and the dedicatee, some composers engaged in dialogic relationships with mementos inscribed by others or employed intertextual references. An examination of these forms of interplay adds to our knowledge of the way context can shape the use and meaning of musical borrowing and allusion. The authors of inscriptions also employed intrinsically musical vocabulary to impart the sense distortions that neuroscientists and scholars of memory describe as typical of a recalled experience. Moreover, albums provided a censorship-free private venue for political and national discourses. These musical texts constitute a separate class of presentation manuscripts that serve a specific social function and audience.
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Ligeti, Lukas. "Beta Foly: Experiments with Tradition and Technology in West Africa." Leonardo Music Journal 10 (December 2000): 41–47. http://dx.doi.org/10.1162/096112100570594.
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In 1994, together with several West African traditional musicians and German electronics expert Kurt Dahlke, the author founded the music ensemble Beta Foly, based in Abidjan, Côte d'Ivoire. The group explores creative musical possibilities generated through the bringing together of different cultures and traditions, placing a strong emphasis on the use of both ancient African instruments and the most recent music technology. The members of Beta Foly compose and improvise eclectic, polymetric music, trying to combine styles in innovative ways in order to find new avenues for composition, ensemble interplay and cross-cultural understanding.
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Västfjäll, Daniel. "Emotion induction through music: A review of the musical mood induction procedure." Musicae Scientiae 5, no. 1_suppl (September 2001): 173–211. http://dx.doi.org/10.1177/10298649020050s107.
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This article reviews research showing that music can alter peoples’ moods and emotions. The so called “musical mood induction procedure” (MMIP) relies on music to produce changes in experienced affective processes. The fact that music can have this effect on subjective experience has been utilized to study the effect of mood on cognitive processes and behavior by a large number of researchers in social, clinical, and personality psychology. This extensive body of literature, while little known among music psychologists, is likely to further help music psychologists understand affective responses to music. With this in mind, the present article aims at providing an extensive review of the methodology behind a number of studies using the MMIP. The effectiveness of music as a mood-inducing stimulus is discussed in terms of self-reports, physiological, and behavioral indices. The discussion focuses on how findings from the MMIP literature may extend into current research and debate on the complex interplay of music and emotional responses.
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Ellis, Robert J., and Julian F. Thayer. "Music and Autonomic Nervous System (Dys)Function." Music Perception 27, no. 4 (April 1, 2010): 317–26. http://dx.doi.org/10.1525/mp.2010.27.4.317.
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DESPITE A WEALTH OF EVIDENCE FOR THE INVOLVEMENT of the autonomic nervous system (ANS) in health and disease and the ability of music to affect ANS activity, few studies have systematically explored the therapeutic effects of music on ANS dysfunction. Furthermore, when ANS activity is quantified and analyzed, it is usually from a point of convenience rather than from an understanding of its physiological basis. After a review of the experimental and therapeutic literatures exploring music and the ANS, a "Neurovisceral Integration" perspective on the interplay between the central and autonomic nervous systems is introduced, and the associated implications for physiological, emotional, and cognitive health are explored. The construct of heart rate variability is discussed both as an example of this complex interplay and as a useful metric for exploring the sometimes subtle effect of music on autonomic response. Suggestions for future investigations using musical interventions are offered based on this integrative account.
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VARWIG, BETTINA. "ONE MORE TIME: J. S. BACH AND SEVENTEENTH-CENTURY TRADITIONS OF RHETORIC." Eighteenth Century Music 5, no. 2 (September 2008): 179–208. http://dx.doi.org/10.1017/s1478570608001486.
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ABSTRACTAlthough the question of a connection between Bach’s music and the discipline of rhetoric has been raised repeatedly in the past, the proposed solutions have rarely taken into account the particular kind of rhetorical thinking prevalent in the eighteenth century. In this article, I show that a notion of rhetoric initially developed by Erasmus of Rotterdam and perpetuated in seventeenth-century writings, which focused on argumentative procedures involving variation and amplification, continued to underlie poetic and musical theory in Bach’s time. By articulating fundamental creative patterns that came to underpin a variety of disciplines, this Erasmian model can provide the starting-point for a reassessment of rhetorical techniques in Bach’s music, shifting the focus from isolated moments of affective decoration to the formal-expressive trajectories that shape the layout of whole pieces. Constituted in the interplay of compositional processes and their listening reception, these trajectories emerge as the result of the skilful arrangement of musical phrases into individual and flexible large-scale designs that often leave aside or undercut the supposed structural conventions of concerto or aria forms. The first movement of the third ‘Brandenburg Concerto’, bwv1048, serves as an example of how an awareness of these seventeenth-century rhetorical and musical legacies makes possible a thorough reconsideration of Bach’s compositional strategies.
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DIXON, TOM. "LOVE AND MUSIC IN AUGUSTAN LONDON; OR, THE ‘ENTHUSIASMS’ OF RICHARD ROACH." Eighteenth Century Music 4, no. 2 (September 2007): 191–209. http://dx.doi.org/10.1017/s1478570607000917.
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ABSTRACTThis article explores and contextualizes the thought of the religious author Richard Roach (1662–1730) from a musical perspective. Roach, a member of the Behmenist, millenarian Philadelphian Society in London at the turn of the eighteenth century, published little that relates directly to the subject of music, and has thus gone virtually unrecognized in this context. Nevertheless, in his more substantial religious oeuvre music emerges as a crucial component of his thought. In addition, his manuscript diaries and papers reveal their author’s interaction with some of Augustan London’s leading musical figures, and his participation in a previously unknown weekly musical meeting.After reviewing the overall circumstances of Roach’s life and cultural milieu, the article outlines what can at present be established about his musical activities. As I demonstrate, evidence from the diaries clarifies the provenance of an early hymn collection, while other extant sources reveal an unsuspected connection between religious ‘enthusiasm’ and the reception in London of Italian opera. The integral place of music in Roach’s worldview is then related to aspects of his thought ranging from ‘spiritual gender’, eschatology and the Divine Magia to science and politics. Beyond this timely focus on a neglected individual, however, I draw attention to the continuing tendency to overlook contexts such as this one, in which music is a potentially important but not an obviously paramount ingredient. I suggest that conventional conceptions of an emerging ‘public sphere’ – secular, enlightened, rational – need to be modified to take account of supposedly marginalized, ‘enthusiastic’ religious groups such as the Philadelphians. Finally, the absorption of developing musical genres into the background of an age-old model of universal harmony is taken as an instance of the powerful historical interplay between change and continuity.
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Dasthakur, Saurav. "“World-History,” “Itihāsa,” and Memory: Rabindranath Tagore's Musical Program in the Age of Nationalism." Journal of Asian Studies 75, no. 2 (April 14, 2016): 411–32. http://dx.doi.org/10.1017/s0021911815002089.
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This essay attempts an exploration of the historical and historiographical implications of the interplay of individual, local, “national,” and global forms of memory in the music of Rabindranath Tagore. Produced at a time of crises in the Indian postcolonial subjectivity, this music offers a critique of the Eurocentric discourses of “World-history” and nationalism, by invoking alternative Indian discourses of “Itihāsa” and “samāj”. At the same time, Tagore departs from the contemporary Hindu cultural nationalist revivalist approach of the tradition of North Indian (Hindustani) classical music and subjects it to a creative regenerative endeavor by reconnecting the tradition with its original subaltern roots. Skeptical of several kinds of homogeneous impulses, this music offers an alternative idea of universalism that is as much human as a specific civilizational concept. Tagore's musical program thus offers an aesthetic blueprint of a more inclusive indigenous modernity in the subcontinent.
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van der Zwaag, Marjolein D., Joyce H. D. M. Westerink, and Egon L. van den Broek. "Emotional and Psychophysiological Responses to Tempo, Mode, and Percussiveness." Musicae Scientiae 15, no. 2 (July 2011): 250–69. http://dx.doi.org/10.1177/102986491101500207.
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People often listen to music to influence their emotional state. However, the specific musical characteristics which cause this process are not yet fully understood. We have investigated the influence of the musical characteristics of tempo, mode, and percussiveness on our emotions. In a quest towards ecologically valid results, 32 participants listened to 16 pop and 16 rock songs while conducting an office task. They rated experienced arousal, valence, and tension, while skin conductance and cardiovascular responses were recorded. An increase in tempo was found to lead to an increase in reported arousal and tension and a decrease in heart rate variability. More arousal was reported during minor than major mode songs. Level and frequency of skin conductance responses increased with an increase in percussiveness. Physiological responses revealed patterns that might not have been revealed by self-report. Interaction effects further suggest that musical characteristics interplay in modulating emotions. So, tempo, mode, and percussiveness indeed modulate our emotions and, consequently, can be used to direct emotions. Music presentation revealed subtly different results in a laboratory setting, where music was altered with breaks, from those in a more ecologically valid setting where continuous music was presented. All in all, this enhances our understanding of the influence of music on emotions and creates opportunities seamlessly to tap into listeners' emotional state through their physiological responses.
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van der Zwaag, Marjolein D., Joyce H. D. M. Westerink, and Egon L. van den Broek. "Emotional and psychophysiological responses to tempo, mode, and percussiveness." Musicae Scientiae 15, no. 2 (July 2011): 250–69. http://dx.doi.org/10.1177/1029864911403364.
Full textAbstract:
People often listen to music to influence their emotional state. However, the specific musical characteristics which cause this process are not yet fully understood. We have investigated the influence of the musical characteristics of tempo, mode, and percussiveness on our emotions. In a quest towards ecologically valid results, 32 participants listened to 16 pop and 16 rock songs while conducting an office task. They rated experienced arousal, valence, and tension, while skin conductance and cardiovascular responses were recorded. An increase in tempo was found to lead to an increase in reported arousal and tension and a decrease in heart rate variability. More arousal was reported during minor than major mode songs. Level and frequency of skin conductance responses increased with an increase in percussiveness. Physiological responses revealed patterns that might not have been revealed by self-report. Interaction effects further suggest that musical characteristics interplay in modulating emotions. So, tempo, mode, and percussiveness indeed modulate our emotions and, consequently, can be used to direct emotions. Music presentation revealed subtly different results in a laboratory setting, where music was altered with breaks, from those in a more ecologically valid setting where continuous music was presented. All in all, this enhances our understanding of the influence of music on emotions and creates opportunities seamlessly to tap into listeners’ emotional state through their physiological responses.
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Sparling, Heather. "“Music is Language and Language is Music”." Ethnologies 25, no. 2 (April 13, 2004): 145–71. http://dx.doi.org/10.7202/008052ar.
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Abstract In this article, the author considers the effects of language attitudes, a sociolinguistic concern, on musical practice. This article assumes that language and music attitudes are related as different expressions in and of a common cultural context. The author demonstrates how Scots Gaelic language attitudes in Cape Breton (where a few hundred people still speak the language) have developed, and considers the possible interplay with current attitudes towards two particular Gaelic song genres. Gaelic language learners and native/fluent speakers in Cape Breton articulated distinct and opposing attitudes towards the song genre of puirt-a-beul [mouth music], and these attitudes are examined in relation to those towards the Gaelic language and compared with their response to eight-line songs, a literary Gaelic song type. Detailed musical and lyric analyses of three Gaelic songs are provided to illustrate the connection between language and music attitudes. The current attitude towards Gaelic in Cape Breton is traced through the history of language policy in Scotland and Cape Breton. These sociolinguistic and musicological analyses are supplemented with ethnographic evidence.
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Ho, Wai-chung. "Between globalisation and localisation: a study of Hong Kong popular music." Popular Music 22, no. 2 (May 2003): 143–57. http://dx.doi.org/10.1017/s026114300300309x.
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Popular music in Hong Kong is the production of a multi-faceted dynamic of international and local factors. Although there has been much attention to its growth from different perspectives, there has been no single study that systematically addresses the complicated interplay of the two interrelated processes of globalisation and localisation that lie behind its development. The main aim of this paper is to explore how social circumstances mediate musical communication among Hong Kong popular artists and audiences, and contribute to its growing sense of cultural identity – how locality emerges in the context of a global culture and how global facts take local form. Firstly, I propose a conceptual framework for understanding the cultural dynamics of popular music in terms of the discourse of globalisation and localisation. Secondly, I consider local practices of musical consumption and production. Thirdly, this paper discusses the impact of the global entertainment business on local popular music. I conclude with a summary of the effects of the interaction between globalisation and localisation on Hong Kong popular music.
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NOVEMBER, NANCY. "HAYDN’S MELANCHOLY VOICE: LOST DIALECTICS IN HIS LATE CHAMBER MUSIC AND ENGLISH SONGS." Eighteenth Century Music 4, no. 1 (March 2007): 71–106. http://dx.doi.org/10.1017/s1478570607000711.
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AbstractFrom the nineteenth century onwards the stereotype of Haydn as cheerful and jesting has dominated the reception of his music. This study contributes to the recent scholarship that broadens this view, with a new approach: I set works by Haydn in the context of eighteenth-century ideas about melancholy, those of Edmund Burke, Francisco Goya, Henry Home (Lord Kames), Immanuel Kant and Johann Georg Zimmermann. Their conceptions of melancholy were dialectical, involving the interplay of such elements as pleasure and pain, freedom and fettering, and self-reflection and absorption. I consider the relevance of these dialectics to Haydn’s English songs, his dramatic cantata Arianna a Naxos and two late chamber works. Musical melancholy arises, I argue, when the protagonist of a work – be it the vocal character in a song or the ‘composer’s voice’ in an instrumental work – exhibits an ironic distance from his or her own pain. The musical dialectics in these works prompt listeners, for their part, to take a step back to contemplate the borders and limits of emotional experience and communication.
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Hidayatullah, Panakajaya. "Musik Adaptasi Dangdut Madura." Resital: Jurnal Seni Pertunjukan 16, no. 1 (February 17, 2016): 1–14. http://dx.doi.org/10.24821/resital.v16i1.1270.
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Musik adaptasi dangdut Madura adalah bentuk penciptaan musik yang prosesnya dilakukandengan mengadaptasi lagu asing (asal) menjadi lagu dangdut Madura (sasaran). Tujuan penelitianini adalah untuk mengetahui proses adaptasi musik dangdut Madura dari lagu asal ke lagu sasaranmelalui analisis musikologis. Analisis musikologis meliputi lirik, melodi vokal, dan hubungan antaralirik dan melodi vokal. Lirik dan melodi vokal dipilih sebagai objek studi karena keduanya merupakanunsur yang paling menonjol dalam musik adaptasi dangdut Madura. Hasil penelitian menunjukkanbahwa dalam proses adaptasi lagu asal ke lagu sasaran terdapat pola-pola atau kecenderungan yangsering terjadi yaitu: 1) lirik lagu sasaran selalu menyesuaikan dengan lirik lagu asal, penyesuaiantersebut melalui penyesuaian pola liris, pola tiruan bunyi (onomatope), pola penyesuaian bunyi dansaduran. 2) Melodi vokal lagu asal selalu berorientasi untuk tetap dipertahankan, tetapi mengalamiperubahan yaitu penyesuaian ritme melodi vokal dan perubahan nada melodi vokal. 3) Terdapat hubungan lirik dan melodi vokal yang saling mempengaruhi dalam musik adaptasi dangdut Madura.The Musical Adaptation of Maduranese Dangdut. The musical adaptation of Maduranese dangdutis a form of musical creation process done by adapting a foreign song (origin) into a Maduranese dangdutsong (target). The purpose of this study was to determine the adaptation process of Maduranese dangdutmusic from the origin song to the target one through musicological analysis. The musicological analysisincludes the analysis of the lyrics, the vocal melodies, and the relationship between the lyrics and vocalmelodies. The lyrics and vocal melodies were chosen as the objects of study because both of which were themost prominent elements in the musical adaptation of Maduranese dangdut. The results showed that in theprocess of adaptation tracked from the target to the original songs there are several patterns or tendencies thatoften occur. The patterns are the followings: 1) The lyrics targets always adjust to the lyrics of origin, theseadjustments include the adjustment of lyrical pattern, the pattern of sound imitation (onomatopoeic), thepattern of sound adjustment and adaptation. 2) The melody of the original vocal songs are always designedto be retained, yet the changes are in the adjustment of the vocal melody rhythm and the tonal changes of thevocal melody. 3) There is a relationship between the lyrics and vocal melody which interplay in the musical adaptation of Maduranese dangdut.
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Wegman, Rob C. "Isaac's Signature." Journal of Musicology 28, no. 1 (January 1, 2011): 9–33. http://dx.doi.org/10.1525/jm.2011.28.1.9.
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ABSTRACT The notion of the signature could serve as an appropriate metaphor by which to explore Heinrich Isaac as a man of his time and world. It may be mere coincidence that he has left more documents signed in his own hand than contemporary composers, but some of the documents he authenticated in this way really do attest to a new idea of professional musicianship that Isaac was the earliest and most successful in implementing: that of the professional composer who undertakes to produce new works under contractual obligation. Isaac is the first-known musician who signed a document specifically in this capacity. Yet his signature, or at least the assurance that he personally composed and signed a musical work, is also found in the context of practical musical sources, where they would appear to have no legal significance. Martin Just has shown, however, that the particular folios containing these compositions, in the manuscript Berlin 40021, were originally sent as letters. The implication is that Isaac's signature, in this case, is not an attribution so much as a mark of authentication—something that would have been required only if the musical works in question were sent, and changed hands, as part of a commercial transaction. Taking the metaphor of the signature in a broader figurative sense, one could suggest that Isaac's work also bears his musical signature—namely in the personal style that his contemporaries tried to recognize and in some cases to characterize in words. Two authors who tried to capture the peculiar quality of Isaac's music are Paolo Cortesi and Heinrich Glarean. The latter's attempt is especially significant, since Glarean seems to attest to a new way of hearing and conceptualizing polyphony. Although it is hard to identify specifically which passages in Isaac's music he would have had in mind, the key to his appraisal seems to lie in a different way of conceptualizing the interplay of contrapuntal voices in contemporary music. To the extent that we can associate this with Isaac's musical signature, it would appear, once again, that this composer, more than any other, was at the forefront of some of the most significant developments in the music history of his time.
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McPherson, Andrew, and Koray Tahıroğlu. "Idiomatic Patterns and Aesthetic Influence in Computer Music Languages." Organised Sound 25, no. 1 (March 4, 2020): 53–63. http://dx.doi.org/10.1017/s1355771819000463.
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It is widely accepted that acoustic and digital musical instruments shape the cognitive processes of the performer on both embodied and conceptual levels, ultimately influencing the structure and aesthetics of the resulting performance. In this article we examine the ways in which computer music languages might similarly influence the aesthetic decisions of the digital music practitioner, even when those languages are designed for generality and theoretically capable of implementing any sound-producing process. We examine the basis for querying the non-neutrality of tools with a particular focus on the concept of idiomaticity: patterns of instruments or languages which are particularly easy or natural to execute in comparison to others. We then present correspondence with the developers of several major music programming languages and a survey of digital musical instrument creators examining the relationship between idiomatic patterns of the language and the characteristics of the resulting instruments and pieces. In an open-ended creative domain, asserting causal relationships is difficult and potentially inappropriate, but we find a complex interplay between language, instrument, piece and performance that suggests that the creator of the music programming language should be considered one party to a creative conversation that occurs each time a new instrument is designed.
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Pifer, Michael. "The Diasporic Crane: Discursive Migration across the Armenian-Turkish Divide." Diaspora: A Journal of Transnational Studies 18, no. 3 (September 2015): 229–52. http://dx.doi.org/10.3138/diaspora.18.3.229.
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Despite the fact that rubrics for reading national and “world” literatures through comparative optics have grown increasingly sophisticated over the last decade, the problem of how to theorize cross-cultural and literary interaction still plays a critical role in debates on global connectivity. This article suggests an approach for reading cross-cultural interaction across literary systems and musical cultures by tracing the migration of discourses beyond their supposedly native origins. It therefore examines how a popular discourse about a well-traveled bird, the crane, itself migrated across Arabic, Punjabi, and Turkish literary cultures, a process that in part enabled Armenian intellectuals to configure the wandering crane into the predominant symbol of the Armenian diaspora during the late nineteenth and early twentieth century. Consequently, in mapping the non-linear flight of “cranes” as a symbol of dispersion between Armenian and Turkish literary and musical cultures in particular, this article argues the need to complicate simple un-and bidirectional models for understanding cross-cultural exchange. Instead, it suggests that we ought to give more attention to specifying multiple forms of transmission—such as the interplay between manuscript, oral, and print cultures—in the study of semiotic ties between different peoples, even across far-flung geographic regions.
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HARRISON, ANTHONY KWAME. "“What Happens in the Cabin . . .”: An Arts-Based Autoethnography of Underground Hip Hop Song Making." Journal of the Society for American Music 8, no. 1 (February 2014): 1–27. http://dx.doi.org/10.1017/s1752196313000588.
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AbstractTaking an autoethnographic perspective that foregrounds the interplay between the author's artist-self and researcher-self, this article explores the relationship between agency and structure in the activities surrounding underground hip hop music making within a home studio recording space. It aims to demystify the aura of in-studio music creation by focusing on the nexus of oral/written, pre-composed/improvised, and pre-recorded/live creative practices as experienced within the context of performance. Utilizing Harris Berger's notion of stance, I discuss how hip hop recording artists transcend performative self-consciousness in the pursuit of creativity. Ultimately, this article presents hip hop home recording studios as spaces that facilitate particular kinds of musical innovation through a mix of collective and individual pursuits, as well as routinized and spontaneous activities.
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Gabrielsson, Alf. "Emotion perceived and emotion felt: Same or different?" Musicae Scientiae 5, no. 1_suppl (September 2001): 123–47. http://dx.doi.org/10.1177/10298649020050s105.
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A distinction is made between emotion perception, that is, to perceive emotional expression in music without necessarily being affected oneself, and emotion induction, that is, listeners’ emotional response to music. This distinction is not always observed, neither in everyday conversation about emotions, nor in scientific papers. Empirical studies of emotion perception are briefly reviewed with regard to listener agreement concerning expressed emotions, followed by a selective review of empirical studies on emotional response to music. Possible relationships between emotion perception and emotional response are discussed and exemplified: positive relationship, negative relationship, no systematic relationship and no relationship. It is emphasised that both emotion perception and, especially, emotional response are dependent on an interplay between musical, personal, and situational factors. Some methodological questions and suggestions for further research are discussed.