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Journal articles on the topic 'Musical tradition vs'

Author: Grafiati
Published: 7 June 2025
Last updated: 2 August 2025

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1

Khoury, Stephanie. "Review: Seeding the Tradition: Musical Creativity in Southern Vietnam, by Alexander M. Cannon." Journal of Vietnamese Studies 20, no. 1 (2025): 161–64. https://doi.org/10.1525/vs.2025.20.1.161.

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Chamczyk, Ewa. "Duels in Sound: Pietro Antonio Locatelli vs Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 69–102. http://dx.doi.org/10.4467/23537094kmmuj.20.043.13916.

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The tradition of musical duels harkens back to the days of ancient Greece. One of the earliest examples of musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the tournaments of the ancients served as an inspiration for later generations of musicians. In each epoch they took a different form, tailored to the current norms and customs. In the sixteenth century the singing contests of the Meistersingers became extremely popular. With the development of instrumental music in the seventeenth century, duels, in which the main subject of the dispute
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Țăranu, Nicoleta Diana. "Caragiale's Critical Engagement with German and French Music: A Study of Musical Culture and Artistic Tension." LiBRI. Linguistic and Literary Broad Research and Innovation. 13, no. 1 (2025): 53–60. https://doi.org/10.70594/libri/13.1/5.

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Abstract: In this text, the focus is on the profound and sometimes contradictory relationship that Ion Luca Caragiale, a prominent Romanian playwright, had with German musical culture. Caragiale, known for his sharp wit and critical perspectives, expressed both admiration and disapproval of various German composers, reflecting his complex relationship with their music. The translation explores his views on composers like Richard Wagner, Johannes Brahms, and Jacques Offenbach, delving into his critiques of Wagner’s revolutionary approach, his deep appreciation for Brahms as a worthy succe
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Panteleeva, Yuliya N. "About the Works of Russian Minimalist Composers: The Idiomatics of the Musical Language." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 47–59. http://dx.doi.org/10.56620/2782-3598.2023.4.047-059.

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The article examines two musical works written by contemporary Russian minimalist composers — Concerto capriccioso (1986) for cello, string orchestra, keyboards and percussion by Nikolai Korndorf and Liebliches Lied (1980) for piano four hands by Alexandre Rabinovitch-Barakovsky. Their analysis is carried out from the position of idiomatics. This term is derived from the conception developed by Russian scholar and linguist Igor Anichkov and is applied in the article as an attempt to reflect the originality of the two composers’ musical techniques. The most illustrative aspects of the aforement
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Pareyon, Gabriel. "Philosophical Sketches on Category Theory Applied to Music-Mathematical Polar Semiotics." MusMat: Brazilian Journal of Music and Mathematics IV, no. 2 (2020): 41–51. http://dx.doi.org/10.46926/musmat.2020v4n2.41-51.

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This is an attempt to combine Matthai philosophy (of Heraclitan inspiration) and Category Theory using the Yoneda Lemma as a means for harmonizing the traditionally opposite values and conceptions dissociated between the Euclidean tradition and Heraclitus thought. The text is divided in three sections: general background and description of Yoneda, a contextualization on Heraclitan aesthetics and polar semiotics (a notion firstly intuited by I. M. Lotman and Th. Sebeok), and an experiment suggested for the revision of the grounds of music theory, with the purpose of conciliate extremely dissoci
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Berehova, Olena. "The Imagosphere of Myroslav Skoryk's Opera Moses 1." Musicology Today 19, no. 1 (2022): 3–27. http://dx.doi.org/10.2478/muso-2022-0001.

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Abstract The paper is dedicated to the eminent Ukrainian composer Myroslav Skoryk's opera Moses, which has been researched here from the standpoint of musical imagology for the first time. The methodology of the paper is based on the complex imagological concepts of Manfred S. Fischer and Jean-Marc Moura, in which they propose to analyse literary phenomena in national comparative contexts in terms of imagemes, imagothemes, and imagotypes. This triad in its totality makes up the imagosphere, that is, the world of artistic images which are both a cultural representation of a given national ident
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Ostanina, Maria N., and Svetlana S. Goncharenko. "Neo-Baroque Concertizing in the Works by Russian Composers of the Final Quarter of the 20th Century." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 25–38. http://dx.doi.org/10.56620/2782-3598.2024.2.025-038.

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The relevance of the stated topic is determined by the significance of neo-Baroque trends in the 20th century as a means of support for the high humanistic traditions that shaped classical musical art. In the research methodology, the authors rely on the general theoretical principles concerning the baroque concertos developed in the Russian musicological tradition (Yuri Kholopov, Natalia Zeifas, Svetlana Bakuto, Svetlana Goncharenko, etc.), as well as on the typology of compositional models in the contemporary concerto genre proposed by Irina Grebneva. A comparative method, applied to such hi
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Petryk, Vladyslav. "Fantasy for solo clarinet by Jorg Widmann: composer vs performer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, no. 65 (2022): 118–36. http://dx.doi.org/10.34064/khnum1-65.07.

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Statement of the problem. The relevance of the research topic is related to the need for a comprehensive study of Jörg Widmann’s musical creative work, in particular in the aspects of compositional and performing activities and an indepth performing analysis of his Fantasy for solo clarinet. Analysis of recent research and publications. The study is based on the works that examine the creativity of composers of the 20th century (Gromchenko, Vovk, Metlushko, Odom, Rehfeldt, Teixeira); the creative work of J. Widmann (Bruhn, Besthorn, Reyes, Dierickx); of the fantasy genre (Nikolaievska
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Chlasta-Obłąk, Dagmara, and Mirosław Kisiel. "Music family traditions vs the music activity of adolescents." Problemy Opiekuńczo-Wychowawcze 619, no. 4 (2023): 16–25. http://dx.doi.org/10.5604/01.3001.0053.5962.

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The article describes the issue of music family traditions as a stimulator of the music activity of adolescents. This study introduces the issue of the inspiration of home and family education in the music development of adolescents. The subject is presented on the basis of the analysis of the source literature and research conducted in the area of narrative inquiry among a group of adolescents from selected cities in Silesia. The paper contains a report on the conducted interpretative research and reports the subjective opinions of the surveyed adolescents. The aim of the article is to draw t
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Perigo, Jeremy. "Beyond Translated vs. Indigenous: Turkish Protestant Christian Hymnody as Global and Local Identity." Religions 12, no. 11 (2021): 905. http://dx.doi.org/10.3390/rel12110905.

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At Turkey’s first national worship conferences in 2011, a passionate debate arose on whether Western music or indigenous Turkish music was most appropriate for worship. Some Turks felt that the Western missionaries were imposing indigenous musics on Turks as a type of “reverse colonization”. They felt that the current Western musical styles were best for worship. One Turk stated, “the saz is being forced down our throats”. Other Turks felt liberated to sing and play songs in traditional Turkish musical styles. The debate at the conference highlights the desire of missionaries and Turks to see
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Matsunaga, Rie, Pitoyo Hartono, Koichi Yokosawa, and Jun-ichi Abe. "The Development of Sensitivity to Tonality Structure of Music." Music Perception 37, no. 3 (2020): 225–39. http://dx.doi.org/10.1525/mp.2020.37.3.225.

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Tonal schemata are shaped by culture-specific music exposure. The acquisition process of tonal schemata has been delineated in Western mono-musical children, but cross-cultural variations have not been explored. We examined how Japanese children acquire tonal schemata in a bi-musical culture characterized by the simultaneous, and unbalanced, appearances of Western (dominant) music along with traditional Japanese (non-dominant) music. Progress of this acquisition was indexed by gauging children’s sensitivities to musical scale membership (differentiating scale-tones from non-scale-tones) and di
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Moore, Kenneth. "TOLKIEN'S UNIQUE RECEPTION OF PYTHAGOREAN ‘DISSONANCE’ IN THE AINULINDALË OF THE SILMARILLION." Greece and Rome 71, no. 1 (2024): 1–21. http://dx.doi.org/10.1017/s0017383523000207.

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This article is about J. R. R. Tolkien's adaptation of Pythagorean musical elements in the ‘Song of the Ainur’ of the Silmarillion. It details Tolkien's use of Pythagorean dissonance, along with what that amounts to in terms of musical theory, and explores the epistemological origins of the concept and how it found its way into this work of fiction. On the latter point, Platonism, Neoplatonism, and early Christian theology are considered. This includes the likes of Prudentius, pseudo-Dionysius, Augustine, and Aquinas, among others. The article observes that Tolkien has deliberately chosen a so
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Pchelintsev, Anatoly V., and Anna G. Alyabyeva. "Piano Arrangements as a Universal Principle of Adaptation of European Artistic Values to the Peculiarities of Chinese Musical Culture." Russian Musicology, no. 3 (2024): 109–18. http://dx.doi.org/10.56620/rm.2024.3.109-118.

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The article examines the role of arrangements for piano in the development of the Chinese piano school. The dynamic development of the latter is shown in the context of the influence of Western art and the ability of Chinese music to refract this influence through its own cultural lenses. The authors trace the development of piano arrangements in connection with the evolution of compositional thinking and adaptation to European standards and emphasise the role of the Russian musical culture in the process of interaction between the representatives of the binary opposition of “East vs. West.” T
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14

Соколов, А. С. "“With Sadness I Survey Our Present Generation!..”." Журнал Общества теории музыки, no. 1(41) (July 13, 2023): 11–22. http://dx.doi.org/10.26176/otmroo.2023.41.1.002.

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В интервью с А.С.Соколовым обсуждаются важнейшие проблемы музыки первой четверти ХХI столетия. Даётся характеристика тем новациям, которые отличают современную стилевую палитру: присутствие видеоряда как дополнительного средства выразительности, подчиняющегося музыкальной драматургии, трансформировавшиеся взаимоотношения между понятиями «музыкальное — немузыкальное», «музыкальное — внемузыкальное». В связи с этими изменениями испытанию на прочность подверглись многие категории классического музыковедения. В беседе обсуждается, насколько прошли проверку временем дихотомии «форма-кристалл» и «фо
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15

Stroiński, Paweł. "Szeregowiec Ryan, czyli wojna i (a) pamięć." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 140–47. http://dx.doi.org/10.24917/3929.

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Saving Private Ryan. War and (vs) memory The analysis is concerned with the relations between representation of war in American cinema and its cultural memory based on Steven Spielberg's Saving Private Ryan (USA 1998). Based on concepts such as cultural memory, postmemory, representation and realism, multiple aspects of a film work were analyzed: the plot, image, sound, and John Williams' musical score. Hollywood war films through referencing genre traditions, patriotic musical style and iconic imagery are capable of influencing the ways society remembers and imagines war. In case of Saving Pr
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16

Jeffery, Peter. "Eastern Elements in Western Chant: a second look over a changed landscape." Plainsong and Medieval Music 34, no. 1 (2025): 11–23. https://doi.org/10.1017/s096113712500004x.

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ABSTRACTEgon Wellesz’s Eastern Elements in Western Chant (1947, repr. 1967) is outdated but topical in that the resemblances he adduced between Eastern and Western chant continue to invite explanations. An assessment of his book and research since then on the topics of simple vs. complex melody, melodic resemblance, historical frameworks, musical communities and Semitic antecedents of Christian chant lead to the conclusion that the comparative study of medieval Christian chant repertories and of Jewish melodies from post-medieval sources cannot be shaped by simplistic assumptions, such as that
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17

Lee, Riley Kelly. "Fu Ho U vs. Do Re Mi: The Technology of Notation Systems and Implications of Change in the Shakuhachi Tradition of Japan." Asian Music 19, no. 2 (1988): 71. http://dx.doi.org/10.2307/833867.

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18

Istanti, Wati, Nike Widya Kusumastuti, Agus Sulaeman, and Akhmad Fauzan. "Dangdut vs K-Pop in BIPA Learning in South Korea." KEMBARA Journal of Scientific Language Literature and Teaching 11, no. 1 (2025): 1–13. https://doi.org/10.22219/kembara.v11i1.36107.

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Dangdut is one of Indonesia’s popular traditional music genres, rooted in Arabic, Malay, and Hindustani musical influences since the 1940s. Indonesia and South Korea share similarities in utilizing music for cultural promotion. Indonesia introduces its culture through dangdut music, while South Korea promotes its cultural identity through K-pop. K-pop is widely recognized among Indonesian youth, whereas dangdut remains relatively unknown in South Korea. Meanwhile, teaching Indonesian as a second language has developed significantly in South Korea, notably at Hankuk University of Foreign Studie
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19

Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States." Middle East Journal of Culture and Communication 12, no. 1 (2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (sc
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20

Arnau-Mollá, Antonio Francisco, Naranjo Francisco Javier Romero, and ELISEO ANDREU. "Comparing the impact of neuromotricity BAPNE method and traditional methodology on selective attention and concentration among future teachers: A gender-based comparative study." Journal of Physical Education and Sport 24 (January 1, 2025): 1212–29. https://doi.org/10.5281/zenodo.14585466.

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Currently, there is a lack of intervention studies in higher education that compare neuromotricity with traditionalmethodologies, with the majority focused on primary and secondary education. In this study, focusing on genderdifferences, we aimed to evaluate the influence of the traditional approach vs. the neuromotricity BAPNEmethod on selective attention and concentration. The study involved 294 students enrolled in the Didactics ofMusical Expression course in the Early Childhood Education program at the University of Alicante, Spain. Aquasi-experimental intra- and intersubject design was im
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Eldridge, Hannah Vandegrift. "Towards a Philosophy of Rhythm: Nietzsche’s Conflicting Rhythms." Journal of Literary Theory 12, no. 1 (2018): 151–70. http://dx.doi.org/10.1515/jlt-2018-0009.

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Abstract In recent years, theories of rhythm have been proposed by a number of different disciplines, including historical poetics, generative metrics, cognitive literary studies, and evolutionary aesthetics. The wide range of fields indicates the transdisciplinary nature of rhythm as a phenomenon, as well as its complexity, highlighting the degree to which many of the central questions surrounding rhythm remain extraordinarily difficult even to state in terms that can traverse the disciplinary boundaries effortlessly transgressed by rhythm as a phenomenon. In particular, any theory of rhythm,
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Ganelin, Aleksandr E. "Early 20th Century Studio and Theatre Innovations of Vs. E. Meyerhold and S. E. Radlov." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 393–409. http://dx.doi.org/10.21638/spbu15.2021.303.

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The experience of the pedagogical work of the Studio Vsevolod Meyerhold on Borodinskaya Street (1914–1917) to a large extent can be considered one of the important sources of the methodological and pedagogical model inherent in the modern Leningrad — Petersburg theatre school. The education principles of the synthetic actor and director, developed within the studio, combined innovations in the work of teachers and their students both at individual stages of the pedagogical process and on the path to creating a “new” theatre, in a broad understanding of this phenomenon of cultural life at the b
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Breed, Ananda, Chaste Uwihoreye, Eric Ndushabandi, Matthew Elliott, and Kirrily Pells. "Mobile Arts for Peace (MAP) at Home: Digital art-based mental health provision in response to COVID-19." Journal of Applied Arts & Health 13, no. 1 (2022): 77–95. http://dx.doi.org/10.1386/jaah_00094_1.

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This article will provide an example of how the ‘Mobile Arts for Peace (MAP): Online psychosocial support through the arts in Rwanda’ project used digital art-based workshops to facilitate social and community cohesion and mental health provision. During the COVID-19 pandemic, there was an increased need for psychosocial support due to the economic and social pressures of lockdown and yet many individuals had less access to mental health provision. While many mental health services around the world went online, there was still a gap between the Global South and Global North in terms of digital
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bosch, peter, and simone simons. "our music machines." Organised Sound 10, no. 2 (2005): 103–10. http://dx.doi.org/10.1017/s1355771805000749.

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this article gives an overview of the music machines created by bosch and simons from 1990 until the present. special attention is given to vibratory projects which have been their main focus since 1993. as a consequence of physical properties – all of them being complex sprung constructions – the movements and sounds created by these machines can change almost imperceptibly from order into chaos and vice versa. the concept behind the software which controls the oscillation motors, used in this series of projects, is for the most part defined and restricted by physical conditions. this softwar
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Dey, Ayan K., Clara Healey, Sean M. Nestor, et al. "REDEFINING RECOVERY: EXPLORING ANTIDEPRESSANT EFFECTS AND COGNITIVE IMPAIRMENT IN TREATMENT RESISTANT DEPRESSION WITH REPETITIVE TRANSCRANIAL MAGNETIC STIMULATION." International Journal of Neuropsychopharmacology 28, Supplement_1 (2025): i47. https://doi.org/10.1093/ijnp/pyae059.082.

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Abstract Background Cognitive dysfunction is a key pathological feature of treatment resistant major depression (TRD) that is often overlooked (1). Persistent deficits in cognition are common and serve as a mediator of psychosocial and functional outcomes. Such deficits are associated with reduced quality of life and increased likelihood of relapsing (2). Subtle cognitive deficits in depressed patients may also evade detection by traditional screening tools. Unfortunately, despite much advancement in treatment options, a significant proportion of patients who achieve symptomatic improvement in
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26

Тангаева, Н. И. "Christian categories of vice and virtue, as illustrated in the song-opera TODD, authored by punk group Korol i Shut: literary aspects." Вестник Рязанского государственного университета имени С.А. Есенина, no. 2(79) (August 7, 2023): 149–65. http://dx.doi.org/10.37724/rsu.2023.79.2.015.

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В статье исследуется значение христианской аксиологии в понимании сюжета, образов и конфликта театральной рок-постановки TODD группы «Король и шут». Ввиду литературоведческой направленности работы внимание сосредоточено на тексте постановки, который относится к такому литературному жанру, как рок-поэзия. Рок-поэзия, создаваемая в рамках определенной культуры, подвергается влиянию национального менталитета и традиций, которые, в случае с русской культурой, являются в своей основе христианскими. В этой связи мы считаем актуальным и целесообразным обращение к изучению взаимодействия христианской
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Chibici-Revneanu, Claudia. "Un-mind the gap: questioning the division between artistic instrumentalism and autonomy from an ethnomusicological perspective." European Journal of Cultural Management and Policy 9 (December 2, 2019). http://dx.doi.org/10.3389/ejcmp.2023.v9iss2-article-1.

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This article aims to contribute to on-going cultural policy debates on artistic instrumentalism vs. autonomy, striving to undermine this apparent dichotomy by drawing from ethnomusicology and related fields. Ethnomusicology, although frequently ignored by cultural policy studies, has an established tradition of exploring the functionality of music. As such, it not only provides profound insight into social effects of music, but also helps reveal that the division between instrumental art and “art for art’s sake” is largely a historical and culture-specific invention of the Western (musical) wo
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Hadar, Tamar, and Tal-Chen Rabinowitch. "The varying social dynamics in orally transmitted and notated vs. improvised musical performance." Frontiers in Psychology 14 (April 20, 2023). http://dx.doi.org/10.3389/fpsyg.2023.1106092.

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Musical performance can be viewed as an intricate form of social behavior. Accordingly, the rich diversity of existing musical styles and traditions may reflect distinct modes of social interaction. To gain a better understanding of the relations between musical style and social dynamics, we have formulated a framework for dissecting different genres of musical performance according to key social criteria. In particular, we contemplate on the continuum ranging from strictly orally transmitted and notated to fully improvised music, and its relation to general compliance with social norms and st
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Chiba, Gakuto, Yuto Ozaki, Shinya Fujii, and Patrick E. Savage. "Sight vs. Sound Judgments of Music Performance Depend on Relative Performer Quality: Cross-cultural Evidence From Classical Piano and Tsugaru Shamisen Competitions." Collabra: Psychology 9, no. 1 (2023). http://dx.doi.org/10.1525/collabra.73641.

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Which information dominates in evaluating performance in music? Both experts and laypeople consistently report believing that sound should be the most important domain when judging music competitions, but experimental studies of Western participants rating video-only vs. audio-only versions of 6-second excerpts of Western classical performances have shown that in at least some cases visual information can play a stronger role. However, whether this phenomenon applies generally to music competitions or is restricted to specific repertoires or contexts is disputed. In this Registered Report, we
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Sarah Albu. "Concepts of Embodiment in Interdisciplinary Work Within a Musical Context." Royal Conservatoire Research Portal, no. 1 (February 8, 2019). http://dx.doi.org/10.22501/koncon.299025.

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Integrated musical experiences have long existed, previous to and outside of the traditional concert music setting. Interdisciplinary approaches to performance creation are becoming more accepted and more common in academic music contexts. This research asks the question "How does the concept of embodiment serve the creation of interdisciplinary work within a musical context?", examined through the lens of definitions of embodiment, spinning, technology, community, and inter/multidisciplinary vs. intermediality and expanded through case studies of two of the author's recent performance works.
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Lange, Elke B., Emily Gernandt, and Julia Merrill. "Categorizing music by genres." Annals of the New York Academy of Sciences, July 9, 2025. https://doi.org/10.1111/nyas.15404.

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AbstractIn arts and music, exemplars are categorized into genres, but those are not static and change dynamically. In musical taste research, there are strong differences in number and width of genre categories, and it is unclear how category width (broad genres vs. narrow subgenres) affects liking evaluations. The use of broad genre labels has been strongly criticized. We address this issue by a quantitative approach, comparing liking evaluations of 15 musical genres with 100 embedded and two nonexistent subgenres (N = 804). We applied a wide range of analyses (correlations, regressions, rand
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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States - Redefining the Conditions of a Musical Practice." Middle East Journal of Culture and Communication Volume 12, Issue 1 (2019). https://doi.org/10.1163/18739865-01201006.

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This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. <em>maqamat</em>), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (sc
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Hasanova, L., and G. Atakishizada. "CLASSİCAL MUSİC İN THE ORGANİC PHİLOSOPHY PARADİGM: DETERMİNİNG THE FUTURE." Norwegian Journal of development of the International Science 120 (November 13, 2023). https://doi.org/10.5281/zenodo.10137774.

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<strong>Abstract</strong>The article treats the problem of preservation of classical music in the 21st century, with mechanistic and organic paradigms of understanding of classical musical art and creativity in general presented, specific characteristics of the organic philosophical paradigm existing in foreign and Russian intellectual traditions analyzed, and prospects of further studying of the organic paradigm allowing to restore the idea of integrity of classical pieces of music, to resolve the juxtaposition of the objective vs the subjective in art, to realize the need of creativity as an
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Cristina Frosini. "The art of composing: between autonomy and heteronomy." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 44–50. http://dx.doi.org/10.36253/techne-10978.

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«Music conveys different meanings to everyone, and sometimes, it can even communicate different things at different times to the same person», Daniel Barenboim once said. This is tantamount to saying that music is influenced by the context in which it is played, whilst at the same time influencing the context of those who are listening to it. As such, music exists within a system of relationships. From this, it follows that music can be interpreted as a public art – when it is performed in front of an audience – when it is played by one or more musicians in the presence of a listener or listen
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Kvifte, Tellef. "Teknologien og tradisjonen: Noter og opptak, nok en gang." Musikk og tradisjon 28 (December 31, 2014). http://dx.doi.org/10.52145/mot.v28i0.687.

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The paper discusses the use and effects on traditional music by the introduction of the technologies of music notation and music recording. Both of these technologies imply fixation and, therefore, also the possibility of recreation of a (musical) event split from its origin. Reference is made to Lord's discussion of orality vs. literacy, and also to Schafer's concept of schizophonia. Both these authors see the technologies in a perspective of cultural pessimism that is not shared by this author. The aim of the article is, therefore, not to argue for caution on the use of technologies nor to a
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Washburn, Auriel, Matthew J. Wright, Chris Chafe, and Takako Fujioka. "Temporal Coordination in Piano Duet Networked Music Performance (NMP): Interactions Between Acoustic Transmission Latency and Musical Role Asymmetries." Frontiers in Psychology 12 (September 24, 2021). http://dx.doi.org/10.3389/fpsyg.2021.707090.

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Today’s audio, visual, and internet technologies allow people to interact despite physical distances, for casual conversation, group workouts, or musical performance. Musical ensemble performance is unique because interaction integrity critically depends on the timing between each performer’s actions and when their acoustic outcomes arrive. Acoustic transmission latency (ATL) between players is substantially longer for networked music performance (NMP) compared to traditional in-person spaces where musicians can easily adapt. Previous work has shown that longer ATLs slow the average tempo in e
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Maria, Faustyna Gilewicz. "Disney – animacja a musical filmowy. Zmiany w kreacji damskich postaci na podstawie Aladyna." September 30, 2023. https://doi.org/10.5281/zenodo.8395098.

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Disney&nbsp;&ndash; animation versus the musical film. Changes in the creation of female characters based on Aladdin&nbsp; Maria Faustyna Gilewicz, in the chapter Disney animation vs. the movie musical. Changes in the creation of female characters based on Aladdin presents a comparative analysis of the animation (1992) and live action film (2019) Aladdin. In recent years, the Walt Disney Studio has made major changes in the creation of female characters. Two clear trends are noticeable. New animations are being created, in which the main roles are played by modern characters that differ in ima
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Cole, Sebastian, and Jessica Yarin Robinson. "Curating Christmas." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3125.

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Introduction As music listening transitions from physical to digital formats, the model for how people organise and discover new music is being taken over by the features of digital streaming services (Lüders; Rothenbuhler; Wikström). Playlists, akin to the mixtape of the analogue era, have broken up the album model, catering to specific moods, genres, and events (Bonini and Gandini; Prey; Siles et al., "Genres"). On Spotify, algorithmic playlists are readily mixed in with human-curated playlists, blurring the lines between the selections of personal human choice, and the datafied choices driv
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Jaschke, A. C., C. Howlin, J. Pool, et al. "Study protocol of a randomized control trial on the effectiveness of improvisational music therapy for autistic children." BMC Psychiatry 24, no. 1 (2024). http://dx.doi.org/10.1186/s12888-024-06086-3.

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Abstract Background Music therapy is the clinical use of musical interventions to improve mental and physical health across multiple domains, including social communication. Autistic children, who have difficulties in social communication and often increased anxiety, tend to show a strong preference for music, because it can be structured and systematic, and therefore more predictable than social interaction. This makes music therapy a promising medium for therapeutic support and intervention. Previous clinical trials of music therapy compared to traditional therapy for autistic children have
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Carling, Christopher, Chloé Leprince, Thomas Pavillon, Stéphane Guétin, and Franck Thivilier. "Feasibility and Effectiveness of a Novel Smartphone Music Application on Anxiety and Sleep in Elite Soccer Coaches." Journal of Sports Science and Medicine, July 1, 2021, 546–47. http://dx.doi.org/10.52082/jssm.2021.546.

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A considerable body of research has examined stress and wellbeing in athletes (e.g., Arnold et al., 2017). In contrast, similar experiences in sports coaches have received considerably less attention although these are widely exposed to numerous stressors which can potentially influence their well-being and performance. In 2017, a meta-analysis (Norris et al., 2017) highlighted various stressors influencing the performance of coaches. These include external scrutiny from the public and media, the need to constantly maintain high standards during training and competition and organizational stre
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Viljoen, Martina. "Mzansi Magic." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2989.

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Introduction Jerusalema, a song from Mzansi — an informal isiZulu name for South Africa — became a global hit during the Covid-19 pandemic. Set to a repetitive, slow four-to-a-bar beat characteristic of South African house music, the gospel-influenced song was released through Open Mic Productions in 2019 by the DJ and record producer Kgaogelo Moagi, popularly known as ‘Master KG’. The production resulted from a collaboration between Master KG, the music producer Charmza The DJ, who composed the music, and the vocalist Nomcebo Zikode, who wrote the lyrics and performed the song for the master
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Maxwell, Lori, and Kara E. Stooksbury. "No "Country" for Just Old Men." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.71.

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Introduction Presidents “define who Americans are—often by declaring who they aren’t”, and “by their very utterances […] have shaped our sense of who we are as Americans” (Stuckey, front cover). This advocacy of some groups and policies to the exclusion of others has been facilitated in the United States’ political culture by the country music industry. Indeed, President Richard Nixon said of country music that it “radiates a love of this nation—a patriotism,” adding that it “makes America a better country” (Bufwack and Oermann 328). Country music’s ardent support of American military conflict
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Piatti-Farnell, Lorna, and Lloyd Carpenter. "Intersections of History, Media, and Culture." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1323.

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For many, the very idea of ‘history’ calls into question narratives of the past, distant and disconnected from our contemporary moment, and out of tune with the media-centred world of our post-2000 popular culture. This approach to history, however, is based on profound misconceptions, and does not take into account the fact that the present is history: we experience our historical moment via multiple and multi-faceted media practices, from using social media to watching movies, from watching television to consuming food. The past is, in turn, never far removed from our contemporary and everyd
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Leisten, Susanna, and Rachel Cobcroft. "Copy." M/C Journal 8, no. 3 (2005). http://dx.doi.org/10.5204/mcj.2351.

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&#x0D; &#x0D; &#x0D; Rip, mix, share, and sue. Has ‘copy’ become a dirty word? The invitation to artists, activists, consumers and critics to engage in the debate surrounding the creative processes of ‘copy’ has been insightful, if not inciting sampling/reproduction/reflection itself: It clearly questions whether ‘copy’ deserves the negative connotations that it currently summonses. It has confronted the divide between the original and its replica, and questioned notions of authenticity and the essence of identity. It has found that ‘open source’ is an opportunity to capitalise on creativity,
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Staite, Sophia. "Kamen Rider." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2834.

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2021 is the fiftieth anniversary year for Japanese live-action superhero franchise Kamen Rider. For half a century, heroes bearing the name Kamen Rider have battled rubber suited monsters and defended the smiles of children. Unlike many superheroes, however, the Kamen Riders are grotesque heroes, usually drawing their powers from the same source as the villains they battle. Grotesque human-machine-animal hybrids, they differ from their opponents only in the kindness of their hearts and the strength of their spirits. Although the Kamen Rider franchise includes a variety of texts including manga
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Hawley, Erin. "Re-imagining Horror in Children's Animated Film." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1033.

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Introduction It is very common for children’s films to adapt, rework, or otherwise re-imagine existing cultural material. Such re-imaginings are potential candidates for fidelity criticism: a mode of analysis whereby an adaptation is judged according to its degree of faithfulness to the source text. Indeed, it is interesting that while fidelity criticism is now considered outdated and problematic by adaptation theorists (see Stam; Leitch; and Whelehan) the issue of fidelity has tended to linger in the discussions that form around material adapted for children. In particular, it is often assume
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