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Journal articles on the topic 'Musicians on television'
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1
Negus, Keith. "Musicians on Television: Visible, Audible and Ignored." Journal of the Royal Musical Association 131, no. 2 (2006): 310–30. http://dx.doi.org/10.1093/jrma/fkl005.
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This article focuses on the prominent anxieties generated by television broadcasts of musicians from the 1930s onwards. It explores three specific issues: first, a concern that television images of performing musicians are detrimental to the experience of music; second, negative judgments about the consequences of television sound quality; and, third, fears that musical value is undermined by the distracted character of television reception. Focusing on these particular points, the article also raises a series of more profound questions about how various strategies of looking and listening influence our understanding of music.
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Guptill, Christine A. "The Lived Experience Of Professional Musicians with Playing-Related Injuries: A Phenomenological Inquiry." Medical Problems of Performing Artists 26, no. 2 (June 1, 2011): 84–95. http://dx.doi.org/10.21091/mppa.2011.2013.
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The purpose of this study was to understand the lived experience of professional instrumental musicians who have experienced playing-related injuries. The study used a hermeneutic phenomenological methodology developed to examine this lived experience. In-depth interviews were conducted with 10 professional musicians, followed by a focus group where preliminary findings were presented to participants and their feedback was sought. Other sources of lived experience included participant-observation by the researcher, who is a musician and has experienced injuries, and biographic and artistic representations of musical performance and its loss, including literature, films, and television. The findings were summarized in a visual representation unique to this study. The representation illustrates three roles--musician, worker, and teacher--that are participated in, and disrupted by, the experience of being injured. In addition, the experience of a playing-related injury takes place within the context of a healthcare system which was perceived as insufficient to meet their needs: specialized care was rarely available and, if available, was not local or timely; treatment operated on a fee-for-service model when many musicians had meagre incomes and lacked coverage for these services; and treatment provided often failed to allow musicians to continue to perform at the level they had previously achieved. Finally, the representation illustrated four existentials--lived time, space, body and social relations--that permeated the experience. This study suggests that improvements to healthcare delivery and education of musicians, music teachers, and healthcare professionals are needed.
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Sáraco, Margaret. "Historical Research: How to Fit Minority and Women's Studies into Mathematics Class." Mathematics Teaching in the Middle School 14, no. 2 (September 2008): 70–76. http://dx.doi.org/10.5951/mtms.14.2.0070.
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Ask middle school students to name their favorite musicians, athletes, or actors, and they will tell you everything about them: statistics, hair color, who they are married to, where they live, their accomplishments, and more. Students are exposed to celebrities every day through television, movies, radio, and the Internet. Isn't it time we expose our students to some mathematical heroes?
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Wyver, John. "‘Filming the invisible’: Barrie Gavin in conversation with John Wyver." Journal of Popular Television 9, no. 1 (March 1, 2021): 15–28. http://dx.doi.org/10.1386/jptv_00039_7.
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Barrie Gavin (b. 1935) is a celebrated producer, director and writer who is best known for numerous programmes about music and musicians made primarily for BBC Television from 1964 onwards. He worked on numerous occasions with the conductors Pierre Boulez and Simon Rattle, and with them and other collaborators he has directed more than 90 films. In this conversation recorded in Leeds in June 2018 Gavin discusses with the writer and producer John Wyver his ideas about making music television, his innovative approaches to filmmaking, his profiles of composers including Luigi Nono, Karlheinz Stockhausen and Toru Takemitsu, and his working relationships with Boulez and Rattle.
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Forman, Murray. "‘One night on TV is worth weeks at the Paramount’: musicians and opportunity in early television, 1948–55." Popular Music 21, no. 3 (October 2002): 249–76. http://dx.doi.org/10.1017/s0261143002002179.
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This article addresses a gap in the historical study of music on television by revisiting North American popular music in conjunction with the broadcast medium's early stage of development. Central to its analysis is the fact that music has always been deemed essential to the character and success of television. Emphasising the circulating discourses of ‘opportunity’, the article isolates the ways in which some musicians and others in various sectors of the music industry regarded the new medium as a positive influence at its inception. Among key considerations at the time were issues of musical performance style and aesthetics, repertoire, promotional capabilities, career enhancement, and additional leisure options for audiences.
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Cole, Ross. "Mastery and Masquerade in the Transatlantic Blues Revival." Journal of the Royal Musical Association 143, no. 1 (2018): 173–210. http://dx.doi.org/10.1080/02690403.2018.1434352.
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ABSTRACTFocusing on two influential broadcasts staged for British television in 1963–4, this article traces transatlantic attitudes towards blues music in order to explore the constitutive relationship between race, spectatorship and performativity. During these programmes, I claim, a form of mythic history is translated into racial nature. Ultimately, I argue that blues revivalism coerced African American musicians into assuming the mask of blackface minstrelsy – an active personification of difference driven by a lucrative fantasy on the terms of white demand. I ask why this imagery found such zealous adherents among post-war youth, situating their gaze within a longer tradition of colonialist display. Subaltern musicians caught within this regime were nonetheless able to ‘speak’ via sung performances that signified on the coordinates of their own marginalization. The challenge for musicology is thus to heed the relational syncretism arising from intercultural contact while acknowledging the lived experience of African American artists unable fully to evade the preordained mask of alterity.
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Weidman, Amanda, and Kristen Rudisill. "Special Issue: ‘Reality Television in South Asia: Performance, Negotiation, Imagination’." Indian Theatre Journal 6, no. 1 (August 1, 2022): 5–9. http://dx.doi.org/10.1386/itj_00023_2.
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Since the early 2000s, contest-based performance reality shows have become a major source of televisual entertainment in South Asia as well as an important site of publicity for musicians, singers, dancers and choreographers. They have become important venues for the performance of film, folk and classical music and dance, as well as sites where the aesthetics, meaning and status of these genres, and the boundaries between them, are recast. The reality show format has introduced new performance practices, new practices of viewing and audition and new modes of identification and evaluation. The articles in this Special Issue present case studies of the staging, curation and presentation of performance-based reality shows and the kinds of gendered, ethnic, classed and casted subjects produced and recruited through these shows. Moving beyond the more-studied Hindi belt, the articles focus on India’s south and northeast, as well as Pakistan and Nepal.
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Cogo-Moreira, Hugo, and Alexandra Lamont. "Multidimensional measurement of exposure to music in childhood: Beyond the musician/non-musician dichotomy." Psychology of Music 46, no. 4 (June 3, 2017): 459–72. http://dx.doi.org/10.1177/0305735617710322.
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Much research in music psychology characterizes the music background of its participants in a dichotomous manner, labeling participants as “musicians” and “non-musicians” or professionals and non-professionals. However, this terminology is inconsistent from study to study, and even more sophisticated measures fail to accurately represent music experiences; moreover, there is no standardized measure suitable for use with younger participants. This article presents a new measure, the Exposure to Music in Childhood Inventory, for capturing the amount and type of exposure to music activities suitable for use with children. Children from public and private school, aged 5 to 13 years old ( N = 1006; M = 8.36 years old, SD = 1.5 years) completed the inventory, and through a combination of exploratory and confirmatory factor analysis a two-factor solution was obtained. The first factor includes personal music listening activities, home musical environment and the influence of television and the internet; the second reflects more social, active and public elements of music-making, playing an instrument and performing. This scale is suitable for use in a wide range of future research to more accurately assess the kinds of music activities children have access to in a dimensional way, which can have a bearing on their understanding of music.
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Goldsmith, Leo. "Scratch's Third Body." VIEW Journal of European Television History and Culture 4, no. 8 (December 30, 2015): 114. http://dx.doi.org/10.18146/2213-0969.2015.jethc097.
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Emerging in the UK in the 1980s, Scratch Video established a paradoxical union of mass-media critique, Left-wing politics, and music-video and advertising aesthetics with its use of moving-image appropriation in the medium of videotape. Enabled by innovative professional and consumer video technologies, artists like George Barber, The Gorilla Tapes, and Sandra Goldbacher and Kim Flitcroft deployed a style characterized by the rapid sampling and manipulation of dissociated images drawn from broadcast television. Inspired by the cut-up methods of William Burroughs and the audio sampling practiced by contemporary black American musicians, these artists developed strategies for intervening in the audiovisual archive of television and disseminating its images in new contexts: in galleries and nightclubs, and on home video. Reconceptualizing video's “body,” Scratch's appropriation of televisual images of the human form imagined a new hybrid image of the post-industrial body, a “third body” representing a new convergence of human and machine.
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Kheshgi, Rehanna. "Crowning the Bihu Queen: Engendering a rural sensibility through reality television." Indian Theatre Journal 6, no. 1 (August 1, 2022): 41–58. http://dx.doi.org/10.1386/itj_00026_1.
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This article focuses on reality television shows featuring solo female Bihu performance: the music and dance form associated with the Assamese New Year’s festival. These shows cultivate a sense of ‘reality’ by incorporating scenes of finalists on location in their homes. Often depicting hardworking village girls conducting daily chores, these scenes narrate the journey from anonymity to celebrity stardom, highlighting the ability of contestants to embody certain idealized values associated with Assamese womanhood. While judges began embedding these values into Bihu stage competitions in the early 1980s, the scrutiny of individual contestants by celebrity judges has increased since the advent of reality TV Bihu shows in the early 2000s. The success female contestants are able to achieve depends, in part, on their ability to convincingly portray a ‘rural’ sensibility while maintaining an air of respectability, both as part of Bihu performance and during question-and-answer sessions. Drawing on the author’s experience as a guest judge in two seasons of Bihu Rānī (‘Bihu Queen’), as well as on interviews with judges, producers, hosts, contestants and session musicians, the article examines how female performers navigate neo-liberal models of competitive performance while maintaining values and beliefs associated with collective ritual performance.
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Caston, Emily. "The Pioneers Get Shot: Music Video, Independent Production and Cultural Hierarchy in Britain." Journal of British Cinema and Television 16, no. 4 (October 2019): 545–70. http://dx.doi.org/10.3366/jbctv.2019.0498.
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This article identifies and summarises the main findings of the AHRC research project ‘Fifty Years of British Music Video, 1966–2016’. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music video producers, as did the Musicians’ Union, and consequently music video producers emerged from the 1980s with virtually no protection of their rights. The ACTT's issue was new video technology which it opposed. It also opposed offline editing on video tape because it would lead to redundancies of film editors and potentially required fewer post-production crew. The MU's issue was royalty payments to session musicians and lip synch. The music video industry has functioned as a crucial R&D sector and incubator for new talent and new technologies in the British film and television industries as a whole, without experiencing any of the financial rewards, cultural status or copyright protections of the more esteemed ‘screen arts’.
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ALLEN, CARRIE. "“I Got That Something That Makes Me Want to Shout”: James Brown, Religion, and Gospel Music in Augusta, Georgia." Journal of the Society for American Music 5, no. 4 (October 24, 2011): 535–55. http://dx.doi.org/10.1017/s1752196311000307.
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AbstractUsing ethnographic and archival data, this article explores aspects of global superstar James Brown's participation in the black gospel music community of Augusta, Georgia, from the 1980s until his death in 2006. Using rare footage of Brown performing sacred music on a local gospel music television program, the article builds on scholars’ longtime recognition of Brown's engagement with black sacred song by engaging the singer's negotiation of sacred and secular musical and cultural boundaries from the perspective of his gospel performances. The article also examines Brown's personal relationships with local gospel musicians, ultimately arguing that his involvement with Augusta's gospel tradition near the end of his life provided Brown with an alternative social space for articulating a musical and personal identity somewhat separate from his mainstream media image.
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Samigullina, Rufina Ildarovna. "Features of musical enlightenment in Russia in the second half of the twentieth century." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 8 (January 11, 2018): 205–11. http://dx.doi.org/10.18844/prosoc.v4i8.3051.
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Musical enlightenment is an actual problem of modern education. It involves dissemination of knowledges among the audience, the development of artistic needs, interest in music. By the second part of the 20th century, Russia has accumulated a wealth of experience of musical enlightenment activities. The Russian experience in the training of musicians has become an example for other countries, the concept of mass musical education developed by Kabalevsky, is the basis of many contemporary programs in music, various forms of musical education (people's universities, television & radio concerts, competitions, festivals and lectures) are widespread and practiced at the present time. The study used theoretical methods: analysis of the training programs, pedagogical literature, regulatory documents, the activities of educational institutions, musical enlightenment organizations, and systematization of the repertoire of musical collectives. Keywords: Musical education, mass culture, musical enlightenment, musical enlightenment organizations.
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Baker, Catherine. "Your Race Sounds Familiar?" Race and European TV Histories 10, no. 20 (December 1, 2021): 83. http://dx.doi.org/10.18146/view.267.
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Your Face Sounds Familiar, a celebrity talent television format developed by the Dutch production company Endemol and first broadcast in Spain in 2011, has entertained audiences in more than forty countries with the sight of well-known professional musicians impersonating foreign and domestic stars through cross-gender drag and, on many national editions, cross-racial drag, with results that would widely be regarded as offensive blackface where this has already been extensively challenged as racist in public. In central/south-east Europe, however, blackface is sometimes justified by arguing that it cannot be a racist practice because these countries have not had the UK and USA’s history of colonialism and racial oppression. Through a study of the Croatian edition Tvoje lice zvuči poznato (2014–), where until 2020 blackface had rarely been publicly challenged, this paper explores how far a critical race studies lens towards blackface can also be applied there.
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Smith, N. Crise. "The use of the Element “Passion” Applied to Microscopy." Microscopy and Microanalysis 6, S2 (August 2000): 1176–77. http://dx.doi.org/10.1017/s143192760003837x.
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Of all the meanings and definitions of the word passion, the two that are applied here are “a pursuit to which one is devoted” and “excitement of the mind.” These are the emotional feelings that drive artists, musicians, writers, and scientists to fervently apply their skills. Within the field of microscopy, scientists and technologists display their zeal when they pursue the development of new techniques and methodologies, when they invite the world into their laboratories through telepresence microscopy, and when they use only the highest of standards to execute their studies. It is the ardor that drives retired microscopists to deliver microscopes to school children, and the joy that makes teachers of us all, as we are so desirous to share our knowledge. Passion is the deep feeling that can motivate a microscopist to produce imaginative IMAX movies and films for public television series.
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McManus, Emily J. "The Tango in Translation: Intertextuality, Filmic Representation, and Performing Argentine Tango in the United States." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (March 25, 2014): 194. http://dx.doi.org/10.21992/t9w34w.
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This article analyzes representations of the Argentine tango by the U.S. media utilizing Farzaneh Farahzad’s theory of “translation as intertextual practice” and Lawrence Venuti’s theory of translated “adaptations.” I argue that the juxtaposition of Latin American and European cultural stereotypes within filmic representations of the tango has created and reinforced a highly racialized master discourse (Said Faiq) that continues to influence how the Argentine tango is perceived in the United States today. Because cultural translation occurs between a hegemonic culture and a marginalized culture, representations of the tango in the United States both create and reinforce a master discourse that inextricably ties the tango to an exoticized and eroticized Latin “Other.”
I conclude by discuss how the racialized and sexualized narratives discussed throughout this paper are integrated into contemporary performance of the tango. I draw on ethnographic research with tango communities throughout the United States to illustrate how 20th century filmic representations of the tango continue to motivate, influence, and inform how, when, and why the Argentine tango is performed by U.S. dancers and musicians. Films analyzed include Four Horsemen of the Apocalypse, Some Like it Hot, Last Tango in Paris, and The Scent of a Woman, as well as a variety of lesser-known films and television advertisements. Although a large variety of 20th century films feature the tango, the films discussed in this paper were selected for analysis due to the frequency with which they are referenced by tango aficionados and contemporary tango dancers, musicians, and deejays performing throughout the United States today.
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Mishina, Anastasia V., Zilia M. Yavgildina, Rufina Ildarovna Samigullina, and Tamara Yu Melnik. "Comparative analysis of musical-enlightenment concepts of L. Bernstein and D. Kabalevsky in Russian music education." Cypriot Journal of Educational Sciences 13, no. 4 (December 26, 2018): 625–30. http://dx.doi.org/10.18844/cjes.v13i4.3894.
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The aim of this study is to compare the activities of Kabalevsky and Bernstein—two musicians who made a significant contribution to the musical education of the younger generation, reveals the principles, methods, forms of educational work and covers the subject of television programmes. In particular, the pedagogical and musical-enlightenment concept of the outstanding composer, scientist Dmitry Kabalevsky was widely spread in our country. Also, the achievements of American composer, lecturer, teacher Leonard Bernstein in the field of musical enlightenment differ in originality and are rarely used in Russian musical pedagogical practice. In accordance with the aim of the study, the following theoretical methods were used: analysis of the literature, epistolary texts, the repertoire of the concert programmes of the New York Philharmonic orchestra; generalisation of historical data on musical and educational activities of Kabalevsky and Bernstein, comparison of methods and techniques of music education, biographical method.
Keywords: Conversation, enlightenment, Dmitry Kabalevsky, Leonard Bernstein, TV
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Tiramani, Thea. "Sikh Religious Music in a Migrating Context: The Role of Media." European Journal of Musicology 20, no. 1 (April 10, 2022): 269–90. http://dx.doi.org/10.5450/ejm.20.1.2021.269.
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The aim of this article is to provide an initial study of the relationship between music and media in the Sikh communities in migration. It is easy to notice the great connection between Sikhs all over the world and the homeland: social media, television, Internet, and web radio greatly help Sikhs to create networks and to preserve a strong religious identity. Technologies also allow musical tendencies from India to be gathered and reproduced in the migratory context. Music is a fundamental aspect in the Sikh religion: it is necessary for the religious rites, but also takes on a dominant role in cultural transmission. Based on field research conducted in Sikhs communities in Northern Italy, this article offers practical and concrete examples of how social media and Internet are employed by musicians in the construction and definition of a musical Sikh identity abroad. This can help to develop a more comprehensive view of the music functions in such a complex diaspora community.
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Tyas, Danang Sandy. "Rosette Guitar Quartet : Proses Kreatif Melalui “Youtube” Sebagai Pasar Industri Musik Digital." JMD : Jurnal Riset Manajemen & Bisnis Dewantara 4, no. 1 (March 24, 2021): 1–8. http://dx.doi.org/10.26533/jmd.v4i1.763.
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The existence of YouTube as a promotional medium is utilized by the Rosette guitar quartet in presenting a musical performance presented with the creation and production in the form of audio-visual uploaded via YouTube social media. With the growing need and dependence of the public on YouTube channels, YouTube's function has begun to grow no longer as a medium of entertainment alone, YouTube has also begun to function as a reference, promotion, and even existence for certain groups such as artists, musicians and indie artists who are not exposed to television media. and those that already exist in the entertainment world. The purpose of this study is to describe the creative process of the Rosette Guitar Quartet in facing the digital music market. This research uses a qualitative approach. Qualitative research focuses on data not numbers, and seeks to answer questions rather than test hypotheses. The result of this research is the creative process of the Rosette Guitar Quartet in utilizing YouTube as a digital music industry market through the presentation of music in audio-visual form.
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TAYLOR, HELEN. "After the Deluge: The Post-Katrina Cultural Revival of New Orleans." Journal of American Studies 44, no. 3 (August 2010): 483–501. http://dx.doi.org/10.1017/s0021875810001192.
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This article argues that voices of doom, predicting the demise of Crescent City, have been drowned out by an optimistic and energetic movement both within and outside New Orleans to bring everyone home, and to revive and renew the city, especially through a showcasing of its diverse cultures. New Orleans's history is one of destruction and rebuilding, climatic disaster and haphazard reconstruction. The dramatic disappearance of the wetlands and urban hinterland, caused by climate change and ecological damage brought about by construction and oil companies, makes New Orleans's physical and demographic future questionable and controversial. But there is strong commitment by its citizens and internationally celebrated musicians to keep the city alive, and the global reputation and power of its music have attracted powerful advocates and cheerleaders. Music, film, television programmes, the visual arts, literature and many forms of published testimony and oral history have reminded the world of this city's unique multicultural postcolonial history, drawing back tourists and visitors to celebrate one of America's most extraordinary melting pots.
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Duffett, Mark. "Going down like a song: national identity, global commerce and the Great Canadian Party." Popular Music 19, no. 1 (January 2000): 1–11. http://dx.doi.org/10.1017/s0261143000000039.
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On 1 July 1992 over 100,000 people assembled in various locations across Canada to see their favourite bands play live at the Great Canadian Party. Broadcast on television and radio, this Canada Day spectacle celebrated the country's 125th birthday, but rather than being organised by the state or a non-profit making citizen's movement, it was facilitated by more than $100,000 of corporate sponsorship. Drawing on fieldwork in Vancouver, I will argue that external funding initially helped Canadian musicians but soon allowed outside sponsors to control the live music industry. These sponsors could then co-opt anxieties about national unity in a selective celebration designed purely for their own ends. By addressing the Great Canadian Party's emergence and historic moment the following discussion will explore what it meant for Canada to be represented through a giant commercial, a commercial drawing on shared national identity in order to sell the products of a global industry. The Party revealed how judiciously agents of commerce could use popular culture to negotiate between geographic scales. Despite that success, however, the resistance of participating bands suggests that the Party could not secure full hegemony for its sponsor's project.
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Stirr, Anna. "Revolution and reality shows: Nepal’s CPN and the media worlds of late capitalism." Indian Theatre Journal 6, no. 1 (August 1, 2022): 25–40. http://dx.doi.org/10.1386/itj_00025_1.
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As performance reality television shows have become popular in Nepal, singers, musicians and dancers from the various communist parties’ cultural groups have begun to take part in them and draw on them for artistic inspiration. Yet reality shows are also closely associated with neo-liberal capitalism, and these artists’ participation has thus been criticized by some on the political left. This article examines the resulting interaction of aesthetics and values when communist artists, reality show expectations and cultural criticism meet. I draw on twenty years’ engagement with Nepal’s music industry as a performer and ethnographer, and in-person and online fieldwork with communist cultural groups between 2012 and 2021. I focus on artists associated with the far-left party known officially as the Communist Party of Nepal and informally as Biplav’s CPN; a party that emerged from the former CPN (Maoist). Outlining points of articulation and conflict between the values of these Maoist artists and of commercial music and dance competition reality shows, I argue that as communists living in late capitalism, these artists strive to use reality shows as platforms and as sources of artistic inspiration to shape reality and inspire others towards their dreams of creating a more egalitarian society.
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Angalia, Jane F. "MEDIA MESSAGES AND STRATEGIES: SELLING KENYA TO THE WORLD THROUGH THE HOSPITALITY INDUSTRY." American Journal of Communication 1, no. 1 (April 11, 2017): 44–65. http://dx.doi.org/10.47672/ajc.236.
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Purpose: The purpose of this study is to explore the media messages and strategies that countries use to sell themselves to other countries. Methodology: The paper isolated theories that may explain the need to use media strategies in selling a country. Furthermore, empirical studies that demonstrate what media strategies other countries use to sell themselves were also explored. Specifically, the paper identified documentary evidence in the form of already completed studies that focused on media strategies and messages that are used by countries to sell themselves.Results: The paper indicates that the theories that support the use of media messages and strategies and are related to advertising and media include the “agenda setting theory”, and “persuasion theory”. Findings also indicate that countries in developed economies ( USA for instance) use a lot of television, as well as digital, billboard and print advertisements along with a robust online presence and social media strategy to reach potential visitors. Facebook, Twitter and YouTube pages are used to showcase country specific promotions and engagements. In addition, the newly re-launched website DiscoverAmerica.com is a media strategy for selling America. In addition, Kenya uses various media messages and strategies selling itself to the world. Specifically, Kenya relies mostly on the hospitality industry to market itself.Unique contribution to theory, practice and policy: The most common area in the hospitality industry that is being used to promote Kenya to the world include ecotourism, culture tourism, slum tourism, hotel and accommodation, business conferences and sports tourism. To show case the products that it has, Kenya uses television for Brand Kenya Initiative campaign, radio and social media. Specifically, twitter and face book pages have been developed for brand Kenya. Furthermore, websites for brand Kenya initiatives and for showcasing the various hospitality products have been established. Musicians such as Emily Kosgei and Eric Wainana are being engaged to promote the Kenyan brand through their music.
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Gutiérrez-Marco, Juan Carlos. "Desenfado (e incluso humor) en la nomenclatura de taxones paleontológicos y zoológicos." Boletín de la Real Sociedad Española de Historia Natural, no. 114 (August 9, 2020): 177–209. http://dx.doi.org/10.29077/bol.114.e07.
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Resumen Se presenta una recopilación de más de un millar de taxones de nivel género o especie, de los que 486 corresponden a fósiles y 595 a organismos actuales, que fueron nombrados a partir de personajes reales o imaginarios, objetos, compañías comerciales, juegos de palabras, divertimentos sonoros o expresiones con doble significado. Entre las personas distinguidas por estos taxones destacan notablemente los artistas (músicos, actores, escritores, pintores) y, en menor medida, políticos, grandes científicos o divulgadores, así como diversos activistas. De entre los personajes u obras de ficción resaltan los derivados de ciertas obras literarias, películas o series de televisión, además de variadas mitologías propias de las diversas culturas. Los taxones que conllevan una terminología erótica o sexual más o menos explícita, también ocupan un lugar destacado en estas listas. Obviamente, el conjunto de estas excentricidades nomenclaturales, muchas de las cuales bordean el buen gusto y puntualmente rebasan las recomendaciones éticas de los códigos internacionales de nomenclatura, representan una ínfima minoría entre los casi dos millones de especies descritas hasta ahora. Abstra ct A compendium of more than a thousand genera and species, of which 486 correspond to fossils and 595 to current organisms is presented. These were named after real or imaginary characters, objects, commercial companies, puns, or double entendres. Among the people distinguished by these taxa are artists (musicians, actors, writers, painters) and, to a lesser extent, politicians, great scientists or popularizers, as well as various activists. Among fictional characters, those derived from certain literary works, movies or television series stand out, in addition to various mythologies typical of different cultures. Taxa that carry a more or less explicit erotic or sexual terminology also figure prominently in these lists. Obviously, all of these nomenclatural excentricities, many of which are on the verge of bad taste and occasionally exceed the ethical guidelines of international codes of nomenclature, only constitute a minority among the over two million species described to date.
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Salamova, Zemfira. "Spatial distancing and social closeness: The work of creative professionals during the pandemic." Clothing Cultures 7, no. 2 (September 1, 2020): 215–29. http://dx.doi.org/10.1386/cc_00037_1.
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As a complete recovery from the COVID-19 pandemic crisis does not seem possible in the near future, the survival of many creative professions is under threat in Russia and other countries. Strict anti-pandemic measures were introduced in Moscow at the end of March 2020 and lasted for a little more than two months. One of the main requirements was to work from home and go outside as rarely as possible. Most Russian creative professionals such as photographers, makeup artists, actors, musicians, stand-up comedians and television hosts found themselves in very unfamiliar conditions since their work presumes physical contact with other people. However, even artists who usually work alone like jewellers or designers met with came across practical and psychological difficulties as well and had to adapt to the new order. This research focuses on two examples of creative work during the COVID-19 pandemic: Russian jewellery designer Katia Rabey’s project ‘Quarantine Rings’ and the participation of Russian makeup artist Yulia Rada in virtual commercial photo-shoots. I am interested in how the artists perceived the changes introduced as a result of the pandemic and how these changes emphasized the digital side of contemporary creative labour. Despite the differences in the challenges that the two artists met, both of them stressed the importance of social closeness.
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Kift, Roy. "Comedy in the Holocaust: the Theresienstadt Cabaret." New Theatre Quarterly 12, no. 48 (November 1996): 299–308. http://dx.doi.org/10.1017/s0266464x00010496.
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The concentration camp in Theresienstadt in the Czech Republic was unique, in that it was used by the Nazis as a ‘flagship’ ghetto to deceive the world about the real fate of the Jews. It contained an extraordinarily high proportion of VIPs – so-called Prominenten, well-known international personalities from the worlds of academia, medicine, politics, and the military, as well as leading composers, musicians, opera singers, actors, and cabarettists, most of whom were eventually murdered in Auschwitz. The author, Roy Kift, who first presented this paper at a conference on ‘The Shoah and Performance’ at the University of Glasgow in September 1995, is a free-lance dramatist who has been living in Germany since 1981, where he has written award-winning plays for stage and radio, and a prizewinning opera libretto, as well as directing for stage, television, and radio. His new stage play, Camp Comedy, set in Theresienstadt, was inspired by this paper, and includes original cabaret material: it centres on the nightmare dilemma encountered by Kurt Gerron in making the Nazi propaganda film, The Fuhrer Gives the Jews a Town. Roy Kift has contributed regular reports on contemporary German theatre to a number of magazines, including NTQ. His article on the GRIPS Theater in Berlin appeared in TQ39 (1981) and an article on Peter Zadek in NTQ4 (1985).
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Mbhele, Thokozani Patmond, and Praveena Ramnandan. "THE DIGITAL ECOSYSTEM AND ENTREPRENEURIAL MUSIC DISTRIBUTION: A FORCE FIELD PERSPECTIVE." Acta Tecnología 6, no. 4 (December 31, 2020): 89–103. http://dx.doi.org/10.22306/atec.v6i4.87.
Full textAbstract:
The world of business has evolved from the 19th century (steam, rail and electricity) to the 20th century (telephone, radio, television and, especially, the computer as the greatest information technology that converts analogue signals into a digital form including binary digits), and the 21st century (the fourth industrial revolution (4th IR) – described as the advent of “cyber-physical systems” involving entirely new capabilities for people and machines). Digital entrepreneurship is an emergent phenomenon in which new digital artefacts, platforms and infrastructure are used to pursue innovative and entrepreneurial opportunities, which, to a certain extent calls into questions the relevance and applicability of traditional understandings of entrepreneurship. The study on which this article is based investigated digital entrepreneurship’s impact on the dynamic social networking market in light of the infusion of disruptive and innovative technology. It aimed to determine the entrepreneurship capability and competence that impact on digital music change management; and to examine the extent to which digital music distribution balances the driving forces of digitisation and the restraining forces from disruptive technology. An exploratory research design was adopted using univariate, bivariate and multivariate statistical analysis techniques to analyse the data collected from 217 musicians. The study found that the Internet is capable of reliable delivery of music processes, products and services, thereby enhancing supply chain distribution competence and capability. Digital entrepreneurial innovations enable independent artists to create music according to their tastes and customer demand. Independent music production and creation drive the economic entrepreneurial dimension while technological advancements encourage digital independent music distribution.
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Popovskyi, Anatoliy. "DEGRADATION POWER OF LINGUISTIC CALQUE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 13(81) (May 26, 2022): 321–24. http://dx.doi.org/10.25264/2519-2558-2022-13(81)-321-324.
Full textAbstract:
The article highlights the structural-semantic and functional-motivational description of the degradation of the calque element widely used in modern mass media – radio, television, press, office work and everyday speech as diverse representatives of Ukrainian society: radio and TV presenters, scientists, people’s deputies, writers, musicians, athletes, which took root as a result of long assimilation processes, when Ukraine was under the rule of Tsarist Russia, and then the USSR. This linguistic acquisition, due to such conditions, was inherited in the broadcasting of residents of sovereign Ukraine and potentially continues to function in the most influential mass media for the formation of speech culture. Such protracted process of assimilation purification and restoration of the historically established Ukrainian language general literary norms of oral and written speech is due to the reorientation of the Russian-speaking population to the state language of independent Ukraine under martial law with the Russian Federation and the lack of highly intelligent employees of radio and TV channels. And although linguists have prepared and published enough educational and reference literature for the educational process of secondary and higher educational institutions, however, insufficient attention was paid to the issue of clearing assimilative calque elements of the Russian language, especially those that in the context could clearly distinguish semantic concepts about quality, since this word is polysemous. Moreover, mastering the native language in the professional direction with the annual reduction in the number of hours can not give the full and harmonious knowledge of the language culture that every member of the modern spiritually renewed society should receive and improve during their life in order to get rid of those Surzhik twists that have become the chronic speech disease of Ukrainianness, which has won independence and defends it by the power of its freedom-loving word.
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Baruah, Sabyasachee, Krishna Somandepalli, and Shrikanth Narayanan. "Representation of professions in entertainment media: Insights into frequency and sentiment trends through computational text analysis." PLOS ONE 17, no. 5 (May 18, 2022): e0267812. http://dx.doi.org/10.1371/journal.pone.0267812.
Full textAbstract:
Societal ideas and trends dictate media narratives and cinematic depictions which in turn influence people’s beliefs and perceptions of the real world. Media portrayal of individuals and social institutions related to culture, education, government, religion, and family affect their function and evolution over time as people perceive and incorporate the representations from portrayals into their everyday lives. It is important to study media depictions of social structures so that they do not propagate or reinforce negative stereotypes, or discriminate against a particular section of the society. In this work, we examine media representation of different professions and provide computational insights into their incidence, and sentiment expressed, in entertainment media content. We create a searchable taxonomy of professional groups, synsets, and titles to facilitate their retrieval from short-context speaker-agnostic text passages like movie and television (TV) show subtitles. We leverage this taxonomy and relevant natural language processing models to create a corpus of professional mentions in media content, spanning more than 136,000 IMDb titles over seven decades (1950-2017). We analyze the frequency and sentiment trends of different occupations, study the effect of media attributes such as genre, country of production, and title type on these trends, and investigate whether the incidence of professions in media subtitles correlate with their real-world employment statistics. We observe increased media mentions over time of STEM, arts, sports, and entertainment occupations in the analyzed subtitles, and a decreased frequency of manual labor jobs and military occupations. The sentiment expressed toward lawyers, police, and doctors showed increasing negative trends over time, whereas the mentions about astronauts, musicians, singers, and engineers appear more favorably. We found that genre is a good predictor of the type of professions mentioned in movies and TV shows. Professions that employ more people showed increased media frequency.
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Garnett, Liz. "Ethics and aesthetics: the social theory of barbershop harmony." Popular Music 18, no. 1 (January 1999): 41–61. http://dx.doi.org/10.1017/s0261143000008722.
Full textAbstract:
Until recently, the world of the British barbershop singer was a self-enclosed community whose existence went largely unrecognised both by musicians involved in other genres and by the public at large. In the last few years this has started to change, chiefly due to the participation of barbershop choruses in the televised competition ‘Sainsbury's Choir of the Year’. Encouraged by the success of Shannon Express in 1994, many other choruses entered the 1996 competition, four of them reaching the televised semi-finals, and two the finals. During this increased exposure, it became apparent that television commentators had little idea of what to make of barbershoppers, indeed regarded them as a peculiar, and perhaps rather trivial, breed of performer. This bafflement is not surprising given the genre's relative paucity of exposure either in the mass media or in the musical and musicological press; the plentiful articles written by barbershoppers about their activity and its meanings are almost exclusively addressed to each other, to sustain the community rather than integrate it into wider musical life. The purpose of this paper, however, is not to follow the theme of these intra-community articles in arguing that barbershop harmony should actually be regarded as a serious and worthy art, or to explain to a bewildered world what this genre is actually about; rather, it aims to explore the way that barbershop singers theorise themselves and their activity to provide a case study in the relationship between social and musical values. That is, I am not writing as an apologist for a hitherto distinctly insular practice, but exploiting that very insularity as a means to pursue a potentially very broad question within a self-limited field of enquiry.
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Deepika Vanukuri and Lakshmi Prasanna P. "Misophonia assessment on individuals with various occupations." World Journal of Advanced Engineering Technology and Sciences 8, no. 1 (February 28, 2023): 225–30. http://dx.doi.org/10.30574/wjaets.2023.8.1.0031.
Full textAbstract:
Most people in the current situation may suffer from misophonia but are unable to identify it because they are unaware of the condition. Misophonia is a condition in which certain sounds can cause an outburst of irritation, anger, or aggression. In this context, the current study sought to assess and confirm the presence of misophonia in people of various occupations. The study included 30 participants ranging in age from 23 to 54 years. All participants were given a developed Misophonia Assessment Questionnaire in Telugu, and the data was analyzed using SPSS 20 and qualitative analysis was performed to check other aspects such as condition and associated problems. According to the findings, homemakers (17%), ASLP (13%), students (13%), teachers (13%), special educators (10%), conductors (10%), correspondents (10%), musicians (7%), and AWT (7%) all participated. Participants reported misophonia in the following situations: stress (30%), shouting (27%), group (23%), dialysis (10%), tiredness (7%), and television (3%). Out of all the participants 47% fall under Subclinical i.e normal, 23% Moderate, 20% Mild and 10% are Severe. ANOVA followed by post hoc reveals that no significant difference found between occupation except for student and correspondent and ASLP and correspondent in age condition where as other factors such as gender and condition showed no significant difference. According to the current study findings, nearly 53% of participants reported mild to severe misophonia based on the misophonia assessment questionnaire, and it was also discovered that stress levels are higher when compared to others. Finally, the authors stated that misophonia may be a part of daily life where most of the people will be addressed and ignored, it must be assessed and treated appropriately before it has an impact on quality of life.
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Ardini, Ni Wayan. "Balinese Pop Music: An Industrialization Era." Journal of Music Science, Technology, and Industry 1, no. 1 (August 31, 2018): 129. http://dx.doi.org/10.31091/jomsti.v1i1.509.
Full textAbstract:
ABSTRACTBalinese pop music appeared in 1970’s but its industrialization refers to the development of the involved industries which began in 1990s. The industrialization is characterized by aspects of economy, technology, and new culture in music. All the aspects are related to each other. The economy can be seen in the growing capital in such a business. Technology is in the use of digital tecnology substituting the analog. New culture in music is shown in the more awareness of the Balinese people in enjoying Balinese pop songs. The Balinese are no longer shy singing such songs. This literature review uses techniques of qualitative data analysis. The result of the study shows that the industrialization consists of production, distribution, and consumption of the music. The production is created by the cultural power (musicians) and the capital power (capital owners). The distribution of the Balinese pop music in the current marketing is done by using the support of media power, particularly the electronic media, namely radio (since 1990s and even earlier), especially television (since 2002), in this case Bali TV. The production and distribution enables massive consumption in the Balinese society. The consumption is concerned with the existence of a new musical culture in the society. Although the industrialization tends to be capitalistic, Balinese artists or the musicians can earn their living through the Balinese pop songs. It is not a modern capitalism but postmodern one as the music relies on the existence of the Balinese society and their culture.Keywords: Balinese pop music, industrialization, production, distribution, consumption. ABSTRAKMusik pop Bali muncul pada tahun 1970-an tetapi industrialisasinya mengacu pada perkembangan industrial yang dimulai pada 1990-an. Industrialisasi ini dicirikan oleh aspek ekonomi, teknologi, dan budaya baru dalam musik. Semua aspek terkait satu sama lain. Perekonomian dapat dilihat dari pertumbuhan modal dalam bisnis semacam itu. Teknologi terlihat dalam penggunaan teknologi digital menggantikan yang analog. Budaya baru dalam musik ditampilkan dalam kesadaran yang lebih besar dari orang-orang Bali dalam menikmati lagu-lagu pop Bali. Orang Bali tidak lagi malu menyanyikan lagu-lagu seperti itu. Tinjauan kepustakaan ini menggunakan teknik analisis data kualitatif. Hasil penelitian menunjukkan bahwa industrialisasi musik pop Bali terdiri atas produksi, distribusi, dan konsumsi musik. Produksi diciptakan oleh kekuatan budaya (musisi) dan kekuatan modal (pemilik modal). Distribusi musik pop Bali dalam pemasaran saat ini dilakukan dengan menggunakan dukungan kekuatan media, khususnya media elektronik, yaitu radio (sejak 1990-an dan bahkan lebih awal), khususnya televisi (sejak 2002), dalam hal ini Bali TV. Produksi dan distribusi tersebut memungkinkan konsumsi musik pop Bali besar-besaran dalam masyarakat Bali. Konsumsi berkaitan dengan keberadaan budaya musik baru di masyarakat. Meskipun industrialisasi ini cenderung bersifat kapitalistik, seniman Bali atau musisi dapat mencari nafkah melalui lagu-lagu pop Bali. Ini bukan kapitalisme modern tetapi postmodern, yakni sebagai musik yang bergantung pada keberadaan masyarakat Bali dan budaya mereka.Kata kunci: music pop Bali, industrialisasi, produksi, distribusi, konsumsi.
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Furdychko, Andrii, and Olesya Ilyenko. "VIA “Chervona Ruta” in the context of variety- ensemble performance of Ukraine." Current issues of social sciences and history of medicine 30, no. 2 (May 13, 2021): 63–67. http://dx.doi.org/10.24061/2411-6181.2.2021.270.
Full textAbstract:
The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the examplebof the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriatebinstruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.
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Makarova, Alexandra S. "REALIZATION OF TRANSFORMATION AND CREATIVE POTENTIAL OF THE KRYLATIKA IN MEDIA DISCOURSE." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 2 (December 15, 2019): 273–87. http://dx.doi.org/10.22363/2313-2299-2019-10-2-273-287.
Full textAbstract:
The modern process of the mediatisation of all spheres of public life affects both the volume of speech creation and the media texts themselves. The mass character and the multi-language openness of media discourse allow us to consider winged units as a means for representing and imple- menting phraseological innovations. The role of mass media in the formation of new sustainable turns is being actively studied, which speaks of their significance in this process, since it is the media discourse that demonstrates most clearly the current usage and viability of phraseological innovations in language and speech. The media discourse has a large number of ways of influencing the mass addressee, and, as recent studies of Russian media texts show, the fund of winged units as an integral part of the phraseological corpus of the national language is widely used in it. Various phrase resources (idioms, winged expressions, paremias, aphorisms, etc.) are often used both in a strong text position - the title or ending of the publication, and in the creation of media texts connecting the verbal and visual parts in which their transformational and creative potential is most clearly realized, multiplying their linguo-pragmatic effect on the addressee. The analysis of the media content of the site “Orthodox Laughs” revealed the tendency of creative use of folklorism “Баю-баюшки-баю, не ложися на краю. Придет серенький волчок - И укусит за бочок!”, which has not yet been fixed by lexicographical practice, as well as its variants that are the result of various methods of transformation language units. Structural and semantic transformations of various categories of phraseological units are an effective means of implementing specific expression in the media text. Previously, fiction was considered the main source of winged units, today the situation is changing, and the leadership belongs to synthetic art forms (cinema, television, pop, etc.). The analyzed potential winged unit has not one source of appearance: along with Russian and German folklore, this is German literature, but the expression in the Soviet animated film “The Bremen Town Musicians” was actualized. In analyzing the publications of this site, interdisciplinary methods of studying media content were used: discursive, descriptive-analytical, linguocultural, and media linguistic. The conducted research has shown that the functioning of the considered potential winged unit and its transforms confirms the thesis that these language units are in demand and widely used in modern media texts, since they have productive mechanisms of meaning formation.
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Evgenyevna Shafazhinskaya, Natalya, Mariya Lvovna Kats, Alexander Vladimirovich Smirnov, Vera Aleksandrovna Ovsyannikova, and Marina Gennadievna Kruglova. "INTEGRATION OF TRADITIONS IN CROSSOVER MUSIC AS A WAY TO BRIDGE THE INTERGENERATIONAL GAP." Humanities & Social Sciences Reviews 7, no. 6 (January 14, 2020): 1230–34. http://dx.doi.org/10.18510/hssr.2019.76174.
Full textAbstract:
Purpose of the study: The purpose of the article is to study the crossover style as a result of one of the increasingly growing world tendencies to mix the characteristics of different types of arts and blur the boundaries between them, to dialogization and integration of traditions through inter-ethnic exchange, combination of different in time phenomena in the process of globalization of culture and activation of intercultural communication. The novelty of this phenomenon and lack of knowledge about it determine the relevance of the study.
Methodology: The methodological basis of the study consists of sociological and cultural studies devoted to the phenomena of academic and pop art, its specificity and its role in the modern socio-cultural situation. The study relies on scientific provisions related to the phenomena of "classical crossover" and "mass culture". The main methods were sociological observation, survey and analysis of documents.
Main Findings: Due to the high educational and developmental potential of crossover compositions, as well as the aesthetic appeal of this music for young people, it is advisable to use the material of these compositions in the process of vocational training of vocalists, teachers, musicians, social and cultural specialists. Against the background of the problem of familiarizing the new generation with the world music classics, an appeal to the crossover style repertoire seems promising. Working with singers, many modern teacher-vocalists adhere to the principle of "non-separation" of their vocal styles and prefer universal techniques that are effective for training all performers in rapidly changing socio-economic requirements.
Applications of this study: This study may be useful in the organization and implementation of educational and cultural, as well as leisure and entertainment programs (radio and television), the development and adjustment of state policy in the field of social life and culture, programs aimed at socialization of youth, the development of tolerance and the solution of social problems related to the spiritual values of generations.
Novelty/Originality of this study: The originality of the study consists in the fact that it proves the conclusion that crossover introduces young people classics, minimizing the intergenerational value gap. Intercultural communication is expressed in the dialogue of classics and modernity as the spiritual values of different generations, the convergence of which leads to the solution of social problems of modern society.
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Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 198–211. http://dx.doi.org/10.34064/khnum2-49.14.
Full textAbstract:
Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern progress, but also as an era of constructive innovations and efforts to make a real change in China’s cultural heritage. The specifics of the creative activity of orchestras conducted by conductors Li Delun, Huang Yijun, Li Guoquan, Yang Jizhen is highlighted. Objectives. The purpose of the article is to identify the specifics of the development of the Chinese orchestra of traditional instruments in the 1960s – 1970s, to determine the role of prominent Chinese musicians in the process of modernizing the orchestra and creating a national repertoire during this period. Research methods are based on scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical theoretical, musical historical and executive analysis. Results. As soon as the Cultural Revolution began, the music centers in Beijing and Shanghai came under attack. Composers were deprived of their creative freedom, since all the works had to correspond to the political situation of the time. At this time, collective creativity in the genre of opera and ballet, written according to certain pattern and corresponding to the ideas of Mao Zedong, is widely adopted. As standards of “new art”, official propaganda put forward “exemplary” revolutionary performances – Yanbanshee, almost entirely based on the material of the period of the liberation struggle. The Central and Shanghai orchestras were also persecuted. The chief conductor of the Central Symphony Orchestra, Li Delun was arrested. Since 1963, the programs of the Shanghai Orchestra of Chinese Instruments have begun to reflect the country’s transition to the Cultural Revolution. In the compositions appeared more pronounced revolutionary ideals, showing the need for government reform. Such content was, for example, the orchestral suite "Revolutionary Song", created by the musicians of the Shanghai orchestra. Due to the policy of the Cultural Revolution after 1964, the orchestra completely ceased to perform. In 1964, works performed at a concert in honor of the nation’s birthday included revolutionary pieces such as “Praise to the People”, “Spring Gong Enhances Performance”, “Battle in Shanghai”, and others. Shanghai Orchestra Conductor Juan Yijun, composer Luo Zhongrong, one of the authors of the revolutionary symphony “Shatszyaban” was persecuted and sent to the countryside for forced labor. In 1966, as a result of the repressions, outstanding conductors Li Guoquan and Yang Jazheng died. The widespread distribution of orchestras in China is a paradox. “Exemplary Performances” played an active role in the distribution of Chinese symphonic music. Many amateur orchestras significantly increased their professional level and could perform individual symphonic works. Major symphonic works on revolutionary themes were also created: Qu Wei’s “The Gray-Haired Girl” symphonic suite (created by his ballet), Tian Feng’s “Five Cantatas to lyrics by Mao Zedong”, “Pipa Concert for Orchestra” and “Steppe Sisters” Wu Zujiang, Liu Dehai, Wang Yanqiao. Another genre was music for ballets (“The Red Women’s Battalion”, “The Gray-Haired Girl”). Conclusions. In the period from the 1960s to the 1970s, Chinese orchestral music was enriched with new genres that influenced its subsequent development. In spite of the fact that the main models of Yangbanshee are the opera and ballet genres, major symphonic works were also created: the symphony “Shatszyaban” (Luo Zhongzhong, Yang Muyun, Deng Jiaan, Tan Jingming); Qu Wei’s symphonic suite “The Gray-Haired Girl”; Overture “Festival” Xu Yang Yang, Pipa Concert with Orchestra “Steppe Sisters” Wu Zuqiang, Liu Dehai, Wang Yanqiao. In these compositions combine the traditions of Chinese musical art and European orchestral art, embodied the creative search for Chinese composers and performers to create samples of the modern symphony genre in China. Collective creativity was widespread: on the one hand, the efforts of several people created largescale monumental compositions, on the other hand, the individual author’s principle was leveled, which made it possible to “depersonalize” music. However, an understanding of the cultural aspects of Yanbanshee and its features in a political context is of great importance for an objective study of the development processes of musical art in China. Starting around the 1990s, the political thaw allowed musical works from the time of the Cultural Revolution, gradually returning them to the mainstream of the achievements of Chinese society. Since then, the Yanbanshee has a strong tendency to revive, enjoying the support of the population and continuing to be very popular in the theater, on television, and in the form of commercial and private entertainment.
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Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 198–211. http://dx.doi.org/10.34064/khnum1-49.14.
Full textAbstract:
Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern progress, but also as an era of constructive innovations and efforts to make a real change in China’s cultural heritage. The specifics of the creative activity of orchestras conducted by conductors Li Delun, Huang Yijun, Li Guoquan, Yang Jizhen is highlighted. Objectives. The purpose of the article is to identify the specifics of the development of the Chinese orchestra of traditional instruments in the 1960s – 1970s, to determine the role of prominent Chinese musicians in the process of modernizing the orchestra and creating a national repertoire during this period. Research methods are based on scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical theoretical, musical historical and executive analysis. Results. As soon as the Cultural Revolution began, the music centers in Beijing and Shanghai came under attack. Composers were deprived of their creative freedom, since all the works had to correspond to the political situation of the time. At this time, collective creativity in the genre of opera and ballet, written according to certain pattern and corresponding to the ideas of Mao Zedong, is widely adopted. As standards of “new art”, official propaganda put forward “exemplary” revolutionary performances – Yanbanshee, almost entirely based on the material of the period of the liberation struggle. The Central and Shanghai orchestras were also persecuted. The chief conductor of the Central Symphony Orchestra, Li Delun was arrested. Since 1963, the programs of the Shanghai Orchestra of Chinese Instruments have begun to reflect the country’s transition to the Cultural Revolution. In the compositions appeared more pronounced revolutionary ideals, showing the need for government reform. Such content was, for example, the orchestral suite "Revolutionary Song", created by the musicians of the Shanghai orchestra. Due to the policy of the Cultural Revolution after 1964, the orchestra completely ceased to perform. In 1964, works performed at a concert in honor of the nation’s birthday included revolutionary pieces such as “Praise to the People”, “Spring Gong Enhances Performance”, “Battle in Shanghai”, and others. Shanghai Orchestra Conductor Juan Yijun, composer Luo Zhongrong, one of the authors of the revolutionary symphony “Shatszyaban” was persecuted and sent to the countryside for forced labor. In 1966, as a result of the repressions, outstanding conductors Li Guoquan and Yang Jazheng died. The widespread distribution of orchestras in China is a paradox. “Exemplary Performances” played an active role in the distribution of Chinese symphonic music. Many amateur orchestras significantly increased their professional level and could perform individual symphonic works. Major symphonic works on revolutionary themes were also created: Qu Wei’s “The Gray-Haired Girl” symphonic suite (created by his ballet), Tian Feng’s “Five Cantatas to lyrics by Mao Zedong”, “Pipa Concert for Orchestra” and “Steppe Sisters” Wu Zujiang, Liu Dehai, Wang Yanqiao. Another genre was music for ballets (“The Red Women’s Battalion”, “The Gray-Haired Girl”). Conclusions. In the period from the 1960s to the 1970s, Chinese orchestral music was enriched with new genres that influenced its subsequent development. In spite of the fact that the main models of Yangbanshee are the opera and ballet genres, major symphonic works were also created: the symphony “Shatszyaban” (Luo Zhongzhong, Yang Muyun, Deng Jiaan, Tan Jingming); Qu Wei’s symphonic suite “The Gray-Haired Girl”; Overture “Festival” Xu Yang Yang, Pipa Concert with Orchestra “Steppe Sisters” Wu Zuqiang, Liu Dehai, Wang Yanqiao. In these compositions combine the traditions of Chinese musical art and European orchestral art, embodied the creative search for Chinese composers and performers to create samples of the modern symphony genre in China. Collective creativity was widespread: on the one hand, the efforts of several people created largescale monumental compositions, on the other hand, the individual author’s principle was leveled, which made it possible to “depersonalize” music. However, an understanding of the cultural aspects of Yanbanshee and its features in a political context is of great importance for an objective study of the development processes of musical art in China. Starting around the 1990s, the political thaw allowed musical works from the time of the Cultural Revolution, gradually returning them to the mainstream of the achievements of Chinese society. Since then, the Yanbanshee has a strong tendency to revive, enjoying the support of the population and continuing to be very popular in the theater, on television, and in the form of commercial and private entertainment.
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Grönholm, Pertti. "Belgium, one point." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (April 26, 2021): 33–54. http://dx.doi.org/10.23994/lk.107815.
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Kirjoittaja tutkii artikkelissaan kahta Belgian Eurovision laulukilpailuun lähettämää kappaletta, osallistujaa ja esitystä. Telex-yhtyeen ”Euro-Vision” (Haag 1980) ja Pas de deux -ryhmän ”Rendezvous” (München 1983) olivat omana aikanaan poikkeuksellisen hämmentäviä, ironisoivia ja provosoivia esityksiä. Kumpikin jäi finaalissa kolmanneksi viimeiseksi.Telex ja Pas de deux pyrkivät haastamaan sekä Euroviisujen audiovisuaalisia ja musiikillisia konventioita että kilpailun arvoja ja ihanteita. Kummassakin esityksessä oli myös kansallinen kontekstinsa, sillä Belgian euroviisumenestys oli jäänyt heikohkoksi koko kilpailun olemassaolon ajan, mikä ilmeni rohkeina kokeiluina 1980-luvun alussa. Yhtyeet rakensivat esityksensä elektronisten rytmien, äänten ja soitinten varaan. Telex esitti kappaleensa taustanauhan ja taustalaulajien kera, Pas de deux väritti sointiaan Eurovisio-orkesterin muusikoiden kanssa sekä tavattomaksi koetulla koreografiallaan. Molemmat yhtyeet toivat lavalle joukon elektronisia soittimia.Kirjoittaja analysoi kilpailukappaleita ja esityksiä osana 1980-luvun alussa tapahtunutta elektronisten soundien ja soittimien nousua populaarimusiikin valtavirtaan ja sitä, miten musiikillisista marginaaleista ponnistaneet yhtyeet tietoisesti pyrkivät koettelemaan kilpailun rajoja ja euroviisuyleisön vastaanottokykyä. Elektroniset soittimet ja niistä kumpuava äänellinen, visuaalinen ja rakenteellinen estetiikka olivat aikanaan radikaaleja irtiottoja Euroviisujen kaltaisen televisiospektaakkelin loihtimista tunnelmista ja mielikuvista. Huolimatta heikosta menestyksestä kumpikin esitys on saanut myöhemmin huomattavasti enemmän arvostusta osakseen.Avainsanat: Eurovision laulukilpailu, Telex, Pas de Deux, elektroninen musiikki, musiikkiteknologiat, Belgia
Belgium, one point. Synthesizers, irony, and provocation in Eurovision Song Contest in 1980 and 1983In his article, the author examines two songs, participants and performances submitted by Belgium to the Eurovision Song Contest. In the early 1980s, Telex’s “Euro-Vision” (The Hague 1980) and Pas de Deux’s “Rendezvous” (Munich 1983) were both exceptionally confusing, ironical, and provocative performances. They both finished third last in the finals.These unusual performances sought to challenge the audio-visual and musical conventions of the ESC and even the values and ideals of the competition. Both songs also had their own national context, as the success of Belgium in the ESC had remained rather weak throughout the existence of the competition. The bad experiences turned into bold experiments in the early 1980s. Telex and Pas de deux built their performances on electronic rhythms, sounds and instruments. Telex performed their song with a backing tape and backing vocals, but Pas de Deux coloured their sound with the musicians of the Eurovision Orchestra and an unconventional choreography. Both groups brought a number of electronic instruments on the stage.The author analyses the songs and the performances in connection with the rise of electronic sounds and instruments into the mainstream of pop in the early 1980s and asks how the bands emerging from the musical margins consciously sought to test the limits of the competition and the receptivity of the Eurovision audience. At their time, the electronic instruments and the resulting aural, visual, and structural aesthetics were radical detachments from the moods and imaginations conjured up by a television spectacle like the ESC. Despite their poor success, these performances have since then received much more appreciation.Keywords: Eurovision Song Contest, Telex, Pas de Deux, electronic music, music technology, Belgium
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Pillich, Simeon. "Cautionary Tales from the Changing World of the Hollywood Film and Television Studio Musician." Journal of the Music and Entertainment Industry Educators Association 11, no. 1 (2011): 113–45. http://dx.doi.org/10.25101/11.5.
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Zhang, Guangqian. "Composer Zhang Zhao: a look at the development of modern Chinese piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 85–100. http://dx.doi.org/10.34064/khnum1-52.06.
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Background. The article is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date have been deprived of the opportunity to get acquainted with his work. Since the music of Zhang Zhao sounds in many countries of the world, it resonates powerfully in a variety of areas, and in particular, research. To date, the work of the composer is actively studied by Chinese musicologists. However, among the publications, small articles devoted to a narrow range of problems predominate. Large-scale studies devoted to any area of his music have not yet been created. One of the most important topics relating to the composer’s work is the study of his views on musical art. Zhang Zhao’s vision of the further development of Chinese piano art reveals the composer’s worldview, his creative credo. This question is decisive for studying the composer’s musical heritage, defining his genre-style priorities. Objectives. The purpose of the article is to reveal the peculiarities of Zhang Zhao’s artistic worldview in order to promote the fullest possible identification of the ideas of the composer, the disclosure of the artistic concepts of his works. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Important for the disclosure of the creative worldview of the composer is the study of his statements on the ways of further development of musical art. His attitude and vision of his role in this process, the Chinese musician has repeatedly stated in an interview with domestic journalists. According to Zhang Zhao, the main issue that should concern modern composers is the place of the musical art of their country in world culture. Zhang Zhao found in the face of the pianist virtuoso his Yundi Li adherent. The collaboration between the composer and the performer began in 2011. Zhang Zhao took part in a large-scale theatrical performance at the Third Congress of BRICS leaders in Sanya. Then Yundi Li performed on the stage of the concert hall of Zhang Zhao’s play “In the most remote place” and “Chinese piano dream”. Zhang Zhao is committed to the concept of inheritance and the promotion of a culture of national music. The Chinese compare Zhang Zhao with the outstanding leader of the Polish people Chopin, who dedicated his life to the transformation in piano music of various genres. Piano works by Zhang Zhao adorned the world culture with the introduction of Chinese national motives into it. The composer introduced listeners to the air melodic lines of original works and filled his works with a complex texture, making them attractive for acquaintance with the rich traditional culture of China. Developing national piano art, Zhang Zhao inscribes the Chinese chapter in the world culture with his inherent passion and love for life. In addition to studying composition, performing and teaching, Zhang Zhao, is active in public activities, being a music professor at the Central University for Nationalities. He pays great attention to the development of the artistic taste of students, shares his own musical ideas and aesthetic principles. The composer made great efforts and energy to create the “Chinese piano dream”. To popularize this work, they, together with Yundi Li and the Shanghai People’s Orchestra conducted nationwide tours, visited Taiwan, and outlined other projects. Despite the fact that Professor Zhang Zhao has a very tight work schedule, he nevertheless finds time to talk with his students about the place of national music and its prospects. In the “Chinese Piano Dream”, the composer sought to reflect the essence of the musical culture of the Chinese nation. He embodied the dreams of the older generation of pianist composers and performers about the perfection of the Chinese piano scene, set a high goal – to show the artistic value of the Chinese piano piece on the world stage, took on the mission to inherit the national culture and pass it on to the next generations. In the works of Zhang Zhao, the interests of the Chinese and global world level intersect. This is due to the amazing richness of the composer’s creative worldview, which is open to everything significant in life and art. On this basis, the composer came to important conclusions about the role of contemporary classical musical art in people’s lives in China and in the world. Conclusions. For more than twenty years, Zhang Zhao is in the creative search for his musical style. He carefully investigated the development of ethnic music, which enabled him to create his piano works, which are distinguished by a unique and mature language.
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Overbeck, Lois More. "Samuel Beckett's Reponses to Pedagogy." Journal of Beckett Studies 29, no. 1 (April 2020): 3–26. http://dx.doi.org/10.3366/jobs.2020.0280.
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Beckett had many pedagogies. The academic pedagogy of set texts and examinations bred and fed insecurity, fostering the need to read before feeling ready to write. The pedagogy of music began, too, as rote learning. Enjoyment of music moved quickly beyond what Beckett himself could hope to achieve as a musician, to appreciation of what the forms of music could express. Likewise, with observation of the methods and techniques of cinematography, mime, music, radio, and television, and in the ‘hot-house’ of working with other artists, music opened words to rhythm and vocal timbre. Always, the listening ear was keen. When Beckett wrote, he listened to the voices in his head. By becoming himself a director of his work, the act of transforming words into three dimensions on stage or in other media tempered his expectations with great besoin of creativity: the need to find a way. Partnerships with composers and translators helped him toward both greater flexibility and greater precision. Collaboration with the technicians working with film and television brought creative experiment to bear on light, movement, and sound. And with that exposure came a willingness to risk, a capacity to adjust the preconceived to the pleasure of new discovery. Beckett's pedagogies may suggest to teachers of his work that there are many ways to engage students, so that the discoveries in sound, movement, image, and words can be theirs, and, that learning by doing can be transformative.
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Behan, Adam. "Glenn Gould in six scenes." Quodlibet. Revista de Especialización Musical, no. 76 (December 17, 2021): 54–84. http://dx.doi.org/10.37536/quodlibet.2021.76.1400.
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Glenn Gould’s legacy revolves around his retirement from the concert hall in 1964. Studies of his artistry often reflect on that by following a particular impulse: to seek out the rational underpinnings of this decision and to explain them in terms of a larger technological or aesthetic vision. Drawing in particular on the work of Virginia Held and Sara Ahmed, this article conceptualises Gould’s abandonment of the concert hall as an act of self-care, a mechanism for coping with the increasingly intrusive and exploitative celebrity musical culture into which he was catapulted as a young musician. Thus, this article frames Gould’s self-care in terms of six overlapping scenes, as he performed in the concert hall and recording studio, in interviews and essays, and in front of the camera as photographic subject and television actor, culminating with a case study based on an excerpt from Bruno Monsaingeon’s documentary Glenn Gould: The Alchemist. The study concludes by suggesting that Gould’s artistic choices (and achievements) had much more to do with cultivating caring relations that allowed him to thrive than they did with an individual pursuit of a grand musical philosophy.
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Stahl, Matthew. "Authentic boy bands on TV? Performers and impresarios in The Monkees and Making the Band." Popular Music 21, no. 3 (October 2002): 307–29. http://dx.doi.org/10.1017/s0261143002002209.
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Boy bands embody contradictory representations of their own individuality and authenticity and the corporate nature of their genesis and presentation. Boy band members, the impresarios and entrepreneurs behind them, and the producers of television shows about them must contend in their work and relationships with the social and symbolic conventions of their historical moment. In this article I analyse representations of boy bands on the American TV shows The Monkees (1966-8) and Making the Band (2000-) in order to highlight shifts in the ways the performers and production personnel have been represented and have sought to represent themselves. The internal push for legitimacy and autonomy of the young stars of these shows, acting from within a perceived but unstable gap between ‘musician’ and ‘employee’, exists in tension with the external push of TV and music producers, network, record label and marketing departments for rational, predictable products and behaviours that fit within an overall business plan. While the rock ideology of authenticity has lost much of the force it had in the 1960s and change in representational conventions seem to indicate a general acceptance of the overt commercialism of chart-busting pop, this article shows that even within the mainstream flows a strong current of concern over issues of authenticity, legitimacy and autonomy.
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Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.
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Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comparison with practical results. Background. The active studying phase of the South of Italy song tradition falls on the middle of the 20th century and is associated with the activities of a music critic, professor of ethnomusicology Diego Carpitella (1924−1990). This defender of Italian folklore took an active part in ethnographic expeditions and the 1950s discussions, collected more than 5,000 songs, and paid special attention to the music of southern Italy. An important contribution was also made by Roberto De Simone (born 1933) – Italian theater director, composer and ethnomusicologist, founder of Nuova Compagnia di Canto Popolare (from 1967 to the present). Today, the fate of the historical past of Canzone Napoletana appears to be the object of close attention in Italy. This is evidenced by regularly held international conferences dedicated to the stylistics and poetics of Neapolitan song, its historical past, personalities who made a significant contribution to the formation of the genre, as well as monographs of various topics. Objective of the researching. In Ukrainian and Chinese musicology, the state of elaboration of the information field on the issue of Canzone Napoletana is extremely weak. Therefore, it seems relevant to refer to the review of foreign scientific sources. Thus, the subject of research in this article is the tradition of scientific and critical understanding of the phenomenon of Neapolitan song, formed at the crossroads of different areas of modern Italian art history. The identification of the leading issues in the coverage of the phenomenon of Canzone Napoletana in the works of modern scientists is the subject of this article. The research material, on the one hand, is a song “Te vogliо Bene assaje” as an example of commercialization of the genre, on the other hand – a monograph “La canzone napoletana. Tra memoria e innovazione” (2013). Results. The prerequisites for modern scientific thought aimed at studying the musical folklore of the South of Italy first arose in the 19th century. In the context of Romanticism’s interest in folk culture, musicological search was more of a practical nature: collection and recording of the texts of Neapolitan songs, musical notation of samples of spoken creativity. The origin of these processes is investigated in the collective monograph “La canzone napoletana. Tra memoria e innovazione” (2013) prepared by historians, sociologists, anthropologists, musicians. They entered a group for the study of Neapolitan song on the initiative by Institute for Studies on the Mediterranean (ISSM, Italy). Paola Avallone points to the ability of Neapolitan music to sublimate the musical traditions of various Mediterranean peoples, due to contact with the southern regions through geographic, commercial interaction. In Italy itself, the Neapolitan song is already recognized as a cultural phenomenon, the uniqueness of which is surprising against the background of the region’s economic problems, the depletion of its natural resources, and weak state financial support. The study of Neapolitan song at an interdisciplinary level dictates the development of such directions as: historical, methodological, scientific-analytical, morphological. The Neapolitan song is inextricably linked with the cultural environment of the southerners, their special “lifestyle”, mythological and religious ideas. Marialuisa Stazio characterizes the Neapolitan song of the late 19th century as unique because of its strong connection to collective memory. The attitude to the Canzone Napoletana as a certain musical archetype reveals the insufficiency of methods and imperfection of the tools of analysis due to the archaic nature of the origins of the Canzone Napoletana, as well as because of the incompleteness of its evolution from 1824 to 1970. Many of the samples created during this period have many similarities. At the same time, the forms of communication changed: from “flying” leaflets to “compilations” – collections of Neapolitan songs, like “Passatempi musicali” by G. Cottrau; from author’s songs to the involvement of the media in the 20th century, “television festivals of the Neapolitan song”. In the last decade, the Internet resources YouTube, Spotify, Pandora have played a decisive role in promoting the musical product Musica Napoletana. Conclusions. The Neapolitan song is of interest as a cultural and economic phenomenon. It has turned into a “tourist” product, a souvenir, which fully represents the cultural originality of the southern region, acts as a carrier of the cultural code of the nation and the Mediterranean as a whole. The problem of its preservation, as well as of bringing the existing developments in the field of ethnomusicology to a common denominator, giving them a certain integrity, remains urgent.
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D'Cruz, Glenn, and Niranjala Weerakkody. "Will the Real Waleed Aly Please Stand Up? Media, Celebrity and the Making of An Australian Public Intellectual." Media International Australia 156, no. 1 (August 2015): 142–51. http://dx.doi.org/10.1177/1329878x1515600116.
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Waleed Aly is arguably the most visible and vocal Australian public intellectual from a non-Anglo-Australian background. The ubiquitous Aly is a veritable Renaissance man – he is a television presenter, radio host, academic and rock musician. He is also a former lawyer, and served on the executive committee of the Islamic Council of Victoria. In short, he is the ‘go-to ’Muslim for commentary on a wide range of political and civic affairs. This article argues that Aly's media profile and celebrity status have as much to do with an Australian cultural imaginary that posits ‘whiteness’ as an uncontestable normative value as it does with Aly's undoubted skills as a journalist, academic and cultural commentator. It examines Aly's career with reference to Ghassan Hage's concept of ‘whiteness’ as a form of aspirational cultural capital and various theories of persona and performativity For Hage, ‘whiteness’ is not a literal skin colour; rather, it consists of elements that can be adopted by individuals and groups (such as nationally valued looks, accents, tastes, cultural preferences and modes of behaviour). While entry to what Hage calls Australia's ‘national aristocracy’ is generally predicated on possessing the correct skin tone, it is theoretically possible for dark-skinned people such as Waleed Aly to enter the field of national belonging and partake in public discourse about a range of topical issues. More specifically, the article substantiates its claims about Aly's status as a member of Australia's cultural aristocracy through a comparative discourse and performance analysis of his presentation of ‘self’ in four distinctive media contexts: Channel 10's The Project, the ABC RN Drive program, ABC TV's Q&A and the SBS comedy-talk show Salaam Café, which looked at the ‘funny side of life as an Australian Muslim’ and showcased other multi-talented Muslim professionals of both genders.
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Han, Siuebin. "Early piano work of Sang Tong: becoming a style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 160–72. http://dx.doi.org/10.34064/khnum1-52.11.
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Background. The article explores the development of the piano style of the outstanding composer Sang Tong, one of the founders of the national pianistic art. He was one of the first Chinese composers to apply modern techniques of composer writing on the basis of national musical elements. The early period of the creativity of this musician (1950–60’s) was the basis for the formation of his composer personality. The basis of the creative experiments of Sang Tong was his early piano work. In such works as “In a distant place” (1947), “Seven Ballads on the Themes of Songs of Inner Mongolia” (1953), “Three Preludes” (1955), “Two Piano Pieces” (1956), “The Little Children’s Suite” ( 1958), “Miao National Songs” (1959), “Imagination” (1959), the composer’s innovative style crystallized. Objectives. The purpose of the article is consideration and study the early period of Sang Tong’s piano work, the development of his compositional style in the 1950–60’s. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. The influence of European teachers V. Frankel (student A.Schoenberg), J. Schloss (student A. Webern), and Chinese musician Xu Luosi on the formation of the artistic worldview of Sang Tong is investigated. If V. Frankel and J. Schloss instilled in the young musician an interest in modern techniques of composer writing, then Xu Luoxi pointed out to San Tong the importance of preserving the national principle in musical compositions. The influence of other musical genres, in particular, vocal and instrumental, on the formation of the composer’s piano style in the 1950s is also considered. Composer’s works have high artistic value due to his composer personality and high artistic merits of his works, which reflect the national style of music. His music is modern, it is often performed on stage, it sounds on radio and television, it adorns a lot of art and documentary films. The early works of San Tong, according to the peculiarities of harmonic language and musical content, can be divided into three groups. To the first group based on traditional harmony, it is possible to carry its vocal works. Although Sang Tong tried to adhere to traditional harmony, he does not associate himself with rigid canons. The composer boldly uses modern harmonic complexes consisting of nine, eleven, thirteen sounds, variable chords performing the function of complication, uses complex polyphonic combinations, which leads to a strong and dramatic sound. The second type of works differs in that their musical language is based on modal harmony and the structure of pentatonic. Mostly it concerns such works as “Spring wild mountain song”, “Jiannan thousand aromas of rice”, “Piano song about Miao song”, etc. The composer creates his own rich, gravitating to the national style, poetically depicting bright and memorable pastoral paintings. Functional limitations of pentatonic allow the author to diversify the style and demonstrate the inherent elegance of writing. The third group of the composer’s early works is based on a modern style. The main works, where the author used modern innovations, are his “Three Preludes”, “Night” and “In that remote place”. Boldly relying on some principles of modern harmony and combining them with a pentatonic fret, Sang Tong made some useful discoveries. In the “Three Preludes” retaining the color of pentatonic, the author used the serial technique of the composition for the development of the material. When composing chords, he relies on the Chinese principle of Yin Yang, which in this context embodies harmony and disharmony and expands the scope of the chord. Breaking the traditional harmonic concept and transforming it into a complex function that depends on factors such as multi-level chords, using a number of modern notions of harmony, the composer invades the sphere of traditional pentatonic sounding, modernizing it, which allows us to rethink the possibilities of the pentatonic fret. Conclusions. Thus, the early period of music creation laid the foundation for the study of the modern theory of harmony in the work of Sang Tong, and also contributed to the further development of innovation in the use of modern techniques of composer writing in synthesis with pentatonic.
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Hewitt, G. F. "John Gordon Collier, F.R.Eng. 22 January 1935 — 18 November 1995." Biographical Memoirs of Fellows of the Royal Society 45 (January 1999): 67–75. http://dx.doi.org/10.1098/rsbm.1999.0006.
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John Collier was a chemical engineer who, in his earlier career, was a specialist in two–phase flow and heat transfer. He was formerly Chairman of the UK Atomic Energy Authority (UKAEA) and was Chairman of Nuclear Electric plc when he died on 18 November 1995. John Collier was born in London on 22 January 1935. His father, Jack Collier, was a musician who was one of the country's leading double–bass players. Jack had turned down the job of lead bass with the Hallé Orchestra at the age of 20 and set out to see the world. While playing in the ship's band on a transatlantic trip he met John's mother (Edith Georgina de Ville, a passenger on the same ship) and married her soon afterwards, in 1925. John was their only child and his infant years were spent in prewar London, his father making a name for himself playing music of a wide variety. During the war, Jack Collier became a member of ENSA, the Forces' entertainment service. His attempts to protect his wife and child against the bombing seemed to be relatively unsuccessful; he moved them to Southampton, Coventry and Manchester in turn! The young John Collier, at the age of six, was actually machinegunned by a German fighter plane flying down a Southampton street. John and his mother finally returned to London just in time for the start of the V1 (flying bomb) raids. All these moves meant that John attended nine different schools during the war years–a very disruptive experience. The family was reunited again after the war but their happiness was short–lived; John's mother (Edith) had a recurrence of the cancer she had suffered towards the end of the war and died in 1948. In 1951, Jack Collier married Guinevere (Jean) Olga Northcote. By this time, he was working freelance, playing with the major London orchestras; he was much in demand. He still did some work with lighter music, particularly on the radio where he played in such programmes as ITMA (Tommy Handley) and The Goon Show (Spike Milligan, Harry Secombe and Peter Sellers), and he later played on television shows such as The Morecombe and Wise Show.
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Hrinik, Tetiana. "The practice of interpreting an artistic text. Punctuation as a mean of expressiveness and acquisition of phonation skills." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 102–20. http://dx.doi.org/10.34064/khnum1-50.08.
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Background. Actuality of the research theme. The awareness of the importance of mastering the treasures of the native language is dictated by the rapid development of modern Ukrainian statehood. The problems of artistic culture are very acute today, and the educational role of national literature, theater, cinema, broadcasting, television in modern society is increasing. One of the ways of forming a linguistic culture is the constant contact of the country’s population with the artistic word presented at the appropriate professional level. Therefore, the professional skill of the artist-actor as the bearer of the artistic word and the direct interpreter of cultural values embodied in the artistic work becomes of great importance as a means of fulfilling this vital aesthetic-educational mission. Thus, the study of the process of improving the actor’s professional skills of the stage language, the ways of optimizing of modern education in this field seems very relevant. Analysis of recent publications on the research topic. The problems of the culture of speech, the expressiveness of the oral word, the creative nature of the artistic language and its contemporary sound on the stage are highlighted in many scientific works of theatrical teachers, linguists and theatrical scholars, psychologists and sociologists. The special investigations in the field of stage language in recent years are the works of the practitioners of artistic word, the Ukrainian actors and teachers R. Cherkashin, Yu. Sheyko, L. Vazhniova, A. Gladysheva and others. So, Yu. Sheyko pays much attention to the norms of Ukrainian oral literary speech, and insists on the need for the development of the intelligence of a contemporary actor. As the techniques of speech are an integral part of the learning process, the tutorials of L. Vazhniova and A. Gladysheva are devoted to the development of skills of high-artistic embodiment of the work. However, the special studies devoted to the formation of actor voice skills as part of the process of understanding the important role of punctuation marks in the artistic interpretation of the work were not carried out. Methodology, goals, objectives, practical value of the research. The combination of training and creative aspects of the theory and practice of the stage language requires a great deal of methodological flexibility. The proposed article, devoted to the improvement of the actor’s educational activity on mastering the skills of the stage language, uses a complex methodological base, which combines a wide cultural and highly specialized, purely methodical, approaches to the analysis of the process of work on the acquisition of practical skills of the stage language. The first involves entering adjoining artistic spheres – literary and musical; the second refers to concrete – to the practice of stage action. Their combination allows us to construct an optimal algorithm for the work of the actor over the interpretation of artistic text within the framework of the study, which is his goal. Such an algorithm, aimed at perfect mastering the heights of professional skill, can be used successfully in the acting practice of the stage speech. The results of the study. The article emphasizes the importance of the stage of analytical work with literary text, both in a broad historical and stylistic context, and in details, in order to “appropriate” the position of author of the work and, further, create self-own actor’s interpretation. A versatile analysis of the text, preparing it for reading, can be done in this way. 1. Determine the type of work – is this the entire work or a fragment; if this is a fragment, then what is exactly? (Excerpt from the poem, a passage from the ballad, prose, etc.). 2. Having defined the species, it is necessary to give the work the cultural and historical characteristic (at what time it is written, to which national culture belongs, on which social ground it arose, what is the outlook and life positions of the author of the text and peculiarities of his work, the place of work in the author’s creativity, the distinctive features the era in which the author worked, and the one about which the work tells, is the text original or translated etc.). 3. To carry out the ideological-thematic and plot analysis of the work, to determine its main idea, to disclose in connection with it the logical content of the text, to determine what kind of plot vicissitudes prevail. 4. To analyze, how much the author turns to sensual, visual, auditory phenomena. 5. Identify and “view” the spectacular content of the text. 6. It is necessary to understand what the form of a work is, which stylistic and author’s techniques are used to create an artistic whole. 7. On the basis of such a detailed analysis, one should check the first impression of the whole and redefine the content-like structure of the work. 8. Determine the personal attitude to the work. 9. To work on the “vision” of the text. 10. Based on our findings and in depth study of the work, we should outline the line of the dynamic and tempo-rhythmic interpretation of the work. Assistants of the actor in the awareness of the author’s intention become punctuation marks, which also mark the way to artistic expression of speech. Like a musician, an actor should distinguish them by intonation: by changing pitch, volume, tempo, rhythm of speech. Therefore, in our opinion, the creative using of analogies with musical syntax (pauses, leagues, rubato, etc.) and with performing touches of a musician (legato, marcato, etc.) is appropriate in working on the stage speech. The next key point in creating a convincing stage interpretation is his own acting “visions” (K. Stanislavsky’s term), which the performer creates in his imagination based on his previous sensual, intellectual, life experience. Tied to a verbal text, they make it possible for an actor to experience an emotoin of such a force that is able to establish “feedback” with the audience at the time of the stage embodiment of the work. Conclusions and perspectives of the research. The presence of a “feedback” with audience is a prerequisite for the fact that the stage speech, as a special kind of literary language and, at the same time, a socially prestigious form of communication, forms a linguistic culture. It is inextricably linked with the development of society and is the bearer of language traditions of the people. Therefore, the prospects of studying the speech art are seen in the ways of its improvement: the creative decision of the main tasks of the course of the stage speech, the most important of which is a full and meaningful presentation to the audience of art intention through a set of skills aimed at voice expressiveness, precision of diction and clarity of pronunciation in the process of theatrical communication. Punctuation is the way to expressive speech. Punctuation marks discipline our language, and this must be remembered by everyone – students, actors, everyone who is working on a language, because excessive hastiness is the greatest enemy of beginners.
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O'Cionnaith, Finnian, Jeremy Burchardt, Carla King, Susan Mullaney, Brian Gurrin, Mícheál Mac Craith, Seán Mac Liam, et al. "Reviews: Science and Technology in Nineteenth-Century Ireland, Rooted in the Soil: A History of Cottage Gardens and Allotments in Ireland since 1750, Gladstone and Ireland: Politics, Religion and Nationality in the Victorian Age, Cultures of Care in Irish Medical History, 1750–1970, Economy, Trade and Irish Merchants at Home and Abroad, 1600–1988, The Annals of the Four Masters: Irish History, Kingship and Society in the Early Seventeenth Century, Aloys Fleischmann (1880–1964): Immigrant Musician in Ireland, Lordship in Medieval Ireland: Image and Reality, Fighting like the Devil for the Sake of God: Protestants, Catholics and the Origins of Violence in Victorian Belfast, Sean Lemass: Democratic Dictator, Clanricard's Castle: Portumna House, Co. Galway, The Quirky Dr Fay: A Remarkable Life, The Goodbodys: Millers, Merchants and Manufacturers. The Story of an Irish Quaker Family, 1630–1950, Irish Socialist Republicanism, 1909–36, The Irish Lord Lieutenancy c.1541–1922, Ulster Liberalism, 1778–1876, Glassmaking in Ireland from the Medieval to the Contemporary, Ireland and Medicine in the Seventeenth and Eighteenth Centuries, Irish and English: Essays on the Irish Linguistic and Cultural Frontier, 1600–1900, The Irish Defence Forces 1940–1949: The Chief of Staff's Reports, Anglo-Irish and Gaelic Women in Ireland c.1170–1540, Cardinal Paul Cullen and His World, The Society of the Sacred Heart in Nineteenth-Century France, 1800–1865, Regulating Sexuality: Women in Twentieth-Century Northern Ireland, Françoise Henry in Co. Mayo, Estates and Landed Society in Galway, Longford History and Society: Interdisciplinary Essays in the History of an Irish County, Irish Novelists and the Victorian Age, The Great War and Memory in Irish Culture, 1918–2010, Irish Nationalists and the Making of the Irish Race, The Friars in Ireland, 1224–1540, a Labour History of Ireland, 1824–2000, in Search of Fame and Fortune: The Leahy Family of Engineers, 1780–1888, Making Ireland English: The Irish Aristocracy in the Seventeenth Century, Military Aviation in Ireland, 1921–1945, Coercive Confinement in Ireland: Patients, Prisoners and Penitents, a Guide to Sources for the History of Irish Education 1780–1922, William Monsell of Tervoe 1812–1894: Catholic Unionist, Anglo-Irishman, Youth Policy, Civil Society and the Modern Irish State, Gender and Medicine in Ireland, 1700–1950, a Loss of Innocence? Television and Irish Society 1960–72, The Old Library, Trinity College Dublin, 1712–2012, Gladstone: Ireland and Beyond, William O'Brien, 1881–1968." Irish Economic and Social History 40, no. 1 (December 2013): 114–211. http://dx.doi.org/10.7227/iesh.40.1.8.
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Stever, Gayle S. "Fan studies in psychology: A road less traveled." Transformative Works and Cultures 30 (September 15, 2019). http://dx.doi.org/10.3983/twc.2019.1641.
Full textAbstract:
This article describes the methods and materials used in my various studies of fan cultures in the years from 1988 to 2018. It delineates a mixed methods/multi-perspectivist approach and describes the process by which fan groups were selected and studied. Contrary to the concept of "aca-fan," an academic who studies a fan group of which she or he is already a part, this article describes the engagement of a number of fan groups with whom I was not already involved. I traveled throughout North American and Europe in order to observe fan behavior across the lifespan and across a number of different cultures . Both pop star musicians' fans and television fans were included. Immersion in the fan culture was the goal in each case with each study lasting anywhere from four to twelve years.