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Journal articles on the topic 'Songs, French (Instrumental settings)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Temperley, David. "Rhythmic Variability in European Vocal Music." Music Perception 35, no. 2 (2017): 193–99. http://dx.doi.org/10.1525/mp.2017.35.2.193.

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Rhythmic variability in the vocal music of four European nations was examined, using the nPVI measure (normalized pairwise variability index). It was predicted that English and German songs would show higher nPVI than French and Italian ones, mirroring the differences between these nations in speech rhythm, and in accord with previous studies of instrumental music. Surprisingly, there was no evidence of this pattern, and some evidence of the opposite pattern: nPVI is higher in French and Italian vocal music than in English and German vocal music. This casts doubt on the theory that the differe

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Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.

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Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the fina

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Youens, Susan. "Swan Songs: Schubert's ‘Auf dem Wasser zu singen’." Nineteenth-Century Music Review 5, no. 2 (2008): 19–42. http://dx.doi.org/10.1017/s1479409800003359.

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The following inquiry began as an echo of my preoccupation long ago and far away with settings of late nineteenth-century French poetry. Mallarmé's ‘le cygne/signe’ arrives too late (involuntarily, I recall the immortal line ‘What time's the next swan?’) to be a player in the creation of Schubert's songs, but the great French poet had recourse to some of the same signifying swans at work in this composer's chosen poem by Friedrich Leopold zu Stolberg-Stolberg. Struck by an analogy in the words for D. 774 (published in March 1827 as op. 72), I dug a little deeper and discovered multiple specime

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Sánchez-Pardo, Esther. "Outshining Aura: How Modernist Film Refashions the Myth of Don Quixote." Open Cultural Studies 1, no. 1 (2017): 172–82. http://dx.doi.org/10.1515/culture-2017-0016.

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Abstract This paper aims at examining the first Don Quixote sound film The Adventures of Don Quixote, directed by G.W. Pabst in 1933, as well as the songs and musical themes that two great French composers, Ravel and Ibert composed for the Russian baritone Feodor Chaliapin, the protagonist of this first feature film. It was originally planned as a multilingual project for a European and a larger world audience (English, French and German) that might understand Don Quixote as a classic-cum-modernist cultural product of the incipient technological era. In an attempt to disentangle the complex so

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Krasnoshchok, Kateryna. "Semantics of Louis Durey’s vocal-instrumental cycle “Songs on Saint Léger Léger’s poems” (“Images à Crusoé”)." Aspects of Historical Musicology 32, no. 32 (2023): 73–93. http://dx.doi.org/10.34064/khnum2-32.05.

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Statement of the problem. The article aims to investigate the semantics of the vocal-instrumental cycle “Songs on Saint L&#233;ger L&#233;ger’s poems” by Louis Edmond Durey (1888–1979), one of the representatives of the French “Group of Six”. This composition, which also has another name – “Images &#224; Cruso&#233;”, written in 1918, belongs to the period of formation of French modernism. The primary literary source, the poem of the same name by Alexis Saint L&#233;ger L&#233;ger, better known under the pseudonym Saint John Perce, has certain features of surrealistic a

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ZHOU, Liang, and Yuliya Yu. TSYKINA. "Development of Chinese composers' songs based on classical poetry." Service plus 18, no. 1 (2024): 79–87. https://doi.org/10.5281/zenodo.10968230.

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The romance genre arose during the period of classicism and gradually gained a foothold in Western Europe and especially in Russia at the end of the 18th and beginning of the 19th centuries. Romance is a synthesis of poetry, vocals and instrumental music, reflecting the refined and sublime nature of the art. The melodies convey the features of the characters’ inner world, and the piano accompaniment plays an important role, uniting with the performer into a single whole. By the middle of the 19th century. Western European national romance traditions have developed: Austro-German (F. Schu

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Tymoshenko, A. V. "Comprehension of specifics of lyricism in Ukrainian and French songs as a component of work with the students-vocalists of Popular Music and Jazz specialization." Aspects of Historical Musicology 14, no. 14 (2018): 74–91. http://dx.doi.org/10.34064/khnum2-14.06.

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Background. In recent years, there has been an increasing interest in the phenomenon of lyricism in Ukrainian musicology. This growth is more so conspicuous given that in the Soviet Musical Encyclopedia this term was omitted, and now it is the pivot of various researches, up to Ph. D. dissertations [7]. There is also a tendency to use this term regarding not only to vocal, but to instrumental music as well, including works lacking noticeable traits of lyrical mood. Works devoted to literature contain valuable information on lyricism, including remarks on the apprehension of this phenomenon in

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Rumph, Stephen. "Fauré and the Effable: Theatricality, Reflection, and Semiosis in the mélodies." Journal of the American Musicological Society 68, no. 3 (2015): 497–558. http://dx.doi.org/10.1525/jams.2015.68.3.497.

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Gabriel Fauré plays a leading role in Vladimir Jankélévitch's influential critique of musical hermeneutics, La musique et l'ineffable (1961). For the French philosopher, Fauré's works epitomized music that resists verbal interpretation and demands absorption in temporal experience. Yet, like many French composers, Fauré drew upon theatrical song in his mélodies, introducing a performative element that encourages distance as well as absorption. These hybrid mélodies invite both singer and audience to listen critically, savoring the performance within the performance; indeed, these songs offer u

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Pruiksma, Rose. "Of Dancing Girls and Sarabandes." Journal of Musicology 35, no. 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.

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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed me

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GORDON-SEIFERT, CATHERINE. "From Impurity to Piety: Mid 17th-Century French Devotional Airs and the Spiritual Conversion of Women." Journal of Musicology 22, no. 2 (2005): 268–91. http://dx.doi.org/10.1525/jm.2005.22.2.268.

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ABSTRACT With his three books of airs de déévotion (1656, 1658, 1662), Father Franççois Berthod offered singers the best of two worlds: newly-written sacred texts set to preexisting love songs by prominent French composers. In his dedications, he indicates that his parodies were written for women, enabling them to sing passionate melodies while maintaining their ““modesty, piety, and virtue.”” Inspired by the adopted musical settings, Berthod retained the provocative language of the original texts but directed expressions of concupiscent love toward Jesus in lieu of mortal man. Drawing on chur

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Prieto Ramos, Fernando, and Diego Guzmán. "Examining institutional translation through a legal lens." Target. International Journal of Translation Studies 33, no. 2 (2021): 254–81. http://dx.doi.org/10.1075/target.21003.pri.

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Abstract Studies of institutional translation have traditionally focused on European Union (EU) institutions and legislative genres. In order to develop a more comprehensive characterization of translation at international organizations beyond EU supranational law, this study compares a full mapping of multilingual text production at EU institutions to that of two representative intergovernmental organizations (IGOs), the United Nations (UN) and the World Trade Organization (WTO), over three years (2005, 2010, and 2015) in three common official languages (English, French, and Spanish). The cor

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Tymoshenko, Andrii. "Jacques Brel’s song “Ne me quitte pas” and its performance versions: genre-stylistic and linguistic aspects." Aspects of Historical Musicology 28, no. 28 (2022): 84–100. http://dx.doi.org/10.34064/khnum2-28.06.

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Statement of the problem. One of the hallmarks of pop music culture is that in this sphere the song is much more associated with its performer than in classical music, let alone folklore. We know the songs mostly by the name of its performer, not by the lyricist’s or composer’s. In those conditions, practice of continuous appeal of different singers to the same song becomes even more significant and calls for its research. The article is devoted to “Ne me quitte pas”, a song that has interpretations differing in era, style, genre traits, language, whose first performer, Jacques Brel, is one of

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Shaharuddin, Hanis Najwa, Fudzla Suraiyya Abdul Raup, Muhammad Hatta Shafri, and Siti Saleha Sanusi. "Motivational Factors for Learning Foreign Language at UiTM." International Journal of Research and Innovation in Social Science VIII, no. IX (2024): 1258–73. http://dx.doi.org/10.47772/ijriss.2024.8090104.

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This study examines the motivations driving undergraduates at Universiti Teknologi Mara (UiTM) in Malaysia to learn foreign languages, addressing the challenges and issues associated with language learning in the country. Although foreign languages are introduced early in Malaysian primary schools, student motivation often declines as they advance to university, and achieving satisfactory language proficiency remains a challenge. Building on previous research, this study highlights the importance of both intrinsic and extrinsic motivation in language learning. Integrative motivation, which inv

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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.

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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French

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Неклюдов, С. Ю. "“Bublichki” Between Folklore and Pop Music." ТРАДИЦИОННАЯ КУЛЬТУРА 25, no. 1 (2024): 61–80. http://dx.doi.org/10.26158/tk.2024.25.1.004.

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Среди музыкальных текстов «эпохи НЭПа» особенно широкой известностью пользовалась песенка «Бублички» («Купите бублики…»), наиболее вероятный автор которой — одесский поэт Яков Ядов (1926), а мелодия, по-видимому, восходит к еврейской народной песенке «Уголь». Песня сразу широко расходится по традициям городского фольклора и связанным с ним эстрадным подмосткам, включая русское зарубежье. С 1927 по 1945 г. в Европе и Америке напечатано более полусотни записей, инструментальных (бóльшей частью) и вокально-инструментальных (не только по-русски); в СССР была лишь одна «пробная» грамзапись Леонида

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Jõks, Eerik, and Marju Raju. "The Estonian Language and Its Influence on Music: A Cognitive Sciences Approach." Folklore: Electronic Journal of Folklore 90 (December 2023): 109–36. http://dx.doi.org/10.7592/fejf2023.90.joks_raju.

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Musicology may seem a specific small sector of humanitarian scholarship to the layman, but it hides variety within from highly theoretical subjects such as music theory to the fieldwork with indigenous repertoires and their performance, as found in ethnomusicology. There is a shift in contemporary musicology, its focus moving more towards studies of musical performances and the use of empirical study designs to complement the analysis of musical scores. These interdisciplinary empirical studies cross the border of humanitarian scholarship and apply the methods of the natural sciences, for exam

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Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.

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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for t

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Kruger, Daleen. "“Mein Gmut ist mir verwirret”: contrafactum-practice in the Liedboek van die Kerk (“Afrikaans Hymn book of the Church”)." Koers - Bulletin for Christian Scholarship 81, no. 2 (2016): 61–79. http://dx.doi.org/10.19108/koers.81.2.2252.

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The contrafactum-practice which utilises secular melodies and/or texts as sources in the creation of sacred hymns, is an age-old tradition. This practice generated amongst others a few Protestant hymns (particularly in the German Reformed context), which are viewed today as important hymns in the hymn corpus. One example would be the hymn for lent, “Herzlich tut mich verlangen”. In several historic sources the use of secular melodies in church hymns is motivated: the fact that the melodies are already well-known amongst the congregation would make it easy to learn the new texts. Sources also c

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Soudani, Mohamed. "Welche Sprache(n), wee und woozy linen? Deutschkurs am Intensivfremdsprachenzentrum CEIL Algerischer Universitäten." Traduction et Langues 15, no. 2 (2016): 159–71. http://dx.doi.org/10.52919/translang.v15i2.688.

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Which language(s), wee and woozy linen? Deutschcourse at the CEIL intensive foreign language center of Algerian universities Foreign language learning has become a must in Algerian universities in recent years due to its concrete importance in the higher education context and at the international level. Algerian students, lecturers (researchers) and university members have become aware in recent years about the need to learn and/or master at least one foreign language. In order to meet the increasing demand for foreign language learning in higher education, many Algerian universities hav

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Anfi, lovaS G. "In the shade of “beautiful style”: talking about the chamber vocal music pieces by G. Donizetti." Aspects of Historical Musicology 15, no. 15 (2019): 99–118. http://dx.doi.org/10.34064/khnum2-15.05.

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Background. In 2018, the 170th anniversary of the death of Gaetano Donizetti (1797–1848) was commemorated. G. Donizetti created 74 operas of various genres and themes. He was the head of the Italian opera school in the second half of the 1830s, picking up the baton from G. Rossini and V. Bellini and anticipating G. Verdi’s searching. Having an apparent melodic gift, excellent skills of composing, knowledge of musical theatre, he created his works extremely quickly and easily – up to 3–4 operas per year, which caused repeated critical attacks. Opera works by G. Donizetti got a hard futurity. Th

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Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.

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Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing i

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Walsdorf, Hanna. "Lost in translation? Tracing Lullian tunes in Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672)." Early Music, September 9, 2024. http://dx.doi.org/10.1093/em/caae030.

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Abstract In late 17th- and early 18th-century London, English versions of the comédies-ballets by Molière and Lully were received with great applause. Yet translators had necessarily converted the rhythm, rhyme and song of the French plays, which is why most of Lully’s tunes seem to have been lost in translation, replaced by newly composed songs. Focusing on Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672), this article examines source evidence suggesting that in this case some of Lully’s vocal and instrumental movements may well have survived crossing the Channel—and it also reveals t

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Thompson, Naomi, and Helen Odell-Miller. "audit of music therapy in acute National Health Service (NHS) settings for people with dementia in the UK and adaptations made due to COVID-19." Approaches: An Interdisciplinary Journal of Music Therapy, May 25, 2022. http://dx.doi.org/10.56883/aijmt.2024.70.

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Music therapy research and practice is growing in the field of dementia in residential and community settings. However, less is known about the prevalence and practice of music therapy in acute inpatient settings for people living with dementia. An online survey was distributed to the membership of the British Association for Music Therapy (BAMT) in the UK. Descriptive statistics were generated for quantitative data and thematic analysis was conducted on qualitative data. Fifteen music therapists responded (12.1% of BAMT members working in dementia care). The majority (80%) of respondents were

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Ying, Qingqing. "S. Moniuszko's Songs for High Voices and Multi-Genre Palette of their Stylish Expression." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 3 (October 25, 2023). http://dx.doi.org/10.32461/2226-3209.3.2023.289852.

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The purpose of the research is to trace the Biedermeier background of the expressiveness of S. Moniuszko's Songs in their borderline to the musical realism-verism of the middle of the 19th century, using the example of the songs for high voice from the collection "Pieśni wybrane", 1, na głos wysoki (Polskie Wydawnictwo Muzyczne: Kraków, 1972), which timbre-register corresponds to the lyric soprano of the author of this essay. The methodological basis is the intonation approach of the school of B. Asafyev in Ukraine, represented, among other things, by the works of O. Markova, O. Muravska, Yu.

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Chèze, Jérôme, Christophe Maron, Diane Rivet, et al. "METEOR: Online Seismic Metadata Builder." Seismological Research Letters, December 23, 2020. http://dx.doi.org/10.1785/0220200217.

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Abstract METEOR is an online tool dedicated to the generation of instrumental responses for seismological stations. This tool builds the complete response of the acquisition chain, while keeping the number of fields to be filled in very reduced. METEOR queries a very rich response databank, designed for the management of the French broadband seismological network (RESIF) and for many research projects involving velocimetric and accelerometric sensors over the last 20 yr. This tool is not intended to allow the management of metadata of an entire network, but to quickly build the instrumental re

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Bouillet, Jérémy, and Catherine Grandclément. "Sufficiency, consumption patterns and limits: a survey of French households." Buildings & Cities 5, no. 1 (2024). http://dx.doi.org/10.5334/bc.454.

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How can the concept of consumption corridors be operationalised? This research provides socio-demographic knowledge of the setting of the upper limit. Four distinct ‘modes of consumption’ are identified, based on material consumption levels and openness to consumption limits. A survey of French households (n = 2452) reveals people are generally reluctant to accept strict consumption caps, especially binding ones. Both high and low material consumption groups strongly oppose consumption limits, suggesting that wealth does not correlate with a sense of having ‘enough’. Individuals with fewer pos

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O’Keeffe, Eamonn. "British Military Music and the Legacy of the Napoleonic Wars." Historical Journal, October 30, 2024, 1–26. http://dx.doi.org/10.1017/s0018246x24000372.

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Abstract Historians have increasingly stressed the impact of the French Revolutionary and Napoleonic Wars on Britain and Ireland. Less attention, however, has been paid to the legacies of martial mobilization after 1815. Drawing on hitherto unused press and archival sources, this article assesses the implications of wartime military expansion for the music profession, and musical culture more generally, in the decades after Waterloo. It demonstrates that men and boys who honed their instrumental skills in uniform embarked on a variety of civilian musical careers, becoming instructors, wind per

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McAvan, Em. "“Boulevard of Broken Songs”." M/C Journal 9, no. 6 (2006). http://dx.doi.org/10.5204/mcj.2680.

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   Ever since the spread of cheap sampling technology in the 1980s, popular music has incorporated direct quotations from other songs. This trend reached its zenith in the “mash-up,” that genre of popular music which has emerged in the last 5 or 6 years. Most famously, DJ Dangermouse distributed his “Grey Album,” a concept that mashed together the a Capella vocals from Jay-Z’s Black Album with the music from the Beatles’ White Album. Distribution of the project was swiftly met with a Cease and Desist order from the Beatles’ label EMI, leading to the Grey Tuesday online protes

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Colwell, Cynthia. "Knowledge and training of Orff-based music therapy among students, clinicians, and educators." Approaches: An Interdisciplinary Journal of Music Therapy 14, no. 1 (2020). http://dx.doi.org/10.56883/aijmt.2022.129.

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The purpose of this research study was to examine knowledge and training of Orff-based music therapy among music therapy students, clinicians and educators using a variety of demographic, training, and outcome variables. The measurement tool was an online survey designed to satisfy this primary purpose and seven associated research questions targeting: (1) Demographics, (2) Definitions, (3) Training, (4) Professional Development (5) Clinical Practice, (6) Treatment Outcomes, and (7) Professional Competencies. Basic descriptive statistics were provided through SurveyMonkey, although the researc

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Blackwood, Gemma. "Anatomy of a Song." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3041.

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An instrumental cover of 50 Cent’s “P.I.M.P.” by the Bacao Rhythm & Steel Band plays repeatedly in the soundtrack of Justine Triet’s Palme d’Or-winning film Anatomy of a Fall (2023). We first hear it play in an isolated mountain lodge in the French Alps, the music rudely intruding from above as German author Sandra (Sandra Hüller) holds an interview with a graduate student, the latter keen to learn about the writer’s methods and ideas. The song has been put on by Sandra’s unseen husband Samuel (Samuel Theis), permanently looping on the laptop in the unrenovated attic at the top of the hous

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Ryan, Robin Ann. "Forest as Place in the Album "Canopy": Culturalising Nature or Naturalising Culture?" M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1096.

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Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge

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Collins, Steve. "Amen to That." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2638.

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   In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Mus

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Furnica, Ioana. "Subverting the “Good, Old Tune”." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2641.

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   “In the performing arts the very absence of a complete score, i.e., of a complete duplicate, enables music, dances and plays to survive. The tension created by the adaptation of a work of yesterday to the style of today is an essential part of the history of the art in progress” (Rudolf Arnheim, “On Duplication”). In his essay “On Duplication”, Rudolf Arnheim proposes the idea that a close look at the life of adaptations indicates that change is not only necessary and inevitable, but also increases our understanding of the adapted work. To Arnheim, the most fruitful approa

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Mahon, Elaine. "Ireland on a Plate: Curating the 2011 State Banquet for Queen Elizabeth II." M/C Journal 18, no. 4 (2015). http://dx.doi.org/10.5204/mcj.1011.

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IntroductionFirmly located within the discourse of visible culture as the lofty preserve of art exhibitions and museum artefacts, the noun “curate” has gradually transformed into the verb “to curate”. Williams writes that “curate” has become a fashionable code word among the aesthetically minded to describe a creative activity. Designers no longer simply sell clothes; they “curate” merchandise. Chefs no longer only make food; they also “curate” meals. Chosen for their keen eye for a particular style or a precise shade, it is their knowledge of their craft, their reputation, and their sheer abi

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Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each

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Viljoen, Martina. "Mzansi Magic." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2989.

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Introduction Jerusalema, a song from Mzansi — an informal isiZulu name for South Africa — became a global hit during the Covid-19 pandemic. Set to a repetitive, slow four-to-a-bar beat characteristic of South African house music, the gospel-influenced song was released through Open Mic Productions in 2019 by the DJ and record producer Kgaogelo Moagi, popularly known as ‘Master KG’. The production resulted from a collaboration between Master KG, the music producer Charmza The DJ, who composed the music, and the vocalist Nomcebo Zikode, who wrote the lyrics and performed the song for the master

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Papanikolaou, Evangelia, and Bolette Daniels Beck. "Celebrating Guided Imagery and Music developments in Europe." Approaches: An Interdisciplinary Journal of Music Therapy 9, no. 2 (2017). http://dx.doi.org/10.56883/aijmt.2017.286.

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We are very proud to launch this special issue of Approaches entitled ‘Guided Imagery and Music: Contemporary European perspectives and developments’. With its body of articles, we hope to inspire practitioners, researchers and educators from many fields: Guided Imagery and Music (GIM) therapists, music therapists as well as professionals from other health professions. But, why a special issue on GIM in Europe? And why now? The most obvious reason is the celebration of the formation of an independent European branch of the American Association of Guided Imagery and Music that took place at the

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Wilken, Rowan. "Walkie-Talkies, Wandering, and Sonic Intimacy." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1581.

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IntroductionThis short article examines contemporary artistic use of walkie-talkies across two projects: Saturday (2002) by Sabrina Raaf and Walk That Sound (2014) by Lukatoyboy. Drawing on Dominic Pettman’s notion of sonic intimacy, I argue that both artists incorporate walkie-talkies as part of their explorations of mediated wandering, and in ways that seek to capture sonic ambiances and intimacies. One thing that is striking about both these works is that they rethink what’s possible with walkie-talkies; both artists use them not just as low-tech, portable devices for one-to-one communicati

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Dieter, Michael. "Amazon Noir." M/C Journal 10, no. 5 (2007). http://dx.doi.org/10.5204/mcj.2709.

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   There is no diagram that does not also include, besides the points it connects up, certain relatively free or unbounded points, points of creativity, change and resistance, and it is perhaps with these that we ought to begin in order to understand the whole picture. (Deleuze, “Foucault” 37) Monty Cantsin: Why do we use a pervert software robot to exploit our collective consensual mind? Letitia: Because we want the thief to be a digital entity. Monty Cantsin: But isn’t this really blasphemic? Letitia: Yes, but god – in our case a meta-cocktail of authorship and copyright –

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Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of

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