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Journal articles on the topic 'Space time movement music'
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1
Young, Susan. "Time–space structuring in spontaneous play on educational percussion instruments among three- and four-year-olds." British Journal of Music Education 20, no. 1 (March 2003): 45–59. http://dx.doi.org/10.1017/s0265051702005284.
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This article reports on a study which investigated the spontaneous instrumental music-making of three- and four-year-olds in typical pre-school educational settings in London, UK. It argues that many prior studies of children's music-making have analysed and evaluated such activity against models drawn from the practices of Western art music and its conventions of analytical theory, and suggests that this approach has certain drawbacks. The study adopted a grounded theory methodology moving through three phases in different nursery classrooms. Each phase was characterised by successive focusing and refinement of methodological tools in response to the emerging findings. Data were collected on videotape which was then repeatedly reviewed, transcribed and categorised. The children's music-making was analysed as relational processes in time and space involving the two-way interplay of child and instrument. Structures in space delineate the child's movement within the spatial potentials and constraints of the instrument design. Structures in time describe how movements and movement ideas were strung together in ever-lengthening portions.
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Marty, Nicolas. "Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)." Organised Sound 21, no. 2 (June 30, 2016): 166–75. http://dx.doi.org/10.1017/s1355771816000091.
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Drawing on Deleuze’s work about cinema (the ‘movement-image’ and the ‘time-image’), this article explores formal and aesthetic resonances with sound-based music, distinguishing between aesthetics of energy, articulation and montage, and aesthetics of contemplation, space and virtual relations. A second perspective is given, focusing on how listening behaviours may impose a ‘movement-image’ or a ‘time-image’ lens through which we could experience and remember a work’s form. This is exemplified with a short analysis of the first section ofChat Noir(1998–2000) by Elizabeth Anderson.
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SCHÄFER, SABINE, and JOACHIM KREBS. "Sound – Time – Space – Movement: the Space-soundInstallations of the artist-couple 〈sabine schäfer // joachim krebs〉." Organised Sound 8, no. 2 (August 2003): 213–25. http://dx.doi.org/10.1017/s1355771803000128.
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This article describes the theories and practices of the German installation artists and composers Sabine Schäfer and Joachim Krebs. Much of their work concerns site-specific sound installations involving the articulation of time and space. Their principal work methods and materials are described. In addition, they have formulated a typology of five installation types which they describe using their own installations as examples. Each installation type responds to a particular set of aesthetic and practical challenges both for the artists and the visitors. These are discussed and illustrated in the article. The typology extends beyond the specific work of these artists and can be applied to installations in general, thus providing a framework for critical analysis. Furthermore, the translators have discussed the issues regarding the specialised vocabulary of the artists and the rendering of such language into English.
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Leonhardmair, Teresa. "Leiturgía – Ort der musiké: Plädoyer für eine Perspektive auf Kirchen-Musik als heteromodales Ereignis." Review of Ecumenical Studies Sibiu 7, no. 3 (December 1, 2015): 422–40. http://dx.doi.org/10.1515/ress-2015-0031.
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The meaning of music exceeds the mere acoustic noise. Liturgy clarifies that fact. Focusing aesthetic modes music is considered as defined by the ancient Greek term musiké, back then the union of movement/dance, sound, poetry. As performance musiké correlates with liturgy (performance as well) in a special way. The bodily and transcendent dimensions of musiké arise in liturgy – something performative, i.e. evolving from doing. Liturgy and music are connected with bodily presence (incarnation) and movement – the fundament of life. Both corporal actions and expressive dance in liturgy exist as a form of musiké. Using the example of resonance, listening, polyaisthesis, time/space it becomes apparent that musiké is movens, confronting us with the alien, carrying us to foreign spaces. Leiturgía is a specific aesthetic site where church music opens peculiar the human dimension of musiké. Our society is in need of such places.
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Neidhöfer, Christoph. "Experiencing Time in Brian Cherney’s String Quartet No. 4 (1994)." Intersections 37, no. 1 (May 17, 2019): 119–42. http://dx.doi.org/10.7202/1059891ar.
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Brian Cherney’s Fourth String Quartet (1994), in one movement lasting half an hour, is striking for its formal coherence and diversity of materials. The work achieves large-scale cohesion not only through an intricate interplay of three simultaneously unfolding “main structures”—four attacca movements in one, on one level, seven sections forming certain temporal proportions, on another, and four cycles of “breathing rhythms” derived from the same proportions on a third level, as documented in the manuscript sources—but also through the continually fluctuating tension we experience throughout the movement between ontological and psychological time. Pierre Souvtchinsky’s notion of a “counterpoint” between “ontological time” (i.e., clock or real time) and a particular music’s inherent time shaped by “the material and technical means by which [the] music is expressed” is referenced to demonstrate how in Cherney’s quartet fixed proportions and slow, stable polyrhythms active in the background afford space for foreground activity that has its own sense of time. The article further explores the notion of time in a second, metaphorical dimension, as concerns intertextual allusions in the quartet.
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Berehova, Olena. "Ukrainian piano competitions in the space of global intercultural dialogue." Culturology Ideas, no. 20 (2'2021) (2021): 78–89. http://dx.doi.org/10.37627/2311-9489-20-2021-2.78-89.
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The article clarifies the influence of globalization on the musical culture of Ukraine, in particular, on international piano competitions. It emphases the role of global music organizations, which play an important integrative role in the processes of international artistic exchange and at the same time are a communication field for the demonstration of the best national artistic creative practices. In the field of international music competitions, the most influential organizations, in particular, are the World Federation of International Music Competitions, European Union of Music Competitions for Youth, Alink-Argerich Foundation, etc. The study of information materials of Ukrainian international piano competitions, which are the members of these prestigious international organizations, revealed global trends in the development of the competition and festival movement. Specific examples of international music festivals and other art projects initiated by the organizing committees of Ukrainian piano competitions have shown that they contribute to the development and promotion of Ukraine's cultural identity globally, help spread the best national traditions of musical performance in the world and are one of the best forms of cultural diplomacy.
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Kolić, Neda. "Mondrian's "transdance": Transposition of music and dance movements into painting." New Sound 53, no. 1 (2019): 70–88. http://dx.doi.org/10.5937/newso1901070k.
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The syntagm, Mondrian's "transdance" is a term with which the author wanted to symbolically indicate the main research interest presented in this paper, that is, the examination of how the basic stance, steps and movements in the Foxtrot and, implicitly, the main elements of jazz, i.e. melody, rhythm, harmony, are transposed into the particular visual compositions - Fox Trot A (1930) and Fox Trot B (1929). All of these particular art forms (dance, painting, and music), though very different in the aesthetical and poetical respect, are nevertheless connected with one essential element - movement, as a measure of both time and space. In this consideration of painting as a temporal, and not only a spatial object, the visual art discourse is influenced by the vocabulary of the art of music and of dance. Thus, this paper should be understood as the author's intimate observation of time-space transpositions (at the wider level), as well as the author's discussion about the latent (interdisciplinary) 'dialogue' which the painter, Piet Mondrian, aka "The Dancing Madonna", conducted with dance and music (in the strictest sense). This premise is explored from several aspects, but none of them deviates from the main methodological course, determined by the "interdisciplinary model of musicological competence" (Veselinović-Hofman).
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McManus, Laurie. "Feminist Revolutionary Music Criticism and Wagner Reception." 19th-Century Music 37, no. 3 (2014): 161–87. http://dx.doi.org/10.1525/ncm.2014.37.3.161.
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Abstract Histories of progressive musical politics in mid-nineteenth-century Germany often center on the writings of Richard Wagner and Franz Brendel, relegating contributors such as the feminist and author Louise Otto (1819–95) to the periphery. However, Otto's lifelong engagement with music, including her two librettos, two essay collections on the arts, and numerous articles and feuilletons, demonstrates how one contemporary woman considered the progressive movements in music and in women's rights to be interrelated. A staunch advocate of Wagner, Otto contributed to numerous music journals, as well as her own women's journal, advising her female readers to engage with the music of the New German School. In the context of the middle-class women's movement, she saw music as a space for female advancement through both performance and the portrayals of women onstage. Her writings offer us a glimpse into the complex network of Wagner proponents who also supported women's rights, at the same time providing evidence for what some contemporary conservative critics saw as a concomitant social threat from both Wagnerian musical radicalism and the emancipated woman.
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Roseth, Nicholas E. "A Survey of Secondary Instrumental Teachers’ Immediacy, Ensemble Setup, and Use of Classroom Space in Colorado and Indiana." Journal of Research in Music Education 68, no. 3 (September 1, 2020): 305–27. http://dx.doi.org/10.1177/0022429420944227.
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The purpose of this study was to survey secondary band and orchestra teachers ( N = 436) in Colorado and Indiana regarding their self-reported immediacy behaviors, ensemble setups, and use of classroom space when teaching. Immediacy “refers to nonverbal teacher behaviors which increase nonverbal interaction with students and which communicate closeness.” Female teachers and teachers of young ensembles reported higher levels of overall immediacy. Among component immediacy behaviors, teachers reported using proximity-related behaviors the least; females reported using proximity behaviors at higher rates than males. The majority of teachers reported using “closed” ensemble setups (i.e., setups that limit teacher movement among students) and remained in these setups for the majority of the school year. Teachers of young ensembles reported greater use of “opened” setups (i.e., setups that help facilitate teacher movement among students). Although teachers reported spending the majority of rehearsal time on the podium, female teachers, teachers of young ensembles, and teachers who used opened setups reported less time on the podium and more time moving among students. Implications for immediacy, ensemble setup, and teacher use of space in music education are discussed.
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Kolomiets, Galina G. "Philosophy of Music in the Image of the World: From Antiquity to the Modern Time." RUDN Journal of Philosophy 25, no. 1 (December 15, 2021): 139–55. http://dx.doi.org/10.22363/2313-2302-2021-25-1-139-155.
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The article presents philosophical views on music in the context of the transformations of the worldview from Antiquity to the Modern Time. In this research author also mentions the contemporary issues, and uses her own philosophical concept of the music, which can be described as following: the value of music as a substance and the way of the valuable interaction of a person with the world affirm the essence of musical being, in which the invariable principle of Harmony, the principle of Chaos-Form movement, is preserved (see "The Value of the Music: Philosophical Aspect"). Music expresses the fluid essence of the world and changes of being in space and time. Philosophy of music as a field of philosophical knowledge considers music from ontological-epistemological and phenomenological-axiological prospectives, as something more than just a form of art. It explores the deep, ultimate foundations of the existence of music as such and the philosophical and aesthetic foundations of musical art. Since ancient times music has been a representation of the world in the human conscience and served as the harmonic equivalent of cosmological philosophy, mathematics, astronomy, and astrophysics (Pythagoras, Plato, Aristotle, Aristoxenus, Porphyry et als.). The scientific view on music was enriched in the Modern Time by the expanded view on the cosmo-sound space reflected in musical art, which at the same time transforms the mathematical ideas of geometricity, squareness etc. The tendency to create integral world music in the musical practice of the XX-XXI centuries explains the attempt of mankind to present music by modern methods of composing musical art as an expression of fear towards the secret Harmony of universal existence, and, on the other hand - as a form of search for salvation and mental balance, intuitively reflecting what is happening in natural science, which more and more points to the abyss of unknowable universe, and the unstable place of man in the world.
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Kutschke, Beate. "Zwischen Heroismus und Antiheroismus Ligetis Mikropolyphonie in 2001 revisited." Studia Musicologica 57, no. 1-2 (June 2016): 73–90. http://dx.doi.org/10.1556/6.2016.57.1-2.6.
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This article re-investigates the use of Ligeti’s second movement of his Requiem “Kyrie” (1963/1965) in Stanley Kubrick’s 2001 — A Space Odyssey (1968). It does so in light of allusions to heroic models and the – obviously – heroic Zarathustra fanfare, both of which are pervasive in Kubrick’s film. The article aims at determining compositional means that refer to heroic ideas in avant-garde music of the 1960s, a time period in which radically new and skeptical views of heroism came to the fore that also affected the articulation of the heroic in music.
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Riskin, Seth. "Light Dance." Leonardo 53, no. 1 (February 2020): 90–91. http://dx.doi.org/10.1162/leon_a_01636.
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The author discusses the origin and meaning of his Light Dance artwork. The simple approach—placing a source of light on the body and thereby manipulating the illumination of the surrounding space through body movements—alters the viewer’s perception of space and time. Architecture appears malleable as the performer affects the size, shape and speed of light forms that reach from the body to the boundaries of the room. Light, in this perceptual environment, is not a mere transmitter of information between the invariant material surroundings and the eye of the viewer; light is a space-defining extension of the performer’s body that transposes movement expression from the individual body to the shared space. An inversion of subjective and objective “spaces” is realized in the experience of Light Dance wherein the prevailing conceptual hierarchy of light and vision is overcome.
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Haselböck, Lukas. "Beobachtungen zum Verhältnis von Klangfarbe, Raum und Zeit bei Ligeti." Studia Musicologica 57, no. 1-2 (June 2016): 61–72. http://dx.doi.org/10.1556/6.2016.57.1-2.5.
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The notion of sound (Klang) has been discussed intensely during the last 200 years. Similarly, in the writings of György Ligeti, timbre (Klangfarbe) is one of the crucial terms. The aim of this text is to reconsider the role of timbre and the relationship between timbre, space, and time in Ligeti’s music. With an analysis of Atmosphères and the first movement of the Piano Concerto, the discussion also includes two further important notions: process and threshold.
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Zacharakis, Asterios, Maximos Kaliakatsos-Papakostas, Costas Tsougras, and Emilios Cambouropoulos. "Creating Musical Cadences via Conceptual Blending." Music Perception 35, no. 2 (December 1, 2017): 211–34. http://dx.doi.org/10.1525/mp.2017.35.2.211.
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The cognitive theory of conceptual blending may be employed to understand the way music becomes meaningful and, at the same time, it may form a basis for musical creativity per se. This work constitutes a case study whereby conceptual blending is used as a creative tool for inventing musical cadences. Specifically, the perfect and the renaissance Phrygian cadential sequences are used as input spaces to a cadence blending system that produces various cadential blends based on musicological and blending optimality criteria. A selection of “novel” cadences is subject to empirical evaluation in order to gain a better understanding of perceptual relationships between cadences. Pairwise dissimilarity ratings between cadences are transformed into a perceptual space and a verbal attribute magnitude estimation method on six descriptive axes (preference, originality, tension, closure, expectancy, and fit) is used to associate the dimensions of this space with descriptive qualities (closure and tension emerged as the most prominent qualities). The novel cadences generated by the computational blending system are mainly perceived as single-scope blends (i.e., blends where one input space is dominant), since categorical perception seems to play a significant role (especially in relation to the upward leading note movement). Insights into perceptual aspects of conceptual bending are presented and ramifications for developing sophisticated creative systems are discussed.
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Ohkita, Misato, Yoshiaki Bando, Eita Nakamura, Katsutoshi Itoyama, and Kazuyoshi Yoshii. "Audio-Visual Beat Tracking Based on a State-Space Model for a Robot Dancer Performing with a Human Dancer." Journal of Robotics and Mechatronics 29, no. 1 (February 20, 2017): 125–36. http://dx.doi.org/10.20965/jrm.2017.p0125.
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[abstFig src='/00290001/12.jpg' width='300' text='An overview of real-time audio-visual beat-tracking for music audio signals and human dance moves' ] This paper presents a real-time beat-tracking method that integrates audio and visual information in a probabilistic manner to enable a humanoid robot to dance in synchronization with music and human dancers. Most conventional music robots have focused on either music audio signals or movements of human dancers to detect and predict beat times in real time. Since a robot needs to record music audio signals with its own microphones, however, the signals are severely contaminated with loud environmental noise. To solve this problem, we propose a state-space model that encodes a pair of a tempo and a beat time in a state-space and represents how acoustic and visual features are generated from a given state. The acoustic features consist of tempo likelihoods and onset likelihoods obtained from music audio signals and the visual features are tempo likelihoods obtained from dance movements. The current tempo and the next beat time are estimated in an online manner from a history of observed features by using a particle filter. Experimental results show that the proposed multi-modal method using a depth sensor (Kinect) to extract skeleton features outperformed conventional mono-modal methods in terms of beat-tracking accuracy in a noisy and reverberant environment.
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Bruno, Giuliana. "Passages through Time and Space: In Memory of Chantal Akerman." October 155 (January 2016): 162–67. http://dx.doi.org/10.1162/octo_a_00247.
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Film historian Giuliana Bruno commemorates celebrated filmmaker Chantal Akerman (1950–2015), whose intimate portraits of cities, lands, and homes captured the passing of everyday life and intensified our own sense of time, memory, and space. Akerman's breakthrough film, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975), exposed the strictures of women's time and space while creating a new cinematic language of observation and duration. She continued to experiment with moving images throughout her life, moving easily between fiction and documentary, cinemas and gallery exhibitions. In the mid-1990s, Akerman began to engage in an expanded field of film-based installation art, at an early stage of the cultural movement that still drives today's filmmakers and artists to work between media. Bruno's personal evocation of Akerman's oeuvre highlights the filmmaker's use of the screen as both filter and threshold, in order to convey a relationship between interiority and exteriority, and physical and mental space, a relationship delicately tailored to Akerman's particular version of empathy.
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Hansen, Kai Arne, and Stan Hawkins. "Azealia Banks: ‘Chasing Time’, erotics, and body politics." Popular Music 37, no. 2 (April 13, 2018): 157–74. http://dx.doi.org/10.1017/s0261143018000053.
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AbstractDuring the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, ‘Chasing Time’ (2014), offering up various perspectives that probe into queer agency. It is suggested that techniques of sonic styling necessitate a consideration of subjectivity alongside genre and style. Employing audiovisual methods of analysis, we reflect on the relationship between gendered subjectivity and modalities of queerness as a means for demonstrating how aesthetics are staged and aligned to advanced techniques of production. It is argued that the phenomenon of eroticised agency, through hyperembodied display, is central to understanding body politics. This article opens a space for problematising issues of black female subjectivity in a genre that is traditionally relegated to the male domain.
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Otašević, Olga. "'Harmony of the spheres' in the musical 'vitrage' of 'the thirteen-star flower of Cassiopeia': Micro- and macro-manipulation with time and space." New Sound, no. 51 (2018): 144–51. http://dx.doi.org/10.5937/newso1851144o.
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This paper deals with an analysis of the phantasy for orchestra Trinaestozvezdani cvet Kasiopeje [The Thirteen-star Flower of Cassiopeia] by Vladimir Trmčić (1983). Special attention is paid to the motivic analysis of the work and general aesthetical premises of the program, which influenced the formation of the musical flow. The static nature, sustained tones and micropolyphony enable the composer to experiment with time, space, intervals, timbres, resulting in music with an immanent logic guided by the movement of energy masses.
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Parque, Lawrence. "Sligo Air." Architectural Research Quarterly 6, no. 3 (September 2002): 286–88. http://dx.doi.org/10.1017/s1359135503001799.
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The performance piece Flux in the Sligo Air is a suite for movement artists and electro-acoustic music. It was composed in response to the unique atmosphere of Sligo, a town of 16,000 inhabitants in the northwest of Ireland, and its place within the surrounding landscape. I was inspired by Sligo's architecture and the sky, landscape and sea into which the town is so naturally and uniquely integrated. My study of space perception in architectural terms and its correlation with musical processes led to a contemplation of the relationship of the town's buildings to each other and the spaces (streets) they inhabit in the same manner as tonal phrases might become related to each other, or to a drone. Flux in the Sligo Air is not an analogous translation of architecture into music, however, but an attempt to capture those ever-changing senses which one may experience within a space. The town's natural condition and evolution, the new and the old at many points in time, serve as carriers of ideas of sense and felt knowledge which transcend the purely physical.
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STANNARD, IAIN. "‘Arrest and Movement’: Tippett’s Second Piano Sonata and the Genesis of a Method." Twentieth-Century Music 4, no. 2 (September 2007): 133–61. http://dx.doi.org/10.1017/s1478572208000455.
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AbstractThe terms ‘arrest’ and ‘movement’, deployed by Tippett in his Third Symphony (1970–2) as part of what Kemp defines as a ‘dialectic of strong contrasts’, were in fact significant at an earlier stage of the composer’s output. Some ten years previously Arrest and Movement appears as a possible title for his Second Piano Sonata in the pencil manuscript of the work. Tippett’s notebooks further reveal how these two categories determined the formation of two distinct types of temporality in the piece: one halting or stuttering, the other flowing. Art critic Henriette Groenewegen-Frankfort’s book Arrest and Movement: an Essay on Space and Time in the Representational Art of the Ancient Near East, which was published in 1951 and which Tippett is known to have read, uses these terms to explore the relationship between spatial and temporal representation. This prompts investigation of the arrest–movement dialectic in Tippett’s Sonata along analogous lines, analysing structure, balance, and use of quasi-spatial proportions. The two threads converge by means of the criterion of ‘monumentality’, a term Groenewegen-Frankfort uses to describe works of particularly effective balance. While critical evaluation of the Sonata might suggest that this work itself falls short of ‘monumental’ stature, it is arguable that Tippett was able to carry forward lessons learned to works of his later œuvre (such as his Fourth Symphony), which do indeed approach this status.
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Viaud-Delmon, Isabelle, Jane Mason, Karim Haddad, Markus Noisternig, Frédéric Bevilacqua, and Olivier Warusfel. "A Sounding Body in a Sounding Space: the Building of Space in Choreography – Focus on Auditory-motor Interactions." Dance Research 29, supplement (November 2011): 433–49. http://dx.doi.org/10.3366/drs.2011.0027.
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In the last 4 years, we have developed a partnership between dance and neuroscience to study the relationships between body space in dance and the surrounding space, and the link between movement and audition as experienced by the dancer. The opportunity to work with a dancer/choreographer, an expert in movement, gives neuroscientists better access to the significance of the auditory-motor loop and its role in perception of the surrounding space. Given that a dancer has a very strong sense of body ownership (probably through a very accurate dynamic body schema) ( Walsh et al. 2011 ), she is an ideal subject to investigate the feeling of controlling one's own body movements, and, through them, events in the external environment ( Moore et al. 2009 , Jola et al in press). We conducted several work sessions, which brought together a choreographer/dancer, a neuroscientist, a composer, and two researchers in acoustics and audio signal processing. These sessions were held at IRCAM (Institute for Research and Coordination Acoustic/Music, Paris) in a variable-acoustics concert hall equipped with a Wave Field Synthesis (WFS) sound reproduction system and infrared cameras for motion capture. During these work sessions, we concentrated on two specific questions: 1) is it possible to extend the body space of the dancer through auditory feedback ( Maravita and Iriki 2004 )? and 2) can we alter the dancer's perception of space by altering perceptions associated with movements? We used an interactive setup in which a collection of pre-composed sound events (individual sounds or musical sentences) could be transformed and rendered in real time according to the movements and the position of the dancer, that were sensed by markers on her body and detected by a motion tracking system. The transformations applied to the different sound components through the dancer's movement and position concerned not only musical parameters such as intensity, timbre, etc. but also the spatial parameters of the sounds. The technology we used allowed us to control their trajectory in space, apparent distance and the sound reverberation ambiance. We elaborated a catalogue of interaction modes with auditory settings that changed according to the dancer's movements. An interaction mode is defined by different mappings of position, posture or gesture of the dancer to musical and spatial parameters. For instance, a sound event may be triggered if the dancer is within a certain region or if she performs a predefined gesture. More elaborated modes involved the modulation of musical parameters by continuous movements of the dancer. The pertinence at a perceptive and cognitive level of the catalogue of interactions has been tested throughout the sessions. We observed that the detachable markers could be used to create a perception of extended body space, and that the performer perceived the stage space differently according to the auditory feedback of her action. The dancer reported that each experience with the technology shed light on her need for greater awareness and exploration of her relationships with space. Real-time interactivity with sound heightened her physical awareness – as though the stage itself took on a role and became another character.
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Makomaska, Sylwia. "Erik Satie – the ‘progenitor’ of muzak or the precursor of ‘pipedown’ movement? On the concept of musique d’ameublement." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 135–45. http://dx.doi.org/10.14746/ism.2019.19.9.
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Erik Satie (1866–1925) was a colourful and intriguing artist in the world of Parisian avant-garde. In the turbulent times of the early 20th century he created the concept of musique d’ameublement (‘furniture music’) – a vision of music that did not require attentive listening because it was supposed to play an extravagant role (as it was perceived in that period) of an acoustic background accompanying all everyday events. A change in recording and sound reproduction techniques in the 20th century that led to the ubiquity of music in the contemporary world seems to confirm that Satie’s ‘furniture music’ can be treated as a prophetic idea. However, the problem of how the concept of musique d’ameublement should be interpreted still remains ambiguous. The main aim of the present paper is to discuss the two contrary ways of the interpretation of ‘furniture music’. The first approach assumes that Satie can be treated as ‘the progenitor’ of muzak – a musical genre initially associated with the activities of Muzak company and then gradually identified with any background music provided on a mass scale to the public space. The second approach is an attempt to interpret the concept of musique d’ameublement in a completely different way – as an expression of opposition to an increasingly mechanized Western world dominated by progress and technology, where the role of music boils down only to the function of the acoustic background. Therefore, Satie becomes one of the precursors of the actions taken by the opponents of muzak (e. g. pipedown movements), who seek to eliminate the imposed background music from the public space. The reconstruction of musique d’ameublement (basing, inter alia, on selected source materials) is treated as a starting point for the discussion that leads to the acoustic ecology perspective.
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Marsh, Kathryn. "Music as dialogic space in the promotion of peace, empathy and social inclusion." International Journal of Community Music 12, no. 3 (December 1, 2019): 301–16. http://dx.doi.org/10.1386/ijcm_00002_1.
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This article considers ways in which music can contribute to the development of social synchrony in situations of social uncertainty generated by global conflict and widespread population movements. Noting Lederach’s view that conflict resolution has an aesthetic and creative dimension, music can be seen to form a dialogic space in which shared meanings can be co-created and through which multiple and sometimes conflictual viewpoints can be expressed in order to facilitate peace-building. At the same time, the dialogic spaces entailed in musical interactions can promote empathy, whether these are initiated by individuals in naturally occurring social settings or on a larger scale by institutions committed to developing social inclusion or promoting conciliation. In exploring these issues, I draw on my current research involving newly arrived forced and voluntary migrant children and young people in Australia, in addition to research from the fields of music education, ethnomusicology, evolutionary musicology, psychology, refugee studies and peace studies.
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Arnheim, Rudolf, and H. A. Groenewegen-Frankfort. "Arrest and Movement. An Essay on Space and Time in the Representational Art of the Near East." Leonardo 21, no. 3 (1988): 330. http://dx.doi.org/10.2307/1578672.
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Gallaugher, Annemarie. "Articulations of Locality: Portraits and Narratives from the Toronto-Cuban Musicscape." Canadian University Music Review 19, no. 2 (March 1, 2013): 102–14. http://dx.doi.org/10.7202/1014451ar.
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In keeping with a current movement in ethnomusicology and popular music studies concerned with musical constructions of space, time, and other, this paper presents a mini-ethnography of the Toronto-Cuban musicscape. Using as a point of departure Sara Cohen's statement that "We are all multiply placed with multiple identities but that does not necessarily mean that we are well-placed" (1995), the paper highlights some of the problems and discrepancies—i.e., the more negative, troublesome, and less coherent sides of placement—involved in the multiple and heterogeneous articulations of Cuban-ness within this locality.
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Shan, Gongbing, Peter Visentin, and Tanya Harnett. "A Novel Use of 3D Motion Capture: Creating Conceptual Links between Technology and Representation of Human Gesture in the Visual Arts." Leonardo 43, no. 1 (February 2010): 34–42. http://dx.doi.org/10.1162/leon.2010.43.1.34.
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As an unfolding of time-based events, gesture is intrinsically integrated with the aesthetic experience and function of the human form. In historical and contemporary visual culture, various approaches have been used to communicate the substance of human movement, including use of science and technology. This paper links the understanding of human gesture with technologies influencing its representation. Three-dimensional motion capture permits the accurate recording of movement in 3D computer space and provides a new means of analyzing movement qualities and characteristics. Movement signatures can be related to the human form by virtue of trajectory qualities and experientially and/or culturally dependent interactions.
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Rahmah, Sitti, Yusnizar Yusnizar, and Tuti Rahayu. "The Study of Moccak Tatak Textual in Pakpak Community." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 4 (November 6, 2020): 3398–412. http://dx.doi.org/10.33258/birci.v3i4.1373.
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Tatak Moccak is one of the traditional dances in the Pakpak community which originates from pencak silat or martial arts. Moccak is a term of pencak silat or martial arts which is an element of art that is present in the daily activities of the people. Martial at the beginning of its appearance was closely related to human self-defense against nature. Moccak is adopted from the history of the way of life of the Pakpak people in ancient times who lived in the jungle in a nomadic manner, making humans often encounter wild animals in the forest.This research is an effort to preserve the Tatak Moccak from the Pakpak area through written documentation that discusses in detail the Moccak tatak from a dance point of view. The focus of discussion in this study is the Tatak Moccak in the Pakpak Society analyzed through textual studies. Textual analysis is a method used to obtain and analyze information in academic research. In this case, Moccak's tatak is seen as a text that can be read like a writing. Textual studies in the Moccak style include choreographical, structural, and symbolic studies. Choreography discusses dance movements, movement techniques, movement styles, number of dancers, gender and body posture, space in Moccak's style, time, dance accompaniment music, dramatic analysis, and stage techniques (lighting, make-up, and fashion) . includes the structure of the motion and structure of the presentation of the Moccak layout. Symbolic discusses symbols in movement, costumes, and make-up.
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Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.
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Introduction. The early and the top works of the Russian period showed rapid evolution of Ihor F. Stravinsky’s musical thinking and style: there evolved the original musical language, the technique of composition, with the orchestral composition principles being changed. The ballets demonstrated a new sense of time and space, which is shaped by the complex of expressiveness means, with orchestrating being essential. The composer’s style evolution took place within a complex historical and cultural context, marked by a change in the cultural paradigm in the early twentieth century. The scientific and technological progress resulted into transformation of time and space perception in European cultural consciousness, with the music being not conceived as a form of art beyond their limits. (Herasimova-Persydska, 2012a). The means of space-temporal relations objectification is a system of interrelated parameters of a musical composition, covering form, theme, meter and rhythm, composition, music dramaturgy, orchestration with one of the leading functions. The twentieth century composers, who embodied new ideas about time and space while organizing musical composition, are C. Debussy, the New Vienna School composers and Ihor F. Stravinsky. Theoretical Background. Recent research and publications analysis. The problem of time and space is one of the key problems of Ihor F. Stravinsky’s work. The research of space at the micro level of the composer’s musical language is carried out in B. I. Rysin article. (Rysin, 2012: 164–165). I. Vershynina (1967) does not formulate the problem of time directly, but indirectly considers it, using the concept of “dynamic content”, which is inherent in the intonational structure of the composer’s music language. M. Druskin (1982) devotes separate sections to the problem of time and space: “Movement” (Druskin, 1982: 127–137) and “Space” (Druskin, 1982: 137–154). Summarizing, the researcher (1982) states: “… Stravinsky contrasted throughcomposed processual development to the ratio of planes and volumes, a single convergence place to the variety of relatively independent “horizon levels”, a single-center composition to a multi-center one” (149). Accurate observations of the monograph author lead to the aesthetic, artistic and general stylistic level, emerging, if at all, into music texts composition. Taking these ideas as a basis, we consider it appropriate to transfer them onto orchestral thinking and composer’s orchestral style. Let us add our own considerations about the nature of space. The Objective of the article is to consider the features of space-temporal organization of Ihor F. Stravinsky works at the level of orchestration. The objects of research are Symphony in C (1938–1940) and Symphony in Three Movements (1942–1945). The urgency of the work lies in poor research of the orchestral thinking and the composer’s orchestra style regarding the principles of the music composition space-temporal organization. Methods. To achieve the goal, the following research methods are applied: 1) historical one, which allows to comprehend the selected material in the perspective of the evolution of Ihor F. Stravinsky’s orchestral thinking; 2) theoretical one, which reveals the features of the composer’s ensemble style; 3) cultural one, which allows us to formulate an idea on the connection between culture as a type of thinking and composer’s artistic thinking, which is realized in the peculiarities of the space and temporal organization of the music composition. Results and Discussion. In his early ballets, Ihor F. Stravinsky developed various types of orchestral composition based on a key structural idea – the multifigure, which is realized horizontally and vertically within the orchestral composition, at the micro and macro syntactic levels of the music composition. We shall consider the figure in the orchestral composition as a characteristic, formula, distinguished through sound colour and register, which: 1) is repeated accurately (ostinato) or alternative-variationally, and in this case it may not have intonational characteristic, distinctness, bright expressiveness; 2) sounds unique, and may have an individual intonation and rhythmic pattern. The figures can belong to different layers of the orchestral composition, respectively, to act as carriers of different orchestral functions (melody, melodious figuration, pedal, etc.). Multifigure at the macro-syntactic level of a music composition is realized through frequent change of thematic episodes, accompanied by orchestral composition and sound colour altering. This gives rise to eventfulness, density, contrast of symphonious time. Multifigure at the micro-syntactic level is manifested through horizontal combination of figures, conditioned by intonational structure of the theme. A figure may coincide with the intonation if it represents a melody function. Vertically multifigure is manifested in the combination of figures in different layers of composition. They interact on the principle of rhythmic (and melodic) complementarity. This forms a particularly sophisticated space where all the elements interact, having their own unique sound colour, rhythmic, compositional patterns. The multifigure concept is of a double origin. The first source is culture, as a type of thinking. Ihor F. Stravinsky was one of the first composers who, at the level of artistic thinking, became aware of the complex intricacy of the universe and transformed it into orchestral works sound materials. The second source is the aesthetics of the stage (theatrical) space and the stage movements (gesture). Thus, we believe that in Ihor F. Stravinsky’s ballets scores of Russian period, a special orchestra style was developed, with the technique to be used in the symphonies. Conclusions. The analysis of Ihor F. Stravinsky’s Russian ballets and two symphonies scores showed that the orchestral style, invented by the composer in his early works, was based on the multifigure principle, embodying the idea of time and space in the world building, which was radically changed at the beginning of the century. The author formed an idea that the connection between orchestration, composer’s thinking and culture, as a certain type of thinking, needs further elaboration taking other Ihor F. Stravinsky’s works, as well as of the composers who made a breakthrough in orchestral style in the first half of the twentieth century.
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Cazabon, Lynn. "Junkspace." Leonardo 46, no. 5 (October 2013): 498. http://dx.doi.org/10.1162/leon_a_00646.
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Junkspace is a time- and location-sensitive animation and corresponding mobile application that superimposes two forms of waste, one earth-bound (electronic waste) and the other celestial (orbital debris), and three different forms of space: outer space, physical space and virtual space. Using custom software, publicly available NORAD orbital debris tracking data and the GPS coordinates of the exhibition venue, the movement of animated e-waste on screen aligns with the orbital path of actual pieces of debris in orbit above the user's location.
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Ward, Meredith C. "sounds of lockdown." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (January 15, 2021): 7–26. http://dx.doi.org/10.7146/se.v10i1.124195.
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Modes of listening tell us a great deal about how Americans are coping with the feelings of the COVID-19 pandemic. Taking online listening culture in which amateur music remixers repurpose known pop songs to produce an effect of loneliness in virtual public spaces, this essay traces the movement of online sound subcultures from late 2010s YouTube into the modes of listening, employed by a much larger viewership on lockdown during the COVID-19 outbreak of 2020. Analyzing the act of listening to empty public spaces online since the inception of a particular family of memes that ran from 2017-2018, the essay showcases how that music subculture prefi gured a wider response to the COVID-19 pandemic lockdowns. Covering the psychological response to pandemic, its manifestations in phenomena, such as grief over the loss of public space as mediated by EarthCam, #StayHomeSounds, and the quieting of neighborhoods and cities, this essay shows how the range of modes in our listening network is evolving at this time. It also responds to how the social and emotional needs that arise during lockdown are met in forms of virtuality we have crafted to connect us to the wider world. Moreover, it emphasizes that virtuality crept into our connection with public space earlier than the pandemic – and that playing with the notion of nostalgia recreationally through online media before the pandemic made us better equipped to handle the pandemic’s isolation, when it came. Showcasing how alienation is at the root of both experiences, it also hypothesizes that mediated communion permits us both to engage with the inevitable loneliness and an ability to deal with it as time goes on.
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Septiana Putri, Mila, and Nerosti Nerosti. "ANALISIS GERAK DAN KARAKTER TARI KAIN DI PAUAH V KECAMATAN PAUAH KOTA PADANG." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 203. http://dx.doi.org/10.24036/jsu.v9i1.109595.
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This study aims to analyze the variety of movements and characters of Kain Dance in Pauh V, Pauh district, Padang city. This isa qualitative research using a descriptive analysis method. The object of the research wasKain Dance in Pauh V, Pauh district, Padang city.This research focused on the analysis of movements and characters. The data were collected through observation, interview, and documentation. The data analysis was conducted in the form of description, and the data were validated by using triangulation technique by comparing the observation data to the data from interview and documentation. The results of the study generally show that Kain dance is a traditional art performed in batagak gala event in Pauh V, Pauh district, Padang City. Kain dance is danced by 2 men, who face to face perform eight kinds of movements: salam pembuka, sambah, gantuang sabalah, rantak tigo, malapia, mailak, kalatiak, mangepo. The floor pattern of Kain dance is a straight line pattern, and the dancers always face each other from the beginning to the end of the dance.The dominant movement is the silat movement in the form of a defensive attack with the characteristic of Rantak Tigomotion. The analysis found in the movement of Kain Dance can be seen from the elements of motion: energy, space, and time. The quality of strong motions with the use of powerful movement intensity is carried out at a fast tempo.This dance is accompanied by a large volume of movement depicting the character of a man who is dashing and temperament. The temperament character contained in Kain Dance is expressed in the attack and block movements. The music which accompanies Kain Dance is two mancak drums. Kain dance is performed at the groom's house in front of the aisle at night in a day before the wedding party. The dancers wear black shirt, endong pants, deta for a headband, and sasampiang attached to the dancer's waist.Keywords: Motion Analysis, Character, Kain Dance
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Horri, Firoozeh. "Finding the Relevance of Music and Architecture in Shaping Physical Space and Structural Form of Prince Garden, Mahan, Kerman." Urban Studies and Public Administration 1, no. 2 (June 29, 2018): 184. http://dx.doi.org/10.22158/uspa.v1n2p184.
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<p><em>Finding the relevance between various arts, architecture,</em><em> </em><em>poem,</em><em> </em><em>music,</em><em> </em><em>miniature,</em><em> </em><em>painting and</em><em>,</em><em> etc</em><em>.</em><em>, has long been proposed and widespread. The discovery of such a relationship among music and architecture is done, and has pointed to many similarities and differences. Most previous researches taken on this term, are only tangible limited criteria such as movement,</em><em> </em><em>rhythm,</em><em> </em><em>repetition,</em><em> </em><em>symmetric and less discussed the relationship between semantic and content. Architecture is the concrete form of abstract geometry, music is the audio form of abstract mathematics. Architecture is the use of proportions in the mass of space, music is the use of proportions in the length of time. Music like architecture is a multi-layered art that under the influence of the material characteristic, both artists need to be aware about each layer criteria to have a final artistic prominent product, though the whole product always seems to be perceivable. The aim of this paper is providing a kind of aesthetic conceptual assessment and expressing emotional states in the Prince Garden with the same created sensation in Homayon musical Dastgah visitors. Data is gathered through textual and library method and its analysis is by descriptive approach. Moreover, this process has begun with the aim of establishing a connection between music and architecture. </em><em></em></p>
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Sills, Helen. "Emergent Temporalities in Stravinsky’s “Le Sacre du Printemps”." Kronoscope 12, no. 2 (2012): 257–69. http://dx.doi.org/10.1163/15685241-12341244.
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Abstract It has been suggested that time is a description of movement and relative change measured or compared against a standard, whether against sun and clocks in the physical world, or against mental constructs, such as the human experience of a subjective ‘now’. The human brain perceives rates of motion and change through both its sensory systems and its higher order processing pathways, and it seems, is uniquely equipped by its structures to derive a range of temporalities across both the physical and non-material worlds. Because we are perceptive and creative in both physical and abstract domains, we are able to make precise clock-time measurements and evaluate the effects of motion and forces in physical space (as in Einstein’s Theories of Relativity) and also distinguish the subjective temporalities that emerge as different qualities of motion expand our mental space to construct abstract meaning. This paper looks at the movement patterns of Stravinsky’s ‘Le Sacre du Printemps’, a musical score for the ‘Ballets Russes’ which caused a riot at its première at the Théâtre des Champs-Elysées in Paris in May, 1913. With hindsight, its first audience was much disturbed, perhaps not only by the highly dissonant sounds accompanying ‘primitive’ movements and the act of self-sacrifice, but also subliminally, by the work’s stark portrayal of pure temporalities: its activity, structure and organised complexity exposed them—and still exposes us, 100 years later—to the raw process of being and becoming, to both actual and emergent temporalities. In the course of ‘Le Sacre du Printemps’, Stravinsky’s organisation of motion, of both rhythm and pitch, transforms our temporal experience from that of the here and now, the physical ‘closeness between man and earth’, to that of the highly abstract ‘triumph of the human spirit’, in what he called ‘a single endless dialogue, an inconceivable conversation’. The means by which, and the point at which each of the four levels of organised movement emerges, is interesting in the light of our ability to construct temporality in both the physical and non-material realms. At the reductionist level, the work’s movement away from the ‘here and now’ invites connections and relations with current ideas about time in physics, while its marriage of rhythms in sound and space, its association of sound and gesture, and its organisation of motion creates a temporal entity whose effect upon the psyche is consistent with what is now known about the brain’s higher-order processing of music and movement.
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Dolp, Laura. "Viennese Moderne and Its Spatial Planes, Sounded." 19th-Century Music 33, no. 3 (2010): 247–69. http://dx.doi.org/10.1525/ncm.2010.33.3.247.
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Abstract The opening of Mahler's ““Der Abschied”” from Das Lied von der Erde demonstrates a special set of musical conditions that include spare textures, a wide disposition of instrumental forces, and the effect of temporal suspension. This transparency allows the process of individuation and exchange between musical elements to come to the fore, especially in relation to timbre. Through this passage Mahler highlights voices that work in synthesis with those that are juxtaposed. The first half of the study explores how this music is defined spatially through this process. It then proposes that this space is historically meaningful because Mahler's construction of musical space is analogous to the visual tensions in the landscape works of his artistic contemporaries Gustav Klimt and Egon Schiele. In both musical and visual context, these tensions reflect the diversity of the Viennese Moderne through their ephemeral and laconic qualities. Mahler's compositional tendency to ““suspend”” time and flatten the sonic plane gave his critics fodder for an ideological argument that involved ornamentation versus organic development, since his methods reflected ambiguously on the nineteenthcentury tradition of teleologically based symphonic forms. ““Abschied”” derived its relevancy from neither static surface nor motivic development but by its capacity to suggest unique spatial relationships. The movement initiates a timbrally and rhythmically nuanced recitative, in the form of subtle decays and articulated renewals. Like Klimt's superimposed visual planes, which create a synthetic relationship between figure and ground, Mahler's music suggests incremental distances between subjects. The economy of his music relates also to Schiele's laconic subjects. In Mahler's landscapes, both types of experiments coexist.
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Otto, Devin. "An Interdisciplinary Conducting Curriculum: Selected Theater Games From Viola Spolin’s “Improvisation for the Theater”." SAGE Open 10, no. 4 (October 2020): 215824402095492. http://dx.doi.org/10.1177/2158244020954927.
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This article presents a series of theater games with clear connections to conducting and rehearsing music ensembles, explaining both how to play them and how young conductors will benefit from the experience. These games are published in Viola Spolin’s seminal text Improvisation for the Theater, which presents a series of exercises that foster communication, creativity, immediacy, and spontaneity. Many games also focus on creating and communicating character through physical movement and posture, awareness of the body in space, and manipulation of “space objects,” which are imaginary props made real in the mind of the observer through understanding of shared human experiences. Theater games are effectively experienced in short periods of time, intended for players of all ability and experience levels, and encourage immediate emotive communication, making them highly effective for young conductors and easily incorporated into undergraduate and graduate conducting classes.
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van der Merwe, Liesl, and John Habron. "Exploring lived experiences of spirituality amongst five Dalcroze teachers." Psychology of Music 48, no. 2 (August 1, 2018): 163–81. http://dx.doi.org/10.1177/0305735618785011.
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This article presents an interpretative phenomenological analysis (IPA) of the lived spiritual experiences of five Dalcroze teachers while teaching Dalcroze Eurhythmics. It responds to a recent expansion of research into spirituality within music education and also in relation to Dalcroze Eurhythmics. However, there is no study on the lived spiritual experiences of Dalcroze practitioners. Therefore, the purpose of this article is to understand how five Dalcroze teachers make sense of their spiritual experiences while teaching Dalcroze Eurhythmics. After semi-structured interviews, we interpreted the experiences of each individual participant separately before doing a cross-case analysis. A six-step, iterative, and inductive data analysis cycle was followed. The superordinate themes that emerged are: Breathing is essential; Giving and receiving energy (physical and emotional); Creating connections through sound and movement; Awareness of self, other, environment, and music; Growth and learning; Meaning and holism; Wellbeing; and Precious moments of transcending time and space. Participants’ spiritual experiences are discussed against the background of “A conceptual model of spirituality in music education” as well as “A conceptual study of spirituality in selected writings of Émile Jaques-Dalcroze.” Music educators’ awareness of spirituality while teaching Dalcroze Eurhythmics could be heightened to increase their “pedagogical thoughtfulness and tact.”
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Höfling, Ana Paula. "Celebrating November 20th: Agency and Defiance in the Construction of Memory in Capoeira Angola." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 90–94. http://dx.doi.org/10.1017/s2049125500000169.
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This paper explores memory and surrogation in the geographic and historical revisions/reinventions created within the practice of capoeira angola in Brazil. Employing Joseph Roach's discussion of circum-Atlantic memory, the author analyzes how angoleiros/as, the practitioners of capoeira angola, look back to Africa for an origin, while at the same time carving out an empowered space in Brazil through movement and song, ritual and play. Using Diana Taylor's concepts of archive and repertoire, the paper examines how angoleiros/as reject the Brazilian archive and claim agency by becoming the protagonists of history through the music and movement of capoeira. The author examine the word “vagrancy” (vadiagem) in the context of capoeira angola and relate it to Saidiya Hartman's discussion of postemancipation vagrancy laws and “indebted servitude,” proposing that vadiagem, re-appropriated by angoleiros/as to refer to the practice of capoeira, becomes symbolic of capoeira's subversion: it both remembers a past of persecution and challenges the capitalist hegemony by underscoring capoeira's nonproductivity.
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Götell, Eva, Steven Brown, and Sirkka-Liisa Ekman. "Influence of Caregiver Singing and Background Music on Posture, Movement, and Sensory Awareness in Dementia Care." International Psychogeriatrics 15, no. 4 (December 2003): 411–30. http://dx.doi.org/10.1017/s1041610203009657.
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Background and Aim: Previous research suggested caregiver singing could influence persons with severe dementia to communicate with increased competence, to cease aggression, and to cease disruptive screaming, while at the same time they seemed to understand what was going on when being cared for during morning care sessions. The aim of this study was to illuminate the posture, body movements, and sensory awareness of patients with dementia during three types of morning care sessions with professional caregivers: (a) the usual morning care situation, (b) a caring session in which familiar background music was played, and (c) a caring session in which the caregiver sang to and/or with the patient throughout. Nine patients with late-stage dementia and 5 professional caregivers participated in this study, and 27 sessions were videotaped (9 patients x 3 caring situations). Data Collection and Method: Data collection was done by means of video recording and the data were analyzed using qualitative content analysis. Results: During the usual caring situation, patients demonstrated slumped posture, sluggish and asymmetric motion, listlessness, minimal awareness of both egocentric space and the physical environment, and a poor ability to perform to completion activities necessary for personal care. Both background music playing and caregiver singing had strong influences on the body and on sensory awareness. Patients had straightened posture, stronger and more symmetric movements, and a greatly increased awareness of themselves and their environment. Patients appeared to regain skills necessary for daily living, and demonstrated that they could perform tasks with intention, purpose, and competence. Caregiver singing, in particular, was very effective at drawing out capabilities that appeared to be lost in these patients. In addition, caregiver singing elicited a larger degree of mutuality in the interaction between patient and caregiver than was seen with background music. Discussion: These results provide further support for the use of caregiver singing in dementia care, and the findings on how caregiver singing can be used to help in dementia caring situations are discussed.
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Sabekti, Endra, and Didik Bambang Wahyudi. "ANALISIS GERAK TARI MERAK SUBAL KARYA S. MARIDI PADA SANGGAR SOERYO SOEMIRAT DI SURAKARTA." Greget: Jurnal Pengetahuan dan Penciptaan Tari 19, no. 2 (December 28, 2020): 116–24. http://dx.doi.org/10.33153/grt.v19i2.3455.
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The research titled "Analysis of Merak Subal Dance Movement by S. Maridi at Soeryo Soemirat Gallery in Surakarta", was created by S. Maridi in the 1969s. Merak Subal Dance is a dance that represents the life (behavior) of peacocks. S. Maridi's Merak Subal dance was inspired by sundanese peacock dance.This study aims to describe and analyze the movements in The Merak Subal Dance. The research method used is descriptive analytics with qualitative data properties, namely collecting data through observations, interviews, subsequent library studies analyzed descriptively. The research problems were analyzed using conceptual foundations from Soedarsono on dance forms and Agus Tasman on the analysis of dance moves and characters.The results of Merak Subal Dance research in Soeryo Soemirat gallery showed that the dance was presented in the form of a group dance drawn by three dancers with a duration of about eight minutes. Elements that make up The Merak Subal Dance are motion, floor design(floor pattern), top design, dramatic design, theme, makeup and fashion, dance music, property, lighting, venue and performance time. Then the analysis of motion includes materials, energy, space, time, organization, aggregation, character, description. Keywords: Merak Subal Dance, choreography, Soeryo Soemirat gallery.
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Wells, Christopher J. "“You Can't Dance to It”: Jazz Music and Its Choreographies of Listening." Daedalus 148, no. 2 (April 2019): 36–51. http://dx.doi.org/10.1162/daed_a_01741.
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Central to dominant jazz history narratives is a midcentury rupture where jazz transitions from popular dance music to art music. Fundamental to this trope is the idea that faster tempos and complex melodies made the music hostile to dancing bodies. However, this constructed moment of rupture masks a longer, messier process of negotiation among musicians, audiences, and institutions that restructured listening behavior within jazz spaces. Drawing from the field of dance studies, I offer the concept of “choreographies of listening” to interrogate jazz's range of socially enforced movement “scores” for audience listening practices and their ideological significance. I illustrate this concept through two case studies: hybridized dance/concert performances in the late 1930s and “off-time” bebop social dancing in the 1940s and 1950s. These case studies demonstrate that both seated and dancing listening were rhetorically significant modes of engagement with jazz music and each expressed agency within an emergent Afromodernist sensibility.
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O’Shea, Susan. "Activate, collaborate, participate: The network revolutions of riot grrrl-affiliated music worlds." Punk & Post Punk 9, no. 2 (June 1, 2020): 309–25. http://dx.doi.org/10.1386/punk_00043_1.
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Social networks act as a metaphor for discussion about many historical and contemporary music worlds. Much of the literature on feminist music movements like riot grrrl, ladyfest and Girls Rock camps conceptualize collective action and participation in network terms. However, in doing so, the approach is almost exclusively qualitative. Individuals tie movements, collectives and organizations together and help their cultural spread across cities and countries. Yet individuals can also cause ruptures in networks that may lead to their collapse or fracturing. This article uses mixed-methods social network analysis (SNA) to unpack the structure, development and impact of a riot grrrl-associated music network across geographical space and time. By investigating the strong ties of shared band membership and playing together, the centrality of key bands and musicians across overlapping music movements associated with riot grrrl are explored at micro, meso and macro levels of network interaction. The ability to visualize music collaboration networks allows us to see patterns and connections that may not have been previously apparent. Whilst there is a small but growing body of work on punk using SNA methods, these have overwhelmingly been male dominated. This is the first formal network application on punk-inspired feminist music worlds that redresses the gender imbalance.
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Melhuish, Ruth, Catherine Beuzeboc, and Azucena Guzmán. "Developing relationships between care staff and people with dementia through Music Therapy and Dance Movement Therapy: A preliminary phenomenological study." Dementia 16, no. 3 (July 26, 2016): 282–96. http://dx.doi.org/10.1177/1471301215588030.
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Background There is an increasing focus on providing effective psychosocial interventions to improve quality of life in dementia care. This study aims to explore the attitudes and perceptions of staff who participated regularly in Music Therapy (MT) and Dance Movement Therapy (DMT) groups for residents with dementia in a nursing home. Method In-depth interviews were conducted with seven members of care home staff. Data were analysed using interpretative phenomenological analysis. Results A representation modelling the impact of MT and DMT in a nursing care home. Three main themes were identified. 1) Discovering residents' skills and feelings; 2) Learning from the therapists to change approaches to care practice with subthemes: time, space and pace, choice, following the residents' lead; 3) Connection between staff and residents. Conclusion The model indicated that both interventions performed in parallel helped staff to discover residents' skills and feelings. Although it is a small sample size, this study strongly suggests that MT and DMT can have a positive influence in helping care staff to provide a meaningful care environment.
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Daniel, Dominique. "Ethnographic Study at a Music Library Found Students Prefer Short Stopovers and Longer Solitary Study." Evidence Based Library and Information Practice 9, no. 1 (March 5, 2014): 45. http://dx.doi.org/10.18438/b8js5j.
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Objective – To identify patterns of patron behaviour in the library in order to improve space utilization.
Design – Ethnographic data-gathering, including observations and a qualitative survey.
Setting – Music library of a large public university.
Subjects – Library patrons, primarily music students but also music faculty, other students and faculty, and regional music professionals and amateurs.
Methods – In the exploratory phase, complete (i.e., incognito) participant observers recorded patron characteristics and behaviours in four zones of the library (the technology lab, the stacks, the reference area, and study carrels). They conducted a series of five-minute-long visual sweeps of these zones at five-minute intervals. Observers were not given any checklist, but were told to record anything they saw regarding the personal characteristics, behaviours, and activities of patrons. The data collected resulted in what the investigators called “flip books” (a series of images recorded in close succession, which, when flipped, could give the illusion of movement). The data was analyzed using the grounded theory approach, a qualitative method to identify recurring themes on space use. A statistical analysis based on these themes was then conducted. In the second, explanatory phase, observers conducted new “sweeps,” or observations of the same library zones, this time using checklists to indicate the occurrence of specific activities identified in the first phase (solo vs. group activity, social interaction vs. study discussion, and use of technology). In addition, observers recorded patron entry and exit on “time cards,” and had all exiting patrons answer five brief questions about the types and volume of activities they had conducted in the various zones of the library.
Main Results – The vast majority of the patrons were students. Most (at least three-quarters) engaged in solitary activity, and a large majority used electronic technology. According to data from the flip books, 44% engaged in multitasking, which was therefore significant but not preferred. It was more likely to occur when electronic technology was involved. Patrons were most likely to be present in the library for less than 5 minutes or more than 20 minutes. Patrons who stayed in the library for only a short time were more likely to engage in leisure activities than those who stayed longer, but leisure activities overall were as prevalent as study time. The technology lab and the reference area were the most popular zones. Users stayed in the technology lab and stacks for short times only, whereas the reference area and carrels were favored for long visits. Users engaged in multitasking mostly in the carrels and reference area.
Conclusion – The patrons’ preference for solitary study is at odds with academic libraries’ current interest in collaborative learning spaces, but can be explained by the specific nature of music studies (artistic creation is a solitary activity), and is in line with previous ethnographic studies of public libraries. Music students presumably use the technology labs for short visits between classes. They favor the study carrels for longer stays where they can multitask, using their own laptops and iPods. These findings can be used to help redesign the library. Design recommendations include placing the technology lab by the entrance to enable quick coming and going, increasing the number of carrels, placing them in quiet parts of the library, and equipping them with electrical outlets.
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Erken, Emily Alane. "Narrative Ballet as Multimedial Art: John Neumeier's The Seagull." 19th-Century Music 36, no. 2 (2012): 159–71. http://dx.doi.org/10.1525/ncm.2012.36.2.159.
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Abstract This article approaches narrative ballet as a theatrical art created through the intersection of dance, music, and literature. Following the nineteenth century's tendency to separate ‘the Arts,’ scholars, journalists, and often the dancers themselves portray ballet as an art of choreography and virtuoso bodies, while relegating the music, story, and visual designs to supportive if not negligible roles. My article counteracts this trend by approaching ballet as a multimedial art, in which meaning is made at the points where the specific arts intersect. Audience members perceive the ballet as a composite work, in which all three elements are equally present and important. Using this model, musicologists and literary critics can and should engage contemporary narrative ballets as complex and relevant art of our time. John Neumeier's The Seagull (2002) demands this type of analysis, because it is clear that as the author of the choreography, costumes, lighting, and set design, Neumeier considers all media involved—visual, aural, and literary—as equally generative elements of a ballet. His role is more of a multimedia artist than a choreographer. He is also responsible for the adaptation from Chekhov's eponymous play and for application of musical selections borrowed from Tchaikovsky, Scriabin, Shostakovich, and Evelyn Glennie. Indeed, his choice to present a Chekhov play known for its subtle weaving of verbal dialogue to convey character, mood, and themes seems to force the audience member and critic to reconsider her traditional understanding of what ballet can and cannot do. As an example of a multimodal approach to ballet, this article presents five literary and musical devices expanded to describe the varied interplay of the visual, aural, and literary components in The Seagull. Bakhtin's idea of heteroglossia appears on the ballet stage in the assignment of distinct dance styles to each of the four protagonists, a technique that develops each character by imbuing them with the historical and social connotations of their movement style. Neumeier manipulates the irrefutable connection between music and dance through audiovisual irony in two scenes, where the dance conveys one message, but the music belies it, revealing the underlying ironic truth of the characters' situations. All three modalities are employed to shift time into and out of a reflective space, where the sincerest characters are shown to explore their emotional and artistic dilemmas. Like Chekhov, Neumeier employs echo characters—secondary figures who mirror the conflicts of the main protagonists, allow the author(s) to further develop the play's themes. In this ballet, Masha “echoes” Nina's unrequited love, her movements, music, color palette, and her choices by negation. Through overt application of seagull imagery, Neumeier draws dance and music history—namely, Swan Lake and the pathos of the dying swan—into his ballet, The Seagull.
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Vincs, Kim, and John McCormick. "Touching Space: Using Motion Capture and Stereo Projection to Create a “Virtual Haptics” of Dance." Leonardo 43, no. 4 (August 2010): 359–66. http://dx.doi.org/10.1162/leon_a_00009.
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This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to “touch” the volume. This project re-versions Suzanne Langer's 1950s philosophy of dance as “virtual force” to realize the idea of a “virtual haptics” of dance that extends the dancer's physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that “touches” space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking.
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Serova, S. A. "ON SOUND, MUSIC, HARMONY AS PHENOMENA OF THE CULTURAL CODE OF CHINA." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 160–69. http://dx.doi.org/10.31696/2618-7302-2020-1-160-169.
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The article deals with sound, music, and harmony as universals of the Chinese cultural code. The cultural code is the result of merging ideas concerning the ontological unity of the world, including the harmony of society, the state and the individual. These ideas permeate historical monuments, philosophical studies, artistic creativity, and the life of every person. At the time of ‘roots’ and ‘sources’, the Chinese worldview reveals in signs of the divine — Shen (神) and subtle, elegant — Miao (妙) evidence of the manifestation of the previously hidden Tao and the birth of meanings and categories of Chinese aesthetics. Their interaction is inseparable from sound and music, which at the initial stage manifest themselves as a rhythm of ontological action. Interconnected yin and yang (female and male; dark and light) are connected to it, complementing each other, enveloping the world with web of allusions. Thus, the “Chun-qiu” classic confirms that as a result, everything that exists, “finding its final form”, occupies a “certain space”, which has a “certain tone”. “The ancient kings were based on this in the establishment of music” (Luishi Chunqiu). So was born an idea of beauty as a harmony of He, equally significant for life and artistic creativity, including theater. The complex architectonics of Chinese theater is based on the laws of music and musical rhythm, according to which vocal lines, speech passages, conditioned by the tonal pronunciation norm, stage movement, rhythm of stage action, symbolic gesture, dance pattern combine, meaning that the theater is embodied not only in plot collisions, but also conveys the deepest meanings of Chinese ontology.
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Trickett, Terry. "A stride towards sentient cities: Architecture as performance art." Technoetic Arts 17, no. 1 (June 1, 2019): 119–39. http://dx.doi.org/10.1386/tear_00011_1.
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Abstract My researches into 'architecture as music' have led me to investigate how a synchronicity of sound and space, acting together, can enable buildings to become not only smart but also sentient. It was one particular building in the City of London that prompted me to join the patterns of architecture with the rhythms of music in an experimental audio-visual performance called Citirama. Each of the piece's three movements throws some new light on what makes a building 'musical' ‐ i.e. capable of exerting some power over our emotional response. I take a journey back in time to find that architecture is a world of relationships very close to that of the performing musician but, if we are to apply the lessons of music more widely, it will be necessary that we obtain some understanding of how our brains' pathways and neural mechanisms enable us to see and hear through a process of pattern recognition. Only then will the indelible links between architecture and music enable architects to act more as composers in rebalancing the challenges that underpin the future of our cities. I illustrate what I mean by 'musicality' with reference to a specific urban community that is close to home ‐ the Barbican.
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GRIFFITHS, T. D. "Human complex sound analysis*." Clinical Science 96, no. 3 (March 1, 1999): 231–34. http://dx.doi.org/10.1042/cs0960231.
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The analysis of complex sound features is important for the perception of environmental sounds, speech and music, and may be abnormal in disorders such as specific language impairment in children, and in common adult lesions including stroke and multiple sclerosis. This work addresses the problem of how the human auditory system detects features in complex sound, and uses those features to perceive the auditory world. The work has been carried out using two independent means of testing the same hypotheses; detailed psychophysical studies of neurological patients with central lesions, and functional imaging using positron emission tomography and functional magnetic resonance imaging of normal subjects. The psychophysical and imaging studies have both examined which brain areas are concerned with the analysis of auditory space, and which are concerned with the analysis of timing information in the auditory system. This differs from many previous human auditory studies, which have concentrated on the analysis of sound frequency. The combined lesion and functional imaging approach has demonstrated analysis of the spatial property of sound movement within the right parietal lobe. The timing work has confirmed that the primary auditory cortex is active as a function of the time structure of sound, and therefore not only concerned with frequency representation of sounds.
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Bondarenko, Olena. "Toccata and toccata style in Yurii Reshetar’s piano works." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 217–29. http://dx.doi.org/10.34064/khnum2-21.14.
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Background. Changes in the conditions of human existence have sharpened our sense of time. Today’s cultural space has adapted our perception of art to the simultaneous existence in “offline” and “online” forms. This new reality needs its artistic embodiment. When a contemporary composer, whose name has not yet gained widespread recognition, succeeds in accomplishing such a task, it demonstrates the opening of a new page in national art and becomes an interesting and significant event. Such an event is piano music of our contemporary Yurii Reshetar, which has not yet become the subject of scientific comprehension. The research methodology. The study is based on a synthesis of traditional musicological (genre-stylistic and comparative analysis) and modern, interpretive approaches, which are based on a question about the factors that determined the basic components of the author’s vision. Results. Yurii Reshetar is a composer whose work is endowed with a sharp sense of beauty and uniqueness of musical language. The musical genres to which Yu. Reshetar refers belong to the classical treasury, but in the author’s interpretation they acquire a new sound. Yu. Reshetar has a unique biography. He got into the composition at the age of 30. Lack of professional education did not hinder the dynamic growth and acquisition of true compositional skill. An interested appeal to early genres is seen in the large creative heritage of the composer. Toccata, which has been included by the author in the “16 Concert Etudes” collection, is one of the many works of the composer, which embodied the ideas of movement and time. Toccata style can be found in his numerous works: in “16 Concert Etudes” cycle, in Sonata for piano in E minor, in Gigue from the Suite for Piano. Toccata was created on October 17, 2017, it has a program content, which the author designates with the words “Purifying by fire”. To realize the chosen artistic content, the composer aptly chooses a form, which is unusual for toccata. This is an atypical rondo: A B A В1 A, where the main theme (the theme of “fire”) is a refrain, and the theme of B and B1 is associated with the changing of spirit state of man under the influence of fire. The texture formula of the main theme of toccata by repetitions and leaps of the main sound up and down the octave, resembles the unexpected flashes of flames. Toccata by Yu. Reshetar is written in E flat minor. Performing of a virtuoso work on black keys has its own peculiarities: even if a performer is familiar with the pianistic difficulties, this additional difficulty encourages special concentration and control over hand coordination, to sharpening of the rationalization of movements and accuracy of finger movements. The standard of Toccata performance is its author’s interpretation, which is publicly available on the YouTube channel. The performance impresses with a balance between the clear logic of building the form and the artistic richness of the music. Toccata’s music requires from the performer versatility of interpretation: of the artistic sense, understanding of the stylistic synthesis, creation of a modern image of the piano sound and the novelty of tonal-harmonic colors, developed metro-rhythmic sense, the ability to express the individuality. But the pianistic convenience of textural presentation is evidence of the author’s natural feeling the laws of piano performance. Such impressions were shared by pianist Anastasia Zakharchenko, who performed Toccata during a competition held at the Lviv National Musical Academy named after Mykola Lysenko in December 2017. The toccata concept has also found its artistic embodiment in other works of the composer. Energy of modernity reflected in the intention of the directed ostinato movement is also skillfully embodied by Yu. Reshetar in the “16 Concert Etudes” cycle op. 38 (21.09.2019). Each of etudes is a pearl that reveals the harmonious combination of the uniqueness of the author’s stylistic qualities, the modernity of artistic thinking and the unexpected originality of texture finds. The capriciousness of figurative characteristics is embodied with such imagination and inventiveness that even a high level of technical complexity will not be an obstacle for the enthusiastic mastering of this cycle by performers. “Concert style” underlined by the author is achieved through the using of various composing methods and techniques, among which the most weight is the toccata style. The refined aesthetics of baroque music acquires its charming and convincing embodiment in Yu. Reshetar’s “Barogue Suite for Piano”. The suite consists of 7 pieces, each of which is a traditional part of the suite cycle of that era: Allemanda, Courante, Menuet, Aria, Gavotte, Sarabande, Gigue. The final piece of the cycle unobtrusively embodies the toccata’s principle of the ostinato movement, which is elegantly combined with the characteristic dance metro-rhythmic and ornamentation-intonational features of the baroque gigue. The refined author’s stylization is full of composer’s respect and special honoring of old traditions. Conclusions. Numerous Yu. Reshetar’s appeals to toccata style as to the embodiment of the image of continuous movement as a symbol of time and creative activity of a man emphasize that toccata and toccata style became one of the artistic preferences of the composer and the characteristic of his style. Every example of toccata style in the above-mentioned piano works by Yu. Reshetar becomes a real discovery. The composer proves to the listeners of his works that the toccata code has preserved endless prospect for its development and renewal.
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McDonald, Mary G. "Once More, With Feeling: Sport, National Anthems, and the Collective Power of Affect." Sociology of Sport Journal 37, no. 1 (March 1, 2020): 1–11. http://dx.doi.org/10.1123/ssj.2019-0089.
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In this paper I apply insights from Sport Studies, Indigenous Studies, Music Studies, and Feminist Cultural Studies to illuminate and theorize the cultural, material, and political affective salience of national anthems staged prior to sporting events. To do so I analyze two different cases: The Aboriginal musical trio Asani’s 2014 multi-lingual performance of “O Canada” prior to an Oilers hockey game which closed Truth and Reconciliation Commission (TRC) events in Edmonton, Alberta; and the projection of hatred onto former NFL quarterback Colin Kaepernick’s kneeling protest of racism during the playing of the U.S. national anthem in 2016. Analysis suggests that these emotive, often visceral musical performances and responses are not contained within individual subjects but instead reflect contextually specific repetitive (dis)articulations across time, space, and a variety of bodies. Placed within broader colonial contexts, Asani’s version of the Canadian anthem is exemplary of the embodied sensory, but politically limited settler-oriented communitas of Canadian TRC inclusionary music as previously explicated by Robinson. Kaepernick’s anti-racist kneeling activism provides an additional case to theorize the relationship of national anthems in regards to movements for and against an imagined white nation as well as State-sanctioned colonization and hatreds.