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Journal articles on the topic 'Third stream (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 February 2023

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1

Joyner, David. "Analyzing third stream." Contemporary Music Review 19, no. 1 (January 2000): 63–87. http://dx.doi.org/10.1080/07494460000640141.

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Nam, Jung Woo. "A Nomadism of Third Stream: Smooth Space of Classical and Jazz Music: Following the DeleuzoGuattarian Philosophy of Art." Korean Association for the Study of Popular Music 29 (May 31, 2022): 39–78. http://dx.doi.org/10.36775/kjpm.2022.29.39.

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Third Stream, born in the late 1950’s, was of a musical experiment for a confluence between classical and jazz music without undermining the natures of advanced formal structure and the improvisational spontaneity, respectively. Venturing the trials to overcome misunderstandings, stratify the idea of Third Stream a smooth space reproducing style than being a style-in-itself, for the musicians from each territories regarded the opponents as obstacles mutually, as an infection to classic and restriction to jazz. The DeleuzoGuattarian geo-philosohpy defines work of art as result of monument beari
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3

Kartomi, Margaret. "On Metaphor and Analogy in the Concepts and Classification of Musical Instruments in Aceh." Yearbook for Traditional Music 37 (2005): 25–57. http://dx.doi.org/10.1017/s0740155800011218.

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Artists, scholars and audiences in Aceh, the northernmost province of Sumatra, conceive of their percussive, wind and string instruments as symbolising Aceh's “glorious past” and attach a variety of metaphorical and analogous meanings to them. Implicit in the culture, and formulated explicitly by Acehnese scholars, is a classification that divides the instruments at the most general level into three main categories, or metaphorical socio-historical streams: those associated primarily with (i) the pre-Islamic ancestral and nature venerating (animist-Hindu) stream, practices, or presumed origins
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David Dennen. "The Third Stream: Oḍiśī Music, Regional Nationalism, and the Concept of "Classical"". Asian Music 41, № 2 (2010): 149–79. http://dx.doi.org/10.1353/amu.0.0063.

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5

HARLEY, MARIA ANNA. "Spatiality of sound and stream segregation in twentieth century instrumental music." Organised Sound 3, no. 2 (August 1998): 147–66. http://dx.doi.org/10.1017/s1355771898002088.

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Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trumpet player (standing on the stage) of a sequence of four quarter-notes, with the pitches of B[flat ]3–A3–C4–B3. The listener chooses to ignore the immediate physical surroundings and hears one of the following: (i) four trumpet sounds equally spaced in time, (ii) a sequence of intervals – minor second, minor third, minor second, (iii) an instance of set 4-1, (iv) a motive referring to the name of BACH. The `web of interpretants' (term from Nattiez 1987/1990) surrounding a simple musical fact is alr
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COLE, ROSS. "“Fun, Yes, but Music?” Steve Reich and the San Francisco Bay Area's Cultural Nexus, 1962–65." Journal of the Society for American Music 6, no. 3 (August 2012): 315–48. http://dx.doi.org/10.1017/s175219631200020x.

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AbstractThis article traces Steve Reich through the Bay Area's cultural nexus during the period 1962–65, exploring intersections with Luciano Berio, Phil Lesh, Terry Riley, Robert Nelson, the San Francisco Mime Troupe, and the San Francisco Tape Music Center. The aim is to present a revised history of this era by drawing on personal interviews with Tom Constanten, R. G. Davis, Jon Gibson, Saul Landau, Pauline Oliveros, and Ramon Sender. In addition, previously unused source materials and contemporaneous newspaper reception are employed to provide a more nuanced contextual framework. Reich's he
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7

Royer, Shawn L. "David Baker: The Nexus of Jazz Curriculum and the Civil Rights Movement at Indiana University." Journal of Historical Research in Music Education 43, no. 2 (March 8, 2022): 142–61. http://dx.doi.org/10.1177/15366006221081885.

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In 1966, David Baker, a Black man and esteemed jazz musician and composer, created and developed the Jazz Studies program at Indiana University (IU). The purpose of this study was to investigate how David Baker came to join the faculty and created the Jazz Studies program at IU through an examination of the school’s course offerings and historical context between the years 1949–1969. This time period captures when jazz was evolving from its roots as an informally learned art form into one that was taught in academic settings, as well as important evolutionary moments in jazz, specifically the
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REPP, BRUNO H., JUSTIN LONDON, and PETER E. KELLER. "PRODUCTION AND SYNCHRONIZATION OF UNEVEN RHYTHMS AT FAST TEMPI." Music Perception 23, no. 1 (September 1, 2005): 61–78. http://dx.doi.org/10.1525/mp.2005.23.1.61.

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THIS STUDY EXAMINED PRODUCTION and synchronization of eight uneven rhythms (set A: 2+3, 3+2; set B: 2+2+3, 2+3+2, 3+2+2; set C: 2+3+3, 3+2+3, 3+3+2) at rates that made it difficult to subdivide the component intervals into elementary metrical pulses. The main questions were how interval ratios would change as a function of tempo within this range, and whether metrical downbeat location (which distinguishes the rhythms within each set) would be reflected in any of the dependent measures. Musically trained participants tapped each rhythm cyclically in synchrony with an auditory template and then
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Dharwadker, Vinay. "Emotion in Motion: The Nāṭyashāstra, Darwin, and Affect Theory". Publications of the Modern Language Association of America 130, № 5 (жовтень 2015): 1381–404. http://dx.doi.org/10.1632/pmla.2015.130.5.1381.

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A work of classical Indian theory and practice, Bharata's Nāṭyashāstra offers a comprehensive account of emotion and of the production, communication, and reception of representations of it in dance, music, poetry, and theater. This essay examines remarkable points of convergence and divergence between the third-century Sanskrit text and three influential modern Euro-American accounts: Charles Darwin's mapping of involuntary expressions of emotion in human beings and animals, William James's aggregation of emotions in the stream of consciousness, and Sylvan Tomkins's atlas of primary affects t
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10

Packer, Randall. "Third Space Network: Theatrical Roots." Lumina 11, no. 2 (August 30, 2017): 82–109. http://dx.doi.org/10.34019/1981-4070.2017.v11.21446.

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This essay provides an overview of artistic work and experimentation leading to the concept of the Third Space Network: a live Internet broadcast and performance project for connecting artists, audiences, and cultural perspectives from around the world. The concept of the third space suggests the collapse of the local (first space) and remote (second space) into a third, socially constructed networked space. The third space can be viewed as a new realization of the community of theater in a globally connected culture: performance space for broadcasted live art, a forum for the aggregation of a
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Luís, Joana Quaresma. "Vida, Arte e Paisagem. Jankélévitch, Leitor de Simmel." Philosophica: International Journal for the History of Philosophy 16, no. 32 (2008): 31–51. http://dx.doi.org/10.5840/philosophica2008163224.

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First of all, the main subject of the present work is to investigate the relation between Vladimir Jankélévitch’s philosophy and Georg Simmel’s works. Such task accomplishes three streams: The first chapter is concerned with the beginning of “philosophy of life”, explaining the importance of “life”, “experience” and “intuition” as new concepts that arise with a new meaning in philosophy. The second chapter, devoted to the relations between art and life, is based in Simmel’s Lebensanschauung theory. And in the third chapter of this work, we attempt to expose the “philosophy of landscape” and th
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12

Anderton, Abby. "Hearing Democracy in the Ruins of Hitler's Reich: American Musicians in Postwar Germany." Comparative Critical Studies 13, no. 2 (June 2016): 215–31. http://dx.doi.org/10.3366/ccs.2016.0200.

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During his 1947 visit to Berlin, American pianist Webster Aitken was shocked to find the Kroll Opera reduced to ‘tangles of twisted girders, resembling empty bird cages. Beyond the Brandenburger Tor, the blocks seem to be made of brown sugar that has gone hard in lumps and streaks’. 1 Aitken was one of dozens of artists invited by the American Military Government to concertize throughout postwar Germany to demonstrate the strength of American musical achievement. Between 1945 and 1949, American musicians visited the ruins of the Third Reich to perform for German audiences, and this article exp
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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.

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Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert
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14

"THE IMPORTANCE OF 1959-1967 PERIOD IN JAZZ HISTORY." Idil Journal of Art and Language 10, no. 86 (October 30, 2021). http://dx.doi.org/10.7816/idil-10-86-01.

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The focus of this study is on the history of jazz music between 1959 and 1967. The 1950s was a period of intense creativity in jazz, defined by emerging styles such as third stream, cool jazz and hard bop. The end of that decade, 1959, is considered to be a watershed year in which some of jazz’s most influential recordings were made and also effected the free jazz movement, which dominated until 1967, known as the "year that jazz music died". Therefore, 1959 becomes a bridge between the stylistic homogeneity of first half of the century and an outpouring of creativity in the second half. The e
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15

Johnson, Naina, Annika Mariam Shiju, Adya Parmar, and Prashanth Prabhu. "Evaluation of Auditory Stream Segregation in Musicians and Nonmusicians." International Archives of Otorhinolaryngology, April 24, 2020. http://dx.doi.org/10.1055/s-0040-1709116.

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Abstract Introduction One of the major cues that help in auditory stream segregation is spectral profiling. Musicians are trained to perceive a fine structural variation in the acoustic stimuli and have enhanced temporal perception and speech perception in noise. Objective To analyze the differences in spectral profile thresholds in musicians and nonmusicians. Methods The spectral profile analysis threshold was compared between 2 groups (musicians and nonmusicians) in the age range between 15 and 30 years old. The stimuli had 5 harmonics, all at the same amplitude (f0 = 330 Hz, mi4). The third
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16

Lange-Küttner, Christiane, and Stella Rohloff. "Mozart Sharpens and Mahler Degrades the Word Memory Trace." Advanced Research in Psychology, May 27, 2020. http://dx.doi.org/10.46412/001c.13091.

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We investigated the impact of the Mozart effect on word memory when music was heard in the delay rather than using music to induce mood or as background music. A sample of N = 84 participants was randomly assigned to one of three groups listening to a one-minute sound clip of Mozart (Kleine Nachtmusik) or Mahler (Adagietto) during the delay, with a third control group waiting in silence for the word memory test. Words were positive, negative or neutral and matched for word length and frequency. The word memory task was repeated three times (enforced rehearsal). Word memory was best after Mozar
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17

Jiang, Lei, Ruiqing Zhang, Lily Tao, Yuxin Zhang, Yongdi Zhou, and Qing Cai. "Neural mechanisms of musical structure and tonality, and the effect of musicianship." Frontiers in Psychology 14 (February 9, 2023). http://dx.doi.org/10.3389/fpsyg.2023.1092051.

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IntroductionThe neural basis for the processing of musical syntax has previously been examined almost exclusively in classical tonal music, which is characterized by a strictly organized hierarchical structure. Musical syntax may differ in different music genres caused by tonality varieties.MethodsThe present study investigated the neural mechanisms for processing musical syntax across genres varying in tonality – classical, impressionist, and atonal music – and, in addition, examined how musicianship modulates such processing.ResultsResults showed that, first, the dorsal stream, including the
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18

Priest, Eric. "The Future of Music Copyright Collectives in the Digital Streaming Age." Columbia Journal of Law & the Arts 45, no. 1 (December 20, 2021). http://dx.doi.org/10.52214/jla.v45i1.8953.

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Copyright collectives are critical to the economic health of the music industry, but they are at a curious crossroads. Collective copyright management is used more extensively in the music business than ever before. Expanded collective copyright management for digital streaming is the centerpiece of the Music Modernization Act (MMA)—the most extensive revision to the Copyright Act in two decades. At the same time, major music publishers, who rely heavily on collective licensing revenue, are on a years-long mission to end collective licensing for certain digital streaming rights. These trends r
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19

Sena Moore, Kimberly, and Laurie Peebles. "A Preliminary Overview of Music Therapy Reimbursement Practice in the United States." Music Therapy Perspectives, December 30, 2020. http://dx.doi.org/10.1093/mtp/miaa025.

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Abstract Music therapy services are currently being reimbursed through state and private insurance funding streams, yet to date, there is no known systematic exploration on music therapy reimbursement practices. Such information would be helpful to include when communicating with third-party payers and can assist in tracking reimbursement trends. Thus, we sought to provide baseline information on how music therapy services are currently being reimbursed in the United States, with a focus on approved treatment parameters, referral sources, Current Procedural Terminology (CPT) codes used, and ty
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20

Stolka, Philipp, Hyun-jae Kang, and Emad Boctor. "The MUSiiC Toolkit: Modular Real-Time Toolkit for Advanced Ultrasound Research." MIDAS Journal, August 16, 2010. http://dx.doi.org/10.54294/ynkax2.

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Ultrasound is a very useful and convenient modality in medical imaging, due to its relatively small footprint, high resolution, negligible adverse effects, and real-time imaging capability – in spite of its well-known artifacts. However, it is fairly difficult to fully benefit from its resolution and speed in advanced imaging research because of the closed nature of most ultrasound systems.We propose a modular and extensible open-source toolkit MUSiiC S/W for rapid development and system setup for ultrasound research. Aimed at algorithm and experimental system builders as well as at clinical r
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21

Lawrence, Robert. "Locate, Combine, Contradict, Iterate: Serial Strategies for PostInternet Art." M/C Journal 21, no. 1 (March 14, 2018). http://dx.doi.org/10.5204/mcj.1374.

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We (I, Robert Lawrence and, in a rare display of unity, all my online avatars and agents)hereby render and proclaim thisMANIFESTO OF PIECES AND BITS IN SERVICE OF CONTRADICTIONAL AESTHETICSWe start with the simple premise that art has the job of telling us who we are, and that through the modern age doing this job while KEEPING UP with accelerating cultural change has necessitated the invention of something we might call the avant-garde. Along the way there has been an on-again-off-again affair between said avant-garde and technology. We are now in a new phase of the new and the technology und
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22

Chau, Christina, and Laura Glitsos. "Time." M/C Journal 22, no. 6 (December 4, 2019). http://dx.doi.org/10.5204/mcj.1617.

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Nearly 50 years on from Alvin Toffler’s Future Shock (1971), contemporary society finds itself navigating the Fourth Industrial Revolution. This era has been described as the convergence of digitisation, robotics, artificial intelligence, globalisation—and speed (Johannessen). As such, temporality is taking on a turbulent and elusive edge. In the previous century, Toffler highlighted that technological change accelerated perceptions of time, and he predicted that by the 21st century, people would find it “increasingly painful to keep up with the incessant demand for change that characterises o
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Daniel, Ryan. "Artists and the Rite of Passage North to the Temperate Zone." M/C Journal 20, no. 6 (December 31, 2017). http://dx.doi.org/10.5204/mcj.1357.

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IntroductionThree broad stages of Australia’s arts and culture sectors may be discerned with reference to the Northern Hemisphere. The first is in Australia’s early years where artists travelled to the metropoles of Europe to learn from acknowledged masters, to view the great works and to become part of a broader cultural scene. The second is where Australian art was promoted internationally, which to some extent began in the 1960s with exhibitions such as the 1961 ‘Survey of recent Australian painting’ at the Whitechapel gallery. The third relates to the strong promotion and push to display a
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Fuller, Glen. "Punch-Drunk Love." M/C Journal 10, no. 3 (June 1, 2007). http://dx.doi.org/10.5204/mcj.2660.

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 For once I want to be the car crash, Not always just the traffic jam. Hit me hard enough to wake me, And lead me wild to your dark roads. (Snow Patrol: “Headlights on Dark Roads”, Eyes Open, 2006) I didn’t know about the online dating site rsvp.com.au until a woman who I was dating at the time showed me her online profile. Apparently ‘everyone does rsvp’. Well, ‘everyone’ except me. (Before things ended I never did ask her why she listed herself as ‘single’ on her profile…) Forming relationships in our era of post-institutional modes of sociality is problematic. Some proba
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25

Piotrowski, Marcelina. "Data Desire in the Anthropocene." M/C Journal 21, no. 3 (August 15, 2018). http://dx.doi.org/10.5204/mcj.1412.

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Data desire flows through protest in the Anthropocene. Citizen science, participation in online discussion forums, documentary film production, protest selfies, glacier recession GPS photography, poster making, etc., are just some of the everyday data proliferation efforts comprising resistance to environmental degradation and destruction. These practices – visualisation, datafication, writing, sign making, archiving geological memory, etc., are, I want to argue, produced pleasurably, especially as modes of emerging as ‘subjects’ in relation to the chaos, chaotic affects, and unprecedented pac
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Mullen, Mark. "It Was Not Death for I Stood Up…and Fragged the Dumb-Ass MoFo Who'd Wasted Me." M/C Journal 6, no. 1 (February 1, 2003). http://dx.doi.org/10.5204/mcj.2134.

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I remember the first time I saw a dead body. I spawned just before dawn; around me engines were clattering into life, the dim silhouettes of tanks beginning to move out in a steady grinding rumble. I could dimly make out a few other people, the anonymity of their shadowy outlines belied by the names hanging over their heads in a comforting blue. Suddenly, a stream of tracers arced across the sky; explosions sounded nearby, then closer still; a tank ahead of me stopped, turned sluggishly, and fired off a couple of rounds, rocking slightly against the recoil. The radio was filled with talk of Ge
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27

Downing, Leanne. "Sensory Jam." M/C Journal 9, no. 6 (December 1, 2006). http://dx.doi.org/10.5204/mcj.2685.

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 Sticky, messy and nauseatingly saccharine, the sensory properties of jam may be a long way from the stylized corporate polish of Australia’s multi-billion dollar film exhibition industry, yet the history of Australian cinema space will be forever indebted to the Victoria Preserving Company; one-time producer of the humblest of sweet treats. Through an analysis of Melbourne’s Jam Factory cinema complex, this article explores the unusual intersection of jam, sensory gratification and contemporary Australian cinema-going at the dawn of the 21st century. Encompassing the histo
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28

Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (August 31, 2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi
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29

Murphy, Ffion, and Richard Nile. "Writing, Remembering and Embodiment: Australian Literary Responses to the First World War." M/C Journal 15, no. 4 (August 14, 2012). http://dx.doi.org/10.5204/mcj.526.

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This paper is part of a larger project exploring Australian literary responses to the Great War of 1914-1918. It draws on theories of embodiment, mourning, ritual and the recuperative potential of writing, together with a brief discussion of selected exemplars, to suggest that literary works of the period contain and lay bare a suite of creative, corporeal and social impulses, including resurrection, placation or stilling of ghosts, and formation of an empathic and duty-bound community. In Negotiating with the Dead, Margaret Atwood hypothesises that “all writing of the narrative kind, and perh
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Brabazon, Tara. "Freedom from Choice." M/C Journal 7, no. 6 (January 1, 2005). http://dx.doi.org/10.5204/mcj.2461.

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 On May 18, 2003, the Australian Minister for Education, Brendon Nelson, appeared on the Channel Nine Sunday programme. The Yoda of political journalism, Laurie Oakes, attacked him personally and professionally. He disclosed to viewers that the Minister for Education, Science and Training had suffered a false start in his education, enrolling in one semester of an economics degree that was never completed. The following year, he commenced a medical qualification and went on to become a practicing doctor. He did not pay fees for any of his University courses. When reminded o
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