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Zeitschriftenartikel zum Thema "Passion music Analysis"
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Sanitnarathorn, Pannawit. „An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry“. Journal of Education and Training Studies 6, Nr. 3a (01.04.2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.
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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.
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Vuorinen, Mark. „Symbolic Chiasm in Arvo Pärt’s Passio (1982)“. Circuit 21, Nr. 1 (11.03.2011): 45–59. http://dx.doi.org/10.7202/1001162ar.
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Passio, is Arvo Pärt’s first large scale vocal-instrumental work in the tintinnabuli style and remains today one of his most significant compositions. In this setting of the Passion text according to St. John, Pärt codifies procedures of tintinnabuli that will remain his principle means of musical communication for years to come while implying a very important perspective of Johannine theology. His compositional design utilizes both small-scale and large-scale chiastic constructions and gives prominence to John’s observance in Chapter 18, verse 4, that Christ knows all that will occur in the events leading to his crucifixion. Seen in this light, the Passion narrative unfolds according to a pre-ordained plan; it is this subtle perspective of the Gospel that Arvo Pärt reveals musically in his Passio. This paper approaches a musical analysis of Passio in relation to John’s perspective that Christ knew all that was to follow. It illustrates that virtually every note is linked in some way to Pärt’s musical pilgrimage to the cross. With a microscopic lens, the analysis connects Pärt’s use of melody, texture, inversion and tintinnabuli to a poignant marriage of music and the biblical text. And on a macroscopic level, it is shown that musical events unfold over time to reveal the inevitability of the crucifixion. It is revealed that within the work’s tonal centres, large-scale textural procedures, pedal points and the music of the Exordium and Conclusio the path to the cross is present from beginning to end. In this way, the listener is taken through the narrative only to realize afterward that the Gospel’s outcome was present from beginning to end.
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BALMER, YVES, THOMAS LACÔTE und CHRISTOPHER BRENT MURRAY. „Un cri de passion ne s'analyse pas: Olivier Messiaen's Harmonic Borrowings from Jules Massenet“. Twentieth-Century Music 13, Nr. 2 (26.07.2016): 233–60. http://dx.doi.org/10.1017/s1478572216000025.
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AbstractUntil the present article, Massenet's influence upon the music of Olivier Messiaen has remained entirely unexplored. During the 1930 and 1940s, Messiaen professed his love for the music of Massenet and regularly used Massenet as a model in his teaching materials. Several examples of the way in which Messiaen selects and transforms passages from Massenet's Werther and Manon are considered. The inclusion of a harmonic formula borrowed from Massenet, contrasted with a melodic formula borrowed from Mozart, in ‘Amen du Désir’, the fourth movement of the Visions de l'Amen, reveals the operatic characters hidden behind the programme of one of Messiaen's best-known works. These intersecting source materials in Messiaen's teaching and composition open new roads for the analysis of the composer's music and pedagogy.
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Erasmus, Ewie, und Liesl van der Merwe. „An interpretative phenomenological analysis of the lived musical experiences of three Williams syndrome individuals“. Psychology of Music 45, Nr. 6 (01.02.2017): 781–94. http://dx.doi.org/10.1177/0305735616689829.
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The purpose of this interpretative phenomenological analysis (IPA) is to understand the lived musical experiences of three individuals living with Williams syndrome (WS). We are interested in their lived musical experiences because the musical abilities of WS individuals are similar to those of normal control groups despite their severe cognitive impairments. Although there is literature on the medical manifestations of the syndrome, there is no research on their lived musical experiences. Their musical experiences need to be explored as a possible way to help them to cope with their unique challenges. In this IPA we used semi-structured interviews and the six steps of data analysis for IPA suggested by Smith et al. (2009). Four superordinate themes emerged from data analysis, namely, that: a) the participants have a passion for performance; b) music allows the participants to foster friendships; c) music allows them to cope with challenging situations; and d) they display musical dependency. The findings of this study can be used to advocate the importance of music in the everyday lives of individuals with WS.
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Shishkin, Andrei Gennadievich. „Opera and religion: the experience of staging the opera “The Greek Passion” by Bohuslav Martinu in the Ural Opera Ballet Theatre“. Культура и искусство, Nr. 5 (Mai 2020): 140–48. http://dx.doi.org/10.7256/2454-0625.2020.5.32932.
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Opera “The Greek Passion”, based upon Nikos Kazantzakis’ novel “Christ Recrucified”, demonstrated the Biblical story in “passions” of the XX century: in 2019 it was staged for the first time in Russia by Ural Opera Ballet Theatre. The article analyzes Martinu’s interpretation of the genre of passion, related to music and folk mistrial nature of this genre. Experience of interaction of the theatre in the course of staging the spectacle with representatives of the Russian Orthodox Church is reviewed. The research describes the transformation of conflict between true and false Christianity, the themes of inner transfiguration of a person. Analysis is conducted within the methodological framework of the modern theory and history of culture, in combination of culturological, philosophical and theatrological methods of interpretation. It is noted that the captured by stage directors idea on conversion of Christianity into a part of cultural tradition that can lead to the loss of its spiritual content. A conclusion is made that art and religion can be viewed as the equivalents ways of acquainting with the generally recognized humanistic values.
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Ma, Benjamin, Timothy Greer, Dillon Knox und Shrikanth Narayanan. „A computational lens into how music characterizes genre in film“. PLOS ONE 16, Nr. 4 (08.04.2021): e0249957. http://dx.doi.org/10.1371/journal.pone.0249957.
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Film music varies tremendously across genre in order to bring about different responses in an audience. For instance, composers may evoke passion in a romantic scene with lush string passages or inspire fear throughout horror films with inharmonious drones. This study investigates such phenomena through a quantitative evaluation of music that is associated with different film genres. We construct supervised neural network models with various pooling mechanisms to predict a film’s genre from its soundtrack. We use these models to compare handcrafted music information retrieval (MIR) features against VGGish audio embedding features, finding similar performance with the top-performing architectures. We examine the best-performing MIR feature model through permutation feature importance (PFI), determining that mel-frequency cepstral coefficient (MFCC) and tonal features are most indicative of musical differences between genres. We investigate the interaction between musical and visual features with a cross-modal analysis, and do not find compelling evidence that music characteristic of a certain genre implies low-level visual features associated with that genre. Furthermore, we provide software code to replicate this study at https://github.com/usc-sail/mica-music-in-media. This work adds to our understanding of music’s use in multi-modal contexts and offers the potential for future inquiry into human affective experiences.
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ANSON-CARTWRIGHT, MARK. „SUBDOMINANT RETURNS IN THE VOCAL MUSIC OF J. S. BACH“. Eighteenth Century Music 10, Nr. 2 (01.08.2013): 253–76. http://dx.doi.org/10.1017/s1478570613000067.
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ABSTRACTBach's vocal oeuvre contains a significant number of movements (about thirty-five), including but not limited to those in modified da capo form, with a concluding reprise of opening thematic material in the subdominant key. Some of these ‘subdominant returns’ involve strict parallelism, whereby the entire A section returns at the new pitch, thus transforming the original ‘departing’ modulation from I to V into a ‘returning’ modulation from IV to I. Many subdominant returns, however, occur in a range of contexts, which resist straightforward formal categorization. One example is the opening chorus from the St Matthew Passion. While the unusual da capo in this movement has elicited provocative commentary by Karol Berger and others in recent years, the significance of the subdominant return (here and elsewhere) has not been examined in depth. This study begins with a comprehensive survey of subdominant returns in Bach's vocal oeuvre, and then examines cyclic and linear aspects of form through detailed analysis of six movements that exhibit this procedure.
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Rahayuningsih, Bina Kiki. „BENTUK DAN PERUBAHAN FUNGSI MUSIK KONGKIL DI DESA BUNGKAL KABUPATEN PONOROGO“. Sorai: Jurnal Pengkajian dan Penciptaan Musik 13, Nr. 1 (01.07.2020): 23–35. http://dx.doi.org/10.33153/sorai.v13i1.3091.
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Kongkil music was created in 1933 by Eyang Toinangun as a means of gathering the people of Bungkal Village as an effort to resist the Dutch invaders. Kongkil music is an ensemble consisting of instruments of kongkil, kedhang, saron, kethuk, kenong, kempul and gong. In the beginning, Kongkil's music brought songs created by its members with the theme of passion-building, because there was no legacy of the old repertoire of the predecessors. There was an innovation in the form of repertoire changes since 1975, namely bringing dolanan gendhing. Around 2000, Kongkil's music was in a vacuum, then it was revived in 2012 with a new repertoire that presented lancaran and langgam gendhing. The research entitled "The Form and Change of Kongkil Music Function in Bungkal Village, Ponorogo Regency" uses the concept of Edy Sedyawati's thought that changes in social structure and values will cause physical changes and the role of art itself in society. It also causes changes in the structure of forms. These changes cannot be avoided if the art is willing to live within the society. This study uses descriptive qualitative analysis methods. From this study, it found several things related to the Kongkil Martapura music group, including: (1) History and regeneration of the Kongkil Martapura music group, (2) the forms of performances, instruments and repertoires presented, (3) the factors driving changes in function and its impact on intellectuals and contextual.
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V.V., Plokhikh, und Kadukha O.S. „INTELLECTUAL ABILITIES OF STUDENTS WITH AN ADDICTIVE TENDENCY TO LISTEN TO MUSIC“. Scientic Bulletin of Kherson State University. Series Psychological Sciences, Nr. 1 (15.04.2021): 32–40. http://dx.doi.org/10.32999/ksu2312-3206/2021-1-4.
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Purpose. The purpose of the researchis to determine the features of the connection of intellectual abilities with addictive manifestations of passion for listening to music in students. Methods. The subjects were 57 students. In an empirical study, the following methods were used: “The scale of Progressive Matrices” by J. Raven; “Simple analogies”; scale “Sports and music fanaticism” from the method “Tendency to dependent behavior” by V.D. Mendelevich. Passion for listening to music was determined using a research questionnaire. We performed statistical analysis of empirical data using correlation analysis (according to Spearman), the Mann-Whitney criterion u, and the Fisher criterion φ*. Results. Analysis of the results according to the method of V.D. Mendelevich allowed us to identify a problem subgroup with an increased predisposition and a high probability of musical dependence in the group of subjects (22 people). We have found that for the studied group, the highest problems are: the frequency of listening to music at leisure (U = 235,5; p = 0,022); desired expressiveness of the musical rhythm (U = 271,5; p = 0,039); frequency of loss of time perception when listening (U = 237,0; p = 0,012); frequency of listening to works in the rock styles (φ* = 1,73; p = 0,042) and hip-hop (φ* = 1,8; p = 0,036). Manifestations of musical addiction correlate with: the use of music to raise the mood (r = 0,289; p = 0,029); the desired sound volume (r = 0,258; p = 0,053); the frequency of “immersion in yourself” when listening (r = 0,350; p = 0,008). The feedback of musical addiction with indicators of intellectual development in Series A (r = −0,280; p = 0,035) and C (r = −0,370; p = 0,005) methods of J. Raven. We have determined that the use of music for intellectual concentration correlates with the overall indicator of problem-solving, according to J. Raven (r = 0,260; p < 0,051) and with the effectiveness of searching for simple analogies (r = 0,303; p < 0,022). Conclusions. The severity of addictive manifestations among studied students about listening to music is directly related to a decrease in the effectiveness of intellectual functions. Those functions aim at determining the relationships and principles of development of the analyzed structural organization. Music contributes to students’ concentration in intellectual activities, but excessive listening to music for mental concentration contributes to the loss of a person’s sense of reality and conscious control over actions when immersed in a flowing state.Key words: thinking, memory, semantic processing of information, musical style, state of consciousness, passion for listening to music. Мета дослідження – визначення особливостей зв’язку інтелектуальних здібностей з адиктивними проявами щодо захопленості прослуховуванням музики у студентів. Методи. Досліджуваними виступили 57 студентів. В емпіричному дослідженні були використані такі методики: «Шкала прогресивних матриць» Дж. Равена; «Прості аналогії»; шкала «Спортивний та музичний фанатизм» із методики «Схильність до залежної поведінки» В.Д. Менделевича. Захопленість прослуховуванням музики визначалася за допомогою дослідницької анкети. Статистичний аналіз емпіричних даних проводився з використанням кореляційного аналізу (за Спірменом), критерію U Манна – Уітні, критерію φ* Фішера. Результати. Аналіз результатів за методикою В.Д. Менделевича дозволив виокремити у групі досліджуваних проблемну підгрупу з підвищеною схильністю та високою ймовірністю музичної залежності (22 особи). Встановлено, що для досліджуваних проблемної групи вище значення показників: частота прослуховування музики на дозвіллі (U = 235,5; p = 0,022); бажана виразність музичного ритму (U = 271,5; p = 0, 039); частота втрати відчуття плину часу у процесі прослуховування (U = 237,0; p = 0,012); частота прослуховування творів у стилях рок (φ* = 1,73; p = 0,042) і хіп-хоп (φ* = 1,8; p = 0,036). Прояви музичної адикції корелюють із: використанням музики для підняття настрою (r = 0,289; p = 0,029); бажаною гучністю звучання (r = 0,258; p = 0,053); частотою «занурення в себе» під час прослуховування (r = 0,350; p = 0,008). Встановлено зворотний зв’язок музичної адикції з показниками інтелектуального розвитку в серіях А (r = −0,280; p = 0,035) та С (r = −0,370; p = 0,005) методики Дж. Равена. Визначено, що використання музики для інтелектуальної зосере-дженості корелює із загальним показником вирішення завдань за Дж. Равеном (r = 0,260; p < 0,051) та з результативністю пошуку простих аналогій (r = 0,303; p < 0,022). Висновки. Виразність адиктивних проявів у студентів-досліджуваних щодо прослуховування музики прямо пов’язана зі зниженням ефективності інтелектуальних функцій, спрямованих на визначення взаємозв’язків та принципів розбудови аналізованої структурної організації. Музика сприяє зосередженості студентів в інтелектуальній діяльності, але надмірне прослуховування музики для розумової зосередженості сприяє втраті особою відчуття реальності та свідомого контролю над діями під час занурення в потоковий стан.Ключові слова: мислення, пам’ять, смислова переробка інформації, музичний стиль, стан свідомості, захопленість прослуховуванням музики
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Frigyesi, Judit. „Who is the girl in Bartók’s The Miraculous Mandarin? a case study of Mimi’s deleted scene and its dramatic meaning“. Studia Musicologica 53, Nr. 1-3 (01.09.2012): 241–74. http://dx.doi.org/10.1556/smus.53.2012.1-3.18.
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The story of Bartók’s pantomime is usually understood as the clash between the cold-blooded brutality of the city — represented by the tramps — and the force of primeval passion — represented by the mandarin. Within these opposing forces stands the girl — whose character, however, is not obvious. In the first complete manuscript version (piano four-hand), immediately before the ending of the piece, there existed a scene depicting a confrontation between the girl and the tramps. This scene, whose main actor is the girl, is crucial for the drama and reveals Bartók’s view with regard to the girl’s character. Yet when Bartók began orchestrating the work in 1924, he deleted this scene. The present article provides, for the first time, an in-depth analysis as well as dramatic interpretation of this scene. Considering also the original text by Menyhért (Melchior) Lengyel (which contains this scene) and the totality of the final version of Bartók’s pantomime, the article proposes a characterization for the girl and offers a hypothesis for the reason for the omission of this scene from the final version.
Dissertationen zum Thema "Passion music Analysis"
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Hughes, John Charles. „Leonhard Lechner's Passion (1593): cultural contexts, musical analysis, and historical implications“. Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1469.
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The Historia der Passion und Leidens unsers einigen Erlösers und Seligmachers Jesu Christi (1593) by Leonhard Lechner (c. 1553-1606) is frequently cited as an important work in the development of the Passion idiom. Given the work's notoriety, it is therefore odd that little substantive analysis of the piece exists. Aside from some scholars' cursory comments about the piece, only James Morgan Sides's dissertation has discussed the work at length. Sides's findings give a somewhat limited picture of Lechner's Passion because he primarily focuses on technical aspects of Lechner's musical language. This essay instead seeks to provide a more comprehensive examination of Lechner's composition by taking into account social factors that influenced the history, reception, and stylistic influence of the work. The essay seeks to understand Lechner's Passion according to its cultural context, place it within the Passion genre and Lechner's biography, reception history, as well as explore its influence on later Passion settings. It then uses these factors as a means to explore Lechner's musical language to a greater extent than previous scholarship.
The first chapter explores how social trends in sixteenth-century Württemberg, where Lechner was a chorister when he composed his Passion in 1593, affected his musical language. When Lechner wrote his Passion, the duchy was at a crossroads, balancing religious tradition and a more secular, modern future. On the one hand, over the 1500s, secularization occurred within the duchy's political, religious, and musical institutions. On the other hand, Württemberg's acceptance of Lutheranism in 1534 also shaped the duchy's culture. Additionally, despite its vehement anti-Catholic rhetoric and actions, Württemberg retained some of its long-standing Catholic religious and musical practices after its conversion to Lutheranism. Württemberg's dichotomous culture-a blend of secular, as well as Catholic and Lutheran influences-affected both the duchy's musical culture and Lechner's composition.
The second chapter explores how Württemberg's societal changes, the history of the Passion genre, and Lechner's biography influenced specific musical devices in Lechner's Passion setting. Throughout the work, Lechner seems to use incongruous compositional language-the work not only boasts forward-looking expressive devices, such as text painting, but also incorporates compositional devices typically associated with older Catholic Passion settings. Lechner's setting of Biblical texts in the German vernacular, however, reflects the principles of the Reformation, as well as Württemberg's acceptance of Lutheranism. As the essay traces Lechner's use of text and text setting, expressive devices, and Passiontons throughout each of the piece's five movements, Lechner's musical language is understood to be a product of the Passion idiom, his personal faith, and sixteenth-century culture.
While the first two chapters primarily focus on the relationship between Württemberg's culture and Lechner's musical language, the final chapter deals with the influence of Lechner's Passion, which has a bipartite legacy. In part, Lechner's Passion was summative because it is one of the last motet Passion settings, a subgenre that quickly disappeared due to the rise in popularity of instrumental music. Few motet Passions were composed after Lechner's; however, his work did influence later compositions, including pieces by Heinrich Schütz (1585-1672), Hugo Distler (1908-1942), and Kurt Thomas (1904-1973). It is significant that Lechner's Passion not only influenced Schütz, perhaps the greatest seventeenth-century Lutheran composer, but was also admired centuries later by twentieth-century composers.
The approach of this essay recognizes that no work of art is created in a vacuum and therefore seeks to explore how cultural factors influenced the composition of Lechner's Passion. Lechner's dichotomous compositional language is an outgrowth of sixteenth-century Württemberg's culture, the history of the Passion idiom, and his own biography. As the essay progresses from the piece's social framework to its historical implications, Lechner's Passion is framed as both a product of its time and a model for future compositions. This essay therefore provides a more comprehensive perspective of Lechner's Passion than what previous musical analyses have offered.
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Clavere, Javier. „Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227221958.
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Volgsten, Ulrik. „Music, mind and the serious Zappa : the passions of a virtual listener“. Doctoral thesis, Stockholm : Universitet, 1999. http://catalogue.bnf.fr/ark:/12148/cb37107293k.
Der volle Inhalt der QuelleBücher zum Thema "Passion music Analysis"
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Die Matthäus-Passion von Johann Sebastian Bach: Entstehung, Werkbeschreibung, Rezeption. München: Deutscher Taschenbuch Verlag, 1991.
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"Die sieben Worte am Kreuz" bei Schütz und Haydn: Vorgetragen am 13. Januar 1984. München: Verlag der Bayerischen Akademie der Wissenschaften, 1986.
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Scholz, Gottfried. Bachs Passionen: Ein musikalischer Werkführer. München: C.H. Beck, 2000.
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Jena, Günter. "Das gehet meiner Seele nah": Die Matthäuspassion von Johann Sebastian Bach. Freiburg i. Br: Herder, 1999.
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Bach's St. Matthew Passion: A closer look. New York: Continuum, 2008.
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Geck, Martin. Johann Sebastian Bach: Mit Selbstzeugnissen und Bilddokumenten. Reinbek bei Hamburg: Rowohlt, 1993.
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Geck, Martin. Johann Sebastian Bach: Johannespassion : BWV 245. München: W. Fink, 1991.
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Geck, Martin. Bach: Leben und Werk. Reinbek: Rowohlt, 2000.
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Geck, Martin. Johann Sebastian Bach: His life, work and influence. Bonn: Inter Nationes, 2000.
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Geck, Martin. Bach. London: Haus, 2003.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Passion music Analysis"
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Rathey, Markus. „Individual and Communal Freedom and the Performance History of the St. Matthew Passion by Bach and Mendelssohn“. In Theology, Music, and Modernity, 147–79. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0008.
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When Felix Mendelssohn Bartholdy performed Johann Sebastian Bach’s St. Matthew Passion in the concert hall of the Berlin Singakademie in 1829, he not only transferred a piece of liturgical music into a secular space, but he also made numerous cuts that changed the theological profile of Bach’s composition. The essay explores the theology of the St. Matthew Passion in the context of early eighteenth-century theology and gives an overview of the original performance conditions and the audiences at the performances in Bach’s time. The second half of the essay analyses how these parameters changed when Mendelssohn conducted the Passion in 1829. It becomes clear that the sociological profile of the audience (educated middle and upper class who had to pay money to attend the performance) remained essentially the same, while the theology shifted from a focus on the freedom of the individual in Bach’s time to an emphasis on the community (congregation, Volk, nation) in the adapted version the Singakademie presented to its listeners in 1829.
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Bonini Baraldi, Filippo. „Performing sorrow“. In Roma Music and Emotion, übersetzt von Margaret Rigaut, 172–215. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190096786.003.0011.
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This chapter analyzes the slow “sorrowful” (de jale) tunes that Roma often associate with crying. Three musical parameters characterize this repertoire: (1) the rhythmic and temporal structure (irregular aksak or unmeasured rhythm); (2) the slight asynchronies between the melody and the harmonic accompaniment, which creates a swinging effect; and (3) the complex elaboration of the melodic line, in particular the addition of ornaments and passing notes to create an effect that is known locally as “sweetness.” The analysis is supported by empirical measurements of timing durations, obtained by tracking the musician’s bow’s movements with motion capture techniques.
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Høffding, Simon. „Performative passivity: Lessons on phenomenology and the extended musical mind with the Danish String Quartet“. In Music and Consciousness 2, 127–42. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0008.
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Based on interviews with the Danish String Quartet, this chapter points to limitations in the philosophical literature that construes musical absorption primarily as involving various forms of reflective and pre-reflective self-awareness. It then shows the paradigmatic experience of musical absorption as being expressed in statements such as ‘It wasn’t I who played the music’ or ‘The music played/came by itself’. To understand this type of experience, the chapter presents a new framework of ‘performative passivity’, relying on an analysis of the Husserlian notion of passivity or passive synthesis. Finally, it shows how the body, the performer’s emotions, and the nature of the performed music are centrally involved in performative passivity.
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Stinson, Russell. „Introduction“. In Bach's Legacy, 1–5. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.003.0001.
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This book deals with J. S. Bach’s posthumous role in music history. Combining the disciplines of history, biography, and musical analysis, it considers how four of the greatest composers of the nineteenth and twentieth centuries engaged with Bach’s legacy. Special emphasis is given to Felix Mendelssohn’s and Robert Schumann’s reception of Bach’s organ works, Schumann’s encounter with the St. Matthew and St. John Passions, Richard Wagner’s musings on the Well-Tempered Clavier, and Edward Elgar’s (resoundingly negative) thoughts on Bach’s vocal works.
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Judovitz, Dalia. „The Enigma of the Visible“. In Georges de La Tour and the Enigma of the Visible. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277438.003.0002.
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This chapter begins with an analysis of La Tour’s allegorical paintings of blind hurdy-gurdy musicians in order to explore the deceptive, even blinding, character of ordinary vision. These renderings of music making and audition (whose invisibility defies vision and challenges the representational purview of painting) are examined in reference to his portrayals of St. Jerome and Mary Magdalene. Figuring the attainment of spiritual insight rather than sight, these devotional works attest to a contemplative mode of seeing illuminated by the biblical Word. They challenge the viewer by attempting to depict what painting cannot ultimately show: namely, spoken words, audition, the passage of time, and spiritual passions reflecting changes of heart.
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Thaller, Jonel, Megan Lindsay Brown und Jill Theresa Messing. „Depictions of Intimate Partner Violence“. In Recent Advances in Digital Media Impacts on Identity, Sexuality, and Relationships, 82–98. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1063-6.ch005.
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The music video for Eminem and Rihanna's hit single “Love the Way You Lie” (2010) reproduces commonly held myths about intimate partner violence (IPV), primarily that many women instigate their abuse or even enjoy it. Music video culture has been of concern to parents, researchers, and policymakers because youth are considered developmentally susceptible to gendered sexual scripts. However, some scholars suggest that audience members, rather than being passive consumers, are practical actors who filter information according to first- and secondhand experiences. This study examined how young adults' respond to the depiction of IPV in the music video for “Love the Way You Lie.” Findings indicated strong emotional response, a tendency to filter media through personal experiences, and a continuation of gendered blame. However, participants also demonstrated critical analysis. Thus, even when depictions are sensational or reinforce myth-based beliefs and gendered biases, young adults are capable of being critical consumers of popular culture.
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Nakai, You. „Neural Syntheses“. In Reminded by the Instruments, 556–78. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190686765.003.0011.
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One of Tudor’s last projects used an instrument custom-made for him using the neural network chip that had just been developed. The Neural Synthesizer began as an attempt to build a universal instrument that would synthesize the proliferation of his modular devices. But the actual mechanism of the analog chip, which happened to be an extensive array of amplifiers, shifted the nature of the endeavor, causing a return to the no-input works from the 1970s. In this way, the neural network instrument, used against its usual purpose of extracting patterns from past examples, nonetheless found a strange connection with reminiscences of Tudor’s own past. The analyses of Neural Syntheses and Neural Network Plus, two series of works Tudor made using his new synthesizer, further brings up the issue of memory concerning the performance of his music, which is different every time yet open to revivals, something he tried to capture by setting a number to each performance. This also connects to the problem of how Tudor thought of passing his music on to others so that they could be performed in his absence, a natural concern in the last years of his life, but also something that reflected his lifelong interest in the role of memory and reminiscence in music.
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He, Jianjun. „The Tradition of King Shoumeng of Wu“. In Spring and Autumn Annals of Wu and Yue, 32–38. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501754340.003.0003.
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This chapter covers the time during the reign of King Shoumeng and the reigns of his three sons, emphasizing the difference between Wu culture and the culture of the central states that is represented by Zhou ritual. It recounts the succession among King Shoumeng's sons and highlights the narrative of the rivalry between Wu and Chu. It also discusses King Shoumeng's will in passing down the throne to Jizha, Zhufan's attempt to yield the position to his brother, and his suicidal behaviors that were intended to shorten his rule and hasten the process of Jizha's accession. The chapter analyzes accounts in Sima Qian's Shiji concerning the time that describes King Shoumeng's admiration of Zhou ritual and music. It reviews the Zuozhuan and Shiji accounts, wherein Jizha was portrayed simply as a master of Zhou culture.
Konferenzberichte zum Thema "Passion music Analysis"
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Montoya, Gustavo, Yixiang Liao, Dirk Lucas und Eckhard Krepper. „Analysis and Applications of a Two-Fluid Multi-Field Hydrodynamic Model for Churn-Turbulent Flows“. In 2013 21st International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/icone21-16297.
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Today Computational Fluid Dynamic (CFD) codes are widely used for industrial applications, mostly in the case of single phase flows in automotive or aircraft engineering, but multiphase flow modeling had gain an increasing importance in the last years. Safety analyses on nuclear power plants require reliable prediction on steam-water flows in case of different accident scenarios. This is particularly true for passive safety systems such as the GEKO component of the KERENA reactor. Here flashing may occur in the riser (Leyer and Wich, 2012). In such case, high gas volume fractions and the churn-turbulent flow regime may ensue. In the past, the codes for the prediction of churn-regime have not shown a very promising behavior. In this paper, a two-fluid multi-field hydrodynamic model has been developed based in the Euler-Euler framework. The main emphasis of this work has been on the modeling and applicability of various interfacial forces between dispersed gaseous phases and the continuous liquid, as well as bubble-bubble interactions, and the evolution of different bubble sizes in an adiabatic vertical pipe inside the churn-turbulent flow regime. All the expected mechanistic models that intervene in this flow pattern have been taken into account including drag force, wall force, lift force, turbulent dispersion, and bubble induced turbulence. Bubble breakup and coalescence has been defined (Liao et al., 2011), and in order to design a polydispersed model related to reality, the inhomogeneous MUSIG approach (Krepper et al., 2008) has been used to defined an adequate number of bubble size fractions which are arranged into different groups with their own velocity field. Based on these models, a series of simulations were made on the framework of ANSYS CFX 14.0, and all of the calculations were further validated with experimental data extracted from the TOPFLOW facility at the Helmholtz-Zentrum Dresden-Rossendorf. Different water and gas flow rates were used inside the churn-turbulent flow regime, as well as for the transition from bubbly to churn flow. The calculated cross-section averaged bubble size distributions, gas velocities, and time averaged radial profile for the gas fraction have shown a promising agreement with the experimental data. Nevertheless there are also clear deviations which indicate shortcomings of the present modelling. In order to further improve the modeling of this flow regime, a discussion based on the results will be used to shown a series of limitations of the actual modeling and possible solutions to be implemented in future works.