Thematische Bibliographien / Sex in music

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Sex in music“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Sex in music"

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Banfield, Stephen, Kay Dreyfus und Percy Grainger. „Music and Sex“. Musical Times 127, Nr. 1726 (November 1986): 624. http://dx.doi.org/10.2307/964273.

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Bertsch, Sharon, H. Donald Knee und Jeffrey L. Webb. „Functional Cerebral Distance and the Effect of Emotional Music on Spatial Rotation Scores in Undergraduate Women and Men“. Psychological Reports 108, Nr. 1 (Februar 2011): 14–22. http://dx.doi.org/10.2466/04.23.27.pr0.108.1.14-22.

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The influence of listening to music on subsequent spatial rotation scores has a controversial history. The effect is unreliable, seeming to depend on several as yet unexplored factors. Using a large sample (167 women, 160 men; M age = 18.9 yr.), two related variables were investigated: participants' sex and the emotion conveyed by the music. Participants listened to 90 sec. of music that portrayed emotions of approach (happiness), or withdrawal (anger), or heard no music at all. They then performed a two-dimensional spatial rotation task. No significant difference was found in spatial rotation scores between groups exposed to music and those who were not. However, a significant interaction was found based on the sex of the participants and the emotion portrayed in the music they heard. Women's scores increased (relative to a no-music condition) only after hearing withdrawal-based music, while men's scores increased only after listening to the approach-based music. These changes were explained using the theory of Functional Cerebral Distance.
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Feizpour, Azadeh, Helena C. Parkington und Farshad A. Mansouri. „Cognitive sex differences in effects of music in Wisconsin Card Sorting Test“. Psychology of Music 48, Nr. 2 (12.09.2018): 252–65. http://dx.doi.org/10.1177/0305735618795030.

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Recent studies suggest that females and males show different levels of susceptibility to neuropsychological disorders which might be related to sex differences in executive control of behaviour. Music, as a cognitively salient factor, might influence cognitive functions; however, it is unclear how sex and music interact in influencing executive control of behaviour in a dynamic environment. We tested female and male participants in a computerized analogue of the Wisconsin Card Sorting Test (WCST) while listening to music or in silence. We found that music decreased the percentage of correct trials in both sexes. While music decreased response time in females, it had an opposite effect in males. Response time increased in error trials (error slowing), and music sex-dependently influenced error slowing. Conflict between potential rules adversely influenced performance in the current trial (conflict cost) in both sexes and listening to music increased conflict cost. These findings suggest that music shows both adverse and beneficial effects on various behavioural measures in the WCST, some of which are sex-dependent. Our findings suggest that in using music as an adjunct for rehabilitation of neuropsychological disorders, both adverse and beneficial effects and sex dependency need to be considered.
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Eaklor, Vicki Lynn. „Queer Episodes in Music and Modern Identity (review)“. Journal of the History of Sexuality 12, Nr. 3 (2003): 498–500. http://dx.doi.org/10.1353/sex.2004.0006.

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Cummins, R. Glenn. „Selling Music With Sex: The Content And Effects Of Sex In Music Videos on Viewer Enjoyment“. Journal of Promotion Management 13, Nr. 1-2 (28.11.2007): 95–109. http://dx.doi.org/10.1300/j057v13n01_07.

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Preston, Joan M., und Michael Eden. „Viewing music videos: Emotion and viewer interpretation“. Zeitschrift für Medienpsychologie 14, Nr. 2 (April 2002): 69–79. http://dx.doi.org/10.1026//1617-6383.14.2.69.

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Abstract. Music video (MV) content is frequently measured using researcher descriptions. This study examines subjective or viewers’ notions of sex and violence. 168 university students watched 9 mainstream MVs. Incidence counts of sex and violence involve more mediating factors than ratings. High incidents are associated with older viewers, higher scores for Expressivity, lower scores for Instrumentality, and with video orders beginning with high sex and violence. Ratings of sex and violence are associated with older viewers and lower scores for Instrumentality. For sex MVs, inexperienced viewers reported higher incidents and ratings. Because MVs tend to be sexier but less violent than TV and film, viewers may also use comparative media standards to evaluate emotional content MVs.
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Armstrong, Edward G. „Country music sex songs: An Ethnomusicological account“. Journal of Sex Research 22, Nr. 3 (August 1986): 370–78. http://dx.doi.org/10.1080/00224498609551315.

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Trecroci, Athos, Gabriele Signorini, Raffaele Scurati, Dario Colella, Gaetano Raiola, Marta Rigon und Pietro Luigi Invernizzi. „Effects of Musical Classes on Motor Creativity According to Age, Sex, and Weight Status in Young Students: A Music-Oriented versus Conventional Education Plan“. Children 10, Nr. 2 (20.01.2023): 200. http://dx.doi.org/10.3390/children10020200.

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Motor creativity can be influenced by the specificity of the school–class environments (music-based education plans) and individual characteristics. This study aimed to investigate the effects of music oriented and conventional education plans on rhythmic perceptive capacity, motor creativity, and skill- and health-related fitness components in young students according to age, sex, and weight status. One hundred sixty-three young Italian students from elementary (second and fourth grade) and middle school (sixth and eighth grade) were enrolled in the study according to their education plan (music oriented or conventional). All participants were tested for rhythmic perceptive capacity (Stambak’s test), motor creativity (Divergent Movement Ability test), skill-related (Körperkoordinationstest Für Kinder), and health-related (Multistage Fitness test) components. Individuals were also considered according to age (elementary and middle school), sex, and weight status. Significant age × education plan and sex × education plan interactions (p < 0.01) were found in motor creativity (locomotor and stability skills) and motor competence (balance and jumping-like activities). No significant weight status × education plan interaction was found. The predominant role of music in the music-oriented education plan appeared to foster the ability to enhance motor creativity in elementary and middle school students compared to the conventional plan. Moreover, music-oriented experience also seems relevant for expressing and exhibiting motor competence (i.e., balance) in relation to sex.
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Biswas, Anomitra, und Tonisha Guin. „Agents of Ishq and Contemporary Discourses on Sex and Sex-Education in India“. Bandung 9, Nr. 1-2 (24.02.2022): 325–55. http://dx.doi.org/10.1163/21983534-09010013.

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Abstract This paper examines Agents of Ishq, an online site/project seeking to create a space for the public discourse of sex and sexuality in India, with particular attention to a single music video that is part of the project. The content produced by the project is informed by idioms of Bollywood films and film-music. The paper draws on the notion of popular culture to see how meanings are encoded within the video productions and explores the politics of representation of these audio-visual and textual resources. It also briefly examines the effect that being hosted on a digital platform, freely accessible at any time and from any location, (rather than as part of traditional and broadcast media) has on the content produced by Agents of Ishq. It examines the need for the proliferation of pedagogical resources of this kind and, at the same time, draws attention to the ways in which they need to be critically problematized in terms of the cultural hegemonies they may run the risk of reinforcing.
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Maidlow, Sarah. „The Experiences, Attitudes and Expectations of Music Students from a Feminist Perspective“. British Journal of Music Education 15, Nr. 1 (März 1998): 37–49. http://dx.doi.org/10.1017/s0265051700003752.

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Attempting to explain the mis-match between women's low profile in most music professions and females' success in formal music education, I looked for differences in the attitudes, experiences and expectations of music students. This was done by using repertory grids with relatively small numbers of A-level and undergraduate music students, and postgraduate student teachers with music degrees. Constructivist psychology, of which repertory grid technique is a practical example, offers approaches in harmony with feminist preferences for the meaning people attach to their situation and the usefulness of their interpretation over notions of truth. Thus participants' responses dictate any groupings to emanate from analysis, rather than their being placed in pre-determined categories.The outcomes of the study suggested, however, that little differentiates female and male musicians, as represented by these music students. Conversely, the results implied that the sexes are inclined to think similarly, insofar as likenesses in their attitudes could be associated with their instrument, and, crucially, that each sex tended to look to mo dels I mentors who reflected their sex as well as instrument. The sexes' inconsistency of achievement might then be explained by differences between sex-role models.
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Dissertationen zum Thema "Sex in music"

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Luevano, Ryan M. „Everything's coming up sex! A survey of sex and sexual orientation on Broadway today“. Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527393.

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Sissum, Melina. „A longitudinal content analysis of violence, sex, and drugs in rap music“. Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3208.

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Turner, Jacob S. „An examination of sexual content in music videos“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.51Mb, 223 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428252.

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Williams, Anna C. „Sex, Drags, and Rock'n'Roll: the Yeah Yeah Yeahs' and Devendra Banhart's subversion of sex and gender norms“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337885390.

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Ruth, Mary-Louise. „My Kind of Music: Two New Orleans Stories“. ScholarWorks@UNO, 2003. http://louisdl.louislibraries.org/u?/NOD,33.

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Thesis (M.F.A.)--University of New Orleans, 2003.
Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing"--Thesis t.p. Vita.
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Larsson, Victor. „En minnesvård, varaktigare än bronsen : Om Hilding Rosenberg, musikhistorieskrivning och sex stråkkvartetter“. Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-154248.

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Abstract Victor Larsson: En minnesvård, varaktigare än bronsen – Om Hilding Rosenberg, musikhistorieskrivning och sex stråkkvartetter. Uppsala universitet: Institutionen för musikvetenskap, C-uppsats 2006. In the late 1950s, Swedish composer Hilding Rosenberg composed a number of new string quartets – nos. 7-12. These compositions were commissioned by Sveriges Radio and originally performed by Kyndelkvartetten. The string quartets received excellent critique and both reviews and analyses were published in Swedish periodical Nutida Musik. The aim of the essay is to, taking reviews from daily press and Nutida Musik as starting point, investigate in what context Rosenbergs music was presented. The fact that Rosenberg was working as a private teacher, and that some of his students were a part of the new generation of modernists in Sweden – Måndagsgruppen – is being discussed and a connection between Måndagsgruppen's overtaking of Swedish musical institutions and Rosenbergs increase in popularity is investigated.
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Arnold, Heather M. „Authenticity, style, and gender explorations in rockabilly /“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6104.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 22, 2008) Includes bibliographical references.
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Radford, Crystal Joesell. „In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306255326.

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Lakhani, Ali Moneim. „Popular Music and Adolescent Sexual Health“. Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366767.

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Background There is public concern about the impact that exposure to sexual content in music is having on the sexual health of adolescents. In particular, exposure to sexual content in music has been identified as adversely impacting young people’s behaviour, and attitudes towards gender. In contrast, popular music has also been identified as a culturally appropriate tool to engage young people in sexual health education and promotion programs. By taking a broad definition of sexual health, this dissertation addresses knowledge gaps especially in regards to gender and body image. Consequently, this dissertation includes three studies focusing on the relationship between exposure to sexual content in popular music and adolescent sexual health, as well as the use of music in adolescent sexual health promotion. Method This dissertation includes three studies. The first study is a systematic literature review guided by the PRISMA (Moher, Liberati, Tetzlaff, & Altman, 2009) approach. The review involved three systematic searches for literature and aimed to synthesise: (i) research that investigated the association between exposure to music with sexual content and adolescents’ sexual behaviour, body image satisfaction, and attitudes towards gender, and (ii) research that explored the use of popular music for adolescent sexual health education and promotion initiatives. The second study involved the administration of a cross-sectional survey (n=565) and investigated the association between exposure to sexual content in music audio and video on adolescents’ attitudes towards women and their perception of their body image. Finally, the third study included group interview discussions and interviews with adolescents’ (n=7) to ascertain the messages that they receive from the music they listen to, how they thought exposure to these messages impacted their sexual health and how they thought popular music could be used in their sexual health education.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Human Services and Social Work
Griffith Health
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Pennington, Stephan Joseph. „Made for love Marlene Dietrich, the Comedian Harmonists, and performances of gender at the end of the Weimar Republic /“. Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2007918571&sid=12&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Bücher zum Thema "Sex in music"

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Brown, James. Sex machine. Place of publication not identified]: Polydor, 1993.

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Body, Jack. Sex, politics, religion- and music. Palmerston North, New Zealand: Massey University Music, 1999.

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Red Hot Chili Peppers (Musical group). Blood sugar sex magik. Burbank, CA: Warner Bros., 1991.

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Willis, Ellen. Beginning to see the light: Sex, hope, and rock-and-roll. Hanover: Wesleyan University Press, 1992.

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group), Sex Pistols (Musical. Never mind the bollocks, here's the Sex Pistols. Burbank, CA: Warner Bros., 1988.

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Foundation, Media Education, Hrsg. Dreamworlds 3: Desire, sex & power in music video. Northampton, MA: Media Education Foundation, 2007.

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Reynolds, Simon. The sex revolts: Gender, rebellion, and rock'n'roll. Cambridge, Mass: Harvard University Press, 1995.

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Attorre, Francesco. Sesso e musica: Musica, musicisti e il segreto nascosto nel suono. Varese (Italy): Zecchini editore, 2018.

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Chris, Charlesworth, Hrsg. The Sex Pistols diary: Sex Pistols day by day. London: Omnibus Press, 1988.

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Reynolds, Simon. The sex revolts: Gender, rebellion, and rock 'n' roll. London: Serpent's Tail, 1995.

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Buchteile zum Thema "Sex in music"

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Golding, Rosemary. „Anon., ‘Sex and Music’; and Anon., ‘Sex and Music’“. In Music in Nineteenth-Century Britain, 312–15. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-33.

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Powell, Elliott H. „Addict(ive) Sex“. In Popular Music and the Politics of Hope, 173–86. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315165677-12.

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Franklin, M. I. „Sex, Gender and Public Culture“. In Change the Record - Punk Women Music Politics, 123–24. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839441718-028.

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de Boise, Sam. „A History of Sex and Gender Differences in Emotion“. In Men, Masculinity, Music and Emotions, 22–44. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436092_2.

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Boswell, Matthew. „English Punk: Sex Pistols, Never Mind the Bollocks, Here’s the Sex Pistols and The Great Rock ‘n’ Roll Swindle“. In Holocaust Impiety in Literature, Popular Music and Film, 104–13. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358690_5.

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Gildart, Keith. „Darkness over England: Punk Rock and the Sex Pistols Anarchy Tour 1976“. In Images of England through Popular Music, 174–93. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137384256_10.

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Gallo, Guadalupe, und Pablo Semán. „Pleasurable Surfaces: Sex, Religion, and Electronic Music within the 1990–2010 Transition Folds“. In Youth Identities and Argentine Popular Music, 141–58. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137011527_8.

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Siegel, Carol. „Ambiguities of S/M and goth cultures’ sex/gender identity politics“. In Rethinking Difference in Gender, Sexuality, and Popular Music, 52–67. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge studies in popular music: Routledge, 2018. http://dx.doi.org/10.4324/9781315660455-4.

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Harker, Anita. „An Autoethnographic Mix Tape: Deconstructing Gender Identity Through Music That Has Meaning to Us“. In Teaching Gender and Sex in Contemporary America, 117–29. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-30364-2_13.

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van Bohemen, Samira, Julian Schaap und Pauwke Berkers. „The Sex Playlist: How Race and Ethnicity Mediate Musically “Composed” Sexual Self-Formation“. In Popular Music, Technology, and the Changing Media Ecosystem, 115–28. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44659-8_7.

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Konferenzberichte zum Thema "Sex in music"

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Dolinšek, Eva. „Monteverdi and Seconda Pratica: Music Should be at the Ser-vice of the Word“. In Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d21.

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This article provides insight into the music of the late Renaissance and early Baroque in Italy. Com-poser Claudio Monteverdi was one of the most important figures in the music of the early Italian Baroque. We consider the events that led to the creation of the new early Baroque style – Seconda pratica - (second practice) and describe the significant changes in vocal music that took place with the aim to depart from strict counterpoint at the turn of the 16th century. Keywords: Claudio Monteverdi; Seconda pratica; Venetian school; Madrigalisms; Ornamentation
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Etinger, Darko. „A Task-Technology Fit Model for Digital Audio Workstations Evaluation“. In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002867.

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Music industry changes in the last decade largely shifted the music production tasks from big established studios to music artists. With the addition of online music streaming platforms, an end-to-end process of music creation, publishing, delivery, and consummation is achieved. This phenomenon emphasizes music artists as content creators to handle music production. Digital audio workstation systems enabled end users to compose, record, mix and master music. This research focuses on identifying the fit between various tasks music artists must perform during music creation and the technical characteristic of the tools used, particularly modern digital audio workstations. Ultimately, it is tested whether the task- technology fit (TTF), a well-established information systems theory model is a good predictor of the intention to use digital audio workstation systems by music artists. By applying the PLS-SEM method, results show that TTF positively influences music artists' intention to use DAWs.
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Shilpiekandula, Vijay, und Yun Seong Song. „A Music-Based Mechatronic System for Teaching Modeling and Control“. In ASME 2008 International Mechanical Engineering Congress and Exposition. ASMEDC, 2008. http://dx.doi.org/10.1115/imece2008-66817.

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Audio-based tools can enhance the learning experience in introductory modeling and control classes at the undergraduate (sophomore) level in the mechanical engineering curriculum. An example audio-based learning tool that we propose is the “FlexSynth,” a servo-actuated flexural rocker arm that sways to an electronically generated music. We have built and tested the FlexSynth as part of a project under the MIT advanced graduate subject 2.737 Mechatronics class offered in Fall 2007. The angular range of the rocking motion of the flexural arm in the FlexSynth is mapped to a set of musical notes. While the flexural rocker swayed to the generated ‘command’ music, its motion is also converted into an equivalent ‘response’ music. Two speakers are used, one to play the commanded music and the other to play the response music. The performance of control algorithms (such as proportional or proportional-integral control) can be discerned from the command and response music, and compared for better musical quality. The appeal of an electromechanical system, driven by music and controlled to see the ‘dancing’ flexural rocker, makes the overall system an interesting show-and-tell for young kids or the public at large, getting them excited about science and engineering automation. Advanced control issues such as filtering of flexural damping modes of the rocker can also be addressed with this system implementation. Advanced students in the controls area can study the design tradeoffs between robustness and speed in following the command music. While the usual debugging tools such as multimeters, oscilloscopes, and dynamic signal analyzers allow for hands-on learning about the performance of a control system, an audio-based unit such as the FlexSynth can be a valuable addition to the innovative teaching tool kit.
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Wang, Zihao, Shuyu Li, Tao Zhang, Qi Wang, Pengfei Yu, Jinyang Luo, Yan Liu, Ming Xi und Kejun Zhang. „MuChin: A Chinese Colloquial Description Benchmark for Evaluating Language Models in the Field of Music“. In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. California: International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/860.

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The rapidly evolving multimodal Large Language Models (LLMs) urgently require new benchmarks to uniformly evaluate their performance on understanding and textually describing music. However, due to semantic gaps between Music Information Retrieval (MIR) algorithms and human understanding, discrepancies between professionals and the public, and low precision of annotations, existing music description datasets cannot serve as benchmarks. To this end, we present MuChin, the first open-source music description benchmark in Chinese colloquial language, designed to evaluate the performance of multimodal LLMs in understanding and describing music. We established the Caichong Music Annotation Platform (CaiMAP) that employs an innovative multi-person, multi-stage assurance method, and recruited both amateurs and professionals to ensure the precision of annotations and alignment with popular semantics. Utilizing this method, we built a large-scale, private dataset with multi-dimensional, high-precision music annotations, the Caichong Music Dataset (CaiMD), and carefully selected 1,000 high-quality entries to serve as the test set for MuChin. Based on MuChin, we analyzed the discrepancies between professionals and amateurs in terms of music description, and empirically demonstrated the effectiveness of CaiMD for fine-tuning LLMs. Ultimately, we employed MuChin to evaluate existing music understanding models on their ability to provide colloquial descriptions of music.
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Faria, Regis Rossi A., Ricardo Thomasi, João Monnazzi, Eduardo Bonachela, André Giolito und Gabriel Lemos. „A prospective report on the research developed at the Laboratory of Audio and Music Technology at USP“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19461.

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This paper presents a concise report on the research developed at the Laboratory of Audio and Music Technology at the EACH-USP. The laboratory was founded in 2011 targeting the areas of music technology, musical acoustics and bioacoustics, strengthening its scope in 2019 to the areas of sound and music computing and audio engineering. Six projects are presented herein, describing their application areas, goals, achievements and perspectives.
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van der Smissen, Andrea. „Musikalische Innovation im Umfeld der Moderne und historischen Avantgarde in Ungarn“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.75.

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In recent decades the interpretation of music history of the interwar period was determined by factors which allowed only national or folkloristic approaches to modern music in Hungary. However, the composers of the group ‘Modern Hungarian Musicians’, connected to the forums of the New Music like the ISCM or Cowell‘s NMS, were committed to a transcultural view of musical innovation. Through intermedial connections between literary and fine art, they received non-musical impulses by modern and avantgarde movements. This paper makes an approach on their heterogeneous conception of music with the common sense, to set a renewal of the musical language as its goal.
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Jucu, Ioan Sebastian. „REPRESENTING CITIES, PLACES AND CULTURES THROUGH MUSIC TOURISM AND ICONIC MUSIC LEGENDS: A SHORT GEOGRAPHICAL ANALYSIS OF CELINE DION�S MUSIC AND TRAVEL“. In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s14.122.

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Cities, cultures, tourism and music have always been connected through the close relations between urban places as music venues, tourists and legendary musicians which perform to largest audiences. This paper aims to briefly examine the most important relations between music, tourism, cities and iconic musicians considering as a case in point, one of the most emblematic artists in the contemporary global popular culture - the iconic songstress Celine Dion. The article unveils the most important features which connect places with different cultures, with the fans as music tourists and with the outstanding artists that shape particular landscapes based on their tours and live performances. The article, in brief unveils, the most important cities and cultures that are frequently inserted in the artists� agenda trying to highlight the places and the cities� cultural specificities through the lens of popular music and lyrics analysis. The main methods used in this paper belongs to media tools analysis using a musical documentary and the discourse analysis of both the artist and the people/music tourists. The main findings highlight that cities and places, beyond remaining emblematic music venues and touristic places for a large number of people that travel from different places to see their favorite artists, are places with specific cultural identities often represented in/through music and, furthermore, through the music of legendary artists and through the artists themselves.
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Stewart, Robert R., und Samantha Brough. „Log jammin': Transforming well logs to music“. In SEG Technical Program Expanded Abstracts 2006. Society of Exploration Geophysicists, 2006. http://dx.doi.org/10.1190/1.2369692.

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Yao, Bin, Haisen Li, Tian Zhou, Baowei Chen und Haixin Yu. „Real-Time Implementation of Multiple Sub-array Beam-Space MUSIC Based on FPGA and DSP Array“. In 2008 Fifth IEEE International Symposium on Embedded Computing (SEC). IEEE, 2008. http://dx.doi.org/10.1109/sec.2008.6.

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Gonçalves Junior, Clenio B., und Vânia Paula de Almeida Neris. „Human-centered algorithmic composition for well-being music“. In Simpósio Brasileiro de Computação Aplicada à Saúde. Sociedade Brasileira de Computação - SBC, 2023. http://dx.doi.org/10.5753/sbcas.2023.229409.

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The use of music to bring about health benefits is a well-established practice the outcomes of which have been confirmed by research in recent years. By leveraging this capability, the algorithmic composition aimed at producing specific effects on the listener has become a growing field for the automatic creation of well-being music. This work makes a contribution to this field, through a documentary investigative study that puts forward a comprehensive set of human-centered features that should be included in the algorithmic composition of music for well-being. The results are based on a systematic review of 60 papers published in the last few years. The set is divided into categories as a means of assisting their use by the teams involved.
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Berichte der Organisationen zum Thema "Sex in music"

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
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Winseck, Dwayne. Growth and Upheaval in the Network Media Economy in Canada, 1984-2021. Canadian Media Concentration Research Project (CMCRP), November 2022. http://dx.doi.org/10.22215/gmicp/2022.01.

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The Canadian contribution and data set prepared as part of the Global Media and Internet Concentration (GMIC) project offers an independent academic, empirical and data-driven analysis of a deceptively simple yet profoundly important question: have telecom, media and internet markets become more concentrated over time, or less? Media Ownership and Concentration is presented from more than a dozen sectors of the telecom-media-internet industries, including film, music and book industries.
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Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, Juli 2024. http://dx.doi.org/10.23889/sureport.66346.

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Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.
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Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, Oktober 2021. http://dx.doi.org/10.1553/oeai_ambh_3.

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Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.
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Kerrigan, Susan, Phillip McIntyre und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Nyman, Matt, Nancy Staus und Martin Storksdieck. Science and Art Teaching Practices for Oregon Elementary Teachers: Results of a Landscape Survey. Oregon State University, September 2023. http://dx.doi.org/10.5399/osu/1163.

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An Evaluation Report for the Oregon Department of Education. In collaboration with classroom teachers and WRAP personnel we developed and implemented a survey to collect baseline data on the science and arts teaching practices for ALL elementary teachers. This included “regular” classroom teachers (those teachers with an assigned physical classroom and set of students), art teachers, music teachers, PE teachers and other educators or administrators. In December 2022 we recruited three (3) elementary teachers to assist us in survey development, in particular framing questions around frequency of teaching time for both arts and science instruction. One important outcome was that we formulated questions around “dedicated” teaching time where instruction was only focused on science or art content and “integrated” teaching when teachers combine science or art with other instructional areas (such as math or literacy). We also learned that there was a lot of nuances in trying to capture the science and art teaching data; for example, some schools have large blocks of time when they have a particular focus on a science content area and then equally large blocks when science teaching is replaced by instruction in other fields, such as social science. It can be difficult to reduce this instructional framework to a weekly allotment of science teaching.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, Februar 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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