Academic literature on the topic 'External public music'
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Journal articles on the topic "External public music"
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M Fadil Ramadhan and M. Subur Drajat. "Kegiatan Marketing Pr Label Musik Digital Audio Tape Bandung." Jurnal Riset Public Relations 1, no. 1 (July 6, 2021): 33–38. http://dx.doi.org/10.29313/jrpr.v1i1.80.
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Abstract. Music labels Digital Audio Tape having the marketing public relations that his services can be used by audience. The marketing public relations label was set up by Trizha Harun as public relations at the music labels Digital Audio Tape. ( ruslan 2008: 249 ), Public relations serves to communicate both sides between the company with public internal and external relationships and mutual with the audience be considered important by label. Activity public relations is held mutual communication between institution with public intended to create mutual understanding and support for the achievement of a a particular purpose, policy, production activities the progress of institution or a positive image of institutions concerned. The public function of relations at the labels music Digital Audio Tape to increase the consumers which will perform recording on music label Digital Audio Tape. The purpose of this research that is to know the marketing public relations done by music labels Digital Audio Tape. The methodology qualitative perspective case study by Robert K. Yin more trying to map technique single case analysis in the analysis the marketing public relations done by music labels Digital Audio Tape. The research music label the concept of representatives using three with the creation event showcase cover tune in instagram, created an impromptu event or shocking venues, combining vocal technique of various genre of music becomes hip hop.
Abstrak. Label music Digital Audio Tape memiliki kegiatan marketing Public Relations agar jasanya dapat digunakan oleh khalayak. Kegiatan marketing Public Relations label tersebut dibuat oleh Trizha Harun selaku Public Relations pada label musik Digital Audio Tape. (Ruslan 2008 :249), Public Relations berfungsi untuk menjalin komunikasi dua arah antara perusahaan dengan publik internal dan eksternal serta membina hubungan yang saling menguntungkan dengan khalayak atau pihak yang dianggap penting oleh label. Aktivitas Public Relations adalah menyelenggarakan komunikasi timbal balik antara lembaga dengan publik yang bertujuan untuk menciptakan saling pengertian dan dukungan bagi tercapainya suatu tujuan tertentu, kebijakan, kegiatan produksi demi kemajuan lembaga atau citra positif lembaga bersangkutan. Fungsi Public Relations pada label musik Digital Audio Tape untuk meningkatkan pelaku konsumen yang akan melakukan rekaman di label musik Digital Audio Tape. Tujuan penelitian ini yaitu untuk mengetahui kegiatan marketing public relations yang dilakukan oleh label musik Digital Audio Tape. Metode penelitian kualitatif dengan perspektif studi kasus Robert K. Yin yang lebih berupaya memetakan teknik single case analysis pada analisis kegiatan marketing public relations yang dilakukan oleh label musik Digital Audio Tape. Dari hasil penelitian label musik menggunakan tiga konsep MPR dengan cara menciptakan event showcase cover lagu di instagram, menciptakan mengadakan event dadakan atau (shocking venue), menggabungkan teknik vocal dari berbagai genre musik menjadi hip hop.
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Gemci, Ayse Gul, and Bahar Ferah. "A triangulation process of street music in public spaces: a case study of Istanbul's Istiklal Avenue." Open House International 45, no. 4 (September 28, 2020): 427–48. http://dx.doi.org/10.1108/ohi-05-2020-0039.
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Purpose This paper aims to discuss the spatial interactions of street music in public spaces. It proposes to clarify why relationship between street music and people in public spaces is important and how street music evokes an external stimulus on people. Design/methodology/approach The conceptual framework of this paper is based on the triangulation process of Whyte and the qualities of public spaces, forming a relationship between space and people produced from the seminal literature of the paper. Accordingly, a case study based on the qualitative research method was conducted in Istiklal Avenue, where street music performances can be observed for long term. During the field work which spans a period of 12 months, 10 spots of street music performances have been observed and photo–video documentation was collected. Findings This paper provides empirical insights on how the triangulation process reflects social interactions in public spaces. This also suggests the triangulated position of street music as an external stimulus relating with the people as actors of daily urban flux. Research limitations/implications Regarding to the chosen research approach which is based on deeper understanding, this paper interrelates the interactions of street music and people in public space. Social implications This paper includes qualitative research steps of data collection and disaggregates findings with a “Cross Matrix Table” proposed at the end of the study. Originality/value The proposed disaggregating “Cross Matrix Table” and case study fulfil an architectural need to research how everyday street art activity can reflect the qualities of public space.
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Kalu, Ogbu U. "Holy Praiseco: Negotiating Sacred and Popular Music and Dance in African Pentecostalism." Pneuma 32, no. 1 (2010): 16–40. http://dx.doi.org/10.1163/027209610x12628362887550.
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AbstractIn post-colonial Africa, Pentecostal-Charismatic Christianity has slowly emerged as an influential shaper of culture and identity through its use of music, media, and dance. This article gives an overview of the transitions that have occurred in African politics, identity awareness, and culture, especially as it relates to the indigenous village public and it’s interface with the external Western public, and how the emergent cultural public has become the most influential player in shaping the African moral universe. Pentecostal-Charismatic Christianity has navigated the shift from a missionary-driven avoidance of indigenous music and dance to the incorporation of indigenous elements, leading in turn to the popularization of Pentecostal music and dance that blends indigenous forms and concepts, Christian symbolism, and popular cultural expressions. The resulting forms have not only shaped Christianity, but also the surrounding culture and its political environment.
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Juchniewicz, Jay. "The Influence of Social Intelligence on Effective Music Teaching." Journal of Research in Music Education 58, no. 3 (October 2010): 276–93. http://dx.doi.org/10.1177/0022429410378368.
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The purpose of this study was to investigate the influence of social intelligence on effective music teaching. Forty teachers from “exemplary programs” and “more challenging programs” across band, chorus, orchestra, and general public school music programs were administered the Interpersonal Perception Task—15 (IPT-15). In addition, 84 external evaluators viewed teaching excerpts of 12 “exemplary” and “challenged” teachers and rated the (a) overall effectiveness and (b) main attribute that influenced their evaluations of each teaching excerpt. Results indicated no significant differences between the IPT-15 scores of “exemplary” teachers and “challenged” teachers.The external evaluators rated teachers identified as “exemplary” significantly higher than they rated teachers labeled as “challenged.” The majority of attributes influencing external evaluators’ ratings of overall teacher effectiveness were social, constituting more than 85% of all responses. All teachers who demonstrated effective social skills were perceived as effective teachers. Effective communication skills were the most frequently cited attributes for “exemplary” teachers, whereas ineffective classroom management was the most listed attribute for why teachers were rated ineffective.
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Figueiredo, Edson Antônio de Freitas. "Associations between training, employment, and motivational styles of Brazilian instrumental music teachers." International Journal of Music Education 37, no. 2 (April 1, 2019): 198–209. http://dx.doi.org/10.1177/0255761419839170.
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Teachers follow a motivational style based on their own beliefs about motivation affected by environmental events. External events such as rules and traditions often affect orientation towards controlling; however, it is not known if events such as training and employment affect the extent to which music teachers try to control a student’s behavior. The aim of the current study is to investigate associations between the motivational styles of instrumental music teachers, their training, and the type of employment they possess. A survey was conducted with 358 instrumental music teachers. Participants accessed an online questionnaire to provide information about their motivational style and to answer questions about their training and employment. Trained musicians recorded higher scores in the controlling factor than trained music educators. Similarly, teachers who worked in public music schools recorded higher scores in the controlling factor than the ones who worked in private music schools. Our study suggests that motivational literature should be part of the higher education curriculum, since it could help to improve behaviors that support autonomy in instrumental music lessons. The study also recommends making changes to the lifelong job positions that are acquired through public tenders in order to prevent teachers from disregarding the perspective of their students.
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Park, So-yeon and 황은영. "A Study on the Music Preference on IndividualFactor of General Public -Musical Factor and External Musical Factor-." Korean Journal of Music Therapy 13, no. 1 (March 2011): 1–15. http://dx.doi.org/10.21330/kjmt.2011.13.1.1.
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Young, John P. "Networked music: bridging real and virtual space." Organised Sound 6, no. 2 (August 2001): 107–10. http://dx.doi.org/10.1017/s1355771801002059.
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This paper describes an exploration of utilising the World Wide Web for interactive music. The origin of this investigation was the intermedia work Telemusic #1, by Randall Packer, which combined live performers with live public participation via the Web. During the event, visitors to the site navigated through a virtual interface, and while manipulating elements, projected their actions in the form of triggered sounds into the physical space. Simultaneously, the live audio performance was streamed back out to the Internet participants. Thus, anyone could take part in the collective realisation of the work and hear the musical results in real time. The underlying technology is, to our knowledge, the first standards-based implementation linking the Web with Cycling '74 MAX. Using only ECMAScript/JavaScript, Java, and the OTUDP external from UC Berkeley CNMAT, virtually any conceivable interaction with a Web page can send data to a MAX patch for processing. The code can also be readily adapted to work with Pd, jMAX and other network-enabled applications.
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Radwańska, Marta, and Olga Wysłowska. "Muzyka w żłobku – refleksja nad praktyką." Problemy Wczesnej Edukacji 33, no. 2 (June 30, 2016): 0. http://dx.doi.org/10.5604/01.3001.0009.4836.
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The Act of 4 February 2011 on care for children under the age of 3, states that nurseries are to provide children with care, upbringing and education. Still no curriculum has been established for this sector of educare, no regulations specify what types of experiences should be provided to the youngest children. This paper presents the results of the diagnostic research on the role of music, one of the potential educational areas in the nursery curriculum, in the day-to-day practice of the Public Crèche Network in Łódź settings. By employing the mix of methods: field notes, observations and questionnaires researchers tried to answer the following questions: How, in practice the music activities look like?, How often and what kind of music activities are organized?, Are there any activities conducted by external specialists? The article is the starting point for the discussion on the role of music education in the provision for children under the age of 3 in Poland, and training programs for caregivers.
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Licursi, Beatriz, Levi Leonido, and Elsa Morgado. "“MÚSICA FELIZ”: UM PROJETO DE INTEGRAÇÃO ACADÊMICO - SOCIAL ATRAVÉS DA ARTE MUSICAL E DO ESPETÁCULO." Cadernos de Educação Tecnologia e Sociedade 13, no. 1 (April 12, 2020): 94. http://dx.doi.org/10.14571/brajets.v13.n1.94-100.
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Music stimulates a stimulating dynamism for the sociability of the citizens because the musical behavior comprises the biological, social and psychic factors. The Federal University of Rio de Janeiro (UFRJ) offers one of the best concert halls in Rio de Janeiro (the Salão Leopoldo Miguez of the School of Music) where the "Happy Music" Extension event has been held uninterrupted since 1995. Considering that the space, the context and the conditions in which the music takes place are decisive for the observance of the objectives of this integrating initiative that involves and brings together students and teachers from UFRJ, external public (primary and secondary schools of public and private schools) and other interested parties. The participants of this initiative emanate from different age groups and target audiences, given its extension, interaction and socio-artistic integration component that encourages children, youth and adults to perform in public in a space where there is an intense dialogue between music and science as significantly beneficial to musicians, performers, educators as well as listeners and/or spectators. An intense bet on motivational activity for technical improvement, intrapersonal and interpersonal development, growth of artistic skills required for performance, emotional self-control as well as the expansion of cultural, musical and repertory knowledge. The musical works to be presented are of free choice without restriction regarding the musical style and the musical formations, in order to constitute an initiative, open to the other artistic representations. We observe that in the scope of this event, which is a barn of future professionals, many participants have achieved success in their artistic and academic careers of national or international dimension. We believe that our motivational strategy drives the academic community and the general public to perform in a concert hall, which for many participants is a unique opportunity.
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Gooley, Dana. "Hanslick and the Institution of Criticism." Journal of Musicology 28, no. 3 (2011): 289–324. http://dx.doi.org/10.1525/jm.2011.28.3.289.
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This article surveys Hanslick’s statements about the purpose and practice of criticism to argue that he viewed music criticism as a medium with the potential to effect political and social change, and not as a practical application of aesthetic principles. Hanslick took up the Enlightenment model of criticism—–which stressed the critic’s role in fostering the public’s independence of judgment through the exercise of reason—–and adapted it to the historical circumstances of post-1848 Vienna. The Enlightenment model had originated from an impetus to emancipate a civil public from top-down, absolute forms of authority. It resonated powerfully with Hanslick because he believed that artistic, social, and political life in Vienna after 1848 was gradually liberating itself from the paralyzing, passive, and repressive ethos of Vormärz, and that the critic could contribute to this historical emancipation. Hanslick thus broke his earlier identification with the Left Hegelian “philosophical” model of criticism, which did not share the Enlightenment’s optimistic conception of the public sphere. His commitment to the critic's public mission manifested as an effort to position his voice as the “silent” inner conscience of the average educated listener. His self-consciousness about aligning his voice with that of the public came to the surface in reviews where his opinion did not match the audience response. Many of Hanslick’s criteria for musical judgment were aimed at defending the listener’s freedom from the interference of external critical authorities as well as from composers and whose musical ideas were turgid or unclear. In service to these freedoms he was willing to criticize composers such as Beethoven, Schumann, and Brahms, as well as conservative classicists and music historians.
Dissertations / Theses on the topic "External public music"
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Ross, Valerie, and kimg@deakin edu au. "EXTERNAL PUBLIC PIANO EXAMINATIONS IN MALAYSIA: SOCIAL AND SYMBOLIC SIGNIFICANCE." Deakin University, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20031028.140256.
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The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer.
Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia.
The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-rausicological phenomena.
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Ross, Valerie, and mikewood@deakin edu au. "External public piano examinations in Malaysia: Social and symbolic significance." Deakin University, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050808.135747.
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The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer. Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia. The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-musicological phenomena.
Books on the topic "External public music"
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Sposato, Jeffrey S. Leipzig After Bach. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190616953.001.0001.
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This book examines church music and public concert music in Leipzig, Germany, a city in Saxony, in the period between 1750 (the year Thomaskantor Johann Sebastian Bach died) and 1847 (the year that Gewandhaus orchestra conductor Felix Mendelssohn Bartholdy died). The century in between these events was critically important for sacred music and public concert music. During this period, Leipzig’s church music enterprise, a bulwark of orthodox Lutheranism, was convulsed by repeated external threats—a growing middle class that viewed music as an object of public consumption, religious and political tumult, and the chaos of the Seven Years' War and the invasion of Napoleon. How church and concert life in Leipzig changed because of these forces is the focus of this book. Whereas most European cities saw their public concerts grow out of secular institutions such as a royal court or an opera theater, neither of these existed when Leipzig’s first subscription concert series, the Grosse Concert, was started in 1743. Instead, the city had a thriving church music enterprise that had been brought to its zenith by Bach. Paid subscription concerts therefore found their roots in Leipzig’s church music tradition, with important and unique results.
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Godreau, Isar P. Irresolute Blackness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038907.003.0008.
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This chapter examines how the showcasing of black folklore in San Antón requires work and ideological maneuvering. Dynamics of representation of “community” varied a great deal depending on whether such public events were organized for residents or for a broader national audience. Local events such as Christmas dinners, Mother's Day celebrations, and Father's Day celebrations were mostly organized around religious activities, family oriented or preestablished holidays. In contrast, public events targeted to an outside audience centered on Afro-Puerto Rican or Afro-Antillean music and predominantly bomba and plena. The chapter then illustrates that far from being “in the blood” or neutral and carefree or an externally motivated process, the marking and celebration of San Antón as place of black folklore is driven by the community itself in a way that requires a great deal of work and the assertive leadership of community members from within.
Book chapters on the topic "External public music"
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Stenfors, Cecilia, Eva Bojner Horwitz, Töres Theorell, and Walter Osika. "Similarities, disparities, and synergies with other complex interventions—stress as a common pathway." In Oxford Textbook of Nature and Public Health, edited by Matilda van den Bosch and William Bird, 139–44. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198725916.003.0029.
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Both internal and external stimuli can cause stress, and suboptimal stress management is a major driver of ill health. There are several complex interventions, such as contemplative practices and cultural activities, which facilitate the process of becoming aware of and handling such stimuli. Participation in such activities can facilitate the connection with one’s emotions and values, and the integration of those in everyday coping. One contemplative practice is mindfulness, which involves bringing one’s complete attention to the present experience on a moment-to-moment basis, non-judgementally. Among cultural interventions we find, for example, dance and music therapy and combinations thereof. It is plausible that the health effects of nature, and contemplative and cultural activities share a mechanistic background. Several theoretical principles are similar and the same kinds of condition benefit from these interventions, all with a certain effect on stress and mental fatigue. There could be synergistic effects of the various approaches.
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Willetts, David. "Vocational Higher Education." In A University Education. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198767268.003.0016.
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A beautiful large stained-glass window dominates the end of the Great Hall of Birmingham University. My great-grandfather was one of the glaziers who made it—my family were Birmingham artisans, craftsmen, and engineers. His son, my grandfather, remembered being taken to the opening of Birmingham University in 1902—Joe Chamberlain, the founder of the university, believed that the workers who had built it should be invited, not just the academics. From a distance it looks like the stained-glass window in an ancient cathedral with figures of saints, but close up you see the radicalism of Joe Chamberlain’s vision. It is dedicated to the arts and sciences. Instead of saints and bishops the figures represent disciplines like geometry or music, but alongside them, equally prominent, are contemporary trades: there is an electroplater, a rather Michelangelesque miner, and a demure bookkeeper too. It is a celebration of the range of trades and professions of the early twentieth century, ‘as practised in the university and in the City’, said the local paper. England’s first university in one of its great bustling industrial cities was claiming a new role for the university based on its civic commitment. This great window embodies a very different idea of the university from the Oxbridge tradition. It is a vigorous statement in an argument that was raging within Government at the very time that Chamberlain was planning his new university. The question was whether public funds should go to help pay for higher education courses outside Oxbridge on a systematic basis and if so which courses at which institutions. (At this point what would become our Redbrick universities were typically university colleges teaching for the external degree of the University of London and funded locally, though with occasional public grants.) The question came to the Chancellor of the Exchequer in 1895, who replied: ‘As an old Oxford man myself I must confess to a feeling, which you may call a prejudice, that University education, in the full sense of the term, can hardly be obtained except at our old Universities.’ The Treasury consulted Oxford and Cambridge on what they should fund.