Journal articles on the topic 'Humanities -> music -> musicals'
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1
Łubocki, Jakub Maciej. "Musical sources – meaning of the term in bibliology and museology." Z Badań nad Książką i Księgozbiorami Historycznymi 17, no. 1 (July 27, 2023): 103–25. http://dx.doi.org/10.33077/uw.25448730.zbkh.2023.759.
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Although it may seem improbable, various types of musical sources can also be found in the collection of the Publishing Art Department of the National Museum in Wrocław. They are not only music sheets and songbooks, but also written documents related to musical works or people of music, and in the future, they could be even printed elements of sound documents or ephemeras related to music life. This was the reason for the general reflection on the understanding of the term “musical sources” (“musicals”) and its meaning in relation to the universes of music and publishing art. Then, basic categories of museum objects that are simultaneously from both universes – music and publishing art – were presented (with examples).
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Gabbard, Krin. "La La Land Is a Hit, but Is It Good for Jazz?" Daedalus 148, no. 2 (April 2019): 92–103. http://dx.doi.org/10.1162/daed_a_01745.
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The debates around La La Land (2016) tell us a great deal about the state of jazz today and perhaps even in the near future. Many critics have charged that the film has very little real jazz, while others have emphasized the racial problematics of making the white hero a devout jazz purist while characterizing the music of the one prominent African American performer (John Legend) as all glitz and tacky dance moves. And finally, there is the speech in which Seb (Ryan Gosling) blithely announces that “jazz is dead.” But the place of jazz in La La Land makes more sense if we view the film as a response to and celebration of several film musicals, including New York, New York (1977), the Fred Astaire and Ginger Rogers films, and especially Jacques Demy's The Young Girls of Rochefort (1967). Both La La Land and Demy's film connect utopian moments with jazz, and push the boundaries of the classical Hollywood musical in order to celebrate the music.
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Schmid, Wolfgang. "MusicALS: home-based music therapy for individuals with amyotrophic lateral sclerosis (ALS) and their caring families." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 66. http://dx.doi.org/10.1080/08098131.2016.1179985.
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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (October 1994): 533–43. http://dx.doi.org/10.2307/1161372.
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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.
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Park, Juyong. "Networks of Contemporary Popular Musicians." Leonardo 45, no. 1 (February 2012): 78–79. http://dx.doi.org/10.1162/leon_a_00341.
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The Internet has enabled easy storage and retrieval of various network data, including data showing the relationship between music professionals. “High-Throughput Humanities” is a new way of thought that aims to bring analysis of such large-scale data to the study of traditional humanities subjects including music. Here we present how networks of musical professionals can help us understand the process of collective music production and the human perception of musical similarity.
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Narmour, Eugene. "Our Varying Histories and Future Potential: Models and Maps in Science, the Humanities, and in Music Theory." Music Perception 29, no. 1 (September 1, 2011): 1–21. http://dx.doi.org/10.1525/mp.2011.29.1.1.
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part 1 briefly recounts the influence of social unrest and the explosion of knowledge in both psychology and the humanities circa 1970-1990. As the sciences rely on explicit top-down theories connected to bottom-up maps and models, and whereas the humanities build on bottom-up differences within malleable top-down “theories” (approaches, themes, theses, programs, methods, etc.), the changes in the sciences during this period contrasted sharply with the changes in the humanities. Part 2 discusses in detail how these two social transformations affected the histories of music theory and cognitive music theory. The former fractiously withdrew from its parent organization (AMS), whereas the latter was welcomed into SMPC. Inasmuch as both music theory and cognitive music theory rely on maps and models, Part 3 examines the metatheoretical importance of these terms for music cognition, music theory, and cognitive music theory. Part 4 speculates about the future—how music cognition, cognitive music theory, and music theory contribute to the structure of musical knowledge. The intellectual potential of this unique triadic collaboration is discussed: psychology provides a commanding empirical framework of the human mind, while music theory and cognitive music theory logically model moment-to-moment temporal emotions and the auditory intellections at the core of musical art.
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Efremenko, Alexey P., and Mukadas Gabdiyev. "Specifics of the Formation of Musical Culture of Modern Adolescents in the System of Additional Education." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 122–30. http://dx.doi.org/10.17922/2071-5323-2021-20-1-122-130.
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The study of musical culture, various aspects of it is traditionally engaged in humanities – art science, cultural studies and a number of social disciplines. The most significant science is musicology, which includes the history of music, the philosophy of music (section of aesthetics) and musical ethnology. Music culture at different levels of development is also the object of a study of music pedagogy, one of the current tasks of which today is the formation of the musical culture of modern adolescents. The specifics of this process, carried out in the system of additional education, are devoted to the article. It reveals the main conditions, factors and methods that contribute to the effective formation of the musical culture of adolescents.
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Dirksen, Rebecca, Kendy Vérilus, and Samuel Vicière (Samy-Gee). "“Desitire fatra” (Get rid of trash): Lyrics and Stills from an Eco-musical Film Collaboration." Journal of Haitian Studies 29, no. 1 (March 2023): 185–90. http://dx.doi.org/10.1353/jhs.2023.a922864.
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Abstract: The music video for “Desitire fatra” (Get rid of trash), by Samy-Gee, was a component of the project “Field to Media: Applied Musicology for a Changing Climate” supported by the Mellon Foundation and Humanities without Walls consortium initiative on “The Work of the Humanities in a Changing Climate.” Haiti team leaders for this music video were Rebecca Dirksen (co-PI), Kendy Vérilus, and Samuel Vicière (Samy-Gee).
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Grandy, David. "The Musical Roots of Western Mathematics." Journal of Interdisciplinary Studies 5, no. 1 (1993): 3–24. http://dx.doi.org/10.5840/jis199351/22.
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Alfred North Whtiehead stated that mathematics and music compete with each other for the honor of being the most novel achievement of the human imagination. Actually, there is no rivalry or competition, for the two enterprises interpenetrate once the investigation is pursued far enough. Though on opposite ends of the science-humanities spectrum, each discipline points toward the other and elicits the same sort of reverential puzzlement. This essay considers the seminal interconnection between music and mathematics and concludes that this unexpected conjunction of opposites bespeaks a higher, unseen reality. Music cum mathematics is an optics that allows us to discover, celebrate, and participate in God's ongoing Creation.
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Grandy, David. "The Musical Roots of Western Mathematics." Journal of Interdisciplinary Studies 5, no. 1 (1993): 3–24. http://dx.doi.org/10.5840/jis199351/22.
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Alfred North Whtiehead stated that mathematics and music compete with each other for the honor of being the most novel achievement of the human imagination. Actually, there is no rivalry or competition, for the two enterprises interpenetrate once the investigation is pursued far enough. Though on opposite ends of the science-humanities spectrum, each discipline points toward the other and elicits the same sort of reverential puzzlement. This essay considers the seminal interconnection between music and mathematics and concludes that this unexpected conjunction of opposites bespeaks a higher, unseen reality. Music cum mathematics is an optics that allows us to discover, celebrate, and participate in God's ongoing Creation.
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Trevor, Caitlyn, Marina Renner, and Sascha Frühholz. "Acoustic and structural differences between musically portrayed subtypes of fear." Journal of the Acoustical Society of America 153, no. 1 (January 2023): 384–99. http://dx.doi.org/10.1121/10.0016857.
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Fear is a frequently studied emotion category in music and emotion research. However, research in music theory suggests that music can convey finer-grained subtypes of fear, such as terror and anxiety. Previous research on musically expressed emotions has neglected to investigate subtypes of fearful emotions. This study seeks to fill this gap in the literature. To that end, 99 participants rated the emotional impression of short excerpts of horror film music predicted to convey terror and anxiety, respectively. Then, the excerpts that most effectively conveyed these target emotions were analyzed descriptively and acoustically to demonstrate the sonic differences between musically conveyed terror and anxiety. The results support the hypothesis that music conveys terror and anxiety with markedly different musical structures and acoustic features. Terrifying music has a brighter, rougher, harsher timbre, is musically denser, and may be faster and louder than anxious music. Anxious music has a greater degree of loudness variability. Both types of fearful music tend towards minor modalities and are rhythmically unpredictable. These findings further support the application of emotional granularity in music and emotion research.
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Alonso Jartín, Ruth, and Damián Saúl Posse Robles. "Desarrollo de la velocidad de procesamiento cognitivo a través de herramientas musicales: Una revisión documental." HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 11, Monográfico (December 7, 2022): 1–17. http://dx.doi.org/10.37467/revhuman.v11.3893.
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El ánimo de esta investigación es la de valorar a través de la revisión documental, uno de los aspectos fundamentales para el aprendizaje y el desarrollo de destrezas musicales como es la velocidad de procesamiento (VP). Además, se aborda la estimulación cognitiva (EC) y la atención, como elementos propios del ser humano, que proporcionan aprendizajes significativos. Por otro lado, y para la consecución de contenidos musicales, se establece una relación de procedimientos para la secuenciación docente y a modo de herramientas innovadoras, Music Mind Games, sistema de enseñanza de lenguaje musical, inspirado por la metodología Suzuki.
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Ekpo, Omotolani Ebenezer. "Decolonizing the African musical language and Identity through Onyeji’s ‘Research Approach to music composition’ in Nigeria." African Musicology Online 12, no. 2 (July 13, 2023): 43–55. http://dx.doi.org/10.58721/amo.v12i2.258.
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Ongoing research in the arts, humanities and social sciences has largely explored different subjects on decolonising African socio-cultural perspectives, including music composition and performances. Art music composers in Nigeria and diaspora beyond creative expression have adopted their native languages as a viable tool for decolonising their continent. More recently, works and arguments of music scholars like Meki Nzewi, Dan Agu, Bode Omojola, Olusoji Stephen, and Christian Onyeji, among so many, have emphasised the deliberate creative engagement of indigenous languages and musical idioms as a tool for recovering Nigerian indigenous identity and sustainability of their indigenous musical cultures. Building on Hofstede’s theory on cross-cultural interactions and Vygotsky’s Sociocultural theory in addressing the issue of decolonising Africa through music and language, the study employed qualitative and ethnographic research methods to investigate the significance of Onyeji’s research compositional approach in sustaining African musical culture and identity. The study findings based on the analysis of the music piece “Abigbo for Modern Orchestra” and its creative milieu within the context of decolonisation conclude that art music composition based on thorough cultural investigations of a particular musical style or ensemble for heritage preservation is an effective medium of decolonising African music and language.
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Dirksen, Rebecca, Kendy Vérilus, and Roosevelt Saillant (BIC). "“M pral plante yon pye bwa” (I will plant a tree): Lyrics and Stills from an Eco-musical Film Collaboration." Journal of Haitian Studies 29, no. 1 (March 2023): 10–15. http://dx.doi.org/10.1353/jhs.2023.a922854.
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Abstract: The music video for “M pral plante yon pye bwa” (I will plant a tree) (2020), by BIC with Kompè Filo, was a component of the project “Field to Media: Applied Musicology for a Changing Climate” supported by the Mellon Foundation and Humanities without Walls consortium initiative on “The Work of the Humanities in a Changing Climate.” Haiti team leaders for this music video were Rebecca Dirksen (co-PI), Kendy Vérilus, Anthony Pascal (Kompè Filo), and Roosevelt Saillant (BIC).
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MacDonald, Raymond, and Suvi Saarikallio. "Musical identities in action: Embodied, situated, and dynamic." Musicae Scientiae 26, no. 4 (December 2022): 729–45. http://dx.doi.org/10.1177/10298649221108305.
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This article provides a critical overview of musical identities as a research topic. A broad distinction between identities in music (IIM) and music in identities (MII) highlights how musical engagement is central to identity construction. These concepts are integrated with recent advances in psychological theory derived from enactive cognition (4E cognition) to propose a new framework for understanding musical identities, Musical Identities in Action (MIIA). This framework foregrounds musical identities as dynamic (constantly evolving, dialogical, and actively performed), embodied (shaped by how music is physically expressed and experienced), and situated (emergent from interaction with social contexts, technologies, and culture). Musical identities are presented as fluid and constructed through embodied and situated action. Interdisciplinary research on music and adolescence is utilized to show how the MIIA framework can be applied to specific contexts and how musical identities interact with other aspects of life. Examples of the embodied nature of musical identities are provided from early interactions to professional performance and everyday informal engagement. Technology is highlighted as one topical and situated context, using digital playlists and a recent online improvisation project as examples. Implications of the MIIA framework for education and health are also presented, proposing that a key goal of music education is the development of positive musical identities. Recent advances in humanities research such as post-qualitative inquiry (PQI) and metamodern philosophical theory are proposed as useful multidisciplinary approaches for developing new knowledge related to musical identities.
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Grimait, Joan. "Some military musical topics before 1914." New Sound, no. 44-2 (2014): 33–52. http://dx.doi.org/10.5937/newso1444033g.
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The article deals with military musical topics in concert music. Historically, the first World War marks a shift in the value of those topics. In Romantic music, martial topics are mostly euphoric: the virtual marching characters are the "good guys". In most of the music after the bloody conflict, however, the March represents the dark side of humanity's aggressiveness. This shift can be heard in Shostakovich's and Prokofiev's works, and has a clear precedent in the music of Gustav Mahler, who intuitively foresaw the forthcoming disasters. The article also describes two military topics that have received too little attention, despite their frequent use: the 'Dysphoric March' and the 'Toy Army'. (The latter was described, but not labelled, by Raymond Monelle [2000]).
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O’Rourke, Russell. "Armida on the Beach: A Cinquecento Rhetorical Model of the Emotions and Its Musical Reception." Journal of the American Musicological Society 76, no. 3 (2023): 587–644. http://dx.doi.org/10.1525/jams.2023.76.3.587.
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Abstract For music to arouse the emotions, observes the sixteenth-century Venetian music theorist Gioseffo Zarlino, four ingredients are required: harmony, rhythm, text, and “a well-disposed subject [soggetto ben disposto] fit to receive some emotion [passione].” The last point—that listeners must be properly “disposed” toward an emotion before they can be moved—features in contemporaneous writings as diverse as Torquato Tasso’s epic Gerusalemme liberata (1581) and Bartolomeo Cavalcanti’s manual on oratory La retorica (1558). The present article unveils this neglected aspect of Cinquecento theories of music and emotion and explores its relevance to the Italian madrigal. Specifically, I propose the importance to sixteenth-century conversations about music and the affetti of what I call the two-stage model of emotional arousal, a paradigm according to which the onset of emotion in any listener takes place in two phases: first, a subtle inclination toward a given emotion; and second, the true “movement” of the soul that constitutes the emotion itself. Hitherto unidentified in both musicology and the humanities in general, this model stems, I show, from the ancient rhetorical tradition, with Aristotle’s Rhetoric its probable fons et origo. After tracing the model’s influence across a corpus of literary and theoretical texts, I study its implications for musical analysis in a madrigal cycle by Giaches de Wert on stanzas by Tasso: “Vezzosi augelli,” “Qual musico gentil,” and “Forsennata gridava,” all from the composer’s Ottavo libro de madrigali (1586). This case study invites reconsideration of staple text-setting devices of the genre, including declamatory homophony and the madrigalism.
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Dobrota, Snježana, and Ina Reić Ercegovac. "Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia." British Journal of Music Education 34, no. 1 (October 25, 2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.
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The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relationship between music preferences and secondary school music education was not found, but those participants who attended music school preferred some music styles more than did those participants who did not attend music school. There was a significant correlation found between the frequency of attending classical music concerts and preferences for classical music, jazz and world music. Finally, the results indicated that people who frequently attend musical theatre productions have significantly higher preferences for jazz and world music. The authors pointed to the problem of unattractiveness of music lessons in secondary schools and suggest possible solutions to the problem.
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Калицкий, V. Kalitskiy, Диденко, and N. Didenko. "Musical Communication: Problems of Theory and Practice." Modern Communication Studies 3, no. 4 (August 15, 2014): 10–16. http://dx.doi.org/10.12737/5396.
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The article considers the concept of musical communication as the content
of music and performing practice. Phenomenon of existence of a musical
work in miscommunication relationships. Reveals the importance of
an integrated approach for the most successful performance of a musical
work. The need detailed consideration of the phenomenon of musical communication
serves to update through a review and analysis as a means
of Humanities and art history. The essence and specific features of the
phenomenon are projected on specific examples of music: in the process
of composing musical works of the composer, his artistic interpretation by
the contractor and multifaceted perception of the recipient. The authors of
this article, with special emphasis on musical practice of the twentieth century
(especially in the field of writing and interpretation of piano works by
russian and western european composers and performers), allowing most
adequately and fully disclose material provisions of musical communication.
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Meroño-Peñuela, Albert. "Digital Humanities on the Semantic Web: Accessing Historical and Musical Linked Data." Journal of Catalan Intellectual History 1, no. 11 (October 1, 2017): 144–49. http://dx.doi.org/10.1515/jocih-2016-0013.
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AbstractKey fields in the humanities, such as history, art and language, are central to a major transformation that is changing scholarly practice in these fields: the so-called Digital Humanities (DH). A fundamental question in DH is how humanities datasets can be represented digitally, in such a way that machines can process them, understand their meaning, facilitate their inquiry, and exchange them on the Web. In this paper, we survey current efforts within the Semantic Web and Linked Data, a family of Webcompatible knowledge representation formalisms and standards, to represent DH objects in quantitative history and symbolic music. We also argue that the technological gap between the Semantic Web and Linked Data, and DH data owners is currently too wide for effective access and consumption of these semantically enabled humanities data. To this end, we propose grlc, a thin middleware that leverages currently existing queries on the Web (expressed in, e.g., SPARQL) to transparently build standard Web APIs that facilitate access to any Linked Data.
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Soto Silva, Ignacio. "William Echard. Psychedelic Popular Music: A History Through Musical Topic Theory. Indiana University Press, 2017, 306 pp." ALPHA: Revista de Artes, Letras y Filosofía 1, no. 50 (July 10, 2020): 345–48. http://dx.doi.org/10.32735/s0718-2201202000050800.
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El concepto de tópico musical fue acuñado por Leonard Ratner en la década de los 80’ en su libro Classic Music: Expression, Form, and Style. Esta primera aproximación sugirió un cambio notable que se observaría luego en la semiología de la música, en concreto, en el estudio de las prácticas musicales del clasicismo y romanticismo –un ejemplo claro de esto es el The Oxford Handbook of Topic Theory, editado por Danuta Mirka y publicado en 2014 por la editorial Oxford University Press...
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Mundy, Rachel. "Birdsong and the Image of Evolution." Society & Animals 17, no. 3 (2009): 206–23. http://dx.doi.org/10.1163/156853009x445389.
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AbstractFor nearly a quarter of Darwin's Descent of Man (1871), it is the singing bird whose voice presages the development of human aesthetics. But since the 1950s, aesthetics has had a perilous and contested role in the study of birdsong. Modern ornithology's disillusionment with aesthetic knowledge after World War II brought about the removal of musical studies of birdsong, studies which were replaced by work with the sound spectrograph, a tool that changes the elusive sounds of birdsong into a readable graphic image called a spectrogram. This article narrates the terms under which the image, rather than the sound, of birdsong has become a sign of humanity's ability to reason objectively. Drawing examples from the strange evolutionary tales that exist at the juncture of ornithology, music history, illustration, and linguistics, this story suggests how it was that the human ear disappeared in the unbridgeable gap between the sciences and the study of aesthetics so tellingly termed "the humanities."
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Salaman, William. "The Role of Graded Examinations in Music." British Journal of Music Education 11, no. 3 (November 1994): 209–21. http://dx.doi.org/10.1017/s0265051700002175.
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The perceived benefits of graded examinations are compared with the actual benefits that they bring and are then weighed against the more general and widely accepted desirable outcomes of musical education in Great Britain. The syllabus of a typical graded examination is analysed in some detail and the conclusions drawn suggest that the time-honoured format of graded examinations serves only some of the musical needs of pupils. Some radical suggestions for up-dating examinations are discussed.This article is based on some of the materials prepared for the certificate course: Music Teaching in Private Practice to be mounted by the University of Reading Department of Arts and Humanities in Education in collaboration with the Incorporated Society of Musicians.
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Frith, Simon, Matt Brennan, Martin Cloonan, and Emma Webster. ""Analysing Live Music in the UK" Findings One Year into a Three-Year Research Project <br> doi:10.5429/2079-3871(2010)v1i1.3en." IASPM Journal 1, no. 1 (April 8, 2010): 1–30. http://dx.doi.org/10.5429/335.
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This series of articles presents the findings of a research team who are one year into a three-year project investigating the social, cultural and economic impact of live music in the UK over the past 50 years. The project is funded by the UK's Arts and Humanities Research Council, and rather than focusing on a particular musical genre, it concentrates instead on understanding live music from the perspective of the live music promoter. The project aims to fill a significant gap in the scholarly knowledge and understanding of contemporary British musical culture, and to challenge and refine existing record-industry based accounts of music as a creative industry. The articles cover the team's progress in the following areas: the creation of an analytical framework to explore the historical, cultural, and institutional aspects of live music promotion; the development and professionalisation of the British live music industry over the past 50 years, and its changing relationship with the recording industry over the same period; the role of the state in the regulation of live music in the UK; and ethnographic research investigating how live music scenes operate in specific British localities.
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Gordeeva, Tatyana. "RESULTS OF THE INTERNATIONAL CONFERENCE «MEDICINE AND ART: FROM BEKHTEREV TO THE PRESENT». STRATEGIC WAYS OF INTERDISCIPLINARY INTEGRATION." Medicine and Art 2, no. 1 (April 15, 2024): 64–76. http://dx.doi.org/10.60042/2949-2165-2024-2-1-64-76.
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The results of the international conference on music therapy «Medicine and Art:from Bekhterev to the present day», held in March 2024 in Kazan as part of the anniversary neurological forum «NeuroWeek-Kazan 2024», are analyzed. The speakers of the conference presented the experience of the health and therapeutic effects of musical sound and musical art, highlighted the achievements of theoretical and experimental research in related sciences, natural sciences and humanities. Having gathered speakers from different countries, the conference showed the growing interest of scientists in the topic of music therapy and became an indicator of the high authority that the school of Russian scientific music therapy, headed by Professor S.V. Shushardzhan, has gained. As a result of the exchange of views and the establishment of new interdisciplinary contacts, new prospects for the development of this area were outlined.
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Mundy, Rachel. "Evolutionary Categories and Musical Style from Adler to America." Journal of the American Musicological Society 67, no. 3 (2014): 735–68. http://dx.doi.org/10.1525/jams.2014.67.3.735.
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As we consider music's role in defining races, cultures, and species, musicologists may benefit from examining more closely the history of conceptions of musical style. That history offers an opportunity to reassess the question of how and how much one of the core tools of music scholarship—the recognition and categorization of musical style—reflects a historical tradition of categorizing culture as a form of essential, biologized difference. This exercise seems particularly relevant in the present moment, when scholarly style categories converge with a renewed interest in evolutionary science. Tracing notions of style from the days of Guido Adler to the present, I argue that classifications of musical style have offered a way for music scholars to explore changing concepts of human difference. By asking what it means to identify a musical style, it is possible to engage more sensitively with music's power to classify human cultures, define human beings, and demarcate the perimeter of the humanities.
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Justus, Timothy. "Toward a Naturalized Aesthetics of Film Music." Projections 13, no. 3 (December 1, 2019): 1–22. http://dx.doi.org/10.3167/proj.2019.130302.
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In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber’s Adagio for Strings—I follow the example set by Murray Smith in Film, Art, and the Third Culture and discuss the complementary approaches of the humanities, the behavioral sciences, and the natural sciences to understanding music and its use in film.
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Zuk, Patrick. "Music as post-traumatic discourse: Nikolay Myaskovsky’s Sixth Symphony." Arts and Humanities in Higher Education 17, no. 1 (January 12, 2018): 104–18. http://dx.doi.org/10.1177/1474022216684636.
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This essay explores ways in which musicologists might extend work undertaken by humanities scholars in the interdisciplinary field of trauma studies that has highlighted the centrality of traumatic experience to modernist creativity. It is focussed around a case study of a musical composition that represents the emotional aftermath of a traumatic event, the Sixth Symphony of the Soviet composer Nikolay Myaskovsky (1923). A central concern is to demonstrate how the symphony’s musical symbolism is strikingly evocative of typical features of post-traumatic mentation, such as dissociation and emotional numbing, and the inhibition of the ability to mourn. It closes by considering the potential implications of the findings for understanding work by other modernist composers.
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Perry, Helga. "Musical bumps: indexing musical terms." Indexer: The International Journal of Indexing: Volume 16, Issue 4 16, no. 4 (October 1, 1989): 251–53. http://dx.doi.org/10.3828/indexer.1989.16.4.6.
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Li, Lei. "Improved Feature Pyramid Convolutional Neural Network for Effective Recognition of Music Scores." Computational Intelligence and Neuroscience 2022 (May 9, 2022): 1–9. http://dx.doi.org/10.1155/2022/6071114.
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Music written by composers and performed by multidimensional instruments is an art form that reflects real-life emotions. Historically, people disseminated music primarily through sheet music recording and oral transmission. Among them, recording music in sheet music form was a great musical invention. It became the carrier of music communication and inheritance, as well as a record of humanity's magnificent music culture. The advent of digital technology solves the problem of difficult musical score storage and distribution. However, there are many drawbacks to using data in image format, and extracting music score information in editable form from image data is currently a challenge. An improved convolutional neural network for musical score recognition is proposed in this paper. Because the traditional convolutional neural network SEGNET misclassifies some pixels, this paper employs the feature pyramid structure. Use additional branch paths to fuse shallow image details, shallow texture features that are beneficial to small objects, and high-level features of global information, enrich the multi-scale semantic information of the model, and alleviate the problem of the lack of multiscale semantic information in the model. Poor recognition performance is caused by semantic information. By comparing the recognition effects of other models, the experimental results show that the proposed musical score recognition model has a higher recognition accuracy and a stronger generalization performance. The improved generalization performance allows the musical score recognition method to be applied to more types of musical score recognition scenarios, and such a recognition model has more practical value.
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Pavlenko, Oleksii, Ihor Shcherbak, Viktoriia Hura, Valentyn Lihus, Iryna Maidaniuk, and Tamara Skoryk. "Development of Music Education in Virtual and Extended Reality." BRAIN. Broad Research in Artificial Intelligence and Neuroscience 13, no. 3 (September 30, 2022): 308–19. http://dx.doi.org/10.18662/brain/13.3/369.
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The relevance of the chosen topic of the paper is determined by the need to study the development of music education in our time in virtual and augmented reality, focused on the study of new vectors of music education in Ukraine and its entry into the world educational and cultural space based on innovative technologies. The study aims to define and justify the development of music education in virtual and augmented reality, research of innovative technologies to expand the possibilities of the creative process in the art of music, and definition of methods of musical expansion reality. The paper analyzes the directions of development of music education in the works of researchers and scientists, as in the last few decades, scientists have become more interested in the virtualization of society and music education, in particular. Virtual reality is becoming the object of study in philosophy and the humanities and the natural sciences, art history. The article also collects theoretical developments on the topic, specifies the tasks in the music education system in our time in virtual and augmented reality, explores the role and place of innovative technologies to expand the creative process in music, methods of expanding musical reality determined.
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Hodge, Matthew. "Disney ‘World’: The Westernization of World Music in EPCOT’s “IllumiNations: Reflections of Earth”." Social Sciences 7, no. 8 (August 13, 2018): 136. http://dx.doi.org/10.3390/socsci7080136.
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Although Disney’s EPCOT theme park markets itself as a place to experience other cultures and reflect on Earth’s history, the dominance of a Western perspective omits true authenticity, specifically in the music of its nighttime show IllumiNations: Reflections of Earth. This 13-minute long presentation offers a visual retelling of humanity’s existence accompanied by an original musical score that guides the narrative. The consecutive music section titles provide insight into critical points within Disney’s story arc: Prologue: Acceleration, Chaos, Space, Life, Adventure, Home, Celebration, and Meaning. While sounds of music from other cultures do present themselves—albeit in stereotypical and clichéd fashions— they are arbitrarily highlighted within a framework of Western musical components. This framing allows Disney composers to control the perception of ‘others’ through music. Furthermore, the final Meaning section is entirely built of Euro-American musical conventions, insinuating that cultures arrive at their most enlightened, evolved selves when they become Westernized. Despite its impressive technological advances and complex musical composition, IllumiNations: Reflections of Earth is guilty of implementing Western musical frameworks that Disney utilizes in the majority of its films and theme parks.
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Bowan, Kate. "Living between Worlds Ancient and Modern: The Musical Collaboration of Kathleen Schlesinger and Elsie Hamilton." Journal of the Royal Musical Association 137, no. 2 (2012): 197–242. http://dx.doi.org/10.1080/02690403.2012.717467.
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AbstractMusicology has recently re-evaluated the nature, form and purpose of musical biography, reflecting a broader ‘biographical turn’ in the humanities. This article takes up recent challenges to move beyond the traditional model of the ‘life and works’ of ‘great’ composers and joins the search for new paradigms of musical biography. The lives of the Australian microtonal composer Elsie Hamilton (1880–1965) and the British music archaeologist Kathleen Schlesinger (1862–1953), and their collaboration, which spanned three decades, are offered as a case study that demonstrates the importance of international and transnational networks for comparative musicology and modern music, and reveals the role of women as critical agents of scholarship and cultural transmission. It also lays bare the considerable influence exerted by the fin de siècle occult revival upon the search for new modalities of musical expression. It is an example of how a biographical approach allows an expansive examination of a mentalité and can bring together a range of discourses to reveal unrecognized connections and relationships.
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Jeż, Tomasz. "The Music Repertoire of the Society of Jesus in the Polish-Lithuanian Commonwealth (1565–1773)." Musicology Today 13, no. 1 (December 1, 2016): 32–40. http://dx.doi.org/10.1515/muso-2016-0002.
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Abstract The paper presents the research project coordinated by the University of Warsaw and financed by the Minister of Science and Higher Education as part of the “Tradition 1a” module of the National Programme for the Development of Humanities. The main task of this research project is the documentation of the Jesuit music repertory produced and disseminated on the territory of the Polish-Lithuanian Commonwealth. The results of the project work will be published in a new editorial series, which will include catalogues of sources and music iconography, monographs, databases and critical editions of music-related sources of Jesuit provenience. The publications will appear in print and on-line. The expected research results will serve not only musicologists, but also representatives of other fields of humanities. The work of the international research team is hoped to restore to the national heritage the forgotten monuments of Jesuit musical culture and should lead to a reliable assessment of their historical value. The results of the research of the international team of scientists will influence the present-day sense of identity of the countries which in the past jointly formed the literary culture our Commonwealth.
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Khurmatullina, Rezeda. "Mobility and Global Interaction of Chinese and Turkic Musical Cultures." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 33–38. http://dx.doi.org/10.30819/aemr.10-5.
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The study of the mobility and interaction of musical cultures as a reflection of global social processes has great potential in historical, cultural, musicological and other aspects. The purpose of this article is to study the interaction of Chinese and Turkic musical cultures in historical retrospect and in the modern realities of educational migration and academic mobility. All qualitative methods applied in this article are derived from social sciences and the humanities.
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Ravignani, Andrea, and Tessa Verhoef. "Which Melodic Universals Emerge from Repeated Signaling Games? A Note on Lumaca and Baggio (2017)." Artificial Life 24, no. 2 (May 2018): 149–53. http://dx.doi.org/10.1162/artl_a_00259.
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Music is a peculiar human behavior, yet we still know little as to why and how music emerged. For centuries, the study of music has been the sole prerogative of the humanities. Lately, however, music is being increasingly investigated by psychologists, neuroscientists, biologists, and computer scientists. One approach to studying the origins of music is to empirically test hypotheses about the mechanisms behind this structured behavior. Recent lab experiments show how musical rhythm and melody can emerge via the process of cultural transmission. In particular, Lumaca and Baggio (2017) tested the emergence of a sound system at the boundary between music and language. In this study, participants were given random pairs of signal-meanings; when participants negotiated their meaning and played a “game of telephone” with them, these pairs became more structured and systematic. Over time, the small biases introduced in each artificial transmission step accumulated, displaying quantitative trends, including the emergence, over the course of artificial human generations, of features resembling properties of language and music. In this Note, we highlight the importance of Lumaca and Baggio's experiment, place it in the broader literature on the evolution of language and music, and suggest refinements for future experiments. We conclude that, while psychological evidence for the emergence of proto-musical features is accumulating, complementary work is needed: Mathematical modeling and computer simulations should be used to test the internal consistency of experimentally generated hypotheses and to make new predictions.
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Oliva, Diane. "Sonic Decency: Music in the Aftermath of Guatemala’s 1773 Santa Marta Earthquake." Journal of the American Musicological Society 76, no. 1 (2023): 169–221. http://dx.doi.org/10.1525/jams.2023.76.1.169.
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Abstract For several decades, the topic of natural disaster has featured significantly across the humanities; in musicology, however, the severity of such events has been marked primarily in the footnotes to our histories. Often leaving a substantial and insurmountable lacuna in the historical record, natural disasters are rarely considered for their generative potential. This article demonstrates the value of a disaster-studies approach to musicology, showing how natural events can have long-term impacts on the development and evolution of musical practices. It centers on the Santa Marta earthquake of 1773 and its effects on music and musicians in the colonial capital of Santiago de Guatemala. Colonial disasters, in particular, generated a flurry of written documentation, requiring correspondence at the local, regional, and imperial level to negotiate the process of restoring order to urban centers. I argue that it is precisely the disruptive nature of disaster that allows us to observe new details of both the extraordinary and ordinary musical practices of a colonial city. Embedded in an extensive archival record is evidence of the ways ecclesiastical notions of decencia (decency) in the post-disaster landscape were enacted through musical performance, which contributed to the political process of reinstating colonial power over a destroyed Guatemala. The article expands the relationship between music and nature, placing colonial musical practices in dialogue with the sociopolitical impacts of disaster, weaving together a history of music that intersects with environmental history.
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Chan, Eleanor. "Scrollwork: Visual Cultures of Musical Notation and Graphic Materiality in the English Renaissance." Journal of Medieval and Early Modern Studies 53, no. 2 (May 1, 2023): 347–77. http://dx.doi.org/10.1215/10829636-10416642.
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Early modern English musical notation bears a fleeting resemblance to that of its modern counterpart. This superficial similarity conceals the markedly different manner in which early music notation functioned and the clues that it offers for an older and more dynamic way of reading music. This form of notation was not a transcription for future performance but rather a provocation to performance. As a result, musical notation frequently “leaked” into decorative margins. The musical pages of this period display evident delight in melding, blending, and blurring the distinction between decorative and notational elements in an effort to forge musical meaning. This article explores how far the curled lines of musical notation and ornamentation can be thought of as visual prompts to think about music and its continuation beyond the space of the page, testament to an older, more playful understanding of how to read music.
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Cherkasov, Vladimir. "Number 13 / Part I. Music. 8. The Development of Music-Pedagogical Education of Ukraine in The 60's –70-ies of The XX Century." Review of Artistic Education 13, no. 1 (March 1, 2017): 66–78. http://dx.doi.org/10.1515/rae-2017-0008.
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Abstract The article has analyzed and systematized the development of musical-pedagogical education in Ukraine in the 60's -70-ies of XX century. It has summarized the experience of training of specialists with higher musical-pedagogical education at the faculties of Humanities, where the 50's - 60's graduates received diplomas of philologists, historians, geographers with additional qualification of a teacher of music and singing. It has also been grounded the establishment of the first musical-pedagogical faculties at educational institutions in different regions of Ukraine (Kyiv, Luhansk, Drohobych, Odesa, Zaporozhia). Having based on the analysis of the archival documents it has been revealed the main directions of the formation of teaching staff of specialized departments, organization of the educational process, creation of the art groups, participation of students in research work, teaching practice at secondary schools. It has been proved the importance of concert performance and musical educational work in the pedagogical formation of prospective teachers of music and singing. Their role in raising the level of musical and aesthetic education of children and youth in the 60's of last century has been proved. The 70‟s years of the twentieth century of the history of Ukraine are known as the years of corresponding changes in the socio-political processes, "thaw" in all spheres of life, particularly in the organization of higher education activity. This period of musical-pedagogical education is characterized by democratization and the search for more advanced forms of the educational-upbringing process.
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Sarasas, Sinnapa. "HOAMROANG SAM PRASAN: The Overture of Three Southern Cultures Concept from The Viewpoint of an Intercultural Composer and Musician." MANUSYA: Journal of Humanities 24, no. 1 (June 14, 2021): 37–52. http://dx.doi.org/10.1163/26659077-02401010.
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Abstract This article examines the process of combining three distinct traditional music cultures in Pattani, Thailand, into one piece of music. The author was the music director of the “Hoamroang Sam Prasan” (Overture: Harmony of the Three). Since the three musical traditions – Nora, Rong Ngeng and Digir Hulu, and Chinese drums ensemble – are similar yet different, the work was both easy and difficult. As someone with long experience in intercultural music, I developed a distinct way to do collaborative work. I seek to ensure musicians contribute their best to the piece, establish bonds of trust to co-operate, so they are willing to share in different ideas and training. The project drew the best from traditional musicians so they could develop new work on their own terms with their own musical abilities in a mode I call “conservative contemporary music.” Both artists and audiences could better appreciate the vitality of different musical traditions and their lively interactions more fully.
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Wood, Stuart. "Beyond Messiaen’s birds: the post-verbal world of dementia." Medical Humanities 46, no. 1 (May 29, 2019): 73–83. http://dx.doi.org/10.1136/medhum-2018-011616.
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This paper investigates the use of verbatim musical transcription as a research method in dementia care. It reports on an art-based ethnographic study (Aesthetic Research in Everyday Life (Aeriel)) in which verbatim transcription was applied to everyday interactions in dementia care, making use of musical—instead of verbal—notation. Starting from the notion that medical and healthcare settings can be sites of ‘found performance’, the paper reviews literature relating to artistic methodologies within medical humanities, music, ethnography and dementia care. From this review, it proposes a research design and method of verbatim musical transcription as a potential avenue of investigating communication between carer and cared for in dementia care. The paper offers an illustrative example from Aeriel and draws conclusions from the synthesis of verbal and musical data analysis. Findings indicate an important advance in studies of dementia care communication towards a concept of the ‘post-verbal’ enabled by a musical research method and the clinical applications that it offers.
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Konovalova, І. "Receptions of the “Piece Of Musiс” Concept in the Modern Scientific Discourse." Culture of Ukraine, no. 80 (June 30, 2023): 82–88. http://dx.doi.org/10.31516/2410-5325.080.10.
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The article is devoted to disclosure of multilevel comprehension of the “piece of music” concept in the modern musicology and determinants of the multiplicity of connotations of its ontological and phenomenological specifics in the interdisciplinary space of the humanities.
The purpose of the article — to determine the specifics of reception of the “piece of music” concept and phenomenon in the modern scientific discourse.
The methodology of research is complex and based on the comparative, cultural, art historical scientific approaches, fundamentals of systematic and analytical, phenomenological, descriptive and terminological methods of analysis with the use of musicological methodological tools.
The results. The notional transformations of the “piece of music” concept in the musical culture of the second half of the XX century are studied and on the basis of systematization of modern trends and levels of analytics of the “piece of music” concept, generated in the humanistic and musicological area, new approaches to reception of the same concept and phenomenon (thesaurus, language and semiotic, discursive, communicative and psychological) are outlined. The cultural ambivalence of the music work phenomenon, the multilayered process of objectification of the artistic information, contained herein and presented in the intonation and figurative form, are disclosed.
The scientific novelty of the article pertains to application of a hermeneutic and phenomenological approach to explication of the piece of music and its post-avant-garde modifications (installations, performances, “open” compositions etc., with their intension for unique and momentary expression of experience and unscriptedness in traditional frameworks of music opuses), constituting different manifestations and facets of an integral and multifaceted phenomenon of the music work and determination of its hypostasis as an artifact of culture, result of spiritual production, process/deliverables of the creator’s activities (author and performer), carrier of an artistic meaning (musical semantic image) and value context.
It is emphasized that the ontological and existential nature of the music work, its functional and notional polyphony, the focus of the world images and the author image in its artistic fabric make it possible to consider it in the multiplicity of perspectives (philosophical and aesthetic, phenomenological, axiological, communicational and psychological, creative and practical, artistic and semantic, individual and personal, semiotic interpretation) and research paradigms.
The practical significance of the scientific intelligence lies in a possibility to apply the hermeneutic and phenomenological approach in the further development of the problems of a music work and involvement of the findings in the musical and pedagogical areas, in the training courses “musical aesthetics”, “philosophy of music”, “musical interpretation”, “analysis of music works” etc.
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Trehub, Sandra E. "Divergent Perspectives on Musical Knowledge, Expertise, and Science." Evolutionary Studies in Imaginative Culture 4, no. 2 (October 1, 2020): 121–34. http://dx.doi.org/10.26613/esic.4.2.194.
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Abstract I review two recent books on music, both inspired by cognitive neuroscience but differing in most other respects. Isabelle Peretz, an expert in the cognitive neuroscience of music, describes how we perceive and produce music, as reflected in neural and behavioral responsiveness. Her book is intended for general readers who are interested in music and curious about the science behind our musical nature—brains that are prepared for music and changed by active musical engagement. Lynn Helding, an expert in vocal performance and pedagogy, draws on findings from psychology and neuroscience to inform her approach to music learning and teaching. Aimed at musicians, aspiring musicians, and those who teach them, her book focuses largely on the means of optimizing learning and skilled performance.
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Alaminos-Fernández, Antonio Francisco. "Musical transformations of non-places." OBETS. Revista de Ciencias Sociales 13, no. 3 (November 9, 2018): 211. http://dx.doi.org/10.14198/obets2018.13.1.08.
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The twentieth and twenty-first century have been a temporary canvas where two closely related concepts have broadened, both in terms of modernity and supermodernity: ambient music and the development of urban spaces. Both phenomena undergo a development, interaction and sustained change process, largely caused by technological changes. For the purpose of this study, first the concept of "non-places" and its change from physical spaces to virtual spaces will be presented. In second place, the development of ambient music is specifically considered; first regarding the close relationship that it establishes with non-places and then the generation of atmospheres through collective sound spheres. Subsequent technological transformations spread and fragment the associations between non-places and music, enabling personal atmospheres through individual spheres. At present, technological developments allow virtual non-places to take shape (Augé), which are environmentally filled thanks to playlists through streaming services. Subsystems of delocalised networked spheres and temporary spheres are established, yet they are emotionally contiguous. This article presents the humanising role that music has experienced within this urban growth process in western societies, which have developed over the last century.
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Zhu, Jiaqiang, Xiaoxiang Chen, Fei Chen, Caicai Zhang, Jing Shao, and Seth Wiener. "Distributional learning of musical pitch despite tone deafness in individuals with congenital amusia." Journal of the Acoustical Society of America 153, no. 5 (May 1, 2023): 3117. http://dx.doi.org/10.1121/10.0019472.
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Congenital amusia is an innate and lifelong deficit of music processing. This study investigated whether adult listeners with amusia were still able to learn pitch-related musical chords based on stimulus frequency of statistical distribution, i.e., via distributional learning. Following a pretest-training-posttest design, 18 amusics and 19 typical, musically intact listeners were assigned to bimodal and unimodal conditions that differed in distribution of the stimuli. Participants' task was to discriminate chord minimal pairs, which were transposed to a novel microtonal scale. Accuracy rates for each test session were collected and compared between the two groups using generalized mixed-effects models. Results showed that amusics were less accurate than typical listeners at all comparisons, thus corroborating previous findings. Importantly, amusics—like typical listeners—demonstrated perceptual gains from pretest to posttest in the bimodal condition (but not the unimodal condition). The findings reveal that amusics' distributional learning of music remains largely preserved despite their deficient music processing. Implications of the results for statistical learning and intervention programs to mitigate amusia are discussed.
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DÍAZ MORILLO, ESTER. "‘FOR EVERMORE’: AN EXAMINATION OF MUSICAL EKPHRASES OF EDGAR ALLAN POE’S “THE RAVEN”." Revista de Estudios Norteamericanos, no. 27 (2023): 41–65. http://dx.doi.org/10.12795/ren.2023.i27.4.
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This article analyses the transfer of poetic language into music, focusing on Edgar Allan Poe’s celebrated poem “The Raven” (1845). After a theoretical study on poetic language and theoretical questions regarding transmediation, I look into different pieces of instrumental music directly inspired by Poe’s lines. To this end, I draw on ground-breaking research regarding media transformation by authors such as Lars Elleström, whose work provides the theoretical framework, and, most especially, Siglind Bruhn, who has written about the relation between poetry and music, and who coined the term “musical ekphrasis”. Finally, I argue that these composers transmediate Poe’s “The Raven” by using musical devices similar to those employed by Poe in his poem. Particularly important for this analysis will be compulsive repetition and variation as strategies of the musical ekphrasis, and the re-presentation of the uncanny in music.
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Shorey, Anya E., Caleb J. King, and Christian E. Stilp. "How do perceptual benefits from musical experience compare with those from speech experience?" Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A333. http://dx.doi.org/10.1121/10.0019048.
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Acoustic consistency facilitates perceptual processing while acoustic variability challenges it. This is evident in perceptual interference tasks, in which listeners categorize a target word/pitch when produced by either a single talker/musical instrument or multiple talkers/instruments. Responses are faster and/or more accurate for single-talker (e.g., Stilp & Theodore, 2020 AP&P) and single-instrument conditions (e.g., Shorey et al., 2022 ASA). While patterns of results are parallel across domains, listening experience is not. Participants in speech tasks are experts at their native language, but in the music task the contribution of musical experience is unclear because Shorey et al. tested solely nonmusicians. This raises two questions: (1) does more musical training increasingly protect against timbral variability when making pitch judgments, and (2) how does musical expertise compare with speech expertise? To evaluate these questions, we tested native English speaking nonmusicians (<2 years of formal musical training), intermediate musicians (2–9 years), and experienced musicians (10 + years) in speech interference and music interference tasks. We predict that musical training offers resilience to variability, such that interference in the music task will decrease with increasing musical experience. We also predict correlated interference for advanced musicians (i.e., experts) across speech and music tasks. Results will be discussed.
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Li, Ang. "Historical Evolution of the Popularization of Classical Music and the Development of the Fusion of Multiple Musical Styles." Herança 7, no. 1 (December 21, 2023): 113–25. http://dx.doi.org/10.52152/heranca.v7i1.810.
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The historical evolution of classical music and its fusion with different musical genres is an important phenomenon in the field of music. The aim of this thesis is to explore the historical evolution of the popularization of classical music and its fusion with a variety of musical genres. First, we define the characteristics of classical and popular music. Then, we examine the development of classical music in the history of popular music, including its relationship to blues, jazz, and American country music. Next, we summarize the history of the fusion of classical and popular music and analyze contemporary examples. Finally, we discuss the impact and future trends of the popularization of classical music. By examining this topic, we can better understand trends in musical preferences and the role of classical music in music culture.
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Johansson, Barbro B. "Language and Music: What do they have in Common and how do they Differ? A Neuroscientific Approach." European Review 16, no. 4 (October 2008): 413–27. http://dx.doi.org/10.1017/s1062798708000379.
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The concept of two largely independent systems, with strict left hemisphere lateralization of language and predominantly right lateralization of music is being challenged by the alternative view that language and music are closely related cognitive and neural systems with complex constellations of sub-processes, some of which are shared, and others that are not. Neurophysiologic data demonstrating similar syntax and semantics processing together with similarities in the development of the two domains in the infant brain support that language and music have much in common and complement each other. Close interaction between the two hemispheres is needed for optimal functioning of both language and music. Thus, the right hemisphere has an important role for understanding complex natural language such as stories and metaphors. Learning to read, write and musical training induces functional and anatomical changes in functionally relevant connections, and modifies hemispheric asymmetries for specific functions. Comparative research on music and language provides a way to study basic brain mechanisms and how the brain transfers acoustic stimuli into the unique human abilities for language and music, and may help bridge the divide between the sciences and the humanities.
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Knapp, Raymond, and Holley Replogle-Wong. "A conversation with Jeanine Tesori." Studies in Musical Theatre 17, no. 1 (April 3, 2023): 35–53. http://dx.doi.org/10.1386/smt_00114_7.
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Jeanine Tesori, in conversation with Raymond Knapp and Holley Replogle-Wong of the UCLA Center for Musical Humanities, discusses her journey, creative process and commitment to telling the stories of people underrepresented on the musical stage. The Q&A that followed, with members of a recent student production of Fun Home, engaged her in further discussions about contemporary musical theatre and the specific challenges of bringing Fun Home to life onstage.