Journal articles: 'Music examiners'

1

Susino, Marco. "Examining the Examiners: Investigating IT and Music Examination Boards." Journal of Information Technology Teaching Cases 4, no. 1 (May 2014): 49–57. http://dx.doi.org/10.1057/jittc.2014.1.

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Ross, Valerie. "External music examiners: micro–macro tasks in quality assurance practices." Music Education Research 11, no. 4 (December 2009): 473–84. http://dx.doi.org/10.1080/14613800903390774.

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Southcott, Jane. "Examining Australia: The Activities of Four Examiners of the Associated Board for the Royal Schools of Music in 1923." Journal of Historical Research in Music Education 39, no. 1 (May 12, 2017): 51–77. http://dx.doi.org/10.1177/1536600617709543.

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In the mid-nineteenth century, a system of music examinations was initiated in Britain that came to encompass the far-flung reaches of the British Empire. These examinations offered an internationally recognized system of professional and musical standards. For the next several decades the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL) maintained this extensive system of graded instrumental and vocal examinations across large parts of the globe, principally those countries that were part of the British Empire (later the Commonwealth). Both the ABRSM and TCL continued examining for many years and this article discusses the work of four examiners appointed by the ABRSM to travel throughout the Empire, with a particular focus on Australia. The year selected is 1923. This is for several reasons. By 1923 the system of traveling expert examiners undertaking examinations across the country was well established; the vicissitudes and hardships of World War I and the influenza pandemic had passed; the practice of examiners traveling long distances by boat and train had resumed. At this time the British examinations were at their height despite the establishment of a rival Australian system, the Australian Music Examinations Board. The examiners not only undertook all the examinations across the country but also were influential public figures who spoke about music education and modern music in Britain. They gave concerts and public lectures and their activities were influential because of repeated reporting in the popular press. As a historian I am interested in the history of the commonplace—those well-established and pervasive activities that are taken for granted. Learning a musical instrument and taking annual graded practical and theoretical examinations was and continues to be a commonplace occurrence in Australia.

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Binek, Janek, Markus Sagmeister, Jan Borovicka, Matthias Knierim, Bernhard Magdeburg, and Christa Meyenberger. "Perception of Gastrointestinal Endoscopy by Patients and Examiners with and without Background Music." Digestion 68, no. 1 (2003): 5–8. http://dx.doi.org/10.1159/000073219.

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Winter, Neal. "Music Performance Assessment: A Study of the Effects of Training and Experience on the Criteria Used by Music Examiners." International Journal of Music Education os-22, no. 1 (November 1993): 34–39. http://dx.doi.org/10.1177/025576149302200106.

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Byrne, Charles, Raymond MacDonald, and Lana Carlton. "Assessing creativity in musical compositions: flow as an assessment tool." British Journal of Music Education 20, no. 3 (October 29, 2003): 277–90. http://dx.doi.org/10.1017/s0265051703005448.

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This study was designed to examine any links between the concept of flow or optimal experience and the creative output of student compositions. The creative products of group compositions by university students (n=45) were rated for creativity and on a number of standard criteria and compared with scores obtained from Experience Sampling Forms (Csikszentmihalyi & Csikszentmihalyi, 1988) completed by each participant. A significant correlation was found between optimal experience or flow levels of students and the quality of their group compositions as measured by creativity ratings. Some implications for educators and learners in the music classroom are explored and a proposed self-directed learning tool is discussed. Some of the issues on the assessment of creativity in music raised by Sheridan & Byrne (2002) are also discussed. This paper highlights the subjective nature of existing assessment procedures, considering whether examiners need extended criteria as opposed to a single dimension of creativity. The formative assessment nature of the flow paradigm is also explored.

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Sparshott, Francis, Roman Ingarden, Adam Czerniawski, and Jean G. Harrell. "Music Examined." Musical Times 128, no. 1734 (August 1987): 440. http://dx.doi.org/10.2307/965012.

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8

Ihde, Don. "Technologies—Musics—Embodiments." Janus Head 10, no. 1 (2007): 7–24. http://dx.doi.org/10.5840/jh20071012.

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Today recorded music probably accounts for the single largest category of music listening. This essay seeks to re-frame the usual understanding of the role of that type of music. Here the history and phenomenology of instrumentally mediated musics examines pre-historic instruments and their relationship to skilled, embodied performance, to innovations in technologies which produce multistable trajectories which result in different musics. The ancient relationship between the technologies of archery and that of stringed instruments is both historically and phenomenologically examined. This narrative is then paralleled by a similar examination of the history and variations upon recorded and then electronically produced music. The interrelation of music-technologies and embodiment underlies this interpretation of musical production.

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Rustiyanti, Sri. "Musik Internal dan Eksternal dalam Kesenian Randai." Resital: Jurnal Seni Pertunjukan 15, no. 2 (March 15, 2015): 152–62. http://dx.doi.org/10.24821/resital.v15i2.849.

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Kehidupan musik pada masyarakat Minangkabau tidak terlepas adanya peranan serta fungsi yang melekat pada kesenian Randai. Melalui pendekatan etnomusikologi, tulisan ini menelaah peranan musik internal dan eksternal dalam kesenian Randai. Kesenian ini menggunakan medium seni ganda atau kolektif karena didukung oleh beberapa cabang seni antara lain tari, musik, teater, sastra, dan rupa. Hasil penelitian menunjukkan bahwa musik iringan dalam Randai terbagi menjadi dua, yaitu musik internal dan musik eksternal. Musik internal adalah musik atau bunyi-bunyian yang berasal dari anggota tubuh manusia (penari), misalnya tepukan tangan, petik jari, tepuk dada, siulan, hentakan kaki ke tanah dan sebagainya, sedangkan musik eksternal adalah bunyi-bunyian atau suara yang berasal dari alat musik atau instrumen seperti talempong, gandang, saluang, dan rabab. The Role of Internal and External Music in the Arts of Randai. The musical life in Minangkabau society is inseparable from its roles and functions which attach to the arts of Randai. Through the ethnomusicology approach, this paper examines the role of internal and external music in the art of Randai. Considering its sustainability and amendment, the musicality is the identity of Minangkabau society so that the sustainability of the music can be run in accordance with the dynamics of society today. Among the types of arts in Minangkabau, Randai is an art form that uses multiple or collective art medium for it is supported by several branches of the arts, including dance, music, theater arts, literary arts, and fine arts. The results of this study is more focused on the art of music. Musical accompaniment in Randai is divided into two, namely internal and external music. The internal music is the music or the sounds that come from the human body (a dancer), for example, clapping, finger picking, patting the chest, whistling, stomping on the ground, and so on, while the external music is the sounds emanating from the tools of music or instruments, such as talempong, gandang, saluang, and rabab.

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10

Morton, Melissa. "‘Where Did That Voice Come From?’." MUSIC.OLOGY.ECA 1 (September 11, 2020): 8–25. http://dx.doi.org/10.2218/music.2020.5695.

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For the last two decades, the viewers of televised talent competitions have witnessed an intriguing phenomenon—singers with voices that fail to ‘match’ their bodies. With a particular focus on female child singers, this article explores the phenomenon of the ‘mismatched girl’. Combining theories from voice studies and musicology, the article examines the depiction of the relationship between voice and body within the talent competitions. Ultimately, mismatched girls prompt journalists, fans, and musicians alike to consider fundamental questions concerning the human voice—where do voices come from and what do they mean?

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Anderson, Natasha. "Narrative and Number in Busby Berkeley’s Footlight Parade." MUSIC.OLOGY.ECA 1 (September 11, 2020): 40–59. http://dx.doi.org/10.2218/music.2020.5697.

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The backstage film musical was a successful genre of the brief ‘Pre-Code’ era of American film history (1929-1934), in which audiences witnessed the inner workings of a theatre studio and watched the creation and performance of a musical production unfold. This essay focusses on one of these film musicals, Footlight Parade, and examines its key musical numbers: ‘Honeymoon Hotel’, ‘By a Waterfall’ and ‘Shanghai Lil’. Using these examples, the article analyses the relationship between musical number and film narrative, while relating the film to wider issues surrounding musicals in the ‘Pre-Code’ era and beyond.

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MacLeod, Brian James. "Tunes of Glory." MUSIC.OLOGY.ECA 1 (September 11, 2020): 78–91. http://dx.doi.org/10.2218/music.2020.5699.

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The late-16th through to the early-17th century was a period of unprecedented upheaval and conflict throughout the British Isles. This article explores the transformative rise in social status of pipers in Highland society during this period of social, political, economic, and cultural change. Bagpipes, traditionally assigned a low-caste role in society in Ireland and Scotland, were transformed into a vehicle for a highly developed form of musical composition, ceòl mòr (‘great music’). The article examines the factors which allowed the families of hereditary pipers to achieve this significant change in fortune, whilst the highlighting the unique compositional form of pipe music which enabled their entry into the upper echelons of Gaelic society in Scotland.

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13

Hess, Juliet. "Troubling Whiteness: Music education and the “messiness” of equity work." International Journal of Music Education 36, no. 2 (April 11, 2017): 128–44. http://dx.doi.org/10.1177/0255761417703781.

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At the elementary level, White, female music teachers largely populate music education. In the diverse schools of Toronto in Canada, teachers navigate their White subjectivities in a range of ways. My research examines the discourses, philosophies, and practices of four White, female elementary music educators who have striven to challenge dominant paradigms of music education. Their practices include critically engaging issues of social justice, studying a broad range of musics, and emphasizing contextualization. In many ways, these teachers interrupt the Eurocentric paradigm of music education to explore other possibilities with students. However, equity work is messy, and there were also moments that unsettled these teachers’ active equity agendas. This article describes both the subversions and the reinscriptions in a way that might be instructive to music education.

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14

Bowen, Meirion, and David Drew. "Weill Examined." Musical Times 129, no. 1747 (September 1988): 462. http://dx.doi.org/10.2307/965671.

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Griffith, James S., and Neil Rosenberg. "Transforming Tradition: Folk Music Revivals Examined." Western Folklore 55, no. 2 (1996): 170. http://dx.doi.org/10.2307/1500185.

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Patterson, John S., Neil V. Rosenberg, and Alan Jabbour. "Transforming Tradition: Folk Music Revivals Examined." American Music 13, no. 3 (1995): 357. http://dx.doi.org/10.2307/3052620.

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Malone, Bill C., Neil V. Rosenberg, and Alan Jabbour. "Transforming Tradition: Folk Music Revivals Examined." Journal of Southern History 62, no. 4 (November 1996): 843. http://dx.doi.org/10.2307/2211191.

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18

Nurina, Lidya, Edlin Yanuar Nugraheni, and M. Budi Zakia Sani. "Eksistensi Musik Perkusi Cha Catuk Percussion di Kota Banjarmasin." Pelataran Seni 5, no. 2 (September 9, 2020): 111. http://dx.doi.org/10.20527/jps.v5i2.9127.

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Intisari Tulisan ini mengkaji topik tentang eksistensi kelompok musik perkusi Cha Catuk Percussion di Banjarmasin. Kajian atau penelitian ini menggunakan pendekatan deskriptif-kualitatif. Adapun teknik pengumpulan data yang digunakan adalah triangu-lasi, yang meliputi wawancara, observasi, dan analisis dokumen. Berdasarkan hasil kajian, dapat diketahui bahwa eksistensi musik perkusi dari kelompok Cha Catuk Percussion di Kota Banjarmasin cukup bernilai. Sejak beraktivitas di tahun 2010 hingga 2019, hampir satu dekade mereka memberi kontribusi bagi dunia per-tunjukan musik di masyarakat Kota Banjarmasin, bahkan lingkup Kalimantan Selatan. Ragam segmen acara dan bentuk kegiatan yang mereka ikuti menunjukkan kelompok Cha Catuk Percussion dapat diterima oleh publik Kota Banjarmasin, khususnya publik pertunjukan.Kata kunci: cha catuk percussion, musik perkusi, banjarmasin Abstract This paper examines the topic of the existence of the Cha Catuk Percussion music group in Banjarmasin. This study or research uses a descriptive-qualitative approach. The data collection technique used is triangulation, which includes interviews, observations, and document analysis. Based on the results of the study, it can be seen that the existence of percussion music from the Cha Catuk Percussion group in Banjarmasin is quite valuable. Since their activities in 2010 to 2019, almost a decade they have contributed to the world of musical performances in the people of Banjarmasin City, even in the scope of South Kalimantan. The various segments of the event and the forms of activities they participated in showed that the Cha Catuk Percussion group could be accepted by the Banjarmasin City public, especially the performance public.Keywords: cha catuk percussion, percussion music, Banjarmasin

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19

Meriani, Angelo. "Notes on the Prooemium in Musicam Plutarchi ad Titum Pyrrhynum by Carlo Valgulio (Brescia 1507)." Greek and Roman Musical Studies 3, no. 1-2 (February 9, 2015): 116–36. http://dx.doi.org/10.1163/22129758-12341031.

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The Prooemium in Musicam Plutarchi ad Titum Pyrrhinum, written by Carlo Valgulio at the end of the 15th century and published in Brescia in 1507 as an introduction to his Latin translation of the Plutarchean De musica, was one of the first descriptions and re-evaluations of ancient Greek music in the Modern Age. It was an extremely important text for music theorists such as Franchino Gaffurio, Vincenzo Galilei and Gioseffo Zarlino. This text is based upon a wide range of Greek sources, almost all of which derive from Porphyry’s Commentary on Ptolemy’s Harmonics. On the basis of manuscripts that were at his disposal, Valgulio produced the first Latin translations of all of these materials, commented on them and related them to his general argument, often adding personal observations. This study examines several passages of this text dealing with psycho-musicological topics, with the conative function of music and the relationship between music and dance.

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KEYES, CHRISTOPHER J. "Recent technology and the hybridisation of Western and Chinese musics." Organised Sound 10, no. 1 (April 2005): 51–56. http://dx.doi.org/10.1017/s135577180500066x.

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Although the hybridisation of Western and Chinese musics has been progressing for over a century, many early attempts tended to treat Chinese material in a rather superficial manner. This resulted in mere ‘Orientalist’ Western pieces and rather bland pentatonic/romantic ‘Chinese’ music that simply harmonised the basic outline of popular Chinese melodies with Western chord progressions. The use of recent technologies has greatly accelerated the pace and depth of this hybridisation and solved many of its artistic problems. Technological advances now make it possible and practical to incorporate the subtle but essential elements of traditional Chinese music, and of course other world musics, in works that seem satisfying for Western and non-Western audiences. This paper presents a brief historical overview of the hybridisation of Western and Chinese musical traditions, examines common pitfalls of many early attempts, and reviews how these issues are addressed compositionally and technically in the author's recent electroacoustic pieces, Li Jiang Etudes No. 1, 2 & 3.

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Kerékfy, Márton. "‘A “new music” from nothing’: György Ligeti’s Musica ricercata." Studia Musicologica 49, no. 3-4 (September 1, 2008): 203–30. http://dx.doi.org/10.1556/smus.49.2008.3-4.1.

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The beginning of the 1950s marks a turning-point in György Ligeti’s early career. By that time Ligeti had become disappointed regarding his rather marginal position in Hungarian musical life, and he might well have felt some dissatisfaction with his own artistic output, as well. He recognized that he should leave his former style and build up his own expressive means and musical language from elementary material. For this purpose, he set himself certain compositional tasks, and imposed restrictions on pitch content, intervals, and rhythms ‘as if to build up a “new music” from nothing’. Accordingly, Musica ricercata , which is the first fruit of his experimental project, marks a renewal of Ligeti’s musical thinking primarily on terms of the compositional technique. The present study examines the main problems of compositional technique raised in Musica ricercata (primarily that of chromaticism and dense polyphony) and points out significant influences shown in the work (such as those of Bartók, Stravinsky, and Romanian folklore).

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Manning, Peter. "The Influence of Recording Technologies on the Early Development of Electroacoustic Music." Leonardo Music Journal 13 (December 2003): 5–10. http://dx.doi.org/10.1162/096112104322750719.

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From the earliest experiments with the manipulation of 78-rpm disks during the 1920s, the technology of recording has played a major role in the evolution of electroacoustic music. This has extended not only to the recording and reproduction of materials but also to key components of the compositional process itself. Although such influences have become less prominent with the advent of digital technology, their impact during the formative years of electroacoustic music was significant and far-reaching. This article examines some key aspects of the pioneering era of creative development through the early 1950s, with particular reference to the Bauhaus sound artists, Pierre Schaeffer and musique concrète, and the Cologne studio for elektronische Musik

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23

Smolka, Eva. "Aufhören (‘stop’) activates hören (‘hear’) but not Musik (‘music’)." Mental Lexicon 14, no. 2 (December 31, 2019): 298–318. http://dx.doi.org/10.1075/ml.00008.smo.

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Abstract This study examines whether the lexical processing of German particle verbs differs from their processing in a semantic network. To this end, we explored whether the processing of particle verbs induces access to the stem (Experiment 1) and to a semantic associate of the stem (Experiment 2). In two cross-modal priming experiments, participants listened to particle verbs that were (a) semantically transparent (e.g. anhören, ‘listen to’), (b) semantically opaque (e.g. aufhören, ‘stop’), or (c) form-related (e.g. aushöhlen, ‘mold’) with respect to their stem (e.g., hören, ‘hear’). Participants made lexical decisions about visually presented stems (e.g., hören, ‘hear’) and about semantic associates to the stem (e.g., Musik, ‘music’) in Experiments 1 and 2, respectively. Relative to form controls, semantically transparent and opaque particle verbs induced equivalent stem priming (Experiment 1), indicating that the lexical processing of particle verbs occurs via the stem regardless of semantic transparency. However, neither semantically transparent nor opaque particle verbs primed semantic associates of the stem (Experiment 2). These findings indicate that stem access during lexical processing does not extend to a semantic level where the meaning of the stem is processed. We discuss these findings regarding present models of lexical processing.

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Farhan, Farhan. "Amar Munkar Nahi Ma’ruf: Studi Lirik Lagu Dangdut Koplo Jaran Goyang dan Parodinya." Al-I'lam: Jurnal Komunikasi dan Penyiaran Islam 3, no. 1 (September 25, 2019): 15. http://dx.doi.org/10.31764/jail.v1i2.1364.

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Abstrak:Tulisan ini mengkaji dinamika perkembangan musik dangdut koplo di Nusantara dalam perspektif dakwah dan komunikasi. Perkembangan Produksi music dangdut (koplo) semakin mendapatkan tempat dikalangan masyarakat kekinian. Didukung dengan Industri media musik yang semakin meningkat setiap tahun seiring perkembangan konvergensi media konvensional terkoneksi dengan new media (internet). Penciptaan lirik lagu dangdut koplo berjudul ‘jaran Goyang’ dan parodinya memiliki pengaruh cukup kuat dalam mengubah paradigma pendengar/penonton. Efek lirik lagu dangdut koplo ‘jaran goyang’ tidak hanya merubah pola berpikir dan berperilaku. Melalui paradigma Amar Ma’ruf Nahi Mungkar dan kajian media dengan pendekatan etnografi virtual di media sosial You tube, penelitian menyimpulkan bahwa lirik lagu dangdut koplo berjudul ‘jaran goyang’ mengandung pesan perilaku tidak terpuji (Amar ‘Munkar’) dan bertentangan dengan dokrin agama Islam. Sedangkan parodi lirik lagu ‘Jaran Goyang’ menunjukkan pesan-pesan kebenaran dan kebajikan selaras dengan ajaran Islam (Amar Ma’ruf), sekaligus merupakan praktik metode dakwah kekikian kepada objek dakwah dari komunitas pecinta musik. Tantangan pendakwah masa depan diperlukan kontinuitas massif dalam mensinergikan pesan-pesan dakwah dengan dinamisasi seni musik dangdut. Abstract:This paper examines the dynamics of the development of music dangdut koplo in Indonesia through perspective of da'wah and communication. The progress of production dangdut music (koplo) is increasingly gaining around today's society. Supported by the music media industry which is every year increasingly as the development of conventional media convergence is connected to the new media (internet). The creation of the lyrics of the song dangdut koplo entitled 'jaran Goyang' and its parody has quite a powerful influence in changing the listener / audience paradigm. The effect of the lyrics of the song dangdut koplo 'jaran goyang' not only changes the pattern of thinking and behaving. Through the Amar Ma'ruf Nahi Mungkar paradigm and media studies using a virtual ethnographic approach on social media You Tube, the study concluded that the lyrics of the song dangdut koplo titled 'jaran goyang' contain messages of dishonorable behavior (Amar 'Munkar') and are contrary to Islamic religious doctrine . Whereas the parody of the song 'Jaran Goyang' shows the messages of truth and virtue in harmony with the teachings of Islam (Amar Ma'ruf), as well as the practice of the method of preaching to the object of preaching from the music lovers community. The challenge of future preachers requires massive continuity in synergizing the messages of da'wah with the dynamics art of the dangdut music

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Gilbert, Lisa. "“Not just bow and string and notes”: Directors’ perspectives on community building as pedagogy in Celtic traditional music education organizations." International Journal of Music Education 36, no. 4 (July 4, 2018): 588–600. http://dx.doi.org/10.1177/0255761418774938.

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Celtic traditional musics, such as those originating in Ireland and Scotland, are typically transmitted outside formal avenues. Most studies regarding the learning of Celtic traditional music have focused on the experience of teachers and students, but less is known about the philosophies of organization directors who create contexts for teacher–student interactions. In an effort to fill this gap, this qualitative interview study examines the perspectives of nine directors of organizations located in Europe and North America dedicated to teaching Celtic traditional music. Analysis showed that directors perceived the aural transmission of the music as helping students connect with each other and build community. Further, directors’ beliefs about history tended to motivate their decision-making processes toward fostering community as part of their pedagogical practice. The learning goals they set for students tended to emphasize these intangible goals over and above technique- or repertoire-related aims, with social skills being included in their definitions of “musicianship.” Implications are raised regarding meaning-making and beliefs about history in Celtic traditional music communities.

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Cohen, David E. "Before and After John of Garland: The Concept of Directed Dyadic Progression and Its Prehistory." Music Theory and Analysis (MTA) 7, no. 1 (April 30, 2020): 63–113. http://dx.doi.org/10.11116/mta.7.1.2.

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This article examines aspects of medieval polyphonic theory in numerous music-theoretical and pedagogical writings, from the ninth- or tenth-century Musica enchiriadis to several short anonymous texts composed around 1300, in order to show that the historically significant doctrine of directed dyadic progression (often called "interval progression") is not yet attested in any of them. In the process I devote considerable attention to the seminal contributions of the mid-thirteenth-century treatise De mensurabili musica, traditionally attributed to John of Garland, and to the more directly and persistently influential version thereof promulgated around 1280 by Franco of Cologne. This investigation supports my hypothesis, advanced elsewhere, that it was the recovery and dissemination, in the second half of the thirteenth century, of the Aristotelian theory of natural motion that, by providing an appropriate conceptual framework and vocabulary, made possible the emergence in music-theoretical discourse, beginning with Marchetto of Padua (Lucidarium, 1317/1318), of the concept of the directed dyadic progression, the historical precursor of our concept of harmonic progression.

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Jahn, Bernhard. "nr="11"Mythopoesis und Mythendestruktion in Kuhnaus ,,Musicalischem Qvack-Salber“. : Über die Möglichkeiten, Musik um 1700 zur Sprache zu bringen." Zeitschrift für Germanistik 31, no. 2 (January 1, 2021): 11–24. http://dx.doi.org/10.3726/92169_11.

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Abstract Am Beispiel von Johann Kuhnaus Musicalischem Qvack-Salber (Dresden 1700) untersucht der Beitrag verschiedene narrative Verfahren, mit denen Musik in einem erzählenden Text zur Sprache gebracht werden kann. Zum einen integriert Kuhnau in seinen Roman alle Textsorten, in denen um 1700 Musik verhandelt wird. Zum andern nutzt er die antike Mythologie (Apollon-, Orpheus-Mythos) als Prätext, um Kohärenz zwischen den einzelnen Schwanknovellen, aus denen sich die Handlung zusammensetzt, herzustellen. Die antiken Mythen werden im Verlauf des Romans jedoch destruiert, und der Held bekehrt sich zu einem christlichen Virtuosentum.Using the example of Johann Kuhnau’s Musicalischer Qvack-Salber (Dresden 1700), the essay examines various narrative procedures with which music can be brought to expression in a narrative text. On the one hand, Kuhnau integrates into his novel all types of texts in which music is negotiated around 1700. On the other hand, he uses ancient mythology (Apollo, Orpheus) as a pretext to establish coherence between the individual comical novellas that make up the plot. However, the ancient myths are destroyed in the course of the novel, and the hero converts to Christian virtuosity.

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Stanley, Michael, Ron Brooker, and Ross Gilbert. "Examiner Perceptions of Using Criteria in Music Performance Assessment." Research Studies in Music Education 18, no. 1 (June 2002): 46–56. http://dx.doi.org/10.1177/1321103x020180010601.

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Görner, Rüdiger. "nr="56"Gedankenklänge – oder: Tanz der Denkschritte : Nietzsche und die Musikalisierung der Reflexion." Zeitschrift für Germanistik 31, no. 2 (January 1, 2021): 56–67. http://dx.doi.org/10.3726/92169_56.

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Abstract Ausgehend von der Nietzsche-Lektüre Clarisses in Musils Roman Der Mann ohne Eigenschaften untersucht dieser Beitrag die sonantische Grundierung von Nietzsches Denk- und Sprachstrukturen. Im Mittelpunkt stehen dabei Nietzsches thesenhafte Überlegungen zu einer Art ,Willen zum Klanghaften‘, durch den er die ästhetische Rechtfertigung des Daseins determiniert sah. Berücksichtigt wird dabei auch das Spannungsverhältnis zwischen erlebter und erdachter Musik bei Nietzsche, also einer Musik, die zum Bestandteil seiner Denkkunst wurde. Abschließend rekurriert dieser Aufsatz auf eine zeitgenössische Übernahme von Nietzsches Musikverständnis in einem Roman des britischen Autors Lars Iyer, der die Essenz dieser Musikkonzeption in den Kontext der neuen Medien stellt und ihr dadurch unverminderte Relevanz attestiert.Starting with Clarisse’s reading of Nietzsche in Robert Musil’s The Man without Qualities, this contribution examines the sonantic grounding of the philosopher’s thought and use of language. It argues that Nietzsche was on the way to expressing a ,will to empowering sound‘ by which he saw the aesthetic justification of existence determined. Furthermore, it considers the tension in Nietzsche between music as actually experienced and intellectually envisaged, if not constructed, in short: a kind of music that became a constituent of his ,art of thought‘. In conclusion, this article refers to the contemporary novelist and philosopher Lars Iyer who, in his novel Nietzsche and the Burbs, puts Nietzsche’s notion of music in the context of the new media, thus testifying to its undiminished significance.

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Lam, Nathan L. "Tonalité grégorienne: Musica recta as Prescriptive Harmony." Music Theory and Analysis (MTA) 7, no. 2 (October 31, 2020): 320–50. http://dx.doi.org/10.11116/mta.7.2.2.

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Late nineteenth-century organist-composers wrote liturgical music dans la tonalité grégorienne based on Niedermeyer and d'Ortigue's chant-accompaniment treatise Traité théorique et pratique de l'accompagnement du plain-chant (1857). The resulting music contained no musica ficta —, especially not raised leading tones in minor—a watershed moment in the nineteenth-century re-emergence of diatonic modality. Focusing on modes 1 and 2 (the Dorian modes) as a case study, part 1 of the essay discusses the historical background of Niedermeyer's treatise, part 2 examines features and theoretical implications therein, part 3 details large modal collections such as Guilmant's Soixante interludes dans la tonalité grégorienne, and part 4 analyses two Dorian marches: one from Guilmant's L'Organiste pratique and one from Gigout's Cent pièces brèves dans la tonalité du plain-chant.

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Clarke, David. "Visionary Images. David Clarke Examines Tippett's Transcendental Aspirations." Musical Times 136, no. 1823 (January 1995): 16. http://dx.doi.org/10.2307/1003277.

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Carroll, Christine. "‘Illiterate’ musicians: an historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms." British Journal of Music Education 36, no. 02 (July 2019): 155–71. http://dx.doi.org/10.1017/s0265051719000196.

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AbstractThis article examines curriculum and practice in Australian secondary classroom music education, in order to trace the inclusion of, and provision for, students with learning orientations based on popular music forms. A 60-year period of curriculum reform, matriculation statistics and literature is surveyed with a focus on the state of New South Wales (NSW), where the ‘non-literate’ student musician was first acknowledged in curriculum documents dating from the late 1970s at the senior secondary level (Music Syllabus Year 11 and 12: New 2 Unit A Course. Draft Document). Three overlapping eras frame discussion. The first discusses the original post–World War II school curriculum established for Western art music (WAM); the second discusses the period of curriculum reform beginning in the 1960s and 1970s, which leads to the inclusion of popular music at junior secondary levels; and the third is the present era from roughly 1980 onwards, where separate pathways of instruction are maintained for WAM and students with interests in popular and contemporary musics. Legitimation Code Theory (LCT) from the sociology of education is employed, with analysis unveiling a series of historic code shifts and clashes with implications for present practice. An unveiling of these codes explains the cause of ongoing tensions surrounding the inclusion of popular music and musicians in Australian music classrooms and provides foundation for much-needed curriculum development in the NSW context, and potentially elsewhere, where similar dynamics underpin practice in secondary classrooms.

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Johnstone, H. Diack. "The RCO Manuscript Re-Examined." Musical Times 126, no. 1706 (April 1985): 237. http://dx.doi.org/10.2307/962199.

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JOHNSON-WILLIAMS, ERIN. "The Examiner and the Evangelist: Authorities of Music and Empire, c.1894." Journal of the Royal Musical Association 145, no. 2 (November 2020): 317–50. http://dx.doi.org/10.1017/rma.2020.16.

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AbstractIn the 1890s, two musicians travelled between Britain and South Africa. One was the first examiner to travel abroad to examine for the Associated Board of the Royal Schools of Music, Franklin Taylor. At the same time as Taylor’s arrival in the Cape in 1894, a black South African composer, John Knox Bokwe, prepared to republish a tonic sol-fa hymnal containing many hymns that eventually became popular in Britain, to which Bokwe travelled multiple times. Although these narratives might appear to reflect highly divergent contexts for musical experience, the fluctuating constructions of imperial authority encountered in the careers of both these men link their stories together more deeply than their geographical and cultural disparities set them apart. The synchronous presentation of their stories in this article thus raises questions of how music emerged as a metaphor for constructions of imperial knowledge across shifting cultural boundaries.

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Haworth, Christopher. "‘All the Musics Which Computers Make Possible’: Questions of genre at the Prix Ars Electronica." Organised Sound 21, no. 1 (March 3, 2016): 15–29. http://dx.doi.org/10.1017/s1355771815000345.

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This article explores the workings of genre in experimental electronic musics. Predominantly sociological in orientation, it has three main foci. First, it addresses practitioners’ and theorists’ resistances to the concept of genre in experimental musics. Drawing on recent developments in genre theory, it discusses the problems of agency, mediation and scale that any discussion of genre calls forth, pitting them alongside theories that emphasise genre’s necessity and inevitability in communication. The second section examines the politics of genre as they play out in practice, focusing on the Prix Ars Electronica festival and the controversy that ensued from the decision to change the name of the Computer Music category in 1999. The analysis focuses on issues of institutional mediation, historicity, genre emergence and the politics of labelling as they come into view when two broad spheres – electroacoustic art music and ‘popular’ electronic music – are brought into the same field together in competition. The third section deepens the analysis of Ars Electronica by zooming in on one of the represented genres, microsound, to examine how it is shaped and negotiated in practice. Using digital methods tools developed in the context of Actor-Network Theory, I present a view of the genre as fundamentally promiscuous, overlapping liberally with adjacent genres. Fusing Derrida’s principle of ‘participation over belonging’ with ANT’s insistence on the agency of ‘non-human actors’ in social assemblages, the map provides a means to analyse the genre through its mediations – through the varied industries, institutions and social networks that support and maintain it.

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BERNSTEIN, LAWRENCE F. "““Singende Seele”” or ““unsingbar””? Forkel, Ambros, and the Forces behind the Ockeghem Reception during the Late 18th and 19th Centuries." Journal of Musicology 23, no. 1 (January 1, 2006): 3–61. http://dx.doi.org/10.1525/jm.2006.23.1.3.

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ABSTRACT In 1868, Wilhelm Ambros lauded a number of compositions by Johannes Ockeghem, including the triple canon Prenez sur moy. Emphasizing the expressive qualities of this music, he suggested that its composer had breathed into it a ““singing soul.”” Some decades earlier, Johann Forkel also focused on Prenez sur moy, dismissing it, however, as ““unsingable.”” The present study examines the cultural and intellectual forces that gave rise to these strikingly contradictory assessments. Enlightenment historians are generally thought to have charted the flow of history according to a progressive paradigm. Late medieval music often fared poorly viewed from this perspective, drawing criticism for its failure to reflect the refinements of modern music. Initially, Forkel toed this line, but his comments about examples of 15th-century music in the Allgemeine Geschichte der Musik also reveal his capacity to strike a relativist pose regarding some of them, and even to offer unqualified praise. The changes in Forkel's position are traced to philosophical writings known to have been part of his library, and to his conviction that the music of Johann Sebastian Bach was superior to that of his own time. Taking that stand surely must have raised questions in his mind about his earlier commitment to the progressive view of history. Forkel's openness to new historiographical approaches suggests that he, of all Enlightenment writers on music, might have found value in Ockeghem's music, all the more so because he was better informed about Ockeghem's preeminent stature in his own day than anyone else at the time, and owing to his awareness of a current German tradition that regarded Ockeghem as ““the Bach of his day.”” Yet Forkel's deprecation of Ockeghem's music is among the strongest in the literature. His negative stand can be traced to his admiration for a 16th-century tract on teaching music, the Compendium musices by Adrian Petit Coclico, who demonizes Ockeghem as an icon of the scholastic approach to music. Forkel's own commitment to a humanistic orientation in music pedagogy surely led him to view Coclico as a kindred spirit.

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Baker, Andrea, and Katrina Williams. "Building on #MeToo and #MeNoMore: Devising a framework to examine sexual violence in Australian music journalism." Australian Journalism Review 41, no. 1 (June 1, 2019): 103–16. http://dx.doi.org/10.1386/ajr.41.1.103_1.

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Allegations against film producer Harvey Weinstein, co-owner of US entertainment company Miramax Films, which led to the revitalized #MeToo movement of October 2017, gave global recognition to the sexual violence (sexism, misogyny, sexual harassment, assault and rape) that women experience in the creative industries. As a spin-off, the #MeNoMore campaign in December 2017 resulted in more than 400 women working in the Australian music industry speaking out against similar behavior. Despite having a reputation for sexual violence, the local music press played a minor role in this hashtag development, claiming that its practices are tied to radical, liberal and progressive values. In the post-Weinstein, #MeToo and #MeNoMore era, this contradiction signifies that the Australian music press is fertile ground for a feminist investigation. However, to date minimal local research has examined the link between sexual violence and music journalism. As a literature review to a larger empirical case study, this article draws on a critical discourse analysis from the post-feminist wave of media research into rockism, poptimism, punk, rap, hip hop, dubstep and electronic dance music genres, mainly conducted in the United States and United Kingdom. Derived from this analysis, the article argues that there are four framing techniques associated with music journalism practice in Australia: gendered music press, a masculine attitude towards music reporting, gendered musical tastes and gendered sexual harassment.

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Hutchinson, Sydney. "Típico, folklóricoorpopular? Musical categories, place, and identity in a transnational listening community." Popular Music 30, no. 2 (May 2011): 245–62. http://dx.doi.org/10.1017/s0261143011000055.

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AbstractThe study of popular music often loses something in translation. The musical categories used by scholars and musicians in different locations vary widely in meaning, complicating both analysis and disciplinary divisions. Genre classifications also create blind spots which leave styles falling between the cracks out of the picture, impoverishing analysis and even denying musicians certain benefits. This paper examines the use of terms such asfolklórico, tradicional, popularandtípicoby both lay people and scholars in Latin America, then turns to Dominicanmerengue típicoas a case study showing how musical categories are often intensely local. I argue that – because it relies more on notions of place than on the ideas of time, class, race or production that inform other categorisations – the concept oftípicois useful in examining transnational ‘roots’ musics which bridge nations, classes and modes of production. In addition, using musicians' and listeners' own categories can help us to question the canons of musical scholarship, musical nationalism and music marketing, thus creating new possibilities for both scholars and musicians.

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Ho, Wai-chung. "The political meaning of Hong Kong popular music: a review of sociopolitical relations between Hong Kong and the People's Republic of China since the 1980s." Popular Music 19, no. 3 (October 2000): 341–53. http://dx.doi.org/10.1017/s0261143000000209.

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IntroductionThe aim of this paper is to analyse shifting themes in the meanings of Hong Kong popular songs relating to ideological and political changes in Hong Kong since the 1989 Tiananmen Square incident (TSI). In particular, the paper examines the relationship between Hong Kong and the People's Republic of China (PRC) concerning the transmission of Hong Kong popular music, and argues that Chinese, Hong Kong and Taiwanese popular musics articulate fluctuating political meanings. Attention will be focused predominantly on the lyrics, but some aspects of the music are also invoked. After highlighting the political and cultural relations between Hong Kong and the PRC, I discuss the social transformations and the struggles for democracy delineated in Chinese popular music during the 1989 TSI. This is followed by an examination of the intensification of the conflict between the PRC and Hong Kong over the dissemination of popular songs carrying democratic messages in Hong Kong. Finally, the paper considers the rise of patriotism and/or nationalism through lyrics rooted in the notion of educating Hong Kong Chinese people into accepting the cultural and political identity of mainland China, and the promotion of popular songs in the official language of the PRC, Putonghua, since the late transitional period.

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Perlovsky, Leonid. "Music and Consciousness." Leonardo 41, no. 4 (August 2008): 420–21. http://dx.doi.org/10.1162/leon.2008.41.4.420.

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Carmini, Priscilla. "Dust-to-Digital: A Case Study." IJournal: Graduate Student Journal of the Faculty of Information 6, no. 1 (December 23, 2020): 1–15. http://dx.doi.org/10.33137/ijournal.v6i1.35265.

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This case study examines Dust-to-Digital, a music reissue label based in Atlanta, Georgia. The reissue label specializes in the digitization of records produced between 1860-1980. I also discuss Music Memory, the non-profit organization run by Dust-to-Digital, aiming to create an open-access music database for students and researchers. This analysis examines the ethical and legal implications of the reissue records created by Dust-to-Digital and Music Memory, and provides solutions for some of the issues and alternatives for consideration.

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Lussier, Martin. "The labelling process in popular music: Being-called “musiques émergentes” in Montréal." MedieKultur: Journal of media and communication research 27, no. 51 (August 23, 2011): 17. http://dx.doi.org/10.7146/mediekultur.v27i51.4080.

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<p>The words used to discuss genres matter. The multiplication of genres and subgenres is accompanied by a growing number of corresponding labels, which are consequently debated and disputed. Using the case of the label “musiques émergentes” (“emerging musics”), which has spread rapidly during the last decade in the cultural landscape of Montréal, Canada, this article examines one debate surrounding this label, focusing on discussions between artists and industry workers and their understanding of the usefulness of such a name/label in today’s popular music milieu. This discussion presents the labelling process as something that constitutes a group rather than capturing the likeness of its members. Drawing on the writings of Giorgio Agamben, the second part of this article examines labelling as a practice that exposes and renders possible the relation of something to something else – a cultural text to a genre – contributing to the production of “musiques émergentes” as a “being-called.”</p>

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Santovec, Mary Lou. "A New Study Examines the Status of Women in the Music Industry." Women in Higher Education 28, no. 7 (July 2019): 6–7. http://dx.doi.org/10.1002/whe.20728.

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Rush, Kayla. "Riot grrrls and shredder bros: Punk ethics, social justice and (un)popular popular music at School of Rock." Journal of Popular Music Education 00, no. 00 (September 14, 2021): 1–21. http://dx.doi.org/10.1386/jpme_00054_1.

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This article presents a case study of riot grrrl music in a School of Rock franchise in the Midwestern United States. It presents the school as a place in which gender is bound up in specific notions of what it is to play rock music, notions that directly inform what constitutes popular popular music within this context. The article examines the Riot Grrrl project using frame analysis, presenting and discussing three frames through which riot grrrl was taught: as music, punk ethics and social justice. It examines a case of frame conflict as played out in a disagreement between the programme’s two male instructors. It suggests that multi-frame approaches to popular music teaching, including clashes that may arise from conflicting frames, are effective in disrupting the musical-cultural status quo and in creating spaces in which students may productively and empathetically encounter the unpopular popular music of marginalized musical ‘Others’.

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Vrhunc, Larisa. "The Influences of Spectral Music on Slovenian Compositional Creativity in the Last Few Decades." Musicological Annual 54, no. 1 (July 3, 2018): 191–94. http://dx.doi.org/10.4312/mz.54.1.191-194.

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Doctoral thesis The Influences of Spectral Music on Slovenian Compositional Creativity in the Last Few Decades seeks to provide answers to two sets of questions. The first set examines the definition of spectral music and its role in European history of music, while the second aims to prove the traces of spectral thinking in Slovenian music.

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Pavez, Fabian, Erika Saura, Gemma Pérez, and Pedro Marset. "The Social Representations of Psychiatry and Mental Illness Examined Through the Analysis of Music as a Cultural Product." Music and Medicine 9, no. 4 (October 28, 2017): 247. http://dx.doi.org/10.47513/mmd.v9i4.535.

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Culture reflects and shapes the understanding of health and disease. We propose that the analysis of cultural products related to music, particularly song lyrics, can inform us about the social representations of psychiatry and mental illness. In order to support our proposal and engage in future research, we examine research regarding social representations of science, medicine, illness and psychiatry in music.

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Law, Wing-Wah, and Wai-Chung Ho. "Music education in China: In search of social harmony and Chinese nationalism." British Journal of Music Education 28, no. 3 (October 14, 2011): 371–88. http://dx.doi.org/10.1017/s0265051711000258.

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This article critically examines how interactions between social changes, social harmony, and historical memory shape school music education in China. As a historical review and documentary analysis, it traces the historical development of music education and examines the Chinese government's role in such interactions over time. The article argues that the Chinese government uses music and music education as an influential nation-building system to enrich the politics of memory. In particular, it adapts the nation's past for political ends, and passes on state-prescribed values to its citizens with a view to legitimising its power. The dynamics and dilemmas that challenge school education result from two divergent aims: (1) to combine the functional education of Confucianism and nationalism so as to encourage social harmony and maintain national myths; and (2) to encourage popular and other world music with traditional Chinese music by using multicultural teaching strategies in music lessons. The question remains how to balance ideas of social harmony, musical cultures and nationalism in school music education in the contexts of current Chinese education policies, teacher education and the globally oriented economics of China today.

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Homan, Shane, and Chris Gibson. "Popular Music: Networks, Industries and Spaces." Media International Australia 123, no. 1 (May 2007): 61–64. http://dx.doi.org/10.1177/1329878x0712300107.

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There has been much recent media coverage and public speculation about change in the music industries. This issue of MIA examines the shifting technological, production and consumption contexts of local popular music. Australian music practices have reflected global changes in corporate structures, methods of distribution and what it means to construct and maintain a music ‘career’. How traditional music-making and consumption practices work with or against emerging media technologies, and what this means for older understandings of music creativity, is a key focus.

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Martin, Brett A. S., and Celeste A. McCracken. "Music marketing: music consumption imagery in the UK and New Zealand." Journal of Consumer Marketing 18, no. 5 (September 1, 2001): 426–36. http://dx.doi.org/10.1108/eum0000000005602.

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This research examines cross‐country differences in marketing imagery. Marketing imagery in music videos broadcast in the UK and New Zealand are studied. Results suggest that UK music videos have more brand references, fashion imagery, darkside products and role model behaviour outcomes than New Zealand music shows. Pop music marketing references are mainly visual while hard rock has more darkside products, brand references and punishment outcomes.

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Gilmore, Jeremy. "Chance Encounters: Rap Music as a Relational and Pedagogical Resource in Clinical Pastoral Education." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 72, no. 1 (March 2018): 32–36. http://dx.doi.org/10.1177/1542305018754795.

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Music has long been regarded as a valuable tool for educators. Over the last three decades, rap music has grown to become a global phenomenon. However, due to historical and cultural factors, rap music is often underutilized in Clinical Pastoral Education. This article discusses the social significance of rap music, highlights how rap music informed my supervision of a clinical pastoral education student, and examines Chance the Rapper’s mixtape Coloring Book as a case study on the utilization of rap music as a relational and pedagogical resource in spiritual education.

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Journal articles on the topic 'Music examiners'

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