Academic literature on the topic 'Music hubs'
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Journal articles on the topic "Music hubs"
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Keppy, Peter. "Southeast Asia in the age of jazz: Locating popular culture in the colonial Philippines and Indonesia." Journal of Southeast Asian Studies 44, no. 3 (October 2013): 444–64. http://dx.doi.org/10.1017/s0022463413000350.
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Referencing insights from Cultural Studies and taking a jazz-age perspective, this essay aims to historicise and ‘locate the popular’ in colonial Indonesia and the Philippines. A new cultural era dawned in the 1920s urban hubs of Southeast Asia, associated with the creation of novel forms of vernacular literature, theatre, music and their consumption via the print press, gramophone, radio broadcasting and cinema. By investigating the complex relationship between the elusive phenomena of modernity, cosmopolitanism and nationalism as articulated by two pioneering artists active in commercial music and theatre, the social significance of popular culture is scrutinised.
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Bjørnsen, Egil, and Jane Woddis. "Music in our lives: Using the concept of “Bildung” to understand the role of music education policy in England." Research Studies in Music Education 42, no. 2 (June 28, 2019): 192–207. http://dx.doi.org/10.1177/1321103x19841918.
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This article considers whether the German concept of “ Bildung”, meaning human personal growth—a term not often used in English debates about culture or education—can help in understanding differing pedagogical and philosophical approaches to recent music education policy in England. It explores connections between two conceptions of Bildung: “object-oriented” and “subject-oriented”; two key approaches to education: “traditional” and “progressive”; and two models of cultural policy: cultural democracy and democratisation of culture, in explaining one of the significant debates in music pedagogy about how to engage children and young people in music education. In considering these questions, the article examines recent developments in the provision of music education in the English school system, particularly the National Plan for Music Education, Music Education Hubs and the independent Musical Futures initiative. We conclude that recent government policies incorporate ideas of the authority of teachers and a musical canon, while other approaches give more priority to children’s own musical references and activity. Our three related theories shed light on this continuing debate about value and engagement in music education, and on the place of children and young people in their musical learning.
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Whittaker, Adam. "Teacher perceptions of A-level music: tension, dilemmas and decline." British Journal of Music Education 38, no. 2 (January 14, 2021): 145–59. http://dx.doi.org/10.1017/s0265051720000352.
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AbstractA-level music, a qualification taken most often in English and Welsh school contexts around the age of 18, has been a long-standing feature of the musical training of many musicians. Historically bound up with Western European Art Music, the qualification has somewhat broadened its horizons in recent times, though with mixed success in opening up new ways of thinking about music. Recent research has highlighted the seemingly precarious nature of A-level music in many English schools. The reasons for this picture of decline are highly complex and difficult to disentangle, and are part of a much broader diminishing of creative subjects in the school curriculum. Decreasing numbers of A-level music entries run somewhat counter to popular policy discourse, which celebrates flagship announcements of £79 million given to Music Education Hubs in 2019–2020, and 2018 survey results that reported more than 700,000 children learning to play a musical instrument through music hub provision. However, behind these headlines, although there are many children having the opportunity to learn a musical instrument, few continue through to A-level and beyond. Despite its declining numbers, A-level music is recognised as a valuable qualification amongst music teachers, offering something distinct from graded music examinations and other Level 3 musical qualifications. This article presents the results of a recent nationwide survey of A-level music teachers to offer an insight into teacher perceptions of current A-level music specifications, the extent to which it prepares students for entry into higher musical education, and its appropriateness for aspiring young musicians.
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Anderson, Anthony, and Sarah Barton-Wales. "Musical culture and the primary school: an investigation into parental attitudes to Whole Class Ensemble Teaching in the English primary school and potential impacts on children’s musical progress." British Journal of Music Education 36, no. 03 (October 28, 2019): 267–79. http://dx.doi.org/10.1017/s0265051719000366.
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AbstractMusical cultures in primary schools are influenced by motivators which include intrinsic and extrinsic factors. Whole Class Ensemble Teaching (WCET) as realised through provision from Music Education Hubs in England is an extrinsic factor which has been widely influential. This article explores the dynamics in play in parental engagement in music provision, as realised through domains of musical value and progression in the context of WCET provision. It presents research, based on data from one primary school in the English Midlands, drawing on responses from children, parents, the WCET teacher and the head teacher of the school. The research used semi-structured interviews and graphical elicitation as research methodologies to create a conceptual map of theoretical perspectives for parental responses to WCET and suggests that triangulating motivating influences from parents, WCET and learners remain an emergent domain.
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Valiquet, Patrick. "Grimes’s Hymn to Technocracy, Insolvent Affordances, and the Need for Reparative Organology." Journal of Popular Music Studies 34, no. 3 (September 1, 2022): 119–41. http://dx.doi.org/10.1525/jpms.2022.34.3.119.
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This article weaves together futurist electropop, the neorationalist memescape, neoliberal urban planning, and digital finance to illustrate some of the new epistemological and political challenges facing the growing musicological subfield of critical organology. Drawing upon recent studies of financial technology, it argues that calls to erase theoretical abstraction and return to a “common-sense” concern for “tangible things” come dangerously close to endorsing the neoliberal drive to replace public institutions with entrepreneurial competition. The aims are to show that the “affordances” of music technology today are not necessarily discernible when organologists limit their attention to musical instruments’ ontologies alone, and to propose an alternative focused on “repairing” music technology’s capacity for democratization. The first section presents a reading of the Grimes single “We Appreciate Power,” situating the music in relation to an ethnographic account of the scene where Grimes first emerged. The second section seeks a definition of affordance that makes sense of the technological politics at work in things like rationalist meme economies and neoliberal innovation hubs. The concluding section outlines the case for a reparative organology that would both account better for materiality and resolve anxieties around theoretical abstraction.
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Patel, S., A. Gannon, M. Cryan, C. Dolan, C. Mcdonald, C. Houghton, and G. Mccarthy. "Electronic smart-hub based intervention during COVID-19 in a rural Psychiatry of Old Age service in North-West Ireland." European Psychiatry 65, S1 (June 2022): S654. http://dx.doi.org/10.1192/j.eurpsy.2022.1679.
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Introduction The COVID-19 pandemic caused significant disruptions in services and necessitated innovation to continue care provision to the vulnerable population of older adults with psychiatric needs. Objectives The objective of this study was to examine the experiences of staff and patients using a hands-free electronic smart-hub (eSMART hub) intervention to keep patients connected with psychiatry of old age following COVID-19 restrictions. Methods A risk stratification register was created of all patients known to the Psychiatry of Old Age service in the North-West of Ireland to identify those at highest risk of relapse. These patients were offered a smart-hub with remote communication and personal assistant technology to be installed into their homes. Smart-hubs were also installed in the team base to facilitate direct device to device communication. Semi-structured qualitative interviews were conducted with 10 staff members and 15 patients at 6-12 months following the installation of the smart-hubs. Results The smart-hubs were utilized by the POA team to offer remote interventions over video including clinician reviews, regular contact with key workers and day-hospital based therapeutic interventions such as anxiety management groups and OT led physical exercises. Patients also used the personal assistant aspect of the hub to attend to personal hobbies such as accessing music and radio. Positive feedback related to companionship during isolation and connectivity to services. Negative feedback was mainly related to technology, particularly internet access and narrow scope of communication abilities. Conclusions Electronic smart-hub devices may offer an acceptable avenue for remote intervention and communication for isolated high-risk older persons. Disclosure The smart hub devices used in this study were donated by Amazon. However, the company was not involved in any other aspect of the study and the researchers have no significant financial interest, consultancy or other relationship with products, manufactur
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Kreutz, Gunter, and Michael Feldhaus. "Does music help children grow up? Parental views from a longitudinal panel study." Musicae Scientiae 24, no. 2 (June 15, 2018): 139–54. http://dx.doi.org/10.1177/1029864918782581.
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Previous research has identified families as hubs for musical development, but little is known about the reciprocal effects on familial dynamics. Here, we address the long-term associations between familial music and parental perceptions of their children’s personality. To these ends, we analysed a subset of data from the German Panel Analysis of Intimate Relationships and Family Dynamics study, a longitudinal cohort study. A total of 839 data sets from parents with their children, covering four waves over a period of six years, served as our database. The frequency of engagement in Singing and Playing Musical Instruments, Reading Books or Storytelling and Shopping represented independent measures, whereas the ratings of Prosocial Behaviour, Intimacy, Admiration, and C onflicts served as dependent measures in the panel regression models. A substantial decline in everyday activities was noted as children grew older, with the exception of Shopping. Parental education, but not family net income, was found to be correlated with familial music activities. These activities were correlated with three facets of children’s personality, Prosocial Behaviour, Intimacy, and Admiration, based on both fixed- and random-effects models. The correlations, however, were partially weakened when Reading or Storytelling and Shopping were entered into the models. Our findings suggest that familial music activities may exert long-term and causal influences on familial dynamics, as reflected through important facets of children’s personality.
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Vilkner, Nicole. "Articulating Urban Culture with Coach Horns in the Long Nineteenth Century." Journal of Musicology 39, no. 2 (2022): 225–54. http://dx.doi.org/10.1525/jm.2022.39.2.225.
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Postal horns have been associated traditionally with bucolic topics in music. From Mozart to Mahler, the instrument appears in orchestral textures and songs to signify nostalgia for preindustrial rural life. The history of the coach horn, originally the standard postal instrument used on the British Royal Mail fleets, branched unexpectedly away from this paradigm when it was adopted for recreational use by socialites in urban areas in England, France, and other metropolitan hubs during the second half of the nineteenth century. In addition to performing the traditional road signals, driving enthusiasts expanded the musical vocabulary of the coach horn to include elaborate fanfares and stylized ensemble music. Tracing the undocumented recreational history of the coach horn, this article interrogates coach horn manuals, compositions, and essays on coaching that overturn traditional assumptions about the instrument. These sources illustrate how coach horn signals helped reframe driving from a service activity to a healthful sport. Examining the rhetoric surrounding the coach horn during the period of its revival, this study shows how the new signals reflected promenade and salon culture by mimicking polite dialogue. The ensemble repertory written for coach horns also catered to urban popular taste and was cultivated to enhance metropolitan social events. Analysis further illustrates how revivalist fanfares aurally articulated social status in the outdoor urban arena. This case study ultimately traces the cultural evolution of an instrument, a complex process through which old and new musical expectations were negotiated through composition and practice.
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Fleming, Simon D. I. "The Howgill Family: A Dynasty of Musicians from Georgian Whitehaven." Nineteenth-Century Music Review 10, no. 1 (June 2013): 57–100. http://dx.doi.org/10.1017/s1479409813000049.
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It has been often observed that Georgian Britain was alive with musical activity, and that London was one of the most important musical hubs in Europe. Most of Britain's important provincial centres were well connected to the capital by road or sea, and this helped facilitate the spread of the latest musical ideas around the country. The west Cumberland town of Whitehaven is situated over three hundred miles from London by road and, at the time, was isolated from the rest mainland Britain by the surrounding fells of the Lake District. Nevertheless, by the end of the eighteenth century Whitehaven had grown into one of Britain's most important ports and had a musical life that rivalled that at any other major town in the country.Musical life in Whitehaven was dominated by the Howgill family. William Howgill senior was appointed organist of St Nicholas’ Church in 1756 and set himself up there as music teacher and concert promoter. Here he raised a family and was succeeded in his musical duties by his son, William Howgill junior. This article examines the Howgill family's musical activities in depth and explores their London connections. This research is based on the detailed study of primary sources including newspapers, but there has also been an effort to examine all of William Howgill junior's compositions. This study reveals that, despite Whitehaven's remote location, Howgill junior was well aware of the latest musical developments in the capital.
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FAUTLEY, MARTIN, and REGINA MURPHY. "Editorial." British Journal of Music Education 31, no. 1 (March 2014): 1–4. http://dx.doi.org/10.1017/s0265051714000011.
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Looking back to the editorial in the very first edition of BJME, back in 1984, there are a number of striking resonances which belie the thirty years which have passed since Volume 1, Issue 1. Take this paragraph as an example: Many problems in music education are the result of the insularity of our practice. In Britain music teachers are often hesitant about sharing their ideas. Then again, the roots of our teaching methods reach back far into the past, so that we tend to function on the basis of precedent; we do things because they have always been done, and only rarely perhaps do we make the effort to reflect upon what is done. Now, perhaps because of economic restraints, we are becoming more aware of the need to justify the place of our subject in the educational curriculum and the need to examine closely the reasoning behind our teaching methods. (Paynter & Swanwick, 1984) So much remains the same, yet at the same time the music education landscape is entirely different from then! In the UK since that editorial was written we have had, inter alia, new examinations at 16+, a National Curriculum (in a number of very different versions), changes in governance of schools, an entirely different financial scene for schools, the establishment of music hubs, changed relationships for music services with pupils and schools, a diminishing role for Local Authorities, the establishment of new types of schools – Free Schools and Academies, the removal of the requirements for teachers to hold a teaching qualification, and the shifting of teacher training out of universities and into schools. Quite a list! And there is a lot more besides that has not been included. Also important to note is that the BJME is now, and has been for a while, very much, as its strapline says, ‘an international journal’, and so there are interactions and synergies with many other national systems and music education types across the world.
Dissertations / Theses on the topic "Music hubs"
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Godfrey, Mark Thomas. "Hubs and homogeneity improving content-based music modeling /." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/22572.
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Haro, Berois Martín. "Statistical distribution of common audio features : encounters in a heavy-tailed universe." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/128623.
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In the last few years some Music Information Retrieval (MIR) researchers have spotted important drawbacks in applying standard successful-in-monophonic algorithms to polyphonic music classification and similarity assessment. Noticeably, these so called “Bag-of-Frames” (BoF) algorithms share a common set of assumptions. These assumptions are substantiated in the belief that the numerical descriptions extracted from short-time audio excerpts (or frames) are enough to capture relevant information for the task at hand, that these frame-based audio descriptors are time independent, and that descriptor frames are well described by Gaussian statistics. Thus, if we want to improve current BoF algorithms we could: i) improve current audio descriptors, ii) include temporal information within algorithms working with polyphonic music, and iii) study and characterize the real statistical properties of these frame-based audio descriptors. From a literature review, we have detected that many works focus on the first two improvements, but surprisingly, there is a lack of research in the third one. Therefore, in this thesis we analyze and characterize the statistical distribution of common audio descriptors of timbre, tonal and loudness information. Contrary to what is usually assumed, our work shows that the studied descriptors are heavy-tailed distributed and thus, they do not belong to a Gaussian universe. This new knowledge led us to propose new algorithms that show improvements over the BoF approach in current MIR tasks such as genre classification, instrument detection, and automatic tagging of music. Furthermore, we also address new MIR tasks such as measuring the temporal evolution of Western popular music. Finally, we highlight some promising paths for future audio-content MIR research that will inhabit a heavy-tailed universe.En el campo de la extracción de información musical o Music Information Retrieval (MIR), los algoritmos llamados Bag-of-Frames (BoF) han sido aplicados con éxito en la clasificación y evaluación de similitud de señales de audio monofónicas. Por otra parte, investigaciones recientes han señalado problemas importantes a la hora de aplicar dichos algoritmos a señales de música polifónica. Estos algoritmos suponen que las descripciones numéricas extraídas de los fragmentos de audio de corta duración (o frames ) son capaces de capturar la información necesaria para la realización de las tareas planteadas, que el orden temporal de estos fragmentos de audio es irrelevante y que las descripciones extraídas de los segmentos de audio pueden ser correctamente descritas usando estadísticas Gaussianas. Por lo tanto, si se pretende mejorar los algoritmos BoF actuales se podría intentar: i) mejorar los descriptores de audio, ii) incluir información temporal en los algoritmos que trabajan con música polifónica y iii) estudiar y caracterizar las propiedades estadísticas reales de los descriptores de audio. La bibliografía actual sobre el tema refleja la existencia de un número considerable de trabajos centrados en las dos primeras opciones de mejora, pero sorprendentemente, hay una carencia de trabajos de investigación focalizados en la tercera opción. Por lo tanto, esta tesis se centra en el análisis y caracterización de la distribución estadística de descriptores de audio comúnmente utilizados para representar información tímbrica, tonal y de volumen. Al contrario de lo que se asume habitualmente, nuestro trabajo muestra que los descriptores de audio estudiados se distribuyen de acuerdo a una distribución de “cola pesada” y por lo tanto no pertenecen a un universo Gaussiano. Este descubrimiento nos permite proponer nuevos algoritmos que evidencian mejoras importantes sobre los algoritmos BoF actualmente utilizados en diversas tareas de MIR tales como clasificación de género, detección de instrumentos musicales y etiquetado automático de música. También nos permite proponer nuevas tareas tales como la medición de la evolución temporal de la música popular occidental. Finalmente, presentamos algunas prometedoras líneas de investigación para tareas de MIR ubicadas, a partir de ahora, en un universo de “cola pesada”.
En l’àmbit de la extracció de la informació musical o Music Information Retrieval (MIR), els algorismes anomenats Bag-of-Frames (BoF) han estat aplicats amb èxit en la classificació i avaluació de similitud entre senyals monofòniques. D’altra banda, investigacions recents han assenyalat importants inconvenients a l’hora d’aplicar aquests mateixos algorismes en senyals de música polifònica. Aquests algorismes BoF suposen que les descripcions numèriques extretes dels fragments d’àudio de curta durada (frames) son suficients per capturar la informació rellevant per als algorismes, que els descriptors basats en els fragments son independents del temps i que l’estadística Gaussiana descriu correctament aquests descriptors. Per a millorar els algorismes BoF actuals doncs, es poden i) millorar els descriptors, ii) incorporar informació temporal dins els algorismes que treballen amb música polifònica i iii) estudiar i caracteritzar les propietats estadístiques reals d’aquests descriptors basats en fragments d’àudio. Sorprenentment, de la revisió bibliogràfica es desprèn que la majoria d’investigacions s’han centrat en els dos primers punts de millora mentre que hi ha una mancança quant a la recerca en l’àmbit del tercer punt. És per això que en aquesta tesi, s’analitza i caracteritza la distribució estadística dels descriptors més comuns de timbre, to i volum. El nostre treball mostra que contràriament al què s’assumeix, els descriptors no pertanyen a l’univers Gaussià sinó que es distribueixen segons una distribució de “cua pesada”. Aquest descobriment ens permet proposar nous algorismes que evidencien millores importants sobre els algorismes BoF utilitzats actualment en diferents tasques com la classificació del gènere, la detecció d’instruments musicals i l’etiquetatge automàtic de música. Ens permet també proposar noves tasques com la mesura de l’evolució temporal de la música popular occidental. Finalment, presentem algunes prometedores línies d’investigació per a tasques de MIR ubicades a partir d’ara en un univers de “cua pesada”.
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Blake, Michael Joseph. "The New Harmony: An Adaptive Reuse Transit Hub." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/34664.
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The development of jazz during the American industrial revolution represents a broader shift in the zeitgeist of the New World. With a rich heritage of rhythmic emphasis in both art and life, African American jazz musicians were able to internalize the increasingly polyrhythmic nature of the metropolis, and groove with the potentially oppressive presence of the machine. Their brazen embrace of the temporal encouraged artists of all media, replacing the burden of permanence and exactitude with the fearlessness of an improvising jazz soloist. The jazz-inspired works of Le Corbusier and Piet Mondrian, for example, explored a synesthetic relationship between the visual and the audible has captured the imagination of the great artists, musicians, architects, and philosophers throughout the history of culture.
My thesis exploration attempts to continue this tradition in the context of an increasingly accelerating speed of life, and the new, environmentally sensitive role of the machine. Just as Jazz poeticized the hectic rhythms of the industrial age, I believe that architecture should be conceived of as a synchronizing element within the contemporary urban landscape. Through my design of an adaptive reuse transit hub, my intent was to embrace the temporal in a manner that not only reflects the spirit of the age, but also creates musical architecture.
Master of Architecture
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Artjomenkov, Nikolai. "Laborativt arbete inom fourieranalys och motivation till matematikinlärning : Utvärdering och vidareutveckling av en laboration inom fourieranalys och ljudbehandling vid Vetenskapens Hus." Thesis, KTH, Lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-246151.
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Detta examensarbete undersöker om ett skolprogram på Vetenskapens Hus har förmågan att skapa en bro mellan gymnasieelevers matematikkunskap, universitetsmatematik och dess praktiska tillämpning för att därmed öka deras intresse och motivation för inlärning av matematik- och fysikämnen. Skolprogrammets tema är fourieranalys och dess tillämpning inom ljudsyntes och digital ljudbehandling (DSP). Skolprogrammet har att göra med matematik, fysik och IT, vilket gör programmet tvärvetenskapligt. En viktig del av detta arbete är också att vidareutveckla detta skolprogram med avseende på resultaten från denna undersökning. Resultaten är baserade på kvalitativa data från enkäter och intervjuer med eleverna som deltog i testfallen av skolprogrammet och deras lärare samt på litteraturstudier. Information samlades också in under en iterativ process av programmets vidareutveckling. Denna rapport inleds med motivering till genomförandet av detta arbete, studiens syfte- och målsättning samt formulering av huvudfrågeställningar. Därefter beskrivs metoder som användes för att besvara frågeställningarna. I mitten av rapporten sammanfattas litteratur och forskningsstudier inom undervisning, intresse och motivation samt sammanfattas en vetenskaplig bas för innehållet i skolprogrammet inom fourieranalys. Därefter beskrivs utvecklingsprocessen av skolprogrammet. Detta följs av en presentation av resultaten från testning av skolprogrammet med gymnasieelever med avseende på hur deras intresse och motivation påverkas av det. Rapporten avslutas med diskussion av dessa resultat och dess trovärdighet. Resultaten visar att den sista versionen av den laborativa aktiviteten, som vidareutvecklades inom ramen av detta arbete, väcker elevernas intresse och motivation för temat av skolprogrammet. Resultaten visar också att vissa komplexa begrepp (både nya och de som eleverna lär sig i skolan) blir klarare för eleverna efter skolprogrammet, vilket potentiellt kan leda till ökning av deras motivation till att lära sig matematik och naturvetenskap generellt. Problemet är dock att skolprogrammet testades med för få gymnasieklasser för att kunna generalisera resultatet över hela målgruppen av gymnasieelever.This thesis investigates the ability of a lab exercise in House of Science (Vetenskapens Hus),Stockholm, to create bridges between upper-secondary school students’ knowledge, university mathematics and practical application of that knowledge, thus increasing their motivation and interest to learn more mathematics and physics. The topic of the lab exercise is Fourier analysis and its practical application in Digital Sound Processing (DSP). The lab exercise deals with mathematics, physics and IT-technology thus making the activity interdisciplinary. An important part of the work is also to improve this lab exercise based on the results of this study. The result is based on qualitative data from interviews, questionnaires filled by students and their teachers and also on literature studies. Some data is also collected through an iterative process of improving the lab exercise. This report starts with justification for conducting this work, setting the goals and objectives and formulating main questions. Then the methods, which were used in order to answer these questions, are described. The middle part of the report summarizes literature and research studies in education, interest and motivation of students and also summarizes a scientific basis for the content of the school program in Fourier analysis. Next, the development process of the school program is described. This is followed by a presentationof the results of testing the school program with upper secondary school students with regard to how their interest and motivation are affected by it. The report ends with a discussion of these results and its credibility. The result shows that the final version of the lab exercise, that is modified within the framework of this study, wakes students’ interest and motivation towards the topic of the exercise. The result also shows that some complex concepts (both new and those which are learned in school) become clearer for the students after the exercise which could potentiallylead to an increase in their motivation for learning the mathematics and physics in general. The problem is that the lab exercise was tested on too few classes for being able to generalize the result over the whole target group of the upper-secondary school students.
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Maseko, Mandla Selby. "An impact analysis of provincial music hubs." Thesis, 2017. https://hdl.handle.net/10539/24762.
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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts(Arts and Culture Management) 2017American film producer, Jason Berman reminds us that music is something the rest of the world wants to listen to; our job is to make sure they pay for it (Matzukis, 2013). When a piece of music is written, a legal right to it comes alive and is vested in the songwriter (author), but if that piece of music is later recorded, a totally different copyright vested in the record company comes alive (Matzukis, 2013). Unfortunately, it appears that the majority of local music role players, particularly composers, producers and performers, are not sufficiently equipped with legal knowledge and common understanding of the music trade’s secrets, its ecosystem or the music industry value chain. The lack of knowledge and exposure is attributed to historically manifested control of the music markets by record companies owned by foreign multinational conglomerates. As a result, a large number of famous and popular local musicians have died penniless. This scenario is painted vividly in an online article titled “Why do our artists die poor?”, which cites Brenda Fassie and Simon Mahlathini Nkabinde as examples of artists who died poor because of bad decisions they made in their career, despite their fame and wealth of music compositions. (www.you.co.za/entertainment/why-do-artists-die-poor/#) In South Africa, the major constraints on the launching of a musical career are access to trade knowledge and the means of production, such as recording facilities (Jordan, 2009).The Southern African Music Rights Organization’s empirical research shows that international music still dominates the South African music market, with 74% of music sold and played on broadcasting and public platforms (Samro, Notes, November 2014, p 13). As a result, the majority of local independent music composers, producers and performers are forced to share the remaining 26% of the music market. This situation worsens when widening the scope to include music role players who are located outside of urbanised provinces such as Gauteng and Western Cape, because most of them lack access to adequate and professional recording studios; lack basic knowledge on ownership of compositions and sound recordings rights; lack the skill to interpret the copyright laws; lack understanding of contractual issues between the artist and record company; lack understanding of the exportation trade; lack the means to submit their audiovisual works for airplay and lack adequate resources to build their brands for competitiveness. Since 2006 the South African music industry has seen an increase in government expenditure on and investment in musical institutions, at national and provincial levels, which are defined in this study as “music hubs”. In 2006, the Eastern Cape Audio Visual Centre (ECAVC) was established in East London (Eastern Cape Province); in 2009/2010, the KZN Music House was established in Durban (KwaZulu-Natal) and in 2008, the Downtown Music Hub was established in Johannesburg (Gauteng Province). The rationale to establish these music hubs is to ease access to the means of production for a large number of local music composers, producers and performers. The purpose of this impact analysis study is evaluate to what extent these music hubs are fulfilling their redress and transformation policy mandate to be beacons of hope for the local music industry. The theoretical grounds of this research study are premised on the concepts of transformation to create access for previously marginalized groups and black economic empowerment for local music role players. This research will unpack how these music hubs, in South Africa, can be used as tools for redress and to transform the music industry into an equitable market for all role players. Although government, at national and provincial level, shows commitment to establishing musical institutions that aim to combat the challenges facing the local music role players as outlined above, it is regrettable that the two music hubs (case studies) in the respective provinces are battling to position themselves as provincial music industry center pieces that create a competitive provincial music ecosystem and network to connect and empower local music industry role players. In 2009, the former minister of arts and culture, Pallo Jordan, in his speech at the launch of the Downtown Music Hub, indicated that the purpose of establishing the music hubs was to lower the barrier by making recording facilities, music manufacturing plants, music distribution channels and music stores more accessible to the most qualifying music role players (Jordan, 2009). This means that if these music hubs are understood as the music development trajectory in South Africa and well implemented, they have the potential to help local music industry role players become more competitive and perform on global music market platforms.
XL2018
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Dollman, Emily Kate. "Orchestral education programmes : a study of Australian and British models." Thesis, 2016. http://hdl.handle.net/2440/103771.
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This doctoral thesis, submitted to the University of Adelaide, examines the education programmes of symphony orchestras in Australia and the United Kingdom, both past and present. Through this detailed exploration the thesis considers directions for future development. In Australia, orchestras increasingly look to their education departments to both foster the next generation of musicians and to maintain social relevance. However, there is a mismatch between the evident importance of such work and the relative lack of research in the field. The research presented here aims to fill this gap by presenting the first comprehensive overview of current practice and historical development in the field. At the time of writing orchestral education programmes are in a period of growth in Australia. Several Australian orchestras have made connections with British specialists, in acknowledgment that the United Kingdom is a world leader in participatory, creative orchestral education programming. The thesis analyses the reasons behind the United Kingdom’s strength in this area, giving particular attention to the development of the creative music workshop format. Other key topics in the thesis include: the implications of the growth of orchestral education work for classical music training at the tertiary level; the importance of partnership between arts and education organisations and the international impact of the Venezuelan El Sistema upon music education. New primary source materials have been generated in the form of interviews with leading figures in the field, including Managing Directors and Education Directors of orchestras in both Britain and Australia. The detailed insight gained from these interviews highlights current best practice in the field and reveals possibilities for further growth. The conclusion of this thesis offers a blueprint for future orchestral education programming.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2016.
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Chu, Hsueh Mei, and 薛梅珠. "Memory, composition and ethnic consciousness:a study of De-Fu Hu's music." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/34383685520084616598.
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碩士國立臺灣藝術大學
表演藝術研究所
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The study on Taiwan aboriginal music has been mainly about oral music. However, the works composed by aboriginal artists has been richer and more complex. Among aboriginal artists, De-Fu Hu is one of the leading figures. He has started composing since 1970. One of the well-know features of his music is that his works are done independently from composing to performing, which is the ability that young aboriginal artists lacks. Hu’s works are not about romantic themes but about the issues that aboriginals have encountered. Hu’s choices to discuss those issues in his works have resulted from his life experiences. This research is composed of three aspects through interview with Hu. First is the “memory,” and this section is the retrospect of Hu’s life from birth to 2007; second, the “musical creation,” the analysis of his music and the features of his works. The last is the exploration on how the “ethnic consciousness” has been formed and later presented in his works.
Books on the topic "Music hubs"
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Feiler, Jesse. Making movies, photos, music & DVDs on your Mac: Using Apple's digital hub. Berkeley, Calif: McGraw-Hill/Osborne, 2002.
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Dawson, C. J. Music education at a distance: A hub class trial in the study of music theory using communications technology : report. [Adelaide}: Education Technology Centre, Education Dept., South Australia, 1986.
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Les musiciens liégeois au service des Habsbourg d'Autriche au XVIème siècle. Tutzing: Hans Schneider, 2006.
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O'r ochor arall. Llanrwst: Gwasg Carreg Gwalch, 2012.
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Beah, Ishmael. Ver van huis: Herinneringen van een kindsoldaat. Amsterdam: Sijthoff, 2007.
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Jones, Edward Huws. Early Music Fiddler (Huws Jones Fiddle). Boosey & Hawkes Music Publishers Ltd, 2000.
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Hub, The Hub The, John Bischoff, and Ludger Brummer. Hub: Pioneers of Network Music. Kehrer Verlag Heidelberg, Klaus Kehrer, 2022.
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Hub City Music Makers: One Southern Town's Popular Music Legacy. Holocene Publishing, 1997.
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Milne, A. A. Hums of Pooh. Farshore, 2003.
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The Hub: Edinburgh's festival centre : Cafe Hub, ticket centre, music and book shop : [leaflet]. Edinburgh: [The Hub], 1990.
Find full textBook chapters on the topic "Music hubs"
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Kiwan, Nadia, and Ulrike Hanna Meinhof. "Metropolitan Hubs in the South." In Cultural Globalization and Music, 50–83. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305380_3.
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Kiwan, Nadia, and Ulrike Hanna Meinhof. "Capital Cities as Global Hubs." In Cultural Globalization and Music, 87–120. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305380_4.
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Seman, Michael. "Punk Rock Entrepreneurship: All-Ages DIY Music Venues and the Urban Economic Landscape." In Creative Hubs in Question, 229–44. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10653-9_12.
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Mert, Ceren. "Istanbul’s Sounds and Its ‘Creative’ Hubs: Creative Actors Articulating the City into Transnational Networks Through Music." In Creative Hubs in Question, 171–87. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10653-9_9.
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Nanopoulos, Alexandros. "Detecting Hubs in Music Audio Based on Network Analysis." In Lecture Notes in Computer Science, 302–11. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-03798-6_31.
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Alexander, Phil. "The Music in Berlin: Musical Networks." In Sounding Jewish in Berlin, 27–93. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190064433.003.0002.
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This chapter is a detailed discussion of the sophisticated network relations at play in Berlin’s klezmer and Yiddish music scene. Drawing on the work of Howard Becker and Mark Granovetter, it lays out the connections that bring different musicians together, including an analysis of important network hubs and significant weak ties that enable creative links across different musical and social territories. The historical context for these networks is also discussed in detail, including the earlier roles of venues, organizations, and personalities in uniting musicians, audiences, and enthusiasts. The second half of the chapter then offers a detailed breakdown of current musical styles, positing four overlapping stylistic (and in some senses social) categories that help the reader to navigate different expressions and groupings of Berlin klezmer: pioneers, modernists, fantasists, and transformers. Each one of the taxonomies is analyzed in terms of musical approach, repertoire, and relation to other groups. These are enriched in each case by a wealth of ethnographic detail, thick descriptions of particular performances (including the author’s own reactions and responses), and informative musical examples and transcriptions. The chapter concludes by placing the city of Berlin’s klezmer musical networks within the wider international scene of which they are a distinct but related part.
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Giddings, Steve. "Other Considerations." In Technology for Unleashing Creativity, 162–86. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570739.003.0011.
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This chapter is a collection of other apps and software to consider when facilitators are implementing creativity through technology in music classrooms. Virtual hubs for collecting learner creations and assessment like Google Classroom, Google Sites, Padlet, and Wakelet are examined and discussed. Video considerations such as Zoom, Loom, Flipgrig, Google Meet, Da Vinci Resolve, and OBS are given attention. Other creative apps like aQWERTYon, Cornelius Composer, and Blob Opera as well as other previously unmentioned creative apps like Google Doodles are introduced, explored, and discussed. Various mobile and cloud-based apps useful for looping, sampling, rapping, and recording are explored and compared for their possible applications in the music classroom.
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Mercer-Taylor, Peter. "Heyday." In Gems of Exquisite Beauty, 134–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190842796.003.0005.
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The vast expansion of the American music-making infrastructure through the 1840s brought with it a vast expansion of interest in psalmodic adaptations of classical music. Hundreds of such adaptations appeared in a gathering wave of activity that crested around 1850. This chapter’s survey of this midcentury mania sets off with George Kingsley, whose 1838 Sacred Choir (with 24 tunes culled from major composers’ work) spearheaded this wave, and whose commitment to such adaptations proved more energetic and sustained than any contemporary’s. The discussion goes on to center on two hubs of activity in turn: New York (home to such compilers as Ureli Corelli Hill, Elam Ives, William Bradbury, and Thomas Hastings) and Boston (where the effort was led by Lowell Mason and Benjamin Franklin Baker). The chapter closes with reflections on the manifold reasons for the practice’s steep decline after about 1853.
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Niebur, Louis. "The Machine Hums." In Music and the Broadcast Experience, 109–28. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199314706.003.0005.
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Sharp, Daniel. "Of Mud Huts and Modernity." In Brazilian Popular Music and Citizenship, 291–312. Duke University Press, 2011. http://dx.doi.org/10.1215/9780822393603-018.
Full textConference papers on the topic "Music hubs"
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Velek, Viktor. "1848: Music, Master Jan Hus and Hussitism." In Međunarodni i interdisciplinarni simpozij Glazba, umjetnosti i politika: revolucije i restau- racije u Europi i Hrvatskoj 1815.-1860. (14 ; 2019 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, 2021. http://dx.doi.org/10.21857/m16wjce649.
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Rönnberg, Niklas, and Jonas Löwgren. "Photone: Exploring Modal Synergy in Photographic Images and Music." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.022.
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We present Photone, an interactive installation combining photographic images and musical sonification. An image is displayed, and a dynamic musical score is generated based on the overall color properties of the image and the color value of the pixel under the cursor. Hence, the music changes as the user moves the cursor. This simple approach turns out to have interesting experiential qualities in use. The composition of images and music invites the user to explore the combination of hues and textures, and musical sounds. We characterize the resulting experience in Photone as one of modal synergy where visual and auditory output combine holistically with the chosen interaction technique. This tentative finding is potentially relevant to further research in auditory displays and multimodal interaction.
Reports on the topic "Music hubs"
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.