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.
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Denisova, Anastasia, and Aliaksandr Herasimenka. "How Russian Rap on YouTube Advances Alternative Political Deliberation: Hegemony, Counter-Hegemony, and Emerging Resistant Publics." Social Media + Society 5, no. 2 (April 2019): 205630511983520. http://dx.doi.org/10.1177/2056305119835200.
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The late 2010s have seen the unprecedented rise of Russian rap culture on YouTube. This study delves into the unexplored area of the relationship between rap music, politics, and the Internet audience in Russia. It focuses on the analysis of the production of the most popular rap videos—their narratives, power relations, and socio-political themes, as well as the prevailing patterns in the discussion on socio-political issues by the YouTube audience. The study brings three contributions that identify the power relations in the Russian society that manifest in the field of rap music. First, the Russian-speaking users demonstrate a high level of criticality toward the pro-Kremlin rap music on YouTube and challenge the lies of propaganda rap. Second, pro-government rappers follow the Soviet authoritarian ethos and praise belonging to the collective of elites, while liberal ones adhere to the individual responsibility. Third, we demonstrate the prevalence of patriarchal gender values, including macho politics and unquestioned sexism, which are representative of gender politics in the country. This article proves the importance of socio-political commentary on YouTube and points to the rap videos as the popular hubs for the socio-political debates. Users flow to rap videos and utilize the comment section to have their say on the political context and power relations rather than the music, to engage with others, and to contribute to the emerging collective debate. The comment sections on these rap videos have a unique value for the Russian users who exploit them as the negotiation space in the void of other platforms for social dialogue in Russia.
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Karnes, Kevin C. "Inventing Eastern Europe in the Ear of the Enlightenment." Journal of the American Musicological Society 71, no. 1 (2018): 75–108. http://dx.doi.org/10.1525/jams.2018.71.1.75.
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In his landmark study Inventing Eastern Europe (1994) the historian Larry Wolff documented the first attempts to partition the continent imaginatively into western and eastern domains. This partitioning, he argues, was undertaken by writers from the hubs of the European Enlightenment, who traveled into Imperial Russia and wrote about their experiences abroad. In their accounts of travel these writers “intellectually combin[ed]” easterly geographies and peoples “into a coherent whole” and compared that whole with westerly spaces, thereby “establishing the developmental division of the continent.” While Wolff's analysis retains a central place in discourse on the Enlightenment, I suggest that its picture of Europe's mapping is limited by its ocularcentric readings of period texts, and that a different picture emerges if we consider what travelers heard alongside what they saw. Focusing on accounts of listening provided by such travelers as Johann Gottfried Herder, the Hebraist Johann Joachim Bellermann, and the grammarian Gotthard Friedrich Stender, I discuss the way in which the aural registers of their experiences alternately enrich and confound ocularcentric accounts of Europe's imaginary partition. Where travelers saw foreign peoples and scenes, they sometimes heard familiar musics; where they saw an undifferentiated mass of individuals, they often heard a diversity of voices. Drawing on work in sound and media studies, anthropology, and ethnomusicology, I suggest that travelers’ habits of listening deeply inflected their ethnographic imaginings, and vice versa—a situation that reveals the inventing of Eastern Europe to have been a more complex and conflicted project than is generally acknowledged today.
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Lapointe, François-Joseph. "Hybrids Are Hubs: Transdisciplinarity, the Two Cultures and the Special Status of Artscientists." Leonardo 47, no. 3 (June 2014): 277. http://dx.doi.org/10.1162/leon_a_00780.
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Much has been said and written about the two-culture paradigm separating the world between artists and scientists. On one side of this debate are those who accept this cultural art/science divide. On the other side are those who reject it altogether to promote a better integration of artscience practices. In this paper, the author presents a network analysis of 40 papers submitted to the SEAD Network for Science, Engineering, Arts and Design and tests the hypothesis that the papers submitted by artists and scientists are disconnected in the corresponding graph, as predicted by the art/science separation. Rejecting this hypothesis will provide support for the alternative artscience integration.
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Guo, Ying, and Shanshan Xu. "Analysis of Different College Music Education Management Modes Using Big Data Platform and Grey Theoretical Model." Journal of Environmental and Public Health 2022 (August 16, 2022): 1–10. http://dx.doi.org/10.1155/2022/4522580.
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Colleges and universities are crucial hubs for talent development, carrying out the vital task of supplying top-notch talent for all spheres of society. The growth of society and the economy is significantly influenced by the quality of education and teaching. A significant factor is the caliber of the instruction. Therefore, it is essential to innovate the educational management model in order to promote the holistic development of college students as well as the orderly development of educational and teaching activities in colleges and universities. The college and university music education model has made progress after years of development. In spite of its successes in reform, there are still a lot of issues that require close attention. The education system is constantly being updated and improved in order to meet modern development needs. It is essential to develop innovative strategies with strong operability from multiple perspectives in response to the actual issues that arise in order to carry out the reform work smoothly and steadily advance the innovation of the management model of music education in colleges and universities. This paper analyzes the teaching impact of the single-line education management model and the credit system education management model and predicts the students’ musical performance based on the gray theoretical model and the big data platform. The experiment revealed that as learning time increases, the teaching effects of the two learning modes increase, but it is evident that the credit system education management mode’s teaching effect is superior. The single-line education management model among them has an average score of 83.3 points, and the credit system education management model has an evaluation score of 86.1 points.
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Lulkowska, Agata. "Decolonising Local Knowledge – Arhuaco Filmmaking as a Form of Cultural Opposition." Cuadernos de Música, Artes Visuales y Artes Escénicas 16, no. 2 (July 4, 2021): 132–49. http://dx.doi.org/10.11144/javeriana.mavae16-2.dlka.
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Can filmmaking as a form of intercultural communication serve as an apparatus for selfidentification and cultural opposition to established North/West knowledge pro- duction hubs? Based on extensive fieldwork in the Sierra Nevada and detailed analysis of the Arhucao films and their production and distribution strategies, this article explores the possibility of utilising film and audio-visual communication as a way to decolonise local knowledge. Following decades of persecutions, hostility, illtreatment and cultural violence, the work of Zhigoneshi (and, later, Yosokwi) communication col- lectives not only helped to nourish the cultural identity of the indigenous communities of Sierra Nevada de Santa Marta, but it also turned them into proud ambassadors of indigenous values on the international level. Prolific in their internal and external com- munication practices, they regained agency as full participants of intercultural dialogue, which focuses on the importance of the inclusion, diversity and dewesternisation of local knowledge. While acknowledging its own limitations and the author’s inevitable positionality, this article also reflects on further steps that the European and Western collaborators and institutions need to take to accomplish the vision of decolonisation. It concludes with acknowledging the work of the Arhuaco filmmakers and their allies in providing an invaluable contribution to strengthen this discussion and enable the shift towards a more all-embracing pattern of knowledge production and dissemina- tion based on quality and importance and less so on stereotypical preconceptions and geographical location.
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Reichardt, Dagmar. "PUT IT ON OR : USE IT AND ENJOY ! THE TRANSCULTURAL AND SYNERGIZING HISTORY OF ITALIAN FASHION AND INDUSTRIAL DESIGN." Culture Crossroads 19 (October 11, 2022): 285–97. http://dx.doi.org/10.55877/cc.vol19.36.
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Among the three international fashion hubs Paris, Milan, and New York that have dominated fashion production since the 20th century, Italian fashion stands out through its transcultural Italophony. Since the historic beginnings of the West, the development of fashion, taste and etiquette in modern Italy plays both culturally and historically a key role in European politics, economics, literature, fine arts, music and theatre. This applies also to Italian design, which is – like fashion – a powerful nonverbal language in cultural, aesthetical and economic terms, expressing a unique and life-affirming sociological habitus. This essay intends to pinpoint the outstanding impact of taste, fashion and design originating from Italy and perceivable all over the world on a transcultural and transdisciplinary level. Starting with antiquity and Renaissance, both disciplines enter a period of prosperity and success during the golden 1950s and 1960s, supported by the rise of Cinecittà, family business structures and crafts enterprises. In early postmodernity, a shift takes place from Alta Moda to Pronto Moda, from fashion as art to popular, serial industrial ready?to?wear, and a complex reciprocal synergetic effect builds up between the fashion and design brands. Both sectors are equal in terms of international influence and versatility, both are associated complementary to each other, and both disseminate a new standard of shapeliness, elegance and peachiness in the whole country as well as on a transnational scale.
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Mattiuzzi, Elizabeth, and Beki McElvain. "“Bouncing Forward” from Disasters on Hawaiʻi’s Big Island: Lessons for Equitable Recovery and Future Resilience." Federal Reserve Bank of San Francisco, Community Development Research Brief Series 2022, no. 05 (October 19, 2022): 01–27. http://dx.doi.org/10.24148/cdrb2022-05.
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Recovery planning and implementation on the island of Hawaiʻi following a federally declared disaster provides an example of equitable, forward-looking disaster preparation and resilience. Community development professionals in other geographies can learn from the way planners and nonprofits used a regional equity approach to improving household and community resilience, broke down silos to have flexible funding from multiple sources ready for future disasters, and worked to build community through “resilience hubs” that provide disaster-related and ongoing services that help promote economic participation. These efforts also provide lessons for potential future Community Reinvestment Act (CRA) activity that helps prepare communities for disasters.
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Sirota, Warren. "The Hub: The Hub Computer Network Music." Computer Music Journal 15, no. 2 (1991): 76. http://dx.doi.org/10.2307/3680921.
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Bosma, Hannah. "Canonisation and Documentation of Interdisciplinary Electroacoustic Music, Exemplified by Three Cases from the Netherlands: Dick Raaijmakers, Michel Waisvisz and Huba de Graaff." Organised Sound 22, no. 2 (July 12, 2017): 228–37. http://dx.doi.org/10.1017/s1355771817000139.
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Relations between histories, sources and preservation problematics are explored by evaluating how Dutch electroacoustic musical life is discussed in international histories of electronic music. Some Dutch cases consisting of different generations of interdisciplinary, live, performance-based electroacoustic work are discussed: the work of Dick Raaijmakers, Michel Waisvisz and Huba de Graaff. These cases point to some important aspects of preservation and the formation of histories. An emphasis in electronic music histories on technology and on technological innovation comes at the expense of information on the musical and artistic aspects. For greater interest in musical aspects, it is crucial to have more access to the music itself. The works and practices of Dick Raaijmakers, Michel Waisvisz and Huba de Graaff seem to resist documentation, ontologically and practically but, on the other hand, there is a desire for its documentation and dissemination. For their work, preservation means: making something new while being faithful to the past. It is therefore that I propose to regard preservation as performance. This music only remains alive when we are not solely interested in linear innovation, but in a profound relation with the past, in reworking the past.
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Earle, Ben. "The Music of Frank Bridge. By Fabian Huss." Music and Letters 97, no. 2 (May 2016): 358–60. http://dx.doi.org/10.1093/ml/gcw042.
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Wolters-Fredlund, Benita. "Rednecks, Queers, and Country Music by Nadine Hubbs." Notes 71, no. 4 (2015): 728–31. http://dx.doi.org/10.1353/not.2015.0079.
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Balay, Anne. "Rednecks, Queers, and Country Music by Nadine Hubbs." Labor 14, no. 1 (February 6, 2017): 116–18. http://dx.doi.org/10.1215/15476715-3718602.
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Greene, Gary A. "The Musical Huss Family in America." American Music 12, no. 1 (1994): 31. http://dx.doi.org/10.2307/3052490.
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Helsing, Marie, Daniel Västfjäll, Pär Bjälkebring, Patrik Juslin, and Terry Hartig. "An Experimental Field Study of the Effects of Listening to Self-selected Music on Emotions, Stress, and Cortisol Levels." Music and Medicine 8, no. 4 (October 26, 2016): 187. http://dx.doi.org/10.47513/mmd.v8i4.442.
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Music listening may evoke meaningful emotions in listeners and may enhance certain health benefits. At the same time, it is important to consider individual differences, such as musical taste, when examining musical emotions and in considering their possible health effects. In a field experiment, 21 women listened to their own preferred music on mp3-players daily for 30 minutes during a two week time period in their own homes. One week they listened to their own chosen relaxing music and the other their own chosen energizing music. Self-reported stress, emotions and health were measured by a questionnaire each day and salivary cortisol was measured with 6 samples two consecutive days every week. The experiment group was compared to a control group (N = 20) who were instructed to relax for 30 minutes everyday for three weeks, and with a baseline week when they relaxed without music for one week (before the music intervention weeks). The results showed that when participants in the experiment group listened to their own chosen music they reported to have experienced significantly higher intensity positive emotions and less stress than when they relaxed without music. There was also a significant decrease in cortisol from the baseline week to the second music intervention week. The control group’s reported stress levels, perceived emotions and cortisol levels remain stable during all three weeks of the study. Together these results suggest that listening to preferred music may be a more effective way of reducing feelings of stress and cortisol levels and increasing positive emotions than relaxing without music. Keywords: music, emotions, stress, cortisol levelsSpanishEstudio experimental de Campo de los efectos de la Escucha de Musica seleccionada por uno mismo en las emociones, el stress y los niveles de cortisol.Marie Helsing, Daniel Västfjäll, Pär Bjälkebring, Patrik Juslin, Terry Hartig La escucha musical puede evocar emociones significativas en los oyentes y puede lograr algunos beneficios en la salud. Al mismo tiempo, es importante considerar las diferencias individuales, como por ejemplo el gusto musical, cuando examinamos las emociones musicales y al considerar sus posibles efectos en la salud. En este experimento de campo 21 mujeres escucharon su música preferida 30 minutos por dia durante 2 semanas utilizando reproductores de mp3 en sus propias casas. Una semana escucharon la música que eligieron como relajante y la semana siguiente la música que eligieron como energizante. Los auto-reportes de stress, emociones y salud fueron medidos con cuestionarios diarios a la vez que se midió el nivel de cortisol en saliva con 6 muestras tomadas durante dos días consecutivos cada semana. El grupo experimental fue comparado con el grupo control (N=20) que habían sido instruidas para realizar relajación durante 30 minutos todos los días durante tres semanas y con una semana de base en la cual se relajaban sin música (antes de las semanas de intervención musical). Los resultados mostraron que cuando las participantes del grupo experimental escucharon su propia música, reportaron haber experimentado significativamente una mayor intensidad de emociones positivas y menor stress que cuando se relajaron sin música. Hubo también una disminución significativa en el cortisol desde la semana de base a la segunda semana con la intervención musical. El grupo control reportó que los niveles de stress , percepción emocional y niveles de cortisol permanecieron estables durante las tres semanas del estudio. Estos resultados sugieren que escuchar música preferida puede ser una forma más efectiva de reducir la sensación de stress y los niveles de cortisol y de incrementar las emociones positivas que la relajación sin música. Palabras clave: Escucha musical , cortisol , respuesta al stress GermanDie Effekte vom Hören selbst gewählter Musik auf Emotionen, Stress und Cortisol Level: Eine experimentelle Feldstudie Marie Helsing, Daniel Västfjäll, Pär Bjälkebring, Patrik Juslin, Terry Hartig Musikhören kann beim Hörer bedeutsame Emotionen auslösen und gewisse Gesundheitsvorteile bewirken. Gleichzeitig ist es wichtig, individuelle Unterschiede, wie den musikalischen Geschmack, zu beachten, wenn man musikalische Emotionen untersucht und deren mögliche gesundheitliche Effekte betrachtet. In einem Feldexperiment hörten 21 Frauen ihre selbst gewählte Musik über einen mp3 Spieler täglich 30 Minuten während einem Zeitraum von 2 Wochen in ihrem eigenen Zuhause.Eine Woche lang hörten sie ihre selbst gewählte entspannende Musik, in der anderen Woche selbst gewählte energetisierende Musik. Selbstberichteter Stress, Emotionenund Gesundheit wurden mithilfe eines Fragebogens täglich, der Cortisolspiegel mit 6 Beispielen an zwei aufeinander folgenden Tagen wöchentlich gemessen. Die experimentelle Gruppe wurde mit einer Kontrollgruppe verglichen (N=20), die angewiesen wurde, 3 Wochen lang täglich 30 Minuten zu entspannen; mit einer baseline-Woche, während der sie eine Woche lang ohne Musik entspannten (vor der Musik-Interventionswoche). Die Ergebnisse zeigten, dass die Teilnehmer der experimentellen Gruppe berichteten, sie hätten bei ihrer selbst gewählten Musik signifikant höhere intensive positive Emotionen und weniger Stress, als wenn sie ohne Musik entspannten. Außerdem fand sich eine signifikante Abnahme des Cortisols von der baseline-Woche zur 2. Woche mit Musikintervention. Die von der Kontrollgruppe berichteten Stresslevel, erlebten Emotionen und der Cortisolspiegel blieben während all der drei Studienwochen stabil. Zusammengefasst lassen diese Resultate vermuten, dass Hören von selbst gewählter Musik eine effektivere Möglichkeit darstellt, Gefühle von Stress und Cortisollevel zu reduzieren und positive Gefühle zu erzeugen, wie Entspannung ohne Musik.Keywords: Musikhören, Cortisol, Stressresponse ItalianStudio Sperimentale sul Campo degli Effetti Legati all’Ascolto della Musica Auto-Selezionata sulle Emozioni, Stress, Livello del Cortisolo Marie Helsing, Daniel Västfjäll, Pär Bjälkebring, Patrik Juslin, Terry HartigAscoltare musica può suscitare emozioni e può dare benefici alla salute. Allo stesso tempo però è importante prendere in considerazione le differenze individuali ,come il gusto musicale, quando si indaga sulle emozioni musicali, e considerare il loro possible effetto sulla salute. In un esperimeto sul campo 21 donne hanno ascoltato la loro musica preferita, su lettori mp3, ogni giorno, nelle loro case, per 30 minuti lungo un periodo di tempo di 2 settimane. Una settimana hanno ascoltato musica rilassante e l’alta settimana musica energizzante. Stress, emozioni e salute sono stati misurati da un questionario ogni giorno e il cortisolo della salia è stato misurato con 6 campioni due giorni consecutivi ogni settimana. Il gruppo di sperimentazione è stato messo a confroto con un altro gruppo di controllo (N= 20) al quale è stata assegnata una settimana di controllo di relax senza musica e dopo hanno avuto istruzione di rilassarsi per 30 minuti ogni giorno per tre settimane. I risultati hanno mostrato che quando i partecipanti del gruppo hanno ascoltato la loro musica essi hanno riferito di aver avuto meno stress e di aver vissuto emozioni positive in un livello significativamente piú alto rispetto a quando si rilassavano senza musica. C’è stata anche una diminuzine significativa del cortisolo nel passaggio tra la settimana di controllo alla settimana in cui è stata introdotta la musica. Il gruppo di controllo ha riportato livelli di stress, emozioni percepite e livelli di cortisolo stabili durante tutte e tre le settimane dello studio. Tutti questi risultati ci suggeriscono che rilassarsi ascoltando la nostra musica preferita può essere un modo molto efficace per ridurre i livelli di stress e di cotisolo ed aumentare le emozioni positive, rispetto a rilassarsi senza musica. Parole Chiave: ascoltare musica, cortisolo, stress Chinese聆聽自選音樂對情緒、壓力及皮質醇水平效用之實驗性實地研究聆聽音樂能激發對聆聽者而言具有意義的情緒，並有益於促進健康。於此同時，當評估音樂對情緒及健康可能帶來的影響時，考慮到個別差異(如：個人的音樂品味)至關重要。在一個實地研究中，21位女性連續兩週，每天30分鐘在家聆聽她們喜歡的音樂mp3，其中一週，他們聆聽自己選擇的放鬆音樂，另一週則聆聽自選的活力音樂。在自陳問卷中每天測量壓力值、情緒與健康狀態，並每週連續兩天測量六個唾液皮質醇樣本。在音樂介入之前，以一週沒有聆聽音樂的放鬆作為基線期，將實驗組的結果與連續三週每天進行30分鐘放鬆的控制組(N=20)比較，結果顯示和未聆聽音樂的放鬆經驗相比，實驗組的參與者表示，在她們聆聽自選音樂的時候，感受到明顯較高強度的正向情緒以及較少的壓力。同時，與第一週的基線期相比，皮質醇在第二週音樂開始介入後也顯著降低。相對的，控制組的自陳壓力值、情緒感知及皮質醇程度在研究進行的三週之中皆保持穩定。研究結果建議，在放鬆時聆聽個人偏好的音樂比沒有聆聽音樂更能有效降低壓力感與皮質醇程度，並增加正向情緒 。 Japanese自分で選んだ音楽を聴くことによる、感情、ストレス、 コルチゾール値への影響についての実験的実地調査Marie Helsing, Daniel Västfjäll, Pär Bjälkebring, Patrik Juslin, Terry Hartig 音楽鑑賞は鑑賞者の有意義な感情を喚起し一定の健康利益を高める可能性がある。同時に、音楽感情を調査、またそれらの健康への影響の可能性を考察する際には、音楽の嗜好など、個人差を考慮することが重要である。実地調査では、21人の女性が各自の好む音楽を一日30分、2週間、MP3プレイヤーを使って自宅で聴いた。一週間は自分で選択したリラックスする音楽を、もう一週間は自分で選択した活力を与える音楽を聴いた。自己申告によるストレス、感情、健康がアンケートを使って毎日計測され、唾液内のコルチゾール値は、毎週2日連続して６つのサンプルを使って計測された。実験グループは毎日30分のリラクゼーションを3週間行ったコントロール群 (N=20) と比較され、コントロール群はベースラインとなる週（リラクゼーションを始める前の週）に音楽なしのリラクゼーションも行った。結果は、実験グループ参加者が好みの音楽を聴いている時、著しく高い強さでポジティブな感情を経験し、音楽なしでリラックスしている時よりもストレスが少ないということを示した。また、コルチゾール値は、ベースライン週に比べて音楽介入のあった2週目の方が有意に減少していた。コントロール群では、ストレスレベル、感情知覚、コルチゾール値が、調査中3週間において安定を保持したことが報告された。これらの結果を合わせると、好みの音楽を聴くことはよりストレス感情とコルチゾール値を減少させ、音楽なしのリラクゼーションよりもポジティブな感情を増加させることが示唆される。キーワード：音楽鑑賞、コルチゾール、ストレス反応 Korean개인선곡 음악감상이 정서, 스트레스, 코티졸 레벨에 미치는 영향에 대한 임상 실험 연구Marie Helsing, Daniel Västfjäll, Pär Bjälkebring, Patrik Juslin, Terry Hartig음악을 듣는 것은 듣는 사람에게 중요한 정서를 이끌어 낼 수 있으며 특정한 건강 혜택들을 증진시킬 수 있다. 동시에, 음악적 정서를 조사할 때, 또한 그것들이 건강에 끼칠 수 있는 영향들을 고려할 때 음악적 취향과 같은 개인차를 고려해야 한다. 임상 실험에서, 21명의 여성들은 자신의 집에서 2주 동안 매일 30분씩 MP3 플레이어로 자신이 좋아하는 음악을 들었다. 첫 일주일 동안, 그들은 자신이 선택한 이완 음악을 들었고, 두 번째 일주일간은 자신이 선택한 에너지를 주는 음악을 들었다. 매일 질문지로 자신이 보고한 스트레스, 감정, 건강 등을 평가했고, 매주 2일 연속 6개의 샘플을 가지고 타액내 코티졸을 측정했다. 실험집단은 3주 동안 매일 30분씩 이완을 시키라고 지시를 받은 통제 집단(N=20)과 비교했으며, 음악 중재 전 일주일 동안 음악 없이 이완을 시켰던 때를 기초선 주간(baseline week)으로 정했다. 그 결과, 실험 집단의 참가자들은 음악없이 이완을 시켰던 때보다 자신이 선택한 음악을 들었을 때 유의미하게 더 높은 강도의 긍정적 정서와 더 적은 스트레스를 경험했다고 보고했다. 또한 기초선 주간으로부터 두 번째 음악 중재 주까지 코티졸의 유의미한 감소도 있었다. 통제 집단이 보고한 스트레스 수준, 인식한 감정, 코티졸 레벨은 3주 간의 연구 기간 내내 안정적이었다. 이런 결과들을 종합했을 때, 선호하는 음악을 듣는 것이 음악 없이 이완을 시키는 것보다 긍정적인 정서를 증가시켜주고 스트레스 감정과 코티졸 수준을 줄여주는 보다 효과적인 방법이 될 수 있음을 제안한다. 키워드: 음악 감상, 코티졸, 스트레스 반응
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Naef, Shirin. "Iran. A New Hub for Afghan Artists." Almanach, no. 2 (December 8, 2022): 29–34. http://dx.doi.org/10.12685/alm.2.2022.1232.
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Iran hosts one of the largest populations of Afghan migrants and refugees in the world. Though the two countries have always been linked through music, art and culture, Iranian society has for a long time looked upon Afghan migrants as “simple blue-collar workers”. But the rise of new generations of Afghans living and working in Iran is changing Iranians’ views – and shining a spotlight on Afghan poets, writers, cinematographers, and actresses.
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Shouldice. "Trading Hindemith for "Hugs, High-fives, and Handshakes" One Preservice Music Teacher's Decision to Teach Elementary General Music." Bulletin of the Council for Research in Music Education, no. 195 (2013): 41. http://dx.doi.org/10.5406/bulcouresmusedu.195.0041.
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McMullan-Glossop, Eva. "Hues, Tints, Tones, and Shades: Timbre as Colour in the Music of Rebecca Saunders." Contemporary Music Review 36, no. 6 (November 2, 2017): 488–529. http://dx.doi.org/10.1080/07494467.2017.1452697.
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Riedl, Hannah, and Thomas Stegemann. "Die Übersetzung der Healthy-Unhealthy Uses of Music Scale (HUMS) vom Englischen ins Deutsche." Musiktherapeutische Umschau 39, no. 3 (October 2018): 229–40. http://dx.doi.org/10.13109/muum.2018.39.3.229.
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Graham, Stephen. "LCO Soloists + NU:NORD, Roundhouse Dorfman Hub, London; Riot Ensemble, St Leonard's Church, London." Tempo 70, no. 278 (September 28, 2016): 87–88. http://dx.doi.org/10.1017/s0040298216000413.
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Despite the ever-dwindling pot of public money available to exploratory musicians in the UK and elsewhere, various ensembles are nonetheless busy making hay whilst at least a little sun still shines. In London in the space of only a week or two in the second half of April, for instance, audiences could catch a series of new music recitals given by the Park Lane Group of young musicians, an evening of premieres with the Workers’ Union Ensemble, and concerts by the Riot Ensemble and by the London Contemporary Orchestra Soloists. Other cities, from Glasgow to Birmingham, enjoy a similarly wide range of activity.
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Luber, Steve. "The Theatre of a Two-Headed Calf: Simulacral Performance and the Deconstruction of Orientalism." Theatre Survey 54, no. 1 (January 2013): 87–106. http://dx.doi.org/10.1017/s0040557412000427.
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In the Theatre of a Two-Headed Calf's production of Drum of the Waves of Horikawa, Jess Barbagallo plays the curiously named Eesogay Yougayman, bedecked in a flowing black coat, a wig fit for Ziggy Stardust, and a badgerlike streak of black makeup across her face. The live music falls somewhere between the rhythmic, repetitive structures of kabuki and the more chaotic yet just as percussive style of punk rock, allowing Yougayman (implied to be a traditionally male character) to strut and plunge with violent swagger. She stalks the stage and falls to her knees before the object of her affection, Otane, played by Heidi Shreck, who wears a blood-red kimono and combat boots. Yougayman stares lasciviously into the audience, describing how she abandoned her studies as a samurai to see Otane: “My sickness was a ruse and yet not entirely so, for I was suffering from the malady called love. And you were the cause, Otane!” An exaggerated, almost parodic struggle ensues, in which Otane is caught by Yougayman, whose tongue wags in rhapsodic anticipation of the sexual conquest she is about to force upon Otane as the music and guttural “huhs” from the musicians heighten to a rough, almost unbearable climax.
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Strielkowski, Wadim. "Will the rise of Sci-Hub pave the road for the subscription-based access to publishing databases?" Information Development 33, no. 5 (October 8, 2017): 540–42. http://dx.doi.org/10.1177/0266666917728674.
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Sci-hub has become the new phenomenon on the academic publishing market. While its popularity is growing worldwide, large academic publishers are losing millions of dollars on paid article downloads. Perhaps the time has come to re-think the rules of the game of the publishing market and to look for novel solutions for monetizing scientific output. Subscription-based access to publishing databases, similar to the model used in online music streaming, might be one of these solutions that could secure the status quo and stabilize the market.
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Johnson, Evan. "Ian Power - Ian Power, Maintenance Hums (Archinal, Françoise, Piovesan, Dubester, Stragier, Power). Carrier Records, CARRIER 053. - Ian Power, diligence (Roberts, Kanasevich). Edition Wandelweiser EWR 2006." Tempo 75, no. 296 (March 10, 2021): 99–101. http://dx.doi.org/10.1017/s0040298220001114.
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Gresham-Lancaster, Scot. "The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music." Leonardo Music Journal 8 (1998): 39. http://dx.doi.org/10.2307/1513398.
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Manzolli, Jonatas, Wreckin' Ball, and Alvin Curran. "The Hub: Live Computer Network Music with Guest Artists Alvin Curran and the Rova Saxophone Quartet." Computer Music Journal 20, no. 1 (1996): 113. http://dx.doi.org/10.2307/3681283.
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Rasch, Rudolf A. "Music in Spain in the 1670s through the eyes of Sébastien Chièze and Constantijn Huygens." Anuario Musical, no. 62 (December 30, 2007): 97. http://dx.doi.org/10.3989/anuariomusical.2007.62.20.
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Este artículo trata de las diversas observaciones a propósito de la música en España, que se encuentran en la correspondencia entre Sébastien Chièze (embajador del Príncipe de Orange en Madrid) y Constantijn Huygens (La Haya), entre 1672 y 1679. Huygens pidió a Chièze que le encontrara un ejemplar del De musica de Salinas (1577), así como tonadas españolas y piezas para guitarra. A Chièze le llevó dos años hallar una copia del De musica en territorio español y hacer que el libro llegara a Holanda sano y salvo. Las tonadas remitidas por Chièze (de compositores tales como Juan del Vado, José Marín, Cristóbal Galán y Juan Hidalgo), no gustaron nada a Huygens, que las halló demasiado “africanas”. Como tampoco le gustaron las tabulaturas españolas para guitarra, anotadas al revés (boca abajo) de las tabulaturas francesas a las que Huygens estaba acostumbrado. Chièze consiguió también una guitarra -hecha para Huygens- en Madrid, pero este instrumento también se topó con su desaprobación. Al final, Chièze hubo de pedir a dos conocidos suyos boloñeses, Giulio y Guido Bovio, que le buscaran en Bolonia un laúd que fuera adecuado para Huygens. Le encontraron dos, pero se desconoce si llegaron alguna vez a Holanda. Este trabajo muestra la importancia de los contactos extranjeros (diplomáticos) para la adquisición de objetos musicales, tales como libros de música, composiciones musicales, e instrumentos.
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Banfield, Stephen. "Philip Rupprecht, British Musical Modernism: The Manchester Group and their Contemporaries (Cambridge: Cambridge University Press, 2015). xiv + 492 pp. £84.99 (hb.). ISBN 9780521844482.Fabian Huss, The Music of Frank Bridge (Woodbridge: The Boydell Press,." Music Analysis 35, no. 3 (April 5, 2016): 373–82. http://dx.doi.org/10.1111/musa.12068.
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Sugianto, Denny Nugroho, Purwanto Purwanto, and Andika B. Candra. "Wave Transformation for International Hub Port Planning (Transformasi Gelombang untuk Perencanaan Pelabuhan Hub Internasional)." ILMU KELAUTAN: Indonesian Journal of Marine Sciences 20, no. 1 (February 27, 2015): 9. http://dx.doi.org/10.14710/ik.ijms.20.1.9-22.
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Indonesia merupakan salah satu negara kepulauan terbesar di dunia sehingga peran pelabuhan sangat vital dalam pembangunan ekonomi. Pelabuhan bukan hanya sekedar sebagai pelengkap infrastruktur, melainkan harus direncanakan dan dikelola dengan baik serta memperhatikan fenomena dinamika perairan laut seperti pola gelombang laut. Data gelombang laut menjadi faktor penting dalam perencanaan tata letak dan tipe bangunan pantai karena dipengaruhi oleh tinggi gelombang signifikan, tunggang pasang surut dan transformasi gelombang. Penelitian ini mengalisis karaketristrik dan bentuk transformasi gelombang untuk perencanaan Pelabuhan Hub Internasional, sebagai studi kasus adalah pelabuhan di Kuala Tanjung, Kabupaten Batu Bara. Pelabuhan di Kuala Tanjung merupakan salah satu dari 2 pelabuhan hub internasional yang direncanakan akan dibangun oleh pemerintah Indonesia. Metode yang digunakan adalah metode kuantitatif yang dilakukan dengan perhitungan statistik dan pemodelan matematik dengan modul hydrodinamic dan spectral wave untuk mengetahui arah penjalaran dan transformasi gelombang. Hasil dari data ECMWF selama 1999–Juni 2014, diketahui tinggi gelombang signifikan (Hs) maksimum mencapai 1,69 m dan periode maksimum 8 detik. Karakteristik gelombang termasuk klasifikasi gelombang laut transisi dengan nilai d.L-1 berkisar anrata 0,27–0,48 dan berdasarkan periodenya diklasifikasikan sebagai gelombang gravitasi.Transformasi gelombang terjadi akibat pendangkalan dengan koefesian pendangkalan Ks 0,93–0,98 dan proses refraksi gelombang dengan koefesien Kr 0,97–0,99. Tinggi gelombang pecah Hb sebesar 1,24 meter dengan kedalaman gelombang pecah db sebesar 1,82 meter. Efektifitas desain bangunan terminal di Pelabuhan Kuala Tanjung secara keseluruhan untuk sepanjang musim sebesar 79,8% atau dapat dikatakan cukup efektif dalam meredam gelombang. Kata kunci: transformasi gelombang, tinggi dan periode gelombang, pelabuhan Indonesia is one of the largest archipelagic countries in the world, therefore port has vital role in economic development. Port is not just as a complement to the infrastructure, but it must be planned and managed properly and attention to the dynamics of marine phenomena such as ocean wave patterns. Ocean wave data become important factors in planning coastal building, since it is influenced by wave height, tides and waves transformation. The purpose of this study was to analyse characteristic and forms wave transformations for planning of international hub port at Kuala Tanjung, Baru Bara District North Sumatra. This port is one of two Indonesian government's plan in the development of international hub port. Quantitative method was used in this study by statistical calculations and mathematical modeling with hydrodinamic modules and spectral wave to determine the direction of wave propagation and transformation. Results show that based on ECMWF data during 1999-June 2014, known significant wave height (Hs) maximum of 1.69 m and maximum period (Ts) of 8 secs. The classification wave characteristics iswave transition (d.L-1: 0.27–0.48) and by the period are classified as gravitational waves. Wave transformation occurs due to the soaling, withKs 0.93–0.98 and the wave refraction Kr 0.97–0.99. Whereas Hb of 1.24 meters anddb 1.82 meters. The effectiveness of the design of the terminal building at the Port of Kuala Tanjung overall for the season amounted to 79.8%, which is quite effective in reducing the wave. Keywords: wave transformation, wave height and period, Port of Kuala Tanjung
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Haba, Enrique Pedro. "TEORÍA SOCIAL COMO «MÚSICA DE PALABRAS». ELEMENTOS DE ANÁLISIS (QUE NO SERÁN BIENVENIDOS) EN TORNO AL MARXISMO EDULCORADO DEL VENDEHÚMOS ACADEMICUS S. ŽIŽEK." Revista de Ciencias Sociales, no. 169 (January 19, 2021): 123–69. http://dx.doi.org/10.15517/rcs.v0i169.45488.
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Aquí se someten a escudriñamientos de orden analítico-realista los contenidos del difundido debate Peterson-Žižek, «Felicidad: Capitalismo vs. Marxismo». Queda así en evidencia el simplismo, la gran indeterminación (fórmulas vacías) y en general el escapismo de planteamientos (esencialismo, falacia intelectualista, etc.) como los ofrecidos por Žižek. Fue un pseudo-«debate»: no existe contradicción propiamente dicha, ni aun parcial, entre lo alegado respectivamente por esos académicos en sus exposiciones iniciales («vorbeireden»); y menos que menos la hubo en cuanto a los enfoques de índole esencialmente parateologal hacia los cuales dirigieron su atención principal durante la segunda mitad de ese evento, sobre los que llegaron ambos a concordar hasta de manera expresa. Finalmente se añaden, al margen, unas observaciones sobre ciertas consideraciones de Žižek ulteriores: sus arengas (siempre en clave musica di paroli) de futurología esperanzada en el quehacer del covid-19 —muy bienvenido, pues debe abrir cauce a la definitiva ingeniería social salvífica globalista, gerenciada mediante imperium soberano de la alta burocracia internacional (onu)—.
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Rocha, Maria Beatriz, Ohana Turcato Macacare, Roberta Carvalho Cesário, Mariana Benassi-Werke, and Roberta Ekuni. "INTERVENÇÃO MUSICALIZANDO : EXPERIMENTAÇÃO MUSICAL EM UMA AÇÃO EXTENSIONISTA." REVISTA BRASILEIRA DE EXTENSÃO UNIVERSITÁRIA 10, no. 3 (October 21, 2019): 115–21. http://dx.doi.org/10.24317/2358-0399.2019v10i3.10965.
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A música expressa ideias individuais ou da sociedade, presentes em determinadas épocas da História, servindo como um importante instrumento pedagógico de entendimento interdisciplinar dos conteúdos, em todas as etapas da educação. Além disso, a música exerce um importante papel na plasticidade cerebral, que é a capacidade do cérebro de modificar sua organização estrutural e funcionamento. O objetivo do presente trabalho é relatar a exposição do estande Musicalizando, no evento Conhecendo o Cérebro, realizado pelo Grupo de Estudos em Neurociência da Universidade Estadual do Norte do Paraná (UENP), uma ação extensionista que utiliza a divulgação científica para tradução e comunicação do conhecimento científico para a sociedade. Tal estande foi dividido em dois momentos: um primeiro teórico, no qual havia uma explicação sobre os efeitos da música no cérebro e também relatava-se a importância da música como veículo de expressão cultural e protesto. Posteriormente, as monitoras mostravam aos visitantes os instrumentos musicais construídos por elas mesmas, ressaltando a ideia de que para fazer música não é necessário possuir instrumentos caros. Mais de 570 pessoas foram alcançadas durante os dois dias de evento. Os visitantes marcaram em um papel qual emoji representava a sua opinião (detestei; não gostei; indiferente; gostei; gostei muito) sobre o estande; 95,4% dos visitantes assinalaram a opção “gostei muito” e 4,6% assinalaram “gostei”. Eventos que proporcionam a divulgação científica de forma mais interativa podem incentivar os visitantes a conhecerem mais sobre o tema proposto. Ademais, ações que envolvem música têm a possibilidade de estimular a integração social, a cooperação e o trabalho em grupo.
Palavras-chave: Extensão Universitária; Música; Educação; Neurociências
"Musicalizing" Intervention: Musical Experimentation in an Extension Action
Abstract: Music expresses individual or societal ideals at a particular moment of History, serving as an essential pedagogical instrument it offers an interdisciplinary understanding of contents in all stages of education. Also, music plays an important role in brain plasticity, which is the brain's ability to modify its structural organization and functioning. The objective of the present work is to report the stand "Making music" at the "Knowing the Brain" event held by the Neuroscience Studies Group of Universidade Estadual do Norte do Paraná, an extensionist action that uses scientific dissemination for translation and communication of scientific knowledge to society. This stand was divided into two moments. First, a theoretical moment, in which there was an explanation of the effects of music in the brain, and the importance of music as a vehicle of cultural expression and protest. Subsequently, the monitors showed the visitors the musical instruments they built, emphasizing the idea that to make music, it is not necessary to have expensive instruments. More than 570 visitors were reached during the two-day event. The visitors marked in a paper in which emoji represented their opinion on the booth (hated, disliked, indifferent, liked, and loved). 95.4% of the visitants indicated the option "loved" and 4.6% indicated "liked". Events that provide scientific dissemination, interactively, can encourage the visitors to know more about the proposed theme. In addition, actions involving music have the possibility of stimulating social integration, cooperation, and group work.
Keywords: University Extension; Music; Education; Neuroscience
Intervención "Musicalización": Experimentación Musical en una acción de extensión
Resumen: La música expresa ideas individuales o de la sociedad, presentes en ciertos momentos de la Historia, sirviendo como un importante instrumento pedagógico para la comprensión interdisciplinaria de los contenidos en todas las etapas de la educación. Además, la música juega un papel importante en la plasticidad del cerebro, que es la capacidad del cerebro para modificar su organización y funcionamiento estructural. El objetivo de este trabajo es informar sobre la exposición del stand “Musicalizando” en el evento “Conociendo el cerebro” realizado por el Grupo de Estudos em Neurociência da Universidade Estadual do Norte do Paraná (UENP), una acción de extensión que utiliza la difusión científica para la traducción y comunicación del conocimiento científico a la sociedad. Esta cabina se dividió en dos momentos: un teórico, en el que hubo una explicación de los efectos de la música en el cerebro, que también informó sobre la importancia de la música como vehículo para la expresión cultural y la protesta. Posteriormente, los monitores mostraron a los visitantes los instrumentos musicales construidos por ellos, enfatizando la idea de que hacer música no requiere instrumentos caros. Más de 570 visitantes fueron alcanzados durante los dos días del evento. Los visitantes marcaron en un papel que los emoji representaban la opinión (odiados, disgustados, indiferentes, les gustaba, les gustaba mucho) sobre el stand. El 95,4% de los visitantes marcaron "me gusta mucho" y el 4,6% marcaron "me gusta". Los eventos que brindan difusión científica de una manera más interactiva pueden alentar a los visitantes a conocer más sobre el tema propuesto. Además, las acciones relacionadas con la música tienen la posibilidad de estimular la integración social, la cooperación y el trabajo grupal.
Palabras-clave: Extensión universitaria; Música; Educación; Neurociencias
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Schenk, Franziska, and Andrew Parker. "Iridescent Color: From Nature to the Painter's Palette." Leonardo 44, no. 2 (April 2011): 108–15. http://dx.doi.org/10.1162/leon_a_00114.
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The shifting rainbow hues of iridescence have, until recently, remained exclusive to nature. Now, the latest advances in nanotechnology enable the introduction of novel, bio-inspired color-shifting flakes into painting—thereby affording artists potential access to the full spectacle of iridescence. Unfortunately, existing rules of easel painting do not apply to the new medium; but, as nature inspired the technology, an exploration of natural phenomena can best inform how to overcome this hurdle. Thus, by adopting a biomimetic approach, this paper outlines the optical principles underlying iridescence and provides technical ground rules for its incorporation into painting.
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Lister, Rodney. "Aaron Copland and His World, edited by Carol J. Oja and Judith Tick. The Bard Music Festival Princeton Paperbacks, $55.00/£35.95 (cloth), $22.95/£14.95 (paper). Music For The Common Man: Aaron Copland During The Depression and War by Elizabeth B. Crist. Oxford University Press, $35.00. The Queer Composition of America’s Sound: Gay Modernists, American Music, and National Identity by Nadine Hubbs. University of California Press, $50.00 (hardbound), $19.95 paperback." Tempo 60, no. 236 (March 23, 2006): 64–69. http://dx.doi.org/10.1017/s004029820622014x.
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Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.
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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.
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Kennedy, William J. "Favaro, Maiko, and Bernhard Huss, eds. Interdisciplinarità del petrarchismo: Prospettive di ricerca fra Italia e Germania." Renaissance and Reformation 42, no. 1 (2019): 383. http://dx.doi.org/10.7202/1064543ar.
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Knapp, R. "NADINE HUBBS. The Queer Composition of America's Sound: Gay Modernities, American Music, and National Identity. Berkeley and Los Angeles: University of California Press. 2004. Pp. 293. Cloth $50.00, paper $19.95." American Historical Review 111, no. 2 (April 1, 2006): 515–16. http://dx.doi.org/10.1086/ahr.111.2.515.
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Mcadam, Ian. "Klaassen, Frank, and Sharon Hubbs Wright, ed. and trans. The Magic of Rogues: Necromancers in Early Tudor England." Renaissance and Reformation 44, no. 3 (January 24, 2022): 296–99. http://dx.doi.org/10.33137/rr.v44i3.38028.
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Brayko, Oleksandr. "Coloring in Short Prose by Yevhen Hutsalo." Академічний журнал "Слово і Час", no. 2 (February 25, 2019): 41–56. http://dx.doi.org/10.33608/0236-1477.2019.02.41-56.
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The paper considers the means of representing space in Yevhen Hutsalo’s prose which are suitable for comparison with the painting technique. Coloring is one of determining graphic resources of a picture. The artistic effect of the figures and spatial compositions fixed on canvas is to a great extent predefined by the color solution of the subjects and air environment depicted. In order to make the world of imagination more representational the literature used to involve visual imagery in a verbal design, in which color and light markers not only specify a representation of fictitious or real situation but also give some lyrical, epical or dramatic coloring to the narration, increasing the expressivity of a picture. In the descriptions of landscapes in the short stories by Yevhen Hutsalo one may find the verbal analogues of such painting tools as color dominant, color harmony, lighted up and shaded areas. The dynamics of color solution in a verbal picture, the introduction of new hues and their combinations, and the constructing of light environments help to strengthen the emotional effect of the narration and make some special mood accents. The change of chromatic range and interpretation of painting components of the verbal image liken the narration to the melodious and sound transitions in music and editing tools in filmmaking. The color effects contribute to plasticity of the represented objects or, on the contrary, make their representation less material, give some decorative or symbolic sense to the nature. The story “On the Shining Horizon” may be compared to the cycle of paintings by Oscar-Claude Monet “Rouen Cathedral”. The unsteady landscape of Y. Hutsalo is marked by interpretative activity of the narrator. The landscape descriptions with a less vivid and not too rich, i. e. comparatively weak in terms of stimulating emotions, color range are also endowed with a noticeable expressive potential. In accordance with the requirements of expression in painting the verbal chiaroscuro also may give dynamics to relatively static environment. The paper offers a comparative analysis of the verbal ‘pictures’ and their corresponding paintings-predecessors.
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Rustomjee, Sabar. "Working Between Eastern and Western Cultures / Trabajando Entre la Cultura Oriental y Occidental." FORUM, no. 4 (April 2011): 101–12. http://dx.doi.org/10.3280/foru2010-004009.
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This article describes differences and similarities in conducting analytic individual and group psychotherapy in a 19-year-old single Indian Hindu woman who had recently immigrated to Melbourne. This case is complicated. Transference relationships between therapist and client arising from both eastern and western cultures had to be taken into consideration and required much self-questioning. Not only does the client present in a unique manner, but the entire case material presented is equally unusual. The acceptance of female sexuality in Indian culture expressed lovingly through dance and music by the client as dancer in her adoration of Hindu gods and goddesses is described. The therapist found herself in an unaccountable state of fear early in the therapy that she was later able to uncover and relate to an early encounter with a potentially unpredictable and violent tribe, the Hijras, who present with a rare form of sexual perversion. The case ends with healthy separation and individuation by the client.Este artículo describe diferencias y similitudes en la conducción de psicoterapia individual y grupal en una mujer hindú soltera de 19 ańos que había emigrado recientemente a Melbourne. Es un caso complicado. Hubo que tomar en consideración y auto-cuestionar mucho la relación transferencial entre terapeuta y cliente emergente de la cultura oriental y occidental. No solo se presenta la cliente de una forma única sino que todo el material del caso es igualmente inusual. Se describe la aceptación de la sexualidad femenina en la cultura india, amorosamente expresada a través de la danza y la música por la cliente en su baile de adoración a dioses y diosas hindúes. La terapeuta se encontró en un estado inexplicable de temor desde los comienzos de la terapia, que más tarde pudo descifrar y relacionar con un encuentro temprano con una tribu potencialmente impredectible y violenta, los Hijras, que presentan una extrańa forma de perversión sexual. El caso termina con una separación e individuación saludable por parte de la cliente.
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Lajeunesse, Derek. "The Queer Composition of America’s Sound: Gay Modernists, American Music, and National Identity. By Nadine Hubbs. (Berkeley, University of California Press, 2004. Pp ix-288, introduction, notes, works cited, index, ISBN 0520241851)." Ethnologies 31, no. 1 (2009): 277. http://dx.doi.org/10.7202/038514ar.
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Milan, Kerry. "The Violinist's Collection, Books 3 & 4 selected and edited by Yfrah Neaman. Kevin Mayhew, 1993. £7.50. - Cadenzas to Mozart's Violin Concertos by Robert Levin. Universal, 1992. £9.95. - Jigs, Reels & Hornpipes selected and arranged by Edward Huws Jones. Boosey & Hawkes, 1992. Violin part, £4.95; piano part, £9.95. - Strings - Ensemble 1 (Wind and Waves, and Dorian Prelude) by Michael Radanovics. Universal, 1991. £7.50. - Quartet Club 1 & 2 by Sheila Nelson. Boosey & Hawkes, 1992. £7.95 each. - Famous Transcriptions for Cello and Piano edited by Adalbert Skocic. Universal, 1991. £7.95. - …wie ein Walzer auf Glas for violoncello solo by Roland Moser. Edition Hug, 1991. £6.20." British Journal of Music Education 10, no. 3 (November 1993): 281–83. http://dx.doi.org/10.1017/s026505170000190x.
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Stimeling, Travis D. "The Encyclopedia of Country Music. 2nd ed. Edited by Paul Kingsbury, Michael McCall, and John W. Rumble. New York: Oxford University Press, 2012. - Lonesome Melodies: The Lives and Music of the Stanley Brothers. By David W. Johnson. American Made Music Series. Jackson: University Press of Mississippi, 2013. - Rednecks, Queers, and Country Music. By Nadine Hubbs. Berkeley: University of California Press, 2014. - The Hank Williams Reader. Edited by Patrick Huber, Steve Goodson, and David M. Anderson. Readers on American Musicians. New York: Oxford University Press, 2014." Journal of the Society for American Music 9, no. 2 (May 2015): 245–51. http://dx.doi.org/10.1017/s1752196315000115.
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