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Journal articles on the topic 'Music videos – Production and direction'
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1
Whalley, Ian. "Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages." Organised Sound 17, no. 1 (February 14, 2012): 4–15. http://dx.doi.org/10.1017/s135577181100046x.
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Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author,Mittsu no Yugo(Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginning from a prior model of a decision space (Whalley 2009), the paper discusses the extended decision terrain and choices that Internet2 brings, and some of the compromises that need to be made to realise the proposition. The paper is then part conceptual map, and part artistic perspective.
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Jautakytė, Žydrė. "The Situation of the National Music Curriculum Implementation: what do the Arts Maturity Examination Results Reveal." Pedagogika 117, no. 1 (March 5, 2015): 86–97. http://dx.doi.org/10.15823/p.2015.069.
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After the restoration of Lithuanian independence, since 1994 the preparation of the national curriculums for general education schools started. However, through this period the actual situation of the national music curriculum implementation has been explored to a limited extent. As the awareness of the importance of an evidences and data to the formation and creation of the education content is notably growing nowadays, it is important to collect various data about the actual situation of music education on purpose to improve it. In this article the results of the analysis of the arts maturity examination works in the music field are introduced and some generalized propositions are given about the actual situation of music education and the emerging fields of the music education practice, which are problemic or need to be improved. Research aim is to describe the situation of Lithuanian national music curriculum implementation on the ground of an analysis of student’s art maturity examination works in the music field. Research method is analysis of pedagogical literature, education documents and content of student’s art maturity examination works in musical field.
Research organization and results. Since 2013 a new arts maturity examination has been implemented, which has a music direction and is a long-term task, consisting of these examined parts: a creative process, an art work (an interpretation of music works or the musical production), description of creative work and its presentation. National examination center, which coordinates the implementation of examination, under its determinate order has selected and presented 43 works of music interpretation and 10 works of musical production for the analysis, while the total number of performed works is 241. The material for analysis consisted of the description of a creative work (scanned variant of an original text), audio and video recordings of presentations of creative works. Material was analyzed on the grounds of examination evaluation criteria. When analysis was done, the generalized propositions of fulfilment to criteria in student works were presented and they also were compared to the national music curriculum provisions and the parallels with its implementation situation were drawn.
Analysis of 30 video recordings of music interpretation examination, in which students performing their prepared program were recorded, has shown that 19 of them have chosen works that does not correspond to their abilities, i. e. are too difficult or too easy. Only 9 of these works show an original interpretation. It emerged that those students who have demonstrated the interpretation abilities while implementing an exam program, in the creative work description have also gone deep to the nuances of the style, genre and work’s impressiveness and have described their conception on the grounds of analysis of works’ texts and context. With reference to the analysis of 43 descriptions of creative works it is possible to state that only 5 of them fully correspond to criteria. Analyzed descriptions revealed that students’ capacities to analyze musical works, explore context and use concepts purposefully are not explicit. It was quite difficult for the students to formulate the idea and conception of a creative work and to use data of the context exploration to describe their project. Also the mistakes of general writing rules, grammar, style, selection and generalization of information and citation were noticed.
From 10 analyzed musical composition 5 students’ works can be evaluated as excellent, they fully corresponds to the examination evaluation criteria. 3 works are weak, they could not be characterized as authentic works. It was discovered that students, who have chosen an examination in musical creation field, were inspired by their own experience and that music lessons have had a little influence on their choice. Half of the students, who have chosen this direction, has demonstrated very good results of both creative work and description writing.
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Novak, Glenn D. "Music videos in the production lab." TechTrends 34, no. 2 (March 1989): 20–25. http://dx.doi.org/10.1007/bf02782078.
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Kruse, Adam J., and Stuart Chapman Hill. "Exploring hip hop music education through online instructional beat production videos." Journal of Music, Technology and Education 12, no. 3 (December 1, 2019): 247–60. http://dx.doi.org/10.1386/jmte_00009_1.
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This study explores online instructional beat production videos as a way to inform hip hop and popular music education and diversify scholarship in online music learning. The authors conducted a content analysis of YouTube videos, considering the instructional characteristics and content of these videos and the musical technologies employed within them. Findings highlight the importance of YouTube as a repository of hip hop beat production instructional material. Videos focused on composition of new beats, rather than re-creation of existing material, underlining an important distinction between hip hop musical practices and the ‘listen and copy’ approach identified in other vernacular music research ‐ and a distinction between these videos and others studied in extant music education scholarship that focuses on YouTube. The videos showcased varied technologies, some of which (e.g., FL Studio) seem especially well aligned with beat production practice. The article concludes with considerations for music educators and for future research.
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Rodriguez, Iliana Yamileth. "Listening to el Southside: Kap G’s Southern Mexicanidad." Labor 16, no. 3 (September 1, 2019): 95–101. http://dx.doi.org/10.1215/15476715-7569878.
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As part of the New Directions of the Latina/o South forum, this essay centers southern Latina/o cultural productions to examine practices of representation through Kap G’s rap texts. As the first popular Mexican American rapper from Atlanta, Georgia, Kap G lyrically and visually works to represent a southern Mexicanidad through his songs, music videos, and interviews. His work illustrates a second-generation identification with migrant struggles around issues of (im)migration, (il)legality, and labor.
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Taylor, Kris P. "Interview." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 195–202. http://dx.doi.org/10.33178/alpha.19.17.
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Kris P. (formerly Puszkiewicz) Taylor moved to New York from London in 1980. She was working at Island Records in the Publicity and Artist Development department when MTV was launched in 1981. The department quickly expanded to include Music Videos and she was soon promoted to Director of Music Video Promotion and Production. She left in 1985 to work as Executive Producer at Zbig Vision in New York after commissioning Zbigniew Rybczyński’s first music video, the MTV-award-winning Close to the Edit (1985) by Art of Noise. After successfully working together on fourteen videos over two years Kris moved briefly to work at MCA Records in Los Angeles and then in 1988 became Director of Music Video Production at Columbia Records (West Coast), working with artists such as Bob Dylan, The Rolling Stones, Michael Bolton, The Bangles, Alice In Chains, Billy Joel, Carlos Santana and Mariah Carey. In all she commissioned or was involved in the production of over three hundred music videos.
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Balaji, Murali, and Thomas Sigler. "Glocal riddim: cultural production and territorial identity in Caribbean music videos." Visual Communication 17, no. 1 (September 26, 2017): 91–111. http://dx.doi.org/10.1177/1470357217727675.
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Over the past two decades, several musical genres have transcended their Caribbean origins to achieve global recognition and success. Among these are soca, dancehall and reggaeton, all forms that had been inextricably tied to native cultural expressions, but have become increasingly popular as global commodities, particularly as web-based streaming platforms (e.g. YouTube) enhance their global audiovisual mobility. Numerous artists within these genres have become internationally recognized superstars, and many of the most recent tracks reflect an increasing co-mingling with American ‘pop’ music, as record companies seek to invigorate mainstream sounds with these ‘exotic’, yet widely popular artists. This article explores representations of scalar territorial identity as articulated in music videos from within these genres so as to evaluate how identity intersects with profit-driven models applicable to the contemporary music industry. By evaluating imagery from a regionally representative sample of music videos, they identify the intimate relationship between identity, scale and cultural production. Ultimately, we interrogate how place-based identity is commodified in these representations and whether certain images are constructed more for transnational consumption than an articulation of a coherent local national, or regional identity.
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Haddon, Mimi. "Warp's Music Videos: Affective Communities, Genre and Gender in Electronic/Dance Music's Visual Aesthetic." Journal of British Cinema and Television 16, no. 4 (October 2019): 571–90. http://dx.doi.org/10.3366/jbctv.2019.0499.
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This article examines Warp's music videos primarily from the ‘Warp Vision’ era of 1989–2004. I adopt a multidisciplinary approach and map three analytical perspectives. Firstly, I look at the videos' origins in Sheffield's electronic/dance music scene of the early 1990s. I then consider the way in which Warp's visual aesthetic refracts a gendered and raced identity through the lens of cult fandom and the ‘techno-geek’. Finally, I scrutinise the gendered division of labour involved in the making of Warp's music videos and consider how production studies might enhance current approaches to the study of music video.
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Ham, Minjeong, and Sang Woo Lee. "Factors Affecting the Popularity of Video Content on Live-Streaming Services: Focusing on V Live, the South Korean Live-Streaming Service." Sustainability 12, no. 5 (February 27, 2020): 1784. http://dx.doi.org/10.3390/su12051784.
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Naver V Live, a South Korean live-streaming service, showcases video contents specific to the entertainment industry, such as K-pop and music. On V Live, K-pop stars and their fans can interact directly in a natural way, and V Live provides high-quality video content with novel topics. This study has identified key characteristics of video content that affect its popularity. A total of 620 video contents of five leading Star channels were classified on the basis of production company, type of video content, and whether it was live-streamed or not. The popularity of video content was measured by the number of comments, hearts, and views. To control potential bias, additional variables were set as control variables—such as the number of channel subscribers, mini-album sales, if the video content was previewed, and cumulative number of days since the video content was uploaded. For analysis, a hierarchical linear regression was conducted. The findings suggest future directions in video content planning.
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Pope, Amara. "Musical Artists Capitalizing on Hybrid Identities." Stream: Interdisciplinary Journal of Communication 8, no. 2 (December 31, 2016): 3–22. http://dx.doi.org/10.21810/strm.v8i2.199.
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This study is an exploration of identity politics through an examination of the ways in which musical artists use the medium of music videos to create marketable, hybrid identities. With the rise of social media and the online consumption of information, music videos play a central role in global, cultural flows. I argue that hybrid identities are constructed by musical artists to gain popularity through the form of ethno-marketing. I include literature surrounding diaspora and hybridity to understand how hybrid identities become a production of heritage and human capital. By utilizing music videos specifically to construct their hybrid identities, musical artists are simultaneously enforcing and being subjected to economic, cultural, and political forms of exploitation. My methodology draws upon a multimodal discourse analysis (LeVine & Scollon, 2004) which assesses how meaning is made through the use of multiple modes of communication. I apply multimodality to the construction of music videos in which musical artists selectively chose particular sounds, images, and lyrics to claim specific identities. As articulated through the case study of Drake, I examine how the multimodal affordances of music videos allow artists to transcend borders within the digital age and reach a large audience. This study examines Drake’s bricolage of complex and intersectional identities and his unique privilege to choose to identify with different marginal communities. I assess how Drake capitalizes on shared experiences and struggles of different cultural, national, and class backgrounds though three of his music videos: “HYFR (Hell Yeah Fuckin’ Right)” (2011), “Started From The Bottom” (2011), and “Worst Behavior” (2013). Drake alludes to different cultures, locations, and social identities through these music videos to construct his place as a rapper in the music industry and articulates a hybrid identity as an “Authentic” Black/ Jewish, American/Canadian, working class member of society, and high-class rapper.
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Capetola, Christine. "“Gimme a Beat!”." Journal of Popular Music Studies 32, no. 4 (November 30, 2020): 95–117. http://dx.doi.org/10.1525/jpms.2020.32.4.95.
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In 1986, Janet Jackson forever changed the direction of pop music and its music videos with the release of her third and breakthrough album, Control. Working with producers Jimmy Jam and Terry Lewis, choreographer Paula Abdul, and director Mary Lambert, Jackson created songs and videos that conveyed a new kind of feminist affect that intertwined individual stories of endurance, the forcefulness of relatively new digital music technology, and Black and female collectivity. In this article, I chart how Jackson transmitted this feminist affect through what I call hyperaurality, or sounds and vibrations that work in excess of the limitations of visual representation. Through tracing the affective excesses of Jackson’s visuals, sounds, and movements, I unpack how hyperaurality both intensifies and reintegrates the senses of sight, hearing, and feeling. In the process, I posit that vibration, or sound’s materially felt oscillations, works as a point of connection across these three aspects of hyperaurality. By demonstrating its connective power, I assert that vibration is a source of affective politics within popular music, one with the power of repurposing capitalism's excesses.
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Macnab, A. J., and R. Mukisa. "Celebrity endorsed music videos: innovation to foster youth health promotion." Health Promotion International 34, no. 4 (June 11, 2018): 716–25. http://dx.doi.org/10.1093/heapro/day042.
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Abstract There are calls for innovation in health promotion and for current issues to be presented in new and exciting ways; in addition to creating engaging messages, novel ways to deliver health messaging are needed, especially where youth are the key target audience. When pupils in WHO Health Promoting Schools were asked what health messages would resonate with them, they also identified celebrities as the ‘messengers’ they would be particularly likely to listen to. Expanding on these discussions, the pupils quoted celebrity-recorded music videos containing health and lifestyle messaging as an example of where they had learned from celebrities. Their ability to sing phrases from the songs and repeat key health messages they contained indicated the videos had commanded attention and provided knowledge and perspectives that had been retained. We located on YouTube the video titles the pupils identified and evaluated the content, messaging and production concepts these celebrity-recorded music videos incorporated. All are good examples of the health promotion genre known as education entertainment, where educational content is intentionally included in professionally produced entertainment media to impart knowledge, create favorable attitudes and impact future behaviors. The importance of this genre is growing in parallel with the burgeoning influence of social media. Music videos resonate with youth, and celebrity recordings combine young people’s love of music with their fascination for the aura of celebrity. Hence, producing videos that combine an effective health message with celebrity endorsement offers potential as an innovative conduit for health promotion messaging among youth.
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Kerr, David. "'Maisha yetu ya kila siku kama vile movie': Fantasy, desire and urban space in Tanzanian music videos." Journal of African Cinemas 11, no. 3 (December 1, 2019): 225–40. http://dx.doi.org/10.1386/jac_00018_1.
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Abstract An explosion of creative practices in music, film and video production followed the liberalization of the Tanzanian media in the early 1990s. Concerned about cultural imperialism, Tanzania's first president Julius Nyerere had resisted allowing television in mainland Tanzania and consequently the first licence was only granted in 1994. Following the establishment of the first TV station there has been a proliferation of TV station and online platforms circulating the new genre of popular music videos. During the last decade, new media spaces, including continent-wide TV channels such as Channel O and MTV Africa (both based in South Africa), have created new circuits for the circulation of Tanzanian music videos. New media spaces enabled by liberalization have become sites for negotiating gendered, moral and sociopolitical value. They also serve as imaginative sites of desire and fantasy. Music videos set in the cinematic space of Dar es Salaam's new high-rise buildings and 'exclusive' clubs have become something of a trope in Tanzania. These videos display fantasies of enjoyment and consumption. In so doing, they reflect neo-liberal and individual modes of wealth accumulation which challenge accepted social norms about consumption and wealth. Examining these new contemporary cinematic representations of the city as spaces of fantasy and desire, this article will explore the modes of spectatorship audiences bring to these videos. It will examine how audiences, largely excluded from these exclusive city spaces of consumption and excess, read cityscapes in music videos. This article ultimately sets out the multiplicity, ambiguity and indeterminacy of the desires (both creative and destructive) evoked in audiences by contemporary music video.
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Loji, A. C. "Let’s dance: Diversified depictions of queerness in ensemble dance music videos." Queer Studies in Media & Popular Culture 6, no. 1 (March 1, 2021): 35–54. http://dx.doi.org/10.1386/qsmpc_00043_1.
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As delineations of queer and LGBT culture continue to be complicated in academic and community settings, queer musicians are pushing the boundaries of their own gestural expression within their music videos and utilizing the medium of dance to further broaden their self-definitions. Using choreographed group dance, a common convention in mainstream music videos, Sam Smith, Janelle Monáe and Christine and the Queens (and their production teams) make particular creative choices that allow them to expand expressions of identity and solidarity within both the queer community and society at large. In this article, I employ detailed analysis of the aesthetic qualities of three music videos and synthesis of scholarly perspectives as they relate to queer expression to argue that the creative freedom and collaboration inherent to the ensemble dance form provide a rich platform through which these artists can experiment with fluid conceptions of their identities and bring to popular culture the kinds of non-determinative outlooks explored in conceptualizations of queer theory.
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Ng, Eve. "Reading the Romance of Fan Cultural Production: Music Videos of a Television Lesbian Couple." Popular Communication 6, no. 2 (March 31, 2008): 103–21. http://dx.doi.org/10.1080/15405700701746525.
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White, Joy. "Controlling the Flow." YOUNG 25, no. 4 (July 7, 2016): 407–25. http://dx.doi.org/10.1177/1103308816644110.
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As a key genre within the urban music economy, grime music has a national and global presence. In the YouTube era, young people film music videos and broadcast them online. Legislation and policies ostensibly created as a means to maintain public safety combine to create methods to control the behaviour of young people. The production and circulation of urban music videos, therefore, become a contested activity. The racial mechanics of this gaze mean that for urban black youth, group endeavours are often criminalized as ‘gang activity’. Drawing on a 2014 Twitter profile as its starting point, this article examines the application of public safety legislation and policies in an East London borough. It reflects on how a ‘disciplinary process’ allows for local authorities, the metropolitan police and the judiciary to pin down and organize the movements of urban music practitioners in specific and particular ways.
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Cricri, Francesco, Kostadin Dabov, Mikko J. Roininen, Sujeet Mate, Igor D. D. Curcio, and Moncef Gabbouj. "Multimodal Semantics Extraction from User-Generated Videos." Advances in Multimedia 2012 (2012): 1–17. http://dx.doi.org/10.1155/2012/292064.
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User-generated video content has grown tremendously fast to the point of outpacing professional content creation. In this work we develop methods that analyze contextual information of multiple user-generated videos in order to obtain semantic information about public happenings (e.g., sport and live music events) being recorded in these videos. One of the key contributions of this work is a joint utilization of different data modalities, including such captured by auxiliary sensors during the video recording performed by each user. In particular, we analyze GPS data, magnetometer data, accelerometer data, video- and audio-content data. We use these data modalities to infer information about the event being recorded, in terms of layout (e.g., stadium), genre, indoor versus outdoor scene, and the main area of interest of the event. Furthermore we propose a method that automatically identifies the optimal set of cameras to be used in a multicamera video production. Finally, we detect the camera users which fall within the field of view of other cameras recording at the same public happening. We show that the proposed multimodal analysis methods perform well on various recordings obtained in real sport events and live music performances.
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Ekdale, Brian. "Global frictions and the production of locality in Kenya’s music video industry." Media, Culture & Society 40, no. 2 (May 11, 2017): 211–27. http://dx.doi.org/10.1177/0163443717707340.
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This article explores the relationship between global imaginaries, frictions, and the production of locality through an examination of the Kenyan music video industry. Localities are constructed, in part, through the constitutive work of the imagination. Friction occurs when divergent constructions of the global imaginary become entangled with each other. Through an examination of the production, distribution, and reception of Kenyan music videos, this study identifies three types of friction that occur in cultural production: collaborative frictions, in which collectivities work across differences toward a common cause; combative frictions, in which collectivities are positioned in direct opposition to each other; and competitive frictions, in which the interests of different collectivities conflict at times and align at others. This study contributes to scholarship on cultural production in non-Western contexts by articulating hybridity as both an antecedent to and outcome of transcultural exchange.
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Väkevä, Lauri. "Garage band or GarageBand®? Remixing musical futures." British Journal of Music Education 27, no. 1 (January 26, 2010): 59–70. http://dx.doi.org/10.1017/s0265051709990209.
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In this paper, I suggest that it is perhaps time to consider the pedagogy of popular music in more extensive terms than conventional rock band practices have to offer. One direction in which this might lead is the expansion of the informal pedagogy based on a ‘garage band’ model to encompass various modes of digital artistry wherever this artistry takes place. This might include: in face-to-face pedagogical situations, in other contexts of informal learning, and in such open networked learning environments as remix sites and musical online communities. The rock-based practice of learning songs by ear from records and rehearsing them together to perform live or to record is just one way to practice popular music artistry today. Such practices as DJing/turntablism; assembling of various bits and pieces to remixes; remixing entire songs to mash-ups in home studios; collective songwriting online; producing of one's own music videos to YouTube; exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs – all of these indicate a musical culture that differs substantially from conventional ‘garage band’ practices. The global eminence of digital music culture can be taken as one indication of the need to reconsider music as a transformative praxis. By examining the ways in which music is produced and used in digital music culture, we can prepare for new forms of artistry that have yet to emerge from the creative mosaic of digital appropriation. Thus, we expand and redefine our notions of informal music pedagogy. This paper concludes with consideration of several themes that Afrodiasporic aesthetics suggest to the understanding of this artistry.
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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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Mössler, Karin, Wolfgang Schmid, Jörg Aßmus, Laura Fusar-Poli, and Christian Gold. "Attunement in Music Therapy for Young Children with Autism: Revisiting Qualities of Relationship as Mechanisms of Change." Journal of Autism and Developmental Disorders 50, no. 11 (March 18, 2020): 3921–34. http://dx.doi.org/10.1007/s10803-020-04448-w.
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Abstract This study examined whether musical and emotional attunement predicts changes in improvisational music therapy with children with autism (4–7 years, N = 101, majority: no/limited speech, low IQ), assessed over 12 months. Attunement, as observed from session videos, and changes in generalized social skills, judged by blinded assessors and parents, were evaluated using standardized tools (Assessment of the Quality of Relationship, Improvisational Music Therapy Principles, ADOS, SRS). In contrast to the smaller pilot, we did not find significant effects between attunement and changes in outcomes, only tendencies in the same direction are observed. Findings suggest that symptom severity is associated with the therapist’s ability to attune to the child. They further raise questions concerning outcome selection and user involvement.
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Pedelty, Mark, Rebecca Dirksen, Tara Hatfield, Yan Pang, and Elja Roy. "Field to Media: applied ecomusicology in the Anthropocene." Popular Music 39, no. 1 (February 2020): 22–42. http://dx.doi.org/10.1017/s0261143019000540.
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AbstractIn seeking to respond to the environmental challenges of the Anthropocene era, our research team of five scholars, including faculty and advanced graduate students, along with each of their collaborators in their respective research sites, has come together to explore the possibilities of a methodology that we call Field to Media. Field to Media involves using video production to study and amplify ecomusical responses to climate change, pollution, deforestation, and other environmental challenges. This methodology is intended as a pragmatic process that blends participant observation with participatory action research and applied or activist engagement. Specific to this project, our efforts have involved the co-creation of five different music videos to address a range of pressing environment-related matters in USA/Canada, Tanzania, Bangladesh, China, and Haiti. In this article, we consider some of the potential successes and challenges that we have each experienced in the course of producing these music videos.
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Boyd, Jeffrey. "Paul Dirac’s view of the Theory of Elementary Waves." JOURNAL OF ADVANCES IN PHYSICS 13, no. 3 (March 29, 2017): 4731–34. http://dx.doi.org/10.24297/jap.v13i3.5921.
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Is science open to a new idea? Thomas Kuhn says paradigm shifts sound like gibberish to scientificleaders, and are rejected for that reason. The Theory of Elementary Waves (TEW) is such an idea:quantum particles follow waves moving in the opposite direction. Time always goes forwards. Wefocus on Paul Dirac’s 1930 book The Principles of Quantum Mechanics, applied to TEW. We keepDirac notation and quantum math but replace the picture of how nature is organized. Waveinterference and probabilistic effects occur prior to particle emission. Wave function collapse occursat emission & there is no further interference. We have launched a successful program of teachingthis form of physics in the format of YouTube music videos of five minutes duration. Some of ourvideos have been watched 40,000 times: within YouTube search for “Jeffrey H Boyd†to watch theseamusing videos including one in which Yoda (from Star Wars) solves what Richard Feynman calledthe “Fundamental Mystery of Quantum Mechanics.â€
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Passos, Mateus Yuri. "The world in a bottle and the archeology of staging: audiovisual recording as registers of opera productions." Comunicação e Sociedade 31 (June 29, 2017): 39–56. http://dx.doi.org/10.17231/comsoc.31(2017).2603.
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This work focuses on the use of the audiovisual opera recording as a document to analyze contemporary stagings labeled by the German critics as director’s theater [Regietheater]. In director’s theater, Wagner’s total artwork project [Gesamtkunstwerk] achieves a turn in meaning, for the three artistic dimensions of opera – word, music and staging – become different texts. In this paper, we discuss the limitations of audiovisual recording as a register of director’s theater opera stagings, as well as filmic resources that allow for a reconstruction of the audiovisual text of such productions with solutions that are often quite distinct from those adopted on the stage. We are interested above all in problematizing the equivalence that is sometimes established between a staging and its recording – especially in the contemporary context of productions that frequently suffer considerable changes and are characterized by the unique aspect of each performance, always full of singular events and relatively autonomous regarding the general plan of the director. Thus, we will discuss problems and solutions of video direction of audiovisual recordings of stagings of the operatic cycle Der Ring des Nibelungen [The Ring of Nibelungo], by Richard Wagner (1813-1883).
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Vailati, Alex. "New arenas for small media: towards an ethnological exploration of family cinema." Vibrant: Virtual Brazilian Anthropology 9, no. 2 (December 2012): 253–71. http://dx.doi.org/10.1590/s1809-43412012000200009.
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The advent of cheap, user friendly, video technology has created a huge revolution in representational agency. Videos are now made by production units that are at times comprised of families, churches, music groups, community associations or individuals. In this way, videos produced and distributed within local and atypical networks profoundly shape contemporary imaginaries. This article is an analysis of the so called family cinema phenomenon that is still peripheral in ethnological research. The analysis of experiences of "family film archives", a recognized field of studies for historical sciences, shows for example how these media become "memories" of events for families and individuals. This article will address the importance of field-based research on how "local videos" are produced from an economic, political and aesthetic perspective. This can be a key strategy for understanding how imaginaries are "locally produced" and how they relate to global narratives.
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Gera Roy, Anjali. "Gendering Dance." Religions 11, no. 4 (April 18, 2020): 202. http://dx.doi.org/10.3390/rel11040202.
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Originating as a Punjabi male dance, bhangra, reinvented as a genre of music in the 1980s, reiterated religious, gender, and caste hierarchies at the discursive as well as the performative level. Although the strong feminine presence of trailblazing female DJs like Rani Kaur alias Radical Sista in bhangra parties in the 1990s challenged the gender division in Punjabi cultural production, it was the appearance of Taran Kaur Dhillon alias Hard Kaur on the bhangra rap scene nearly a decade and a half later that constituted the first serious questioning of male monopolist control over the production of Punjabi music. Although a number of talented female Punjabi musicians have made a mark on the bhangra and popular music sphere in the last decade or so, Punjabi sonic production continues to be dominated by male, Jat, Sikh singers and music producers. This paper will examine female bhangra producers’ invasion of the hegemonic male, Sikh, Jat space of bhangra music to argue that these female musicians interrogate bhangra’s generic sexism as well as the gendered segregation of Punjabi dance to appropriate dance as a means of female empowerment by focusing on the music videos of bhangra rapper Hard Kaur.
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Anderson, Martin. "London, English national Opera: ‘The Handmaid's Tale’." Tempo 57, no. 225 (July 2003): 39. http://dx.doi.org/10.1017/s0040298203220246.
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Poul Ruders's opera The Handmaid's Tale is hardly an unknown quantity: its world-première production in Copenhagen in 2000 was recorded by da capo (8.224165–66) in a three-CD set that received justly loud encomia. But the UK stage première, transferring the Danish production for a run at the English National Opera that began on 3 April, revealed – in a way that the recording obviously could not – what a superior piece of theatre it is: music, libretto, direction, stage design, costumes and lighting all coalesce to thrilling effect. A depressing number of operatic productions sacrifice musical integrity to directorial whim, so it's deeply heartening to report that, for once, everything pulled dedicatedly in the same direction, with outstanding results: it has been years since I've seen something this good.
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Momcilovic, Drago. "Music Video Gothic: Fragmentary Form at the Dawn of MTV." Gothic Studies 23, no. 2 (July 2021): 148–62. http://dx.doi.org/10.3366/gothic.2021.0091.
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This article argues that the modern music video at the dawn of the MTV era embraces a logic of the Gothic fragment. Mobilizing an archive of gothic archetypes of haunting and monstrosity, the music video of the early 1980s confronts anxieties about its unshaped aesthetic character and discursive placelessness and its strained connections to absent textual wholes, performance cultures, and marginalized histories. Through a close reading of four seminal music videos from this time period – The Buggles' Video Killed the Radio Star (1979), David Bowie's Ashes to Ashes (1980), Blondie's Rapture (1981), and Michael Jackson's Thriller (1983) – I argue that the early music video incarnates a tradition of production, circulation, and decoding that I want to call Music Video Gothic. This tradition expresses latent concerns about the music video's aesthetic borders and intertextual relations with cultural and career narratives.
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Koempel, Florian. "From the gut? Questions on Artificial Intelligence and music." Queen Mary Journal of Intellectual Property 10, no. 4 (December 25, 2020): 503–13. http://dx.doi.org/10.4337/qmjip.2020.04.05.
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AI applications are manifold in the music industry, both as tools assisting composers in creating and as music generating machines. AI applications assisting composers are widely used, for example in providing drum sequences or mastering services. AI-generated music is mainly used as production music, for example in synchronizing YouTube videos. Copyright implications relate initially to the use of existing works to train the computer, and secondly to the copyright protection for AI-generated musical works or sound recordings. This article firstly looks at the copyright acts involved in the training process in the EU, UK and US as well as potentially applicable exceptions. Secondly, it addresses the copyright position of AI-generated music and in particular the legal requirement of human creativity as the basis of copyright protection for musical works. The situation for sound recordings might be different.
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Adler, Christopher. "Zaum Box: New Music for Speaking Percussionist." Malaysian Journal Of Music 9 (September 22, 2020): 55–64. http://dx.doi.org/10.37134/mjm.vol9.5.2020.
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Zaum Box is a collection of compositions for solo speaking percussionist setting transrational Russian futurist sound poetry called zaum. Zaum arose among a small interdisciplinary group of artists, writers, musicians and thinkers who invented a beyond-rational language as part of the radical disruption of traditional artistic and expressive forms, necessary to bring about the accelerated experience of a technologically-driven future. The subgenre of contemporary concert music for solo speaking instrumentalist dates from the 1970’s and has grown into a significant branch of the solo percussion repertoire. The composition of Zaum Box was founded on an extended period of research into zaum, futurism and Russian language. The complete set of compositions was produced as a limited-edition box set of uniquely formatted scores, which were realised by percussionist Katelyn Rose King in a set of ten videos. This article by the composer reviews all the phases of this project, including research and production, and examines the relationships between text, sound, music and theatricality in selected scores.
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Wijayanto, Xenia Angelica, and Lestari Nurhajati. "Copyright issue on music back sound usage by Indonesian YouTuber." Journal of Social Studies (JSS) 16, no. 2 (September 24, 2020): 137–56. http://dx.doi.org/10.21831/jss.v16i2.31055.
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According to We Are Social research in January 2018, Indonesia's population now is 265,4 million, while its social media active users reached 130 million. 43% of people are using Youtube as their primary social media. This situation shows us that Youtube is still the most used and liked social media channel, followed closely by Facebook and Whatsapp. The vlogger phenomenon is also getting stronger among Indonesian young people. The increasing number of Youtube content production ranged from artists, public figures, and ordinary people, also known as Youtuber. One of the famous Youtuber is Raditya Dika, whose subscriber reached more than 3.3 million, and estimated income per year around USD 46 thousand to USD 739 thousand. The problem that arises is about the copyright violation in background music used by Indonesian Youtuber. This research tries to dig further data about the youtube policy in protecting the copyright issue in that area. This research uses a discourse analysis method on 15 videos from the top 5 Youtuber in Indonesia as the unit of analysis. The result shows that some Youtuber still violate the copyright issue while using background music on their Youtube materials production.
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HANSEN, KAI ARNE. "(Re)Reading Pop Personae: A Transmedial Approach to Studying the Multiple Construction of Artist Identities." Twentieth-Century Music 16, no. 3 (July 12, 2019): 501–29. http://dx.doi.org/10.1017/s1478572219000276.
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AbstractThis article engages with a wide range of existing literature relevant to understanding the artist persona in popular music, and advocates a view of personae as multiply constructed through sound recordings, music videos, live performances, interviews, social media posts, and a variety of other means. In an initial effort to theorize pop personae as transmedial phenomena, I merge a critical musicological understanding of the performative potential of aesthetics with perspectives from celebrity studies and media studies to produce new insights into how personae are articulated across a variety of disparate but intersecting spaces. Through a case study of Sam Smith, I demonstrate how the signs and symbols scattered across numerous platforms are aggregated in the pop persona, and elucidate the interpretive possibilities afforded by different points of contact between artist and audience. I conclude that the task of reading pop personae amounts to an assessment of the conglomerate of texts and contexts that shape both the production and the reception of pop expressions.
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Jones, Stephen. "Synthetics: A History of the Electronically Generated Image in Australia." Leonardo 36, no. 3 (June 2003): 187–95. http://dx.doi.org/10.1162/002409403321921389.
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This paper takes a brief look at the early years of computer-graphic and video-synthesizer–driven image production in Australia. It begins with the first (known) Australian data visualization, in 1957, and proceeds through the compositing of computer graphics and video effects in the music videos of the late 1980s. The author surveys the types of work produced by workers on the computer graphics and video synthesis systems of the early period and draws out some indications of the influences and interactions among artists and engineers and the technical systems they had available, which guided the evolution of the field for artistic production.
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Van der Hoeven, Frank, and Milena Ivković. "When hooliganism and the socialist city melt into one." проект байкал 18, no. 68 (August 8, 2021): 36–43. http://dx.doi.org/10.51461/projectbaikal.68.1798.
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In the Western Balkans, one can still find many city enlargements produced in the era of socialist Yugoslavia. There is a renewed interest by architectural historians and critics in Yugoslavia's architectural production between 1948 and 1980. However, and more remarkably, we find the images of the former socialist urban utopias back in recent music videos, especially rap videos, where it serves as the backdrop to an unusual mix of violence, drugs, sex, religion, and dance. Somehow the raw beauty of the Brutalism in Novi Beograd and the Modernism of Split 3 crosses over from its socialist ideological origins to contemporary youth culture in unexpected ways. The built environment from the time of Tito gets a different meaning altogether. We do not try to explain HOW or WHY this has happened. This article aims to raise the awareness THAT this happens, and we do so with pictorial means.
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Huang, Hsin-chou. "The Effects of Video Projects on EFL Learners' Language Learning and Motivation." International Journal of Computer-Assisted Language Learning and Teaching 5, no. 1 (January 2015): 53–70. http://dx.doi.org/10.4018/ijcallt.2015010104.
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This study examined the language learning and motivational and effects of a video project, including students' perceptions of the processes, and the impact of peer evaluations. Forty-three intermediate EFL learners in Taiwan communicated their thoughts in multimodal formats by producing a video that involved searching online materials and integrating music and pictures to illustrate their ideas. Results from a one-way ANOVA showed that the language learning effects were more obvious in the low proficiency group than in the high proficiency one. Results from t-test analyses of pre- and post- motivation questionnaires showed that students increased their learning motivation, and interview data showed that students felt that making videos boosted their confidence and improved their technological capability. An examination of peer assessments of videos showed that they promoted peer learning and encouraged self-reflection. This study's findings support the adoption of video projects with lower proficiency students in order to stimulate language production.
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ILCHUK, LINA. "CONTENTS OF METHODICAL TRAINING OF FUTURE TEACHERS-MUSICIANS FOR THE USE OF BELL RINGING MEANS IN PROFESSIONAL ACTIVITY." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy, no. 2 (April 6, 2021): 60–69. http://dx.doi.org/10.25128/2415-3605.20.2.9.
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The urgency of improving the professional training of future music teachers in connection with the growing public demand for the professional qualities of teachers is substantiated. It is established that the teacher’s search for a new content of education, in particular among ethnopedagogical bell ringing means, the use of non-traditional methods and forms of teaching will promote creative development of an individual, the formation of value attitude to the traditions and customs of his/her nation. The necessity of formation of methodical readiness of future teachers-musicians for the use of bell-ringing means in professional activity is defined. The development of students’ motives for studying bell ringing will be more effective by directing the educational process of art and pedagogical faculties to the development of future music teachers’ bell ringing competencies. The purpose of the article is to highlight the author’s contribution to the content of academic disciplines included in the cycle of professional training of future music teachers, information about bell ringing, as well as to present the methodological content of lectures and practical classes. Among the vectors of innovative adjustments, making changes to the work programs of educational components, the organization of independent extracurricular activities of music students have been defined. The author’s system of semantic additions to the disciplines of the professional cycle of training future teachers of music has been presented. Instructional and methodical materials for lectures, seminars and practical classes, organization of independent work have been developed. The practical value of the paper lies in the presentation of creative, didactic tasks that will contribute to the formation of students’ skills and abilities to use the bell-ringing means in professional activities. Cognitive and research work, excursions, expedition and on field collection of materials about bell-ringing of the region, production of photomontages, slide compositions, video materials, presentations of the developed creative projects have been suggested as extracurricular forms of work. Thus, the introduction of bell-ringing material in the normative and practical component of higher education will make it possible to eliminate contradictions between students’ acquisition of theoretical knowledge and their practical application.
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Brennan-Horley, Chris. "Work and Play: Vagaries Surrounding Contemporary Cultural Production in Sydney's Dance Music Culture." Media International Australia 123, no. 1 (May 2007): 123–37. http://dx.doi.org/10.1177/1329878x0712300112.
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Much recent research has documented how, under ‘creative’ capitalism, approaches towards work and types of work are changing. This paper extends this research direction, uncovering the discourses that influence conditions of work in one sector of the cultural industries: what can loosely be defined as the ‘dance music industry’. It examines the role that networking and social relations play in maintaining a music scene through which work opportunities are created. The paper also explores how attitudes toward work in this particular cultural pursuit are emblematic of wider shifts in working practices within the cultural and creative industries. The findings are based on interviews with various DJs and promoters within dance and electronic music scenes in Sydney. It is argued that the boundaries between work and non-work, and between ‘industry’ and ‘scene’, are porous for those engaged in this form of cultural production, with a need to further discuss the implications of these observations for the future of cultural work under advanced capitalism.
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Hsu, Jia-Lien, and Shuh-Jiun Chang. "Generating Music Transition by Using a Transformer-Based Model." Electronics 10, no. 18 (September 16, 2021): 2276. http://dx.doi.org/10.3390/electronics10182276.
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With the prevalence of online video-sharing platforms increasing in recent years, many people have started to create their own videos and upload them onto the Internet. In filmmaking, background music is also one of the major elements besides the footage. With matching background music, a video can not only convey information, but also immerse the viewers in the setting of a story. There is often not only one piece of background music, but several, which is why audio editing and music production software are required. However, music editing is a professional expertise, and it can be hard for amateur creators to compose ideal pieces for the video. At the same time, there are some online audio libraries and music archives for sharing audio/music samples. For beginners, one possible way to compose background music for a video is “arranging and integrating samples”, rather than making music from scratch. As a result, this leads to a problem. There might be some gaps between samples, in which we have to generate transitions to fill the gaps. In our research, we build a transformer-based model for generating a music transition to bridge two prepared music clips. We design and perform experiments to demonstrate that our results are promising. The results are also analysed by using a questionnaire to reveal a positive response from listeners, supporting that our generated transitions conform to background music.
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Blumstein, Daniel T., Gregory A. Bryant, and Peter Kaye. "The sound of arousal in music is context-dependent." Biology Letters 8, no. 5 (June 13, 2012): 744–47. http://dx.doi.org/10.1098/rsbl.2012.0374.
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Humans, and many non-human animals, produce and respond to harsh, unpredictable, nonlinear sounds when alarmed, possibly because these are produced when acoustic production systems (vocal cords and syrinxes) are overblown in stressful, dangerous situations. Humans can simulate nonlinearities in music and soundtracks through the use of technological manipulations. Recent work found that film soundtracks from different genres differentially contain such sounds. We designed two experiments to determine specifically how simulated nonlinearities in soundtracks influence perceptions of arousal and valence. Subjects were presented with emotionally neutral musical exemplars that had neither noise nor abrupt frequency transitions, or versions of these musical exemplars that had noise or abrupt frequency upshifts or downshifts experimentally added. In a second experiment, these acoustic exemplars were paired with benign videos. Judgements of both arousal and valence were altered by the addition of these simulated nonlinearities in the first, music-only, experiment. In the second, multi-modal, experiment, valence (but not arousal) decreased with the addition of noise or frequency downshifts. Thus, the presence of a video image suppressed the ability of simulated nonlinearities to modify arousal. This is the first study examining how nonlinear simulations in music affect emotional judgements. These results demonstrate that the perception of potentially fearful or arousing sounds is influenced by the perceptual context and that the addition of a visual modality can antagonistically suppress the response to an acoustic stimulus.
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Habibi, Cahya Berto, and Irwansyah Irwansyah. "KONSUMSI DAN PRODUKSI MUSIK DIGITAL PADA ERA INDUSTRI KREATIF." Metacommunication: Journal of Communication Studies 5, no. 1 (March 25, 2020): 23. http://dx.doi.org/10.20527/mc.v5i1.7449.
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The development of technology makes new practices in consuming music in the digital age. Music fans and connoisseurs are facilitated in accessing music every day, this is not spared from the large role of digitalization, so that music lovers can access their music anywhere. Consumption of digital music has made music producers look for new ways of producing music, which used to be done analogously to digital, where the direction of sales changed from what is usually done by retail stores changed to digital markets. With changing production and consumption patterns, several companies have provided a medium for publication and consuming music to appreciate these musicians and avoid piracy. Medium (Platform) that is used in the same way as digital music stores, by subscribing to listen to all the music in the company's database. The ease of production and consumption of music can be accessed on several platforms such as Spotify, Joox, and Apple Music. The method used in this paper is a desk review by collecting secondary data from various scientific sources, such as: journal articles, websites, and a collection of reports on music in the digital age.
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Pérez-Rufí, José-Patricio, and Águeda-María Valverde-Maestre. "The spatial-temporal fragmentation of live television video clips: analysis of the television production of the Eurovision Song Contest." Communication & Society 33, no. 2 (April 20, 2020): 17–31. http://dx.doi.org/10.15581/003.33.2.17-31.
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Multicamera television production’s similarity to the video clip has become evident in the production of the EBU’s Eurovision Song Contest, where various musical numbers representing public television stations from the organizing countries compete against each other in terms of spectacularity and originality. The main objective of this research is to analyze several acts to identify such appropriation. We will apply a textual analysis to the audiovisual discourse of a sample chosen through subjective sampling. We divide our analysis into four sections: preliminary phase, formal audiovisual analysis, staging and performance. The investigation leads to the conclusion that the characteristic fragmentation of space and time of video clips can also be identified in live music videos. This fragmentation is seen in the break in spatial continuity, resulting from recreating sets on stage and the abstraction of the stage thanks to screens and an avant-garde composition shot. We also consider that the production imitates the time fragmentation and fast shot speed of the video clip.
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Mabuto, Kudzai, and Umali Saidi. "Locating the nihilistic culture within Zimdancehall in contemporary Zimbabwe." DANDE Journal of Social Sciences and Communication 2, no. 2 (2018): 57–74. http://dx.doi.org/10.15641/dande.v2i2.46.
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A fusion of the Caribbean, African American and Zimbabwean music genres into the infamous glocalized Zimdancehall music has dulled the significance of other traditionalist Zimbabwean music genres. Dancehall culture has caused much controversy in Zimbabwean society, being blamed for the country’s increase in crime, violence and believed to encourage misogynistic attitudes among Zimbabwean youths through its negative themes. Using appraisal and dramatism theories the article shows the existential crisis the youth in Zimbabwe face due to economic as well as other social forces and thus align themselves to rather destructive misogynistic behaviours which somehow characterises contemporary Zimbabwe. Established in the article is the extent to which language used in Zimdancehall music is socially charged as well as globalized thus influencing youth feelings, emotions and behaviors. The article analyses lyrics of selected songs as well as makes references to selected musical videos from Zimdancehall artistes such as Soul Jah Love, Winky D, Lady Bee and Killer T as prominent artists revealing what has come to be considered contemporary ‘ghetto culture’ within popular culture in Zimbabwe. It is further argued that Zimdancehall has come to shape, inform behaviors, perceptions and aspirations of the Zimbabwean youth largely due to its nature of production as well as dissemination.
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Pugnaghi, Giulia, Robert Schnuerch, Henning Gibbons, Daniel Memmert, and Carina Kreitz. "The Other End of the Line." Swiss Journal of Psychology 79, no. 1 (January 2020): 5–14. http://dx.doi.org/10.1024/1421-0185/a000231.
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Abstract. The two hemispheres of the human brain are asymmetrically involved in representing a person’s motivational orientation: Approach motivation is reflected in greater activation of the left hemisphere, whereas avoidance motivation more strongly activates the right hemisphere. Visuospatial bias, as assessed in the line-bisection task, is often used as a simple behavioral measure of relative hemispheric activation. In three experiments, we investigated whether affect-induced approach and avoidance motivation are associated with spatial biases in line-bisection performance. Happy or terrifying pictures (Experiment 1, N = 70), happy or sad music (Experiment 2, N = 50), and joyful or frightening videos (Experiment 3, N = 90) were used to induce negative and positive affect. Mood-induction procedures successfully changed emotional states in the intended direction. However, our analyses revealed no effect of mood on visuospatial biases in the line-bisection task. Additional Bayesian analyses also provided more evidence against the hypothesized effect than in favor of it. Thus, visuospatial bias in line bisection does not seem to be a sensitive measure of approach and avoidance motivation induced by positive and negative affect.
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Calzada-Pérez, María. "Researching the European Parliament with Corpus-Assisted Discourse Studies." Specialised Translation in Spain 30, no. 2 (December 31, 2017): 465–90. http://dx.doi.org/10.1075/resla.00003.cal.
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Abstract Parliaments are important and complex institutions. However, they are notably under-researched within linguistics and related fields. This is certainly the case with the European Parliament (EP). Drawing both on Corpus-Assisted Discourse Studies (CADS) and prior, manual research on parliamentary communication, this paper proposes and applies an analytical protocol to examine EP speeches. Although these are disseminated in various forms and through dissimilar means (e.g., live at the EP; the audiovisual format via streaming or recorded videos; or published as parliamentary proceedings), here we focus on proceedings – one of the EP’s main sources of official representation. Following the EP’s (unique) practice, where official proceedings do not distinguish between original and translated speeches but consider all texts of equal (legal) status, this study delves into all speech production in English, without separating source and target texts. In the most orthodox of CADS traditions, analysis proceeds from micro and macro-levels of texts into the macro-context (unlike other academic approaches, in which it proceeds in the opposite direction). This direction forces us to move from tangible, specific data to the enveloping setting in which these data are exchanged.
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Herro, Danielle C., Lorraine Lin, and Michelle Fowler. "Meet the (media) producers: artists, composers, and gamemakers." Journal of Applied Research in Higher Education 9, no. 1 (February 6, 2017): 40–53. http://dx.doi.org/10.1108/jarhe-04-2015-0029.
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Purpose The purpose of this paper is to detail the perceived influence of early gaming habits toward media production from seven students enrolled at a university in the Southeastern US. Participants identified as heavily involved in creating media such as anime, videos, fanfiction, webcomics, games, and digital music. Design/methodology/approach This exploratory study used qualitative research, thus data collection and analysis included questionnaires, interviews, and artifacts identifying and categorizing six main themes: game play preferences, persistence, early connections between game play and media, support and feedback, creations inspired by games, and significance of games in current lives. Findings The study found that most participants believed game play in childhood influenced increasingly complex media production habits. Six of the seven believed game play influenced their career path. The paper concludes with implications for education including games as conduits to personalized learning and career paths. Originality/value Results from this study extend prior research on the value of games to promote media production and meet personal and professional goals. This is significant as prior research linking early game play to media production influencing career goals is sparse.
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Repp, Bruno H., Justin London, and Peter E. Keller. "Distortions in Reproduction of Two-Interval Rhythms: When the “Attractor Ratio” Is Not Exactly 1:2." Music Perception 30, no. 2 (December 1, 2012): 205–23. http://dx.doi.org/10.1525/mp.2012.30.2.205.
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when rhythms consisting of two unequal intervals are reproduced cyclically, their interval ratio tends to be distorted in the direction of 1:2 (= 0.5), which thus seems to function as an “attractor ratio” (AR). However, recent results for musicians in a synchronization task (Repp, London, & Keller, 2011) have suggested an upward-shifted AR (USAR) somewhat greater than 0.5. Three new experiments suggest that this shift is not due to synchronization versus continuation tapping, the range of interval ratios employed, unimanual versus bimanual tapping, intensity differences between taps, or mental subdivision of the long interval, although some of these factors may affect its size. The new results also show that the USAR is found more consistently in musicians than in nonmusicians and seems to arise in rhythm production, not in perception. While the exact causes of the USAR remain unclear, the results suggest that the AR is not necessarily the mathematically simplest interval ratio.
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Atanasovski, Srdjan. "Consequences of the affective turn: Exploring music practices from without and within." Muzikologija, no. 18 (2015): 57–75. http://dx.doi.org/10.2298/muz1518057a.
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In this paper I explore the challenges of the ?affective turn? and map new avenues of music research in this direction. I discuss four paths of enquiry, in deviation from the semiotic models: the discovery of the non-signified materiality and its potentiality to generate affects, the potentiality of affect to de-signify, the ability of sign machines to catalyse the production of intensities and, finally, the power of social machines to overcode the produced affect through non-discursive mechanisms. I argue that the affective turn in musicology can provide a different structuring of a view from without and a view from within, calling both for finely tuned ?close reading? and for the ability of the researcher to grasp the performative context.
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Giromini, Luciano, Donald J. Viglione, Emanuela Brusadelli, Alessandro Zennaro, Marzia Di Girolamo, and Piero Porcelli. "The Effects of Neurological Priming on the Rorschach." Rorschachiana 37, no. 1 (April 2016): 58–73. http://dx.doi.org/10.1027/1192-5604/a000077.
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Abstract. This article introduces a new scientific paradigm that might allow the investigation of the neurological correlates of the Rorschach test without using expensive and time consuming tools such as the fMRI or the EEG. Based on the literature on the Mozart effect, we anticipated that preactivation of a given brain network before exposure to the Rorschach cards would associate with the increased production of responses (or determinants) presumed to be associated with that same network. To pilot test this hypothesis, we focused on the postulated link between human movement (M) responses and mirror neuron system (MNS) activity, and investigated whether preactivation of the MNS would associate with the increased production of M responses. Specifically, 30 students were administered a subset of Rorschach cards immediately after watching three short videos aimed at activating the MNS at three different levels (no/low/high activation). Although no statistically significant differences among the three conditions were found, a linear trend in the expected direction (p = .107), with medium effect size (η² = .087) was observed. In addition to providing information on the M response, this article introduces a new scientific paradigm to investigate the neurological correlates of the Rorschach.
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Šimunovič, Natalija. "Poučevanje inštrumenta v času epidemije COVID-19 / Teaching musical instruments during COVID-19 epidemic." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 32 (November 26, 2020): 11–38. http://dx.doi.org/10.26493/2712-3987.16(32)11-38.
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The purpose of our study was to examine the distance teaching of a musical instrument during the COVID-19 epidemic from the perspective of instrument/ vocal teachers in music schools. We were interested in how successfully the method of face to face learning worked with the use of ICT in distance learning. 238 teachers of primary music schools from all Slovenian regions participated in the research. In addition to the findings, the results of the survey show that during the distance learning process, contacts between teachers and parents were strengthened, student`s authonomy increased, school governing bodies and cooperation between teachers were activated. The use of new teaching methods has led to an increase in digital literacy for both teachers and students. The most common online classroom model took place via Viber video call (34,1%), was most often supplemented with instrument playing videos (76%) and formed by new learning strategies (92%). According to teachers, the advantage of such teaching is most evident in the increased learning self-regulation, however the biggest learning deficits are expected in performance, ensemble music making and tone production. From the research we can understand that the participants, despite the successful implementation of distance learning, find that it is a lower quality way of teaching the instrument. The practical value of the experience, according to teachers, is the acquisition of a proven model of alternative teaching.
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Horetska, Nataliia. "Stylistic features of the performing ancient instrumental music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 110–32. http://dx.doi.org/10.34064/khnum1-57.07.
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Background, objectives and methodology of the research. Musical performing art of the XX–XXI centuries demonstrates a steady and growing interest in a huge array of music from pre-classical eras – the Middle Ages, Renaissance, Baroque. The baroque music occupies a leading position in the field of instrumental performing as an obligatory part of the educational (works by J. S. Bach) and concert repertoire. The problem of interpretation of early music, acutely posed by musicians of the XX century – up to the reconstruction of all historical performance parameters – retains its relevance. In this regard, we note that the performance of a piece of music does not always make off the strongest impression precisely in its “primary” – restored – form, since reconstruction is limited by the volume of our historical knowledge, while modern musical instruments have a much wider range of expressiveness, than theirs historical predecessors, and the modern interpreter – “de facto”, due to his location in the historical space – a much richer thesaurus. So, the aim of this article is systematization, from the standpoint of the teaching experience of its author in the piano class, observations and practical recommendations regarding the style of performing of ancient instrumental music and approaches to its interpretation by a pianist on an instrument of modern construction. The methodology of the study includes an appeal to the intonation theory of B. Asafiev (1971), when considering the dynamic processes of formation of the musical form and the functioning of articulatory units – motifs, phrases, rhetorical figures, strokes, etc.; to the provisions of the works of M. Mikhailov (1981), E. Nazaikinskiy (2003), O. Katrich (2000) concerning the theory of styles; V. Kholopova (1979) and G. Ignatchenko (1983), when considering performance techniques that emphasize the originality of the texture of baroque music; as well as generally accepted methods of scientific research: analysis, selection, structuring of information with its subsequent generalization. Presentation of research results. The study of ancient instrumental music in the piano class is extremely important for the formation of a competent specialist, a musician of a wide range. In the cognitive process, such stages must be passed as determining the style, genre, form of the musical work, identifying the features of the musically expressive means used in it and finding appropriate ways to embody them. It is necessary to make as complete an idea as possible of the past historical epoch, its philosophy, aesthetics, different types of art and their interaction. The purpose of work on pieces of ancient music should be directing а performer to the general laws of “style of the era” (according to M. Mikhailov, 1981), because, despite national differences, by the middle of the XVIII century, a certain “panEuropean” style was formed, which was of great importance for the formation of the next generations of musicians. One of the brightest manifestations of the musical style of the seventeenth and eighteenth centuries is a close connection between music and the art of rhetoric. When referring to ancient music, performers must take into account the enormous influence that rhetoric had on the formation of musical thinking at that time. The close relationship of the latter with the oratory, which is based on a set of laws and rules, led to the influence of musical-rhetorical figures on the semantics of musical language, and, consequently – on the intonation-declamation sphere of musical text, ways of articulation. The latter were largely determined by the design features of ancient tools. The variety of characteristic techniques of instrumental sound production – expressive touches, among which a special place was occupied by the string strokes (legato, detache, martele, etc.) – has become an integral part of the style of European music of the XVII–XVIII centuries. Transferring them to the field of piano technique is necessary for adequate interpretation of works of this period, requiring the pianist to find appropriate analogues that allow to some extent to reproduce the figurative, articulatory, timbre-color, texture characteristics of the performed work. Modern piano, which due to a fundamentally different method of sound production does not claim to be an authentic reproduction of baroque music, has its own rich arsenal of expressiveness, which allows you to offer the listener no less interesting interpretive content of music of past eras. The art of outstanding pianists of the XX–XXI centuries, to whose audio and video recordings modern performers turn in search of a reference sound (G. Gould, S. Richter, S. Feinberg, T. Nikolaeva, M.Argerich, F. Gulda, G. Sokolov, A. Schiff and others) demonstrates this fact clearly. Conclusions. Not reconstruction, but reproduction of the style, image and spirit of early music becomes the leading principle of working on it in the piano class. And here the pianist should come to the aid of a conscious intonation, based on knowledge of both the general laws of the reproduced style and its characteristic details. The outstanding interpreter of early music V. Landowska (1991: 350) wrote: “One cannot ignore the reading of Quantz’s treatises on playing the flute, Leopold Mozart on the violin, Tosi-Agricola on singing, François Couperin, Rameau, Frescobaldi, Marpurg, K. F. E. Bach and many others – about playing keyboard instruments”. Finding “unexpected treasures” in them, “the disciples are delighted, because they begin to realize what they simply did not pay attention to before. In such cases, you find yourself witnessing an explosion of joy, somewhat reminiscent of the discovery of love”.