Relevant bibliographies by topics / Musical glove

Academic literature on the topic 'Musical glove'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Musical glove"

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Fels, Sidney, Ashley Gadd, and Axel Mulder. "Mapping transparency through metaphor: towards more expressive musical instruments." Organised Sound 7, no. 2 (August 2002): 109–26. http://dx.doi.org/10.1017/s1355771802002042.

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We define a two-axis transparency framework that can be used as a predictor of the expressivity of a musical device. One axis is the player's transparency scale, while the other is the audience's transparency scale. Through consideration of both traditional instruments and new technology-driven interfaces, we explore the role that metaphor plays in developing expressive devices. Metaphor depends on a literature, which forms the basis for making transparent device mappings. We examine four examples of systems that use metaphor: Iamascope, Sound Sculpting, MetaMuse and Glove-TalkII; and discuss implications on transparency and expressivity. We believe this theory provides a framework for design and evaluation of new human–machine and human–human interactions, including musical instruments.
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Pramudyo, Gani Nur, and Tamara Adriani Salim. "Tinjauan sistematis tentang preservasi warisan musik." Berkala Ilmu Perpustakaan dan Informasi 17, no. 1 (June 8, 2021): 40–55. http://dx.doi.org/10.22146/bip.v17i1.1266.

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Introduction. The awareness of musical heritage shows an effort of preservation that performed by composers, musicians, performers, archivists, conservators, local society, community archivists, and government. Data Collection Methods. The paper used a systematic review method with a qualitative approach represented by literature from Taylor & Francis database. Data Analysis. A multi-stage exclusion process showed nine articles for further review. An analytical grid/chart was used to systematize the most relevant information of the selected articles. A tree illustration (including roots, trunk, and leaves) was used to represent the main idea of each article. Results and Discussion. The raised awareness of the importance of preservation can be supported by creating the music projects, promoting music for tourism, and music repackaging. We categorize seveal aspects of preserving heritage music such as 1) understanding the integrity of the original trace and media, 2) combining prescriptive & descriptive documentation 3) musical repackaging method, and 4) using Art Glove device. Conclusion. A synthesis of proposals was developed to illustrate the musical heritage preservation that represents ideas of selected articles that have been reviewed. In addition, this study also allows the researchers to identify gaps in the literature and research directions.
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Kotani, Shuntaro, and Shinichi Furuya. "State anxiety disorganizes finger movements during musical performance." Journal of Neurophysiology 120, no. 2 (August 1, 2018): 439–51. http://dx.doi.org/10.1152/jn.00813.2017.

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Skilled performance, in many situations, exposes an individual to psychological stress and fear, thus triggering state anxiety and compromising motor dexterity. Suboptimal skill execution in people under pressure affects the future career prospects of trained individuals, such as athletes, clinicians, and musicians. However, it has not been elucidated in what manner state anxiety affects multijoint movements and thereby degrades fine motor control. Using principal component analysis of hand kinematics recorded by a data glove during piano performances, we tested whether state anxiety affects the organization of movements of multiple joints or merely constrains the amplitude of the individual joints without affecting joint movement coordination. The result demonstrated changes in the coordination of movements across joints in piano performances by experts under psychological stress. Overall, the change was characterized by reduction of synergistic movements between the finger responsible for the keypress and its adjacent fingers. A regression analysis further identified that the attenuation of the movement covariation between the fingers was associated with an increase in temporal error during performance under pressure. In contrast, neither the maximum nor minimum angles of the individual joints of the hand were susceptible to induced anxiety. These results suggest that degradation of fine motor control under pressure is mediated by incoordination of movements between the fingers in skilled piano performances. NEW & NOTEWORTHY A key issue in neuromuscular control of coordinated movements is how the nervous system organizes multiple degrees of freedom for production of skillful motor behaviors. We found that state anxiety disorchestrates the organization of finger movements so as to decrease synergistic motions between the fingers in musical performance, which degrades fine motor control. The findings are important to shed light on mechanisms underlying loss of motor dexterity under pressure.
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K, Pritesh. "Wireless Data Gloves Controlled Virtual Musical Instrument." International Journal on Recent and Innovation Trends in Computing and Communication 3, no. 3 (2015): 1125–28. http://dx.doi.org/10.17762/ijritcc2321-8169.150351.

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Dwi Zulhifitri and Ofi Hidayat. "PERSAMAAN HAK ASASI MANUSIA DAN RASISME PADA KELOMPOK MINORITAS (ANALISIS FRAMING DALAM FILM THE GREATEST SHOWMAN)." KAGANGA KOMUNIKA: Journal of Communication Science 3, no. 2 (February 1, 2022): 140–47. http://dx.doi.org/10.36761/kagangakomunika.v3i2.1520.

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Film the Greatest Showman merupakan film bergenre drama musikal. Film tersebut terinspirasi dari kisah nyata atau disebut sebagai film biografi. Dimana pada abad ke-17 hingga abad ke-19, yang juga menjadi latar waktu kejadian dalam film. Pada masa itu dipercaya menjadi awal mula atau cikal bakal terciptanya sikap bahkan aksi diskriminasi serta rasisme yang hingga kini masih kita rasakan. Walaupun tidak seburuk pada saat perang dunia ke-II, dengan tokoh utama dalam film tersebut bernama Phineas Taylor Barnum sebagai salah satu pengusaha yang menciptakan sirkus pertama dengan manusia sebagai pemeran sirkusnya. Film yang rilis pada tanggal 20 Desember 2017 di Amerika Serikat tersebut berhasil meraih banyak penghargaan, dalam ajang Globe Awards ke-75, untuk kategori Best Motion Picture - Musical or Comedy dan Aktor Terbaik – Musikal atau Komedi untuk Jackman. Kemudian untuk lagu “This is Me”, berhasil memenangkan kategori Golden Globe Award for Best Original Song dan dinominasikan untuk Lagu Orsinal Terbaik di Academy Awards ke-90, serta menjadi salah satu film terlaris kelima sepanjang massa. Dalam penelitian ini, peneliti mengkaji mengenai bagaiamana framing yang dilakukan sutradara terhadap aksi diskriminasi dan rasisme dalam anggota sirkus yang memiliki postur, berat, dan warna kulit yang berbeda dari orang-orang normal lainnya. Kata Kunci: Film Biografi, Analisis Framing, Diskriminasi dan Rasisme, Hak Asasi Manusia.
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Eatock, Colin. "Classical Music Criticism at the Globe and Mail: 1936-2000." Canadian University Music Review 24, no. 2 (March 8, 2013): 8–28. http://dx.doi.org/10.7202/1014580ar.

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This article is a study of developments in classical music criticism at the Toronto-based Globe and Mail newspaper from its inception in 1936 to the year 2000. Three distinct time-periods are identified, according to content, style and ideology: 1936-1952, a period of boosterism, when critics often saw it as their role to support Toronto's musicians and musical institutions; 1952-1987, when (during the lengthy tenure of critic John Kraglund) the newspaper took a more detached, non-partisan stance towards musicians and musical activities in the city; and 1987-2000, when critics began to address social, political, and economic issues governing classical music, and to question inherited cultural assumptions about the art form.
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Das, Joanna Dee. "Choreographic Ghosts: Dance and the Revival of Shuffle Along." Dance Research Journal 51, no. 3 (December 2019): 84–96. http://dx.doi.org/10.1017/s0149767719000330.

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In 2016, director George C. Wolfe and choreographer Savion Glover created Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed, a backstage musical about the 1921 show Shuffle Along, noted for its all-black cast and creative team. Although Wolfe proclaimed dance to be the most important aspect of the original musical, his production does not mention Shuffle Along’s original choreographer, Lawrence Deas, nor does it examine the labor of choreography. These omissions expose how dance on Broadway remains subordinate to other aspects of a musical, thus reproducing racist and sexist logics about embodied performance.
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Eckley, Claudia Alessandra. "Configuração glótica em tocadores de instrumento de sopro." Revista Brasileira de Otorrinolaringologia 72, no. 1 (February 2006): 45–47. http://dx.doi.org/10.1590/s0034-72992006000100008.

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O conhecimento dos problemas de saúde relacionados à voz ocupacional torna-se cada vez mais importante à medida que mais indivíduos usam a voz como instrumento de trabalho. Os músicos tocadores de instrumento de sopro são um grupo bastante específico de indivíduos que usa o trato vocal intensamente no exercício de suas atividades profissionais. Curiosamente, pouco ou nada temos relatado sobre a atuação direta da laringe nesta modalidade profissional. OBJETIVO: O objetivo do atual estudo foi avaliar o comportamento da laringe e do trato vocal de músicos tocadores de instrumento de sopro. MATERIAL E MÉTODO: Foram estudados 10 indivíduos tocadores profissionais de instrumento de sopro através de videonasofibrolaringoscopia, sendo observados o comportamento da laringe, faringe e língua durante o tocar do instrumento. RESULTADOS: Em todos os participantes deste estudo observamos que os tons musicais foram produzidos durante a adução das pregas vocais. O relato de maior dificuldade técnica de tocar determinada peça musical estava relacionado a uma maior tensão glótica (constricção látero-lateral) e supraglótica. CONCLUSÕES: A glote participa ativamente da produção sonora do instrumento de sopro e que alterações na configuração glótica podem interferir na produção sonora musical final. Estes conhecimentos sugerem a necessidade de incluir os músicos tocadores de instrumento de sopro no grupo dos chamados profissionais da voz.
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Nereson, Ariel. "Reframing the Musical: Race, Culture and Identity, Sarah Whitfield (ed.) (2019)." Studies in Musical Theatre 15, no. 2 (July 1, 2021): 162–64. http://dx.doi.org/10.1386/smt_00069_5.

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Torre, Giuseppe, Kristina Andersen, and Frank Baldé. "The Hands: The Making of a Digital Musical Instrument." Computer Music Journal 40, no. 2 (June 2016): 22–34. http://dx.doi.org/10.1162/comj_a_00356.

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Michel Waisvisz's The Hands is one of the most famous and long-lasting research projects in the literature of digital music instruments. Consisting of a pair of data gloves and exhibited for the first time in 1984, The Hands is a pioneering work in digital devices for performing live music. It is a work that engaged Waisvisz for almost a quarter of a century and, in turn, has inspired many generations of music technologists and performers of live music. Despite being often cited in the relevant literature, however, the documentation concerning the sensor architecture, design, mapping strategies, and development of these data gloves is sparse. In this article, we aim to fill this gap by offering a detailed history behind the development of The Hands. The information contained in this article was retrieved and collated by searching the STEIM archive, interviewing close collaborators of Waisvisz, and browsing through the paper documentation found in his personal folders and office.
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Dissertations / Theses on the topic "Musical glove"

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CHUANG, CHIA-CHEN, and 莊佳榛. "The Musical Practice of Kimkom Multimedia’s TV Glove Puppet Theatre : A Case Study of Kim Kong Gi Kiu Kai (TV series)." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/kwm6hn.

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碩士
國立臺南藝術大學
民族音樂學研究所
107
The musical morphology of Glove Puppet Theatre is different to others in Taiwanese Traditional Drama Culture owing to the glove puppet theatre companies usually performed music of the most popular musical style from local area. It makes the music element of Glove Puppet Theatre very multiple. When it comes to the time of Japanese Taiwan, the policy ”Jin Gu Yue”(literally “the banning of drum and music) was published during Japanization. It occurred a change that the music ensemble was substituted by recorded music in the music of Glove Puppet Theatre in that period of time. After lifting the policy, 1970s in Taiwan, the most popular TV show “The Great Hero of Yun-zhou: Su Yanwen” produced by Huang Junxiong TV Puppet Troupe contained a variety of music genre. Nowadays, Taiwan imported many kinds of dramas and movies from abroad; the TV Glove Puppet Theatre is the best choice for audiences no longer. Filmmakers of Glove Puppet Theatre try to create a new type of performance with the purpose of attracting young audiences. They added the music formats of film scoring and Japanese anime music to TV Glove Puppet Theatre. The research is a case study of Kim Kong Gi Kiu Kai, a TV series produced by Kimkom Multimedia International Company Limited from 2014 to 2017. This research tends to understand the principle of Kimkom Multimedia, Huang Likang, how he manage to develop the series based on an original story of his father Huang Junxiong. And how did he establish a new incidental music model of TV Glove Puppet Theatre adjusting from modern musical morphology of film making and Japanese anime scoring.
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Books on the topic "Musical glove"

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group), Erasure (Musical. Snow globe. [London]: Mute, 2013.

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Metal rules the globe: Heavy metal music around the world. Durham, NC: Duke University Press, 2012.

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Thurber, James. The Thurber carnival. New York: Modern Library, 1994.

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Thurber, James. A Thurber carnival. New York: S. French, 1990.

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Thurber, James. The Thurber carnival. New York: Perennial Classics, 1999.

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Kinkade, Thomas. Silent Night Musical Snow Globe. Lightpost Publishing (Thomas Kinkade), 1999.

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Kinkade, Thomas. Stonehearth Hutch Musical Snow Globe. Media Arts Group, 1998.

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Chew Sánchez, Martha I., and David Henderson, eds. Scattered Musics. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832368.001.0001.

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This book brings together eleven chapters on the musics of migrant and diaspora populations around the globe. Their authors are engaged with and sensitive to the nuances of struggles over identities and representations through musical expression, and they give account of some of the ways in which musicians, fans, promoters, and others use music and other media (including social media) to negotiate, transcend, or create solidarities with different normativities and nationalisms. How have diasporas transformed the musical expressions of their home countries as well as those in the host communities? How do musical performances provide a space for play in seeking to understand one’s identity? How do some communities recreate home away from home in musical performances, and how do some use music to critique and refine their senses of home? What are some of the ways in which musical performance can help reconstruct and redefine collective memory and a collective sense of place? With chapters by ethnomusicologists, sociologists, historians artists, and others, Scattered Musics is an interdisciplinary plunge into these questions.
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Musical Globe with Nativity Scene: Plays Little Town of Bethlehem. Frederick Singer & Sons, 2002.

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Browner, Tara, and Thomas L. Riis, eds. Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.001.0001.

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Only since the 1970s have the variety of American musical styles and sounds have been allowed to stand on their own two feet in the academic world. Recent efforts to place American music-making within new or heretofore neglected contexts are diverse and inevitably shift our consciousness about music’s meaning and impact in culture. This volume contains a series of commentaries or glosses, chapters about American music broadly understood that seek especially to explore four critical factors beyond the the familiar categories defined by repertory or biography alone: the impact of performance; the role of patronage in the creation of musical objects and events; personal identity; and how larger cultural/ethnographic contexts (community values, ethnic markers, and social relations) determine certain musical results. A related concern in many of the chapters is the way music is disseminated within listening communities—how it was made “popular”—and how it continues to exert a lasting influence across the rest of the globe. The topics to be found here are wide ranging and include many genres and perspectives (hymnody, concert music, jazz, country music, hip-hop, Tin Pan Alley, and Broadway song and dance, among other types), but each chapter is focused on specific performers, patrons, works, conditions, or institutions within its cultural context.
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Book chapters on the topic "Musical glove"

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van Elferen, Isabella. "Danny Elfman’s Musical Fantasyland, or, Listening to a Snow Globe." In The Works of Tim Burton, 65–82. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370839_4.

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"Musical Style, Ideology, and Mythology in Norwegian Black Metal." In Metal Rules the Globe, 180–99. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822392835-008.

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Hagen, Ross. "Musical Style, Ideology, and Mythology in Norwegian Black Metal." In Metal Rules the Globe, 180–99. Duke University Press, 2012. http://dx.doi.org/10.1215/9780822392835-008.

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Hagen, Ross. "MUSICAL STYLE, IDEOLOGY, AND MYTHOLOGY IN NORWEGIAN BLACK METAL." In Metal Rules the Globe, 180–99. Duke University Press, 2011. http://dx.doi.org/10.2307/j.ctv1220q3v.10.

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"Girdling the globe:." In Musics Lost and Found, 107–31. Boydell & Brewer, 2021. http://dx.doi.org/10.2307/j.ctv199tj27.18.

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"Rockin’ All Over the Globe." In Shakespeare and Popular Music, 133–44. Bloomsbury Publishing Plc, 2010. http://dx.doi.org/10.5040/9781472555199.ch-009.

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Politis, Dionysios. "Reconstructing Digitally Instruments and Scales in the Synchrony and Diachrony of Music." In Advances in Library and Information Science, 103–18. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1653-8.ch006.

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The capabilities of modern computers to visualize in a realistic and constructive manner how ancient musical instruments performed gives contemporary musicologists an unprecedented insight on how music evolved through the centuries. Collecting evidence from museological exhibits, reconstructed physical instruments from antiquity have been performing around the globe. Based on these, Computer Music scientists create virtual environments that allow experts to experiment and interface with cultural worlds that flawlessly revive the timeline of music through the centuries. Even further, computer systems can synthesize melodies based on the notation used in antiquity, providing scholars with a vivid reflection that echoes humanity's collective memory through the centuries.
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Bohlman, Philip V. "1. In the beginning … Myth and meaning in world music." In World Music: A Very Short Introduction, xxviii—18. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198829140.003.0001.

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‘In the beginning … Myth and meaning in world music’ looks at world music’s real and imagined beginnings. These origins are documented in European missionaries’ observations of indigenous peoples and represented by the first musicians in religious and philosophical writings. Ideas about music in different cultures may be irreconcilable, and some have no word for music at all. Ethnomusicologists like Charles Seeger explored the problem of using words to describe music, although words may not properly convey it. Today’s world music stars bring the past into the present through performance, reliving the moment of encounter and discovery in collaborations spanning the globe.
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Lena, Jennifer C. "The Government-purposed Genre." In Banding Together. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691150765.003.0004.

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This chapter expands our view to include music produced in other countries. A preliminary survey of the popular music of countries with widely differing political economies, music cultures, and levels of development revealed that the four genre forms (avant-garde, scene-based, industry-based, and traditionalist) do exist to greater or lesser degrees across the globe. However, there proved to be another widely distributed form that was not found in the U.S. sample: the government-purposed genre. Musics in this genre receive substantial financial support from the government or oppositional groups with a direct interest in the ideological content of popular music. There are two major types: those sponsored directly by governments, which benefit from national distribution and legal protections, and an antistate type supported by an opposition party or constituency. The chapter examines four nation-cases to advance the argument: the People's Republic of China, Chile, Serbia, and Nigeria.
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Dwinal, Catherine. "Projectors." In Interactive Visual Ideas for Musical Classroom Activities, 14–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190929855.003.0003.

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This chapter includes activities using the projector, a standard tool found in most classrooms that has more possibilities beyond first glance. The projector can bring students together to sing holiday classics, to connect with users from across the globe to share music and cultures, or even to create unique backgrounds for performances. Each activity has objectives and assessments, and takes the reader step-by-step through experience so he or she can discover ways to turn a classic tool into a new digital resource.
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Conference papers on the topic "Musical glove"

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Costantini, Giovanni, Giovanni Saggio, and Massimiliano Todisco. "A Glove Based Adaptive Sensor Interface for Live Musical Performances." In 2010 First International Conference on Sensor Device Technologies and Applications (SENSORDEVICES). IEEE, 2010. http://dx.doi.org/10.1109/sensordevices.2010.47.

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Saggio, Giovanni, Franco Giannini, Massimiliano Todisco, and Giovanni Costantini. "A data glove based sensor interface to expressively control musical processes." In 2011 4th IEEE International Workshop on Advances in Sensors and Interfaces (IWASI). IEEE, 2011. http://dx.doi.org/10.1109/iwasi.2011.6004715.

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Shahinpoor, Mohsen. "Smart Ionic Polymer Conductor Composite Materials as Multifunctional Distributed Nanosensors, Nanoactuators and Artificial Muscles." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-79394.

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Basic recent results, properties and characteristics of ionic polymer conductor composites (IPCC) and ionic polymer metal composites (IPMC) as biomimetic distributed nanosensors, nanoactuators, nanotransducers and artificial muscles are briefly discussed in this paper. In particular the paper first starts with some fundamental considerations on biomimetic distributed nanosensing and nanoactuation and then expands its coverage to some recent advances in manufacturing techniques, force optimization, 3-D fabrication of IPMC’s, recent modeling and simulations, sensing and transduction and product development. The paper also covers some recent industrial and medical applications including a multi-fingered grippers (macro, micro, nano), biomimetic robotic fish and caudal fin actuators, diaphragm micropump, multi-string musical instruments, linear actuators made with IPMC’s, IPMC-based data glove and attire, IPMC-based heart compression/assist devices and systems, wing flapping flying system made with IPMC’s and a host of others.
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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.

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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.
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