Journal articles: '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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Alves Araujo, Felipe, Fabricio Lima Brasil, Allison Candido Lima Santos, Luzenildo de Sousa Batista Junior, Savio Pereira Fonseca Dutra, and Carlos Eduardo Coelho Freire Batista. "Auris System: Providing Vibrotactile Feedback for Hearing Impaired Population." BioMed Research International 2017 (2017): 1–9. http://dx.doi.org/10.1155/2017/2181380.

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Deafness, an issue that affects millions of people around the globe, is manifested in different intensities and related to many causes. This impairment negatively affects different aspects of the social life of the deaf people, and music-centered situations (concerts, religious events, etc.) are obviously not inviting for them. The Auris System was conceived to provide the musical experimentation for people who have some type of hearing loss. This system is able to extract musical information from audio and create a representation for music pieces using different stimuli, a new media format to be interpreted by other senses than the hearing. In addition, the system defines a testing methodology based on a noninvasive brain activity recording using an electroencephalographic (EEG) device. The results of the tests are being used to better understand the human musical cognition, in order to improve the accuracy of the Auris musical representation.

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García-Falgueras, Alicia, and Dick F. Swaab. "The Spanish Composer Manuel de Falla and His Eyes: The Musical Brain." Neuroscience Insights 16 (January 2021): 263310552110497. http://dx.doi.org/10.1177/26331055211049778.

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Manuel de Falla was a Spanish musician of the XIXth and XXth centuries who had international recognition likely due to his musical fusion talent. His knowledge about Spanish musical traditions gave to his early compositions a new and fresh intellectual interpretation for the typical Spanish folk music. However, in the middle of his musical career, he suffered a strange disease of his eyes named recurrent acute iridocyclitis. This eye flushing is caused by an inflammation of 2 structures of the anterior pole of the ocular globe, the iris, and the ciliary body. It is usually a symptom of another disease and it causes many psychological impairments and disabilities (severe eye pain in bright light, blurry vision, headache, stress for organization (orderliness), and depression in some cases). This soreness of his eyes had an effect over Falla’s compositions and marked an inflection point in his line of musical creations. Eyes in music have been so relevant in another composers and musicians throughout history.

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Tanzi, Dante. "Music negotiation: routes in user-based description of music." Organised Sound 6, no. 2 (August 2001): 111–15. http://dx.doi.org/10.1017/s1355771801002060.

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This paper will deal with the changes that have come about in the description of musical knowledge and with the ensuing needs in this field in the era of decentralisation. Throughout almost all the twentieth century, musical practices continued to be expressed by a system of cultural mediations that proved to be a practical impediment to the emergence of non-conventional cultures. Electronic music in particular and its corrosive tendencies, though spread and supported by remarkable composers, has ended up being devoured by academic immune systems. Now that the diffusion of Net computing has induced people to intervene in musical material, a poetics based on interference is spreading. By gaining ground on grammatical and self-referenced poetics, this trend has gradually become a palpable fact and music perceives itself as both individual writing and a production of social meaning. At present, a globe-net-transfer of sound material passes through different contexts and spaces, and seems to be adapting itself to different social speeds. Through the Net we can, on the one hand, replace, manipulate and recontextualise musical parameters until a different significance emerges; at the same time, randomising and hybridising musical objects can partially change our perception of the same musical events. On the other hand, music online databases, audio browsers and musical queries may open the way to overthrowing, reorganising and personalising music description. This could occur at different levels and to different degrees of complexity, both as a social event and as an active, user-based combination of musical structures.

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Simonett, Helena. "Giving voice to the ‘dignified man’: reflections on global popular music." Popular Music 30, no. 2 (May 2011): 227–44. http://dx.doi.org/10.1017/s0261143011000043.

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AbstractAs music increasingly links the global and the local and vice versa, fusions of diverse musical genres and styles burgeon. Globalisation theory (specifically Appadurai) has spurred explorations of musical hybridity and cross-fertilisation among scholars from different academic fields focusing on music. In this essay, I argue for the necessity of understanding global cultural interactions and musical appropriations or exchanges in the context of the ambivalences of the globalised mass diffusion and the power asymmetries involved. The purpose of this paper is to contextualise contemporary theoretical considerations by describing the Yoremensamble project – a government-sponsored cultural project in which a group of urban mestizo musicians from northwestern Mexico appropriated local indigenous musical expressions to produce an album titled ‘Hombre digno’ (‘Dignified man’). The album is just one of many projects around the globe in which artists self-consciously re-localize global popular music styles. The resulting sonic fusions point to the need for a critical cultural analysis of such translocal and global phenomena which is rooted in ethnography.

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Noble, Jason. "Being Time: Case Studies in Musical Temporality. By Richard Glover, Jennie Gottschalk, and Bryn Harrison." Music and Letters 100, no. 4 (November 1, 2019): 755–57. http://dx.doi.org/10.1093/ml/gcz084.

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Bruyn, J. "Over het 16de en 17de-eeuwse portret in de Nederlanden als memento mori." Oud Holland - Quarterly for Dutch Art History 105, no. 4 (1991): 244–61. http://dx.doi.org/10.1163/187501791x00146.

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AbstractThe two sides of the current debate on the nature of 16th- and 17h-century realism are represented by an interpretation based on the recognition of familiar psychological and social factors on the one hand, and one which is averse to all empathy and endcavours to trace the intellectual process that determined function and meaning of images in the past on the other hand. This formulation of the problem also bears on portraiture, to which certain recent interpretations have assigned the significance of sociological documcnts. It is argued here that the portrait, too, had its place in the metaphorically structured and religiously orientated thought that still played a dominant role in the 17th century. Closely linked with the portrait's primary function - which is to perpetuate the memory of the sitter- is the reminder of death and transience cncountered in many (not all!) portraits. In a Family Group painted in 1661 by Jan Mytens in Dublin (fig. 1), the father points to two figurcs on the left who arc obviously deceased (as the papaver comniferum in front of them probably indicates). The piece of paper in his pointing hand is a frequent attribute of sitters in early sixteenth-century portraits, rolled up or folded (fig. 2). Seventeenth-century texts and a large number of vanitas still lifes (fig. 3) suggest that the motif was a symbol of transience: it is in this capacity that it was still being used a century ago in tomb sculpture (together with a skull) (fig. 4). The early sixteenth century saw not only the introduction of the sheet of paper but of a number of other motives which endowed the by now autonomous portrait with a religious meaning and which, together with more familiar symbols such as the skull, hourglass and carnation, alluded to the transience of earthly existcncc and the hope of eternal life. Some of them were only occasionally used, others (like the sheet of papicr) maintained their status as fixed items in the iconographic tradition. They include: - the glove (figs. 5 and 7): a frequently used motif (chiefly, but not exclusively, in male portraits) whose meaning the rejection of the false illusion of eartly existence and the search for truc life in the hereafter becomes only apparent from a relatively late printed source; - the cast shadow (fig. 7), which features in various biblical texts as an image of earthly transience and in the 16th and 17th centuries (in portraits, as well as genre scenes and still lifcs) was clearly understood as such; - musical instruments (fig. 8), which not only suggested the harmony of married life but also, due to their short lived sounds, were used as a vanitas motif in portraits and still lifes; - sumptuous architecture (fig. 8), which recalled the wealth of the rich man in Luke 12 and hence, again, the brief enjoyment of earthly possessions. Used less often, but with similar implications, were: - the butterfly (notes 42-44); - the vase of flowers (fig. 9); - the broken column (fig. 10). The meaning of the frequently occurring intact column, sometimes in combination with a curtain is still unclear. Even quite late in the 17th century a new motif was introduced in portraits to express he old vanitas idea: the waterfall, which notably in works by Jacob van Ruisdael had developed into an accepted vanitas motif (fig. 11).

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Dordzro, John-Doe. "BRASS BAND MUSIC IN GHANA: THE INDIGENISATION OF EUROPEAN MILITARY MUSIC." African Music: Journal of the International Library of African Music 11, no. 2 (November 22, 2020): 141–63. http://dx.doi.org/10.21504/amj.v11i2.2318.

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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to address this lack by offering a comprehensive account of the contemporary situation of brass band music in Ghana. I trace the history of this musical world and explore the diverse ways military and missionary activities have shaped amateur brass band musical activities in Ghana. I discuss the distribution and band formations across Ghana, viewing it in five sections that detail different types of brass bands; church, town, service, school and “sharbo” bands. I continue by looking at the beginning, development, workings and indigenisation of European military music in local popular culture and provide an account of brass band music as observed in Ghana today. I argue that indigenisation is not a straightforward process of adaptation, rather, indigenisation is a process of ongoing aesthetic tensions and differences resulting in new musical forms and new forms of socialisation organised around musical performance.

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Savran, David. "Trafficking in Transnational Brands: The New “Broadway-Style” Musical." Theatre Survey 55, no. 3 (August 18, 2014): 318–42. http://dx.doi.org/10.1017/s0040557414000337.

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In a theatre world increasingly dominated by multinational corporations, in which brand-name companies make the rounds of international festivals and multilingual performances are bankrolled by consortia of state-supported theatres, the national identity of theatrical productions is becoming more and more difficult to decide. This identity crisis is especially pronounced in the case of the one theatre form that for generations has been associated with a single New York thoroughfare that for people around the world symbolizes singing and dancing, glamor and dazzle. The form to which Broadway is categorically linked, the Broadway musical, may have circumnavigated the globe countless times, but a national and municipal identity remains embedded in its name. In the twenty-first century, however, this jet-setting genre needs to be analyzed less from a national or international perspective than a transnational perspective that emphasizes interconnectedness and the cross-border fluidity of cultures and species of capital. Shows such asThe Lion KingandWickedmay have premiered in New York, but their continuing multibillion-dollar success in cities on six continents suggests that the traffic in the most popular form of theatre in the world can no longer be linked to one metropolis or one national tradition.

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Barlow, Jill. "London, Globe Theatre: ‘The Play's the Thing’." Tempo 67, no. 263 (January 2013): 91–92. http://dx.doi.org/10.1017/s0040298212001490.

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Shakespeare's Globe Theatre Season 2012, entitled ‘The Play's The Thing’, centred on Henry V and Richard III, with new music scores by Claire van Kampen, and The Taming of the Shrew, with a new score by Richard Hammarton. In addition – and well timed in the year of the Queen's Diamond Jubilee, and also the London Olympics – the Globe Theatre celebrated by sending out a worldwide invitation asking who would like to participate in their ‘Globe to Globe Festival’. As a result, 37 countries performed Shakespeare in 37 different languages here during the Season, within the architecture for which Shakespeare wrote, bringing with them a vast array of cultural diversity in music and dance dovetailed into the drama.

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Solomon, Thomas. "Hardcore Muslims: Islamic Themes in Turkish Rap in Diaspora and in the Homeland." Yearbook for Traditional Music 38 (2006): 59–78. http://dx.doi.org/10.1017/s0740155800011668.

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At the beginning of the twenty-first century, Islam has, according to various estimates, between 900 million and 1.4 billion adherents in more than fifty countries, making it the second-largest religion in the world. Rap music and hip-hop youth culture have also, in their brief history, achieved global status, as the essays in Tony Mitchell's edited volume Global Noise (2001b) illustrate. It is perhaps not surprising that the long-standing world religion Islam and the more recently global musical genre of rap have intersected in various ways. Both the religion and the musical genre have spread over the globe as people and ideas move around, and people use the material and expressive resources at their disposal in practices of identity construction. It is not necessarily contradictory or paradoxical that some people may find it useful and compelling to imagine their identities using both Islam and rap music.

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Duţică, Luminiţa. "3. Quo Vadis the Contemporary Music Criticism? (The First International Workshop of Journalism in Kalv, Sweden. Reflection, Orientation, Persuasion)." Review of Artistic Education 19, no. 1 (April 1, 2020): 17–20. http://dx.doi.org/10.2478/rae-2020-0003.

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AbstractAnnually, in Kalv is organized one of Sweden’s most innovative festivals for Contemporary Music. For the first time, on 8-11 August 2019 took place a workshop in Music Journalism field. In this study we intend to show working methods used in Western Journalism and the impact of current music on the cultural level Kalv’s rural population. Together with the mentor Andreas Engström from Berlin, we attended concerts, seminars, we interviewed more artists and musicians across the globe, also we wrote different texts, essays and chronicles for publication. To conclude, organising a Musical Journalism Workshop during a festival of contemporary music is a commendable initiative which plays a major role in getting acquainted and gaining a better understanding of the compositional intentions of present-day creators. We will be happy to come back here, in a world at once picturesque and post-modern owing to these unforgettable musical encounters.

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Marranca, Bonnie. "The Globe of War." PAJ: A Journal of Performance and Art 25, no. 3 (September 2003): 1–4. http://dx.doi.org/10.1162/152028103322491638.

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WALTON, BENJAMIN. "Looking for the revolution in Rossini's Guillaume Tell." Cambridge Opera Journal 15, no. 2 (July 2003): 127–51. http://dx.doi.org/10.1017/s0954586703001666.

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August in the Restoration, like Augusts before and since, was a time for those who could afford it to escape the hot, dirty streets of Paris to head for the country. With this in mind, Ludovic Vitet, music critic of Le Globe, broadcast an appeal in his Bulletin musical on 1 August 1829 (cloudy and unseasonably cool): Have patience, you poor dilettanti who have rushed back from the countryside; and those of you who have put off your departure to be present at the first performance of this marvel, don't think that you have yet reached the end of your suffering.

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Barlow, Jill. "London, Globe Theatre: Music for ‘Dido, Queen of Carthage’." Tempo 58, no. 227 (January 2004): 61–62. http://dx.doi.org/10.1017/s004029820427005x.

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Claire van Kampen, the Director of Music at Shakespeare's Globe Theatre on London's Bankside, followed up her jazz score for Macbeth and innovative minimalist style score for Cymbeline – complete with authentic ritualistic temple gongs from Burma – with an intriguing modern score for one of the plays for Season 2003 too.

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Moody, I. "World enough and time: early music around the globe." Early Music 35, no. 4 (November 1, 2007): 674–76. http://dx.doi.org/10.1093/em/cam077.

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SCHENKER, FREDERICK J. "“A Circuit Tour of the Globe”: “Hiawatha” and the Double-Stake of Imperial Pop." Journal of the Society for American Music 13, no. 1 (February 2019): 1–26. http://dx.doi.org/10.1017/s1752196318000500.

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AbstractBetween 1903 and 1904, the two-step “Hiawatha” spread rapidly throughout much of the colonial world. The travels of “Hiawatha” reveal both what Stuart Hall calls the “double-stake” of popular culture as well as what Amy Kaplan describes as the “anarchic” nature of empire: through its circulation and repeated hearings, “Hiawatha” became both a kind of colonizing force and also a medium that disturbed ideas about racial hierarchies and nationhood that served to justify colonial rule. By charting the global movement of “Hiawatha,” I show how the song became both a colonial force and also a medium for expressions that challenged imperial logic. The tune exhibited imperial tendencies: it saturated soundscapes and, as part of an emerging form of new musical commodities, coaxed listeners into recognizing their shifting status from auditors to consumers. Through its Native American subject matter, the song also helped to perpetuate ideas of evolutionary racial science that served to justify the violence of imperialism. The very qualities that made “Hiawatha” a colonizing song, though, especially its repetitious ubiquity, also increased the complexity of its meaning as it circuited the globe, leading some listeners to hear an accumulation of meanings that seemed to exceed the forms of US imperial pop.

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Wortzel, Adrianne. "Globe Theater: Robotic Pageants." Leonardo 32, no. 2 (April 1999): 89–90. http://dx.doi.org/10.1162/leon.1999.32.2.89.

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Ramaut-Chevassus, Béatrice. "« L’évolution historique » et ses marges : éléments pour une lecture critique de Cinquante ans de modernité musicale de Deliège." Circuit 16, no. 1 (February 1, 2010): 65–72. http://dx.doi.org/10.7202/902384ar.

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Célestin Deliège, en témoin de son temps, livre un monument, une source première, une histoire des grammaires où se croisent aussi esthétique et politique. Le concept central d’évolution historique se rapporte à la « recherche musicale », à la « recherche sur le code », aux « efforts de recherche de langage ». Écrire l’histoire revient alors à établir un « recensement de théories intentionnelles, prescriptives, et de poétiques nouvelles ». Les marges quant à elles évoquent la glose musicologique mais surtout les nombreux compositeurs placés en marge de cette évolution historique, de ce trajet fléché, de Darmstadt à l’Ircam. Cette dichotomie reflète donc celle que C. Deliège pose lui-même. L’article essaie de montrer qu’il existe une diversité plus grande de forces en présence dans la modernité musicale de la seconde moitié du siècle dernier.

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Volgsten, Ulrik. "A technology and its vicissitudes: playing the gramophone in Sweden 1903–1945." Popular Music 38, no. 2 (May 2019): 219–36. http://dx.doi.org/10.1017/s0261143019000060.

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AbstractThis inquiry deals with the changing role of the technology and the use of phonographs and gramophones during the first half of the 20th century. Rather than looking at the UK or USA, which much previous research has done, the focus is on peripheral Sweden. More specifically the question is how phonography turned from being a scientific curiosity into becoming an everyday media technology, and how it thereby influenced culture and everyday musical communication. The findings show two distinct approaches to recorded music, which intermingle in today's unprecedented musicalisation of culture and everyday life around the globe – approaches respectively described as utilitarian and solipsistic.

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Gontovnik, Monica. "Tracking transnational Shakira on her way to conquer the world." Zona Próxima, no. 13 (May 18, 2022): 142–55. http://dx.doi.org/10.14482/zp.13.218.71.

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The Colombian singer and composer Shakira, has become a transnational musical product. Her presence on the world stage is by now a commodity that screams the ideology of a unified globe. In the latest version of the FIFA’s World Cup (2010) she was the main musical number for the inaugural concert because her proposed song was chosen as the event’s anthem. Controversy for her use of a song from Cameroon that was popular in Colombia in the 1980s was diffused on time by good political moves. With this latest song and video, Shakira again represents her “blackness”, her “Caribbeaness”, pointing strongly to a performative activity that has been having effect since she crossed the Colombian and Latin American borders in order to start recording under Miami’s pop star producing machine. I trace in this paper, through a few of her music videos, what she has chosen or asked or coached to represent, as she performs her way to global stardom: tamed otherness. An ethics of aesthetics of popular culture is what is asked though this reflection, especially since Shakira is a professed humanitarian who has created the Barefoot Foundation in order to educate marginalized Colombian children

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Moormann, Peter. "Raum-Musik als Kontaktzone. Stockhausens Hymnen bei der Weltausstellung in Osaka 1970." Paragrana 19, no. 2 (December 2010): 33–43. http://dx.doi.org/10.1524/para.2010.0023.

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AbstractFor the World Exposition in Osaka (1970), architect Fritz Bornemann designed the German Pavilion, which focused the expo′s general theme Peace and Progress by means of avant-garde electronic and instrumental music, first and foremost by Karlheinz Stockhausen. The main auditorium was conceived as a globe to provide a completely new style of musical experience: the audience being surrounded by the music and able to follow the sound′s motion in a three-dimensional setting. Central part of Stockhausen′s daily concerts was his piece Hymnen for soloists and electronic tape in which he merged national anthems from all over the world with sounds from synthesizes and electronically modulated live-instruments. This union of opposites was intended to promote a changed consciousness of the listeners, culminating in Stockhausen′s so-called Hymunion, a utopian vision of world peace. This paper focuses on the different aspects of musical space in Stockhausen′s aesthetics and art ranging from architectural conditions of contemporary music and compositional control of spatial moving music to spiritual settings of art. The question arises whether Bornemann′s architecture and Stockhausen′s music are able to facilitate the emergence of a contact zone.

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Haessler, Elina Luise. "Visual Music: K-Pop’s ‘CAWMAN’ Effect on a Transnational Music Subculture." INSAM Journal of Contemporary Music, Art and Technology, no. 8 (July 15, 2022): 124–49. http://dx.doi.org/10.51191/issn.2637-1898.2022.5.8.124.

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South Korean popular music or K-Pop has risen phenomenally in popular music industries around the globe in little under three decades through its unique production method of embracing a combination of both musical and visual artforms. Having gained mass international popularity, K-Pop has established the characteristics of a subculture. The visual emphasis K-Pop producers place in their productions lays particularly in the foreground to its transnational attraction. Primarily in the form of music videos, narratives and aesthetics becoming communicable beyond language mediation. Using a semiotic theoretical analysis, this paper critically analyses the creation, sustainment and effects of ‘visual music’ as a foregrounding component of this transnational music subculture. To do so, the focus lies on K-Pop production company SM Entertainment’s recently established CAWMAN genre, a method of producing music media based on Cartoon, Animation, Webtoon, Motion Graphics, Avatar and Novel. With K-Pop’s central portal of communication and K-Popular practices being the Internet, this paper explores the effects and critical roles of this new genre of visual music in bringing people together across the globe.

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Sumner Lott, Marie. "“Iron Hand with a Velvet Glove?” String Quartet Performance in the Late-Nineteenth and Early-Twentieth Centuries." Journal of Musicological Research 25, no. 3-4 (December 2006): 263–89. http://dx.doi.org/10.1080/01411890600848316.

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Carey, Christian. "Being Time: Case Studies in Musical Temporality by Richard Glover, Jennie Gottschalk, and Bryn Harrison. Bloomsbury Academic Press, £80 (hardcover)." Tempo 73, no. 290 (September 12, 2019): 94–95. http://dx.doi.org/10.1017/s0040298219000718.

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Lortat-Jacob, Bernard. "Music of the Globe: Improvisation, Orchestration, Singing Together, Prayer and Devotion." Yearbook for Traditional Music 18 (1986): 203. http://dx.doi.org/10.2307/768543.

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Troutman, John W. "The Steel Heard ‘Round the World: Exposing the Global Reach of Indigenous Musical Journeys with the Hawaiian Steel Guitar." Itinerario 41, no. 2 (July 31, 2017): 253–74. http://dx.doi.org/10.1017/s0165115317000365.

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In the late nineteenth century, Kānaka Maoli (Native Hawaiians) physically modified guitars and created a new technique for playing them. In the years that followed, hundreds of Hawaiian troupes, engaging new entertainment circuits that crisscrossed the globe, introduced the world to their “Hawaiian steel guitar,” from Shanghai to London, Kolkata to New Orleans. While performing Hawaiianmele, or songs, with their instrument, they demonstrated new virtues for the guitar’s potential in vernacular and commercial music making in these international markets. Based upon archival research, this essay considers the careers of several Hawaiian guitarists who travelled the world in the early twentieth century, connecting local soundscapes through the proliferation of an indigenous technology.

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Tsitsos, William. "Rules of rebellion: slamdancing, moshing, and the American alternative scene." Popular Music 18, no. 3 (October 1999): 397–414. http://dx.doi.org/10.1017/s0261143000008941.

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Since 1993, popular music magazines in the USA such as Rolling Stone have reported the outbreak of an alternative music ‘revolution’, as bands such as Green Day (who trace their musical roots to late-1970s punk groups such as the Sex Pistols) achieve large-scale popular success. In September 1994 the Boston Globe newspaper devoted significant coverage to the free Green Day concert in Boston that was cancelled midway through as the crowd of 70,000 (comprised mostly of teenagers) threatened to overwhelm the security guards. The news media have focused their attention on the dancing known as ‘slamdancing’, or ‘moshing’, which is associated with this newly popular music. Slamdancing and moshing are two different, albeit similar, styles of dance in which participants (mostly men) violently hurl their bodies at one another in a dance area called a ‘pit’. The media attention paid to this music and its associated violent audience-behaviour paint them as emerging threats to public safety. On 10 September 1994, the Globe reported that ‘there have been severe injuries in mosh pits, where fans act out the hostile lyrics of groups such as Green Day’.

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Syed Hussain, Sharifah Nurilmuhayati, and Bernard Tan Yong Boon. "The Italian Musical Effects and Authentic Phonetics: Effective lyric diction in Crude furie by Handel." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 15–20. http://dx.doi.org/10.21834/ebpj.v7isi9.3932.

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Italian is the most commonly used language in the repertory of Western classical vocal music. Italian vocal music spreads globally and is a compulsory genre of music for classical vocal studies all around the globe including in Malaysia. This study investigates the effective lyric diction of Italian, including surveying the musical effects caused by the language and its authentic phonetics, in an attempt to discover ways for singers to communicate the language effectively in singing. A detailed analysis of the opera aria Crude furie by composer George Fredrich Handel will be carried out to apply those ideas into practice. Keywords: lyric diction, Italian diction, vocal arts, opera eISSN: 2398-4287© 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3932

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Hamdani, Muhammad Zakwan, Edwina Rudyarti, and Sisca Mayang Phuspa. "THE CORRELATION OF PERSONAL PROTECTIVE EQUIPMENT SOCIALIZATION TOWARD THE CHANGING OF OCCUPATIONAL SAFETY AND HEALTH BEHAVIOR OF MUSICAL INSTRUMENT CRAFTSMEN." Journal Of Vocational Health Studies 2, no. 1 (November 7, 2018): 14. http://dx.doi.org/10.20473/jvhs.v2.i1.2018.14-19.

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Background: Cultural conditions K3 in the industry Small Medium Enterprises (SME) craftsmen of traditional musical instruments is low only use 2 personal protective equipment that is protective mask and gloves. The condition can lead to accidents then exerts dissemination of the importance of personal protective equipment in order to minimize accidents. Purpose: This study aimed to determine the correlation between the socialisation of the importance of personal protective equipment (PPE) and the OSH behavior (knowledge and attitude toward the importance of PPE. Method: This was a quantitative research with Experimental approach. Craftsmen working population was taken as a respondent (24 workers). Data was taken by using a questionnaire and checklist. Related Data analysis used T-Test. Results: The results of this study scores showed the value of p = 0.00 (p <0.05), which means that there were significant changes between the socialization of personal protective equipment and behavioral changes K3 workers craftsmen of traditional musical instruments industry in Paju District of Ponorogo. Further research is needed to study the behavior of K3 in the industry small medium enterprises on the other with the number of more samples and compare it to other industry small medium enterprises as well as a variable that has not been studied. Conclusion: Socialization of personal protective equipment can boost of knowledge and attitude for the workers to always use personal protective equipment in each work.

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Callanan, Martin John. "A Planetary Order (Terrestrial Cloud Globe)." Leonardo 45, no. 4 (August 2012): 380–81. http://dx.doi.org/10.1162/leon_a_00417.

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Marino, Michael P. "Metal Rules the Globe: Heavy Metal Music around the World." Popular Music and Society 37, no. 1 (February 19, 2013): 106–8. http://dx.doi.org/10.1080/03007766.2013.767068.

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Oliveira, Luiza Monteiro de Barros, and Lucia Teixeira. "Ressignificar o espaço – estratégias discursivas na cultura afro-americana contemporânea." Revista do GEL 16, no. 3 (December 31, 2019): 226–45. http://dx.doi.org/10.21165/gel.v16i3.2752.

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Ainda pouco estudada, a aspectualização do espaço é um elemento de análise previsto dentro da teoria semiótica francesa que pode ser de grande valia ao analista que busca compreender a construção de sentido em textos audiovisuais. O presente artigo busca fazer avançar a pesquisa sobre como a aspectualização espacial opera, por meio da análise de duas obras audiovisuais contemporâneas que compartilham semelhança temática: os videoclipes de Apes**t, de The Carters (como assinam a cantora Beyoncé e o rapper Jay-Z em um projeto musical feito em dupla) e This is America, de Childish Gambino (rapper e ator também conhecido como Donald Glover). Apesar de ambos serem produzidos por artistas norte-americanos que tratam da questão racial em seus discursos, os dois textos audiovisuais empregam estratégias distintas em sua enunciação, que o presente artigo busca detalhar e compreender.

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Hamm, Charles. "Genre, performance and ideology in the early songs of Irving Berlin." Popular Music 13, no. 2 (May 1994): 143–50. http://dx.doi.org/10.1017/s0261143000007005.

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Irving Berlin's 200-odd songs written between 1907, the date of the first one, and late 1914, when his first complete show for the musical stage (Watch Your Step) opened at New York's Globe Theatre, are virtually identical to one another in their published piano/vocal format. Like other Tin Pan Alley songs of the early twentieth century, most of them consist of a brief piano introduction, a few bars of vamp, then several verses, each followed by a chorus. All are in major keys and most have a tempo marking of moderato. Piano introductions are drawn from either the first or last phrase of the chorus, the vamp anticipates the melodic beginning of the verse, and both verse and chorus are usually made up of four 4-bar phrases in C or four 8-bar phrases in other metres.

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Jeffery, Peter. "Liturgical chant bibliography." Plainsong and Medieval Music 1, no. 2 (October 1992): 175–96. http://dx.doi.org/10.1017/s0961137100001765.

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The critical study of medieval chant, which began in the mid-nineteenth century, is one of the oldest of the disciplines that coalesced into modern musicology. It is also one of the most international, for liturgical chant traditions represent the earliest preserved musical heritage of a great many different countries that are heirs to the medieval Latin and Byzantine worlds and their satellite cultures, ranging from Finland to Ethiopia, from Iceland all the way to southern India. In more recent times the knowledge of these traditions, particularly Gregorian and Byzantine chant, has spread to every continent as Western religious, musical, and educational traditions have been introduced throughout the world. Chant studies, therefore, are being pursued all over the globe, by hundreds of scholars writing in dozens of languages and utilizing countless different approaches – scholars who also desire the benefits of being in better contact with each other. It is to help keep track of these many independent scholarly efforts that the Liturgical Chant Bibliography is being published here, as the successor to the Liturgical Chant Newsletter. Future instalments will appear each year in the second issue of Plainsong & Medieval Music. All chant publications likely to be of interest to scholars are eligible for inclusion, provided (1) they have actually been published and (2) I have been able to see a copy, or have at least received complete bibliographical information (including author, title, publisher, date, page numbers).

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Edmondson, Laura. "Tanzanian Theatre and the Mapping of Home." Theatre Research International 27, no. 2 (June 18, 2002): 164–77. http://dx.doi.org/10.1017/s030788330200024x.

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Tanzanian popular theatre consists of a dizzying variety of ‘traditional’ dances, plays, acrobatics, and musical acts that freely borrow from traditions across the globe. In a stark contrast to the fluidity of these performances, however, the plays maintain a rigid division between representations of the urban city and rural home. This demarcation operates along the gendered lines described by Anne McClintock, in which the village is coded as the feminized model of tradition in contrast to the ‘male’, modern world of the city, leading to stereotypical roles of the innocent rural girl and the lustful urban woman. At the same time, the participatory, improvisational quality of popular performance clears a space for the ‘unnatural’ urban women in the audience to resist these stereotypes. Also, the theatre troupe Muungano creates plays which challenge essentialist constructions of the primordial ‘home’, allowing complex interactions of geography and gender to be revealed and explored.

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Zink, Michel. "Les deux sens du Sponsus: la leçon de la glose et le langage du drame." Revue de musicologie 86, no. 1 (2000): 29. http://dx.doi.org/10.2307/947278.

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Liadi, Olusegun Fariudeen. "Multilingualism and Hip Hop Consumption in Nigeria: Accounting for the Local Acceptance of a Global Phenomenon." Africa Spectrum 47, no. 1 (April 2012): 3–19. http://dx.doi.org/10.1177/000203971204700101.

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Hip hop music has enjoyed global popularity and patronage on a level that has transcended that of most other music genres. It is perhaps due to the genre's worldwide popularity that many forms of hip hop have sprung up across the globe. The Nigerian version of the music has been overwhelmingly accepted by a good number of youths in the country irrespective of class, religion and social status. However, there is some speculation as to what factors are responsible for the recent sudden boom in the popular consumption of this genre among the youth, since hip hop has been a feature of the Nigerian musical landscape since the 1980s. With the aid of qualitative data collection instruments – thirty in-depth interviews and six key informant interviews among hip hop fans and club DJs, respectively – the study establishes the centrality of multilingualism as a primary reason for the acceptance of hip hop among Nigerian youth.

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Joseph, Dawn, and Jane Southcott. "Music participation for older people: Five choirs in Victoria, Australia." Research Studies in Music Education 40, no. 2 (September 10, 2018): 176–90. http://dx.doi.org/10.1177/1321103x18773096.

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In Australia and across the globe music participation by older people active in the community has the potential to enhance quality of life. A recent review of the literature found clear evidence of numerous benefits from participation in active music making that encompass the social, physical and psychological. This article reports on five phenomenological case studies of community singing groups comprised of older people active in the community in Melbourne, Victoria. These studies are part of a research project, Well-being and Ageing: Community, Diversity and the Arts in Victoria that began in 2008. Interview data were analysed using interpretative phenomenological analysis and are reported under three overarching themes: Social connection, A sense of well-being, and Musical engagement. For older people in these studies singing in community choirs offered opportunities for social cohesion, positive ageing, and music learning that provided a sense of personal and group fulfilment, community engagement and resilience.

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Maher, Donna. "Sarah Anna Glover: Nineteenth-Century Music Education Pioneer by Jane Southcott." Notes 77, no. 3 (2021): 459–62. http://dx.doi.org/10.1353/not.2021.0023.

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Paterson, Ronan. "Constable, Neil, chief executive. Globe Player. Other." Renaissance and Reformation 44, no. 2 (October 5, 2021): 218–23. http://dx.doi.org/10.33137/rr.v44i2.37536.

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Journal articles on the topic 'Musical glove'

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