Academic literature on the topic 'Professionell tonalitet'

The article considers the psychological components that reveal the essence of the method of dominant attention in ensemble performance. The psychological factors concerning improvement of ensemble game are analyzed. Dominant in culture is identified with the main artistic ideas, values. In aesthetics – with the dominant ideal. In the literature – with ideas, context, concept, style characteristics. In design – with shape and space. In architecture – with the dominant element of the composition of space. Dominant – in music theory – V degree of the system relative to the main tone (tonic). The fifth degree of tonality is also called dominant. In European music, the dominant key has always been given a special role, the dominant meant a contrast to the main key. Among all related tonalities, the dominant was considered the dominant (hence the name), the most intense tone, which requires a solution. The professional qualities of an ensemble player are a system of appropriate psychophysiological and mental resources, namely attention, intuition, reflection, empathy, coordination, which is a chain of psychodial elements required for the formation of dominant attention as a generalizing link in the creative realization of a musician-ensemble player. Thus, the considered structural elements of dominant attention as the leading professional quality of the ensemble player, namely intuition, reflection, empathy, coordination are perceived by us as semantic unity. The components are analyzed in terms of content, and a chain of theoretical conclusions is presented, which embody the substantiation of the concept of «dominant attention» of a musician-ensemble player. Analysis of musical-cognitive processes and practical training of specialists contributes to the successful functioning of the dominant attention in the process of its creative realization. Further research may be related to the study of the intuitive component of the musician-ensemble.

RésuméFruit d’un processus engagé au XIXe siècle, le code des catégories socio-professionnelles est élaboré en France entre 1951 et 1954 et n’a que peu été modifié depuis. Alors sans habillage théorique fort et d’une tonalité réaliste, il donne corps aux classes sociales dans la description de la société d’après-guerre. Lieu d’effervescence sociologique à l’occasion de sa « refonte » (1978-1981), il figure l’espace social à deux dimensions de la sociologie de Pierre Bourdieu et sert de laboratoire à la sociologie pragmatique de Luc Boltanski et Laurent Thévenot. Lors de sa « rénovation » (1995-2001), la prudence administrative des changements opérés contraste avec l’évolution du droit conventionnel et une ambition de pureté analytique soutenue par l’économétrie. L’histoire de la nomenclature rend compte de la situation d’un outil de représentation du monde censé demeurer inchangé quand rien ne l’est, ni l’institution qui en assure la gestion, ni les catégories ordinaires ou juridiques auxquelles il renvoie, ni les théories et usages sociologiques qui lui sont liés.

The teaching of harmony in the United States, if judged objectively, has been a massive failure, even though a dedicated corps of fine musician-scholars labors to impart the curriculum to eager if not always adequately prepared students. These students are taught "about" harmony, as if the topic were really about tonality or the imaginary desires of chords. The only students who can perform and create harmony at a professional level are those who learned such skills outside the academy. The situation was not always so bleak. Nadia Boulanger, for example, learned the art of harmony from her teacher at the Paris Conservatory, Paul Vidal. Even though she was not taught roman numerals or chord functions, she learned harmony as a performative art, as something to express what was implicit in a given melody or bass. The article describes what Paul taught Nadia, and how the incredibly high standards for crafting harmonic-contrapuntal musical fabrics at the Paris Conservatory could be mastered by students willing to memorize the intricacies of a centuries-old art.

In this paper the communicative personality of Russian-speaking talk-show host is analyzed. The authors present the results of study of communicative personality of talk show host V. Soloviev, which were derived as the result of verbal-semantic speech level analysis. Lexical-semantic components of this level are analyzed. Moreover, in the process of this study was stated that on cognitive-value level of implementation the communicative personality of talk-show host is characterized by high level of language skills, professional competence; cultural and national identity is valued highly by the host of talk-show. It is noted, that the host of the talk-show uses different tactics, for example the tactic of taking care of his image and ignoring the image of the opponents to state a line between friends and foes. Nevertheless it is underlined that the dominance of the talk-show host and the harshness of some statements is to some degree is toned down by usage of informal communication style and ironic tonality of speech.

Acoustical privacy and noise control design and implementation guidance is needed, regarding Facility Guidelines Institute (FGI) criteria for outpatient medical facilty tenant improvements (TI). TI in existing commercial buildings or medical office buildings may not have capital budgets or expected facility/lease life that hospitals enjoy. Full conformance to FGI criteria and guidelines may be limited; by economic feasibility and by constructability. Design professionals can use "good practice" space planning, demising assembly selection, and electronic sound masking to achieve appropriate acoustical privacy within reasonable capital expense budgets. Consider FGI criteria for demising partition, ceiling, door and window selections plus infrastructure equipment and material selections that can provide cost-effective lightweight, common construction standards. The objectives are to protect the privacy of patient information and provide quiet spaces, free of transient disturbance for clear speech communications. Continuous ambient sound increases speech privacy including speech transmitted from enclosed quiet spaces. Criteria for acoustics, speech privacy,continuous noise and masking exists in FGI. Temporal level changes (on/off, transients) and tonality (spectrum smoothness or balance) should be considered in basis-of-design (BoD). This paper will present design guidelines for selecting demising assemblies and supplemental sound masking for outpatient clinical spaces in commercial or medical office buildings.

Joint action (JA) is ubiquitous in our cognitive lives. From basketball teams to teams of surgeons, humans often coordinate with one another to achieve some common goal. Idealized laboratory studies of group behavior have begun to elucidate basic JA mechanisms, but little is understood about how these mechanisms scale up in more sophisticated and open-ended JA that occurs in the wild. We address this gap by examining coordination in a paragon domain for creative joint expression: improvising jazz musicians. Coordination in jazz music subserves an aesthetic goal: the generation of a collective musical expression comprising coherent, highly nuanced musical structure (e.g., rhythm, harmony). In our study, dyads of professional jazz pianists improvised in a “coupled,” mutually adaptive condition, and an “overdubbed” condition that precluded mutual adaptation, as occurs in common studio recording practices. Using a model of musical tonality, we quantify the flow of rhythmic and harmonic information between musicians as a function of interaction condition. Our analyses show that mutually adapting dyads achieve greater temporal alignment and produce more consonant harmonies. These musical signatures of coordination were preferred by independent improvisers and naive listeners, who gave higher quality ratings to coupled interactions despite being blind to condition. We present these results and discuss their implications for music technology and JA research more generally.

Sound or audio engineering is a branch of the field of engineering, which involves the process of recording sound and reproducing it by various means, as well as storing in order to be reproduced later. Known as sound or audio engineers, these trained professionals work in a variety of sound production fields and expert in recording methods. They can be instrumental to implement the affordable technologies and technical process to distribute the audio data hence, making it accessible for future generations. The current role of these engineers not only to perform or limited to recording session but they create metadata for archiving and preservation for future needs. Currently, product sleeves of ethnographic recordings represent no technical elements of how traditional music recordings are produced. The product details focus only to some extent on historical elements and musical notation. To an audio archivist, declaring what devices are in a recording is not linked with preservation data. Apart from the format, the sleeved design, technical specification is essential to other social scientists such as audio engineer and field recordist of the future. The aim of the present research is to capture optimum dynamic range of the sound and applying a signal processing that would not alter the tonality, timbre and harmonic of the sound. Further applying a suitable information storage for the metadata to be preserve or archived for future accessing and reproduction.

There is something daunting about writing an homage to an artist who just died. One is faced with questions of proximity, expertise, and knowledge: questions on how to evoke the person and oeuvre without giving oneself too much prominence, questions on the intended audience and adequate tonality as well as the standpoint one is speaking from. This is especially true with the Algerian writer, filmmaker, historian, and playwright Assia Djebar: “As a Moslem woman, educated in the French system while her country was still under de-facto colonial rule and witness to eight years of brutal war while still in her twenties, Djebar is the only writer of her sex and her generation who has managed an impressive output both before and after her country's accession to independence” (Zimra, Afterword 163). As Clarisse Zimra further reminds us in “A Daughter's Call,” “By the time of her death, Assia Djebar had been writing for nearly sixty years.” The range of her training, her professional experience on three continents (Africa, Europe, North America), and her practice of different genres are just as impressive. She received several prestigious awards, including the FIPRESCI Prize at the Venice Film Festival in 1979 for her film La nouba des femmes du mont Chenoua (1978; “The Nouba of the Women of Mount Chenoua”) and the Neustadt Prize (1996), often considered a gateway to the Nobel Prize (for which she was short-listed twice). Elected to the Académie Française in 2005, she is, as Zimra remarks, “une immortelle.”

Purpose – The purpose of this paper is to analyze the crisis information posted by publics on the social media platform Instagram about leading fast food companies as well as the responses by the companies and their general use of Instagram. Design/methodology/approach – In two quantitative content analyses, 711 Instagram posts were identified in a two-week constructed time period that related to the ten largest fast food chains in the world. Findings – It was found that negative content about these companies is posted by customers and employees alike and that the negative tonality primarily stems from issues with service and the work environment. The study also showed that the companies are just starting to discover Instagram and have very little engagement with users. None of the companies responded to the negative posts of customers and employees. Research limitations/implications – The analysis only evaluated posts with negative hashtags about ten fast food companies. Future research should expand the analysis to all posts about a certain sector as well as expand the scope of the research beyond the fast food sector. Practical implications – The results of the study are a call-to-action for public relations professionals to engage with their publics on Instagram and actively use the app as a pre-crisis monitoring and crisis response tool in their social media plans. Originality/value – Instagram is a fast-growing social media channel, yet research into this platform is lacking. The findings of this study should be a challenge to public relations practitioners to put Instagram next to Facebook and Twitter at the center of their social media strategy.

Background. One of the typical trends of modern musicology is the increasing interest in the problem of components dialogue in the synthetic forms of art. In the context of this global topic, the issue of music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century is of particular interest. The connection of music and choreography in the art of stage dance of the 17th – the first half of the 18th century appears as a kind of continuation of the syncretic unity of ancient art seen through the prism of the professional experience of the creators of court musical and stage productions in the French classicism style. In the court operas, ballets and other types of performances such of the composers, as A. Kampra, J.-B. Lully, J. F. Rameau, the spirit of the antique art was reviving in its own special way representing the “ensemble of arts” in a miniature. The research objective is to identify the features of the combination and interaction of musical and choreographic arts in the stage dances of French musical and theatre productions of the 17th – the first half of the 18th century. The article uses the method of comparative analysis. This method allows to analyze the features and the ways of interaction between the elements of dance and musical syntax. Results. The art of choreography is a rhythm and plastic form of thinking and self-expression, which can reflect reality not only in its eventual plot related manifestations, but also to rise to the broad abstract generalizations. In view of its rather conditional nature, dance requires, to one degree or another, the interpretation of its content. In the 17th and early 18th centuries, the need for such an explanation increases significantly because of the great role of emblems and encoded content in various aesthetic and artistic phenomena. In the dance, the close relation to the court ceremonial, which did not allow the expression of emotions, initiated this feature additionally. For example, at that time one was believed that stepping a minuet means “drawing up secret signs of love”, which were recognized in movements, poses, facial expressions and gestures. In the Baroque Epoch the audience easily was recognizing the content of such dances, whereas for the modern observer and researcher it remains unknown. The dance moves and their combinations in stage dances of the 17th and early 18th century receive a specific meaning in the context of poetic, musical and dance phrases. However, first, the moves of dancers-performers were consistent with the music. As a rule, the result of making a choreographic production depended on the composer’s choice of the musical form. Most of the dances within the researched period were set to music in a two-part form. Less often we can find the samples in the form of a couplet rondo and ostinato variations. When making the dance productions, French choreographers took into account the features of other popular musical forms of the 17th –18th centuries. In some cases they emphasized or combined with their own author’s decision the symmetric basis laid down in the musical structure (the form of rondo), in others – they disclosed the effect of the continuity principle. An example of the embodiment of a choreographic idea set to music in the form of a rondo is the passepied production (fr. passé-pied) “La Gouastalla” realized by R. A. Feye to the music of the unknown composer. The choreographic composition consists of five dance periods corresponding to five sections of the musical form. A slightly different choreography scheme – ABCBC is combined with the symmetric scheme in the musical variation– ABACA. In this production the combination of the musical form and the choreographic composition is somewhat changed, however, this does not mean the complete neglect of the musical form regularities in the construction of the dance general plan. One of the aspects of the musical and choreographic arts combination in French stage dances of the 17th and 18th centuries is the connection with of the choreographic component of the latter with the tonal plan of the musical work. The tonal coloring of the music was reflecting in the formation of a choreographic drawing of dance, in the process of expressing in the movements of various emotions and feelings. Changes of tonalities, the most used of which, as a rule, a certain circle of images and affects, their own “character” carried along at that time, were associated with a variety of transitions in the emotional coloring of the dance. It is from such, emotional, the perception of tonality, the versions of the tonal plans of French dances follows, which are unusual for later canons of Viennese Classicism, in particular, with the violation of the harmonic sequence of T-D-S-T. Conclusions. Thus, the stage dance of the 17th and early 18th century is a peculiar form of embodiment of the “miniature ensemble of arts”, where dance moves and their combinations receive a specific coloring in the context of poetic, musical and dance phrases and certain allegorical meanings. Nevertheless, first and foremost, the moves of dancers-performers were consistent with the music. Obvious is the great dependence of the choreographic production on the musical form and its components – the rhythm as well as the tonal and harmonic plan, which combined with the choreographic elements, prompt the feelings transmitted in the dance, which give to it the life and inspiration.

Affärsstrategin direct-to-consumer (DTC) innebär en direkt försäljnings- och distributionskanal från företag till slutkund. Medskapande och engagemang på sociala medier är betydelsefulla faktorer för att förädla de fördelar som DTC ger upphov till. Studiens syfte är därför att härleda en modell för hur DTC-företag kan engagera samt involvera kunder. Det empiriska materialet erhålls genom en kvalitativ metoddesign med semistrukturerade intervjuer för att skildra svenska DTC-företags arbetssätt. De företag som undersöks är följande: Geggamoja, Pinky Pine, So Typical Me, Ciszere, Rapunzel of Sweden och Maya Delorez. För att framkalla engagemang på sociala medier arbetar DTC-företagen kontrollerat med att skapa ett autentiskt innehåll som återspeglar varumärkesidentiteten. Innehållet bygger således på ett återkommande språkbruk och social interaktion. Språkbruket anpassas dock beroende på mottagare och delas upp i professionell samt inkluderande tonalitet. För att nå ut med innehållet till kunderna kombinerar DTC-företagen olika relevanta plattformar baserat på om innehållets syfte är att vara informativt eller underhållande. Ett företags community visar sig även stärka kundengagemanget och kan byggas utifrån två strukturer, intresse- samt produkt-fokuserat. Oavsett struktur kan företaget strategiskt arbeta för att styra sitt community i önskad riktning allt eftersom communityt grundar sig i vänskapliga relationer och känslomässiga band. För att framkalla ytterligare engagemang arbetar DTC-företagen med att involvera kunderna i medskapande genom en insamling av både idé- och preferens-fokuserad feedback. SoMe-engagemanget och medskapandet har slutligen en positiv effekt på varandra genom en ökad mängd feedback och mer engagerade följare.

This epilogue reflects on Marga Richter's music, suggesting that her zest for living, coupled with her dedication to her art, makes her a role model for younger composers and performers. As she takes old age in stride, Richter has not thought of retiring and remains focused on composition. She continues to spend summers in Vermont and enjoys the beauty around her and visiting with professional colleagues, friends, and family. This epilogue describes Richter's musical style, which has remained fairly constant throughout her life, and argues that her works are characterized by dissonance, slowly unfolding free forms, ostinatos and layering, and a loose tonality. It also considers Richter's ties with feminism and her views on gender roles.