Relevant bibliographies by topics / Secrecy in music

Academic literature on the topic 'Secrecy in music'

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Published: 26 July 2024
Last updated: 27 July 2024

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Journal articles on the topic "Secrecy in music"

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Dutfield, Graham, and Uma Suthersanen. "DNA Music." Science & Technology Studies 18, no. 1 (January 1, 2005): 5–29. http://dx.doi.org/10.23987/sts.55185.

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Patent regulation provides numerous examples of how policy decisions have consequences that run counter to what was intended. One reason that unintended consequences ensue arises from the fact that when powerful and organised business interests consider that a new reform inhibits their economic appropriation opportunities, they seek to make the perceived inadequacies of the law less harmful to their interests. They may achieve this through alternative legal means or by the adoption of new technologies. For certain reasons, regulating DNA patenting is especially vulnerable to unintended consequences. For businesses, one possible alternative to patents is to encode DNA sequences as music and use copyright and trade secrecy rather than patents. Of course, such alternative means of protection can have their own unintended consequences. If we are right in predicting that if molecular biology patenting is suppressed more and more, the legal and technological measures that lock up information will become increasingly attractive to industry, then one should tread very cautiously when reforming the patent system in this field. *Key words*: intellectual property, DNA patenting, biotechnology
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Lee, Karen V., and Peter Gouzouasis. "Suicide Is Painless: An Autoethnography of Tragedy." LEARNing Landscapes 9, no. 2 (April 1, 2016): 339–49. http://dx.doi.org/10.36510/learnland.v9i2.779.

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This autoethnographic duet is an artful inquiry about the tragedy of a beginning music teacher. A painful story about a music teacher and sexual allegations from an adolescent female, our composition blends music and story to transform understandings through creative engagement and push the boundaries to evoke visceral and emotional responses regarding suicide. Sociocultural issues draw deep re ection about wider political issues that arise for teachers who display di culties with moral issues and misguided choices. The epiphany-epiphony (Gouzouasis, 2013) through story and music reveals the cultural irony of ideology and secrecy in professional misconduct. Unfortunately, in this circumstance, the outcome was catastrophic.
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Wegman, Rob C. "From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450-1500." Journal of the American Musicological Society 49, no. 3 (1996): 409–79. http://dx.doi.org/10.2307/831769.

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The second half of the fifteenth century saw profound changes in the understanding and valuation of the concepts of "composer" and "composition." This article explores those changes, especially as they evolved in urban musical culture in the Low Countries in 1450-1500. Attention is given to oral traditions of popular and professional polyphony, the status of writing in musical instruction and practice, the emergence of a perceived opposition between "composition" and "improvisation," the technical and conceptual ramifications of that perception, the relative social and professional status implied in designations such as "singer," "composer," "musicus," and "tenorist," and, finally, the new understanding and valuation of musical authorship, around 1500, involving notions of personal style, artistic freedom, authorial intention, creative property, historical awareness, and professional organization, protection, and secrecy.
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Haworth, Christopher. "Sound Synthesis Procedures as Texts: An Ontological Politics in Electroacoustic and Computer Music." Computer Music Journal 39, no. 1 (March 2015): 41–58. http://dx.doi.org/10.1162/comj_a_00284.

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This article describes a set of “textual” technological practices that have been emerging over the past decade in the work of underground electroacoustic and computer music composers, focusing particularly on Florian Hecker and Russell Haswell. Guided by methodological insights from the field of software studies, the article zooms in on two computer programs, PulsarGenerator and GENDYN, presenting a genealogical analysis of them as cultural objects and outlining how these lines of descent are aestheticized in their works. In the hands of these artists, sound synthesis procedures carry an author function, and this transgresses both their legal status as technological “inventions” rather than texts, as well as their ontological status in the electroacoustic music genre. Combined with a compositional focus on “sounding” the materiality of these technologies—the particular affordances, limitations, and quirks of their operative functioning—this textual practice contributes to a new aesthetic, one that challenges the prevailing logic of secrecy, alchemy, and semblance in this music. Using the notion of “ontological politics” inherited from science and technology studies, I show how these practices highlight zones of contestation over electroacoustic music’s ontology.
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Friesen, Cari. "Musica Reservata: Two Initiatory Chants for the Vòdún Worship Society in Benin. By Gilbert Rouget. Translated by Cari Friesen." Ethnomusicology Translations, no. 12 (July 15, 2021): 1–33. http://dx.doi.org/10.14434/emt.no.12.33064.

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Rouget analyzes the recordings of two pieces for vòdún initiation ceremonies for the deities of Xɛvyòsò (thunder and lightning) and Sakpàtá (the Earth), which he recorded near Porto Novo, Benin (formerly Dahomey), in 1958 and 1969, respectively. These pieces are performed in great secrecy and differ significantly in form and style from the drumming, dancing, and singing performed for the public “coming-out” ceremonies at the end of the initiates’ period of seclusion. Using staff and sonogram transcriptions, Rouget focuses on melodic and strophic repetition, as well as the function of chromaticism, a rarity in African music. These pieces reflect how the initiates move from a state of “dispossession,” or self-alienation, which the author chronicles in his photographs, before they are symbolically reborn in the public portion of the ceremony. Rouget argues for the pieces’ status as sacred works of art, originating from before colonization, that are worthy of aesthetic appreciation. Citation: Rouget, Gilbert. Musica Reservata: Two Initiatory Chants for the Vòdún Worship Society in Benin. Translated by Cari Friesen. Ethnomusicology Translations, no. 12. Bloomington, IN: Society for Ethnomusicology, 2021. Originally published in French as Musica Reservata. Deux chants initiatiques pour le culte des vôdoun au Bénin. Paris: Palais de l’Institut, 2006.
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Slights (book author), William W. E., and C. E. McGee (review author). "Ben Jonson and the Art of Secrecy." Renaissance and Reformation 32, no. 4 (January 22, 2009): 77–78. http://dx.doi.org/10.33137/rr.v32i4.11594.

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Park-Finch, Heebon. "Alan Bennett’s Single Spies: Lifting the Veil of Personal and Institutional Secrecy." Journal of Contemporary Drama in English 8, no. 2 (November 3, 2020): 218–35. http://dx.doi.org/10.1515/jcde-2020-0019.

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AbstractThis article explores Alan Bennett’s Single Spies (1988), an espionage double bill comprising “An Englishman Abroad” and “A Question of Attribution,” proposing that the personalizing of social, political, and historical themes, as well as the astute documentation of a decaying Englishness and its class system in both plays, are representative of the work of a playwright whose output deserves serious critical attention. The study focuses on how Bennett historicizes the actions of his infamous protagonists (Guy Burgess and Anthony Blunt) while challenging assumptions regarding patriotism. Single Spies is a Cambridge Five franchise, demonstrating the playwright’s characteristic wit, irony, and reflection on personal and national identity, illusion, and sacrifice. The one-act plays each deal with a key figure in the notorious Cambridge spy ring, enhancing the dramatic effect through the use of onstage theatrical and visual allusions. In the first play, references to William Shakespeare’s Hamlet (c 1599), together with English music, highlight Burgess’s duality and the bitter reality of his post-defection life in Russia, while the second play is notable for its use of two paintings (Titian and a Venetian Senator and Allegory of Prudence) as key images and conceits suggesting the gradual uncovering of the Cambridge Five. The paper therefore suggests that Bennett’s ability to lift the veil of personal and institutional secrecy, while airing his own ambivalence, confirms him as a skillful, if academically undervalued, commentator on Englishness.
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McCall (book editor), Timothy, Sean Roberts (book editor), Giancarlo Fiorenza (book editor), and Kenneth Borris (review author). "Visual Cultures of Secrecy in Early Modern Europe." Renaissance and Reformation 39, no. 2 (July 27, 2016): 201–3. http://dx.doi.org/10.33137/rr.v39i2.26872.

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Lee, Karen V., and Peter Gouzouasis. "Tommy’s Tune." Qualitative Inquiry 23, no. 4 (August 20, 2016): 316–20. http://dx.doi.org/10.1177/1077800416659081.

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The following autoethnographic duet by faculty advisor and professor creates a dramatic and evocative account of the personal and cultural experience about a disabled student teacher. They blend storytelling and music which fuses a theoretical analysis about storytelling and life. Although sociocultural issues draw deep reflection about the emotional turmoil, cultural influences of language and social interaction provide details that critique social structures. As musician becoming teacher is a passionate yet complex endeavor, the faculty advisor shares first-hand a poetic but painful story about a disabled teacher being inducted into the teaching profession. By making explicit the personal-cultural connection, they use the life-changing epiphany to critique cultural issues about teaching and disability. As the faculty advisor approaches the professor for advice, his musicianship shifts her forward, backward, and sideways through feelings that evoke, invoke, and provoke a curriculum that does not transfer knowledge from educational method classes. Instead, it embeds musical language as a metaphorical conduit to interrogate the pros, cons and both sides of the complicated issue of disability that influences the completion of his teaching practicum for his undergraduate bachelor of education degree. An epiphany from music and story reveals the irony of living in a culture of both uniformity and diversity. They explore the constructs of ideology, abnormality, marginalization, and secrecy. Thus, by blending story and music, the authors resolve a transformative autoethnographic aspect about the personal and cultural influences that provoke new deeper ways of thinking about curriculum.
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Dallas, E. S. (Eneas Sweetland). "The Secrecy of Art: From The Gay Science (1866)." American Imago 61, no. 3 (2004): 349–63. http://dx.doi.org/10.1353/aim.2004.0029.

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Dissertations / Theses on the topic "Secrecy in music"

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Hickmann, Felipe Copetti. "Territories of secrecy : presence and play in networked music performance." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602541.

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This thesis presents practical work and theoretical research spanning topics in music composition, performance and new media. It proposes a particular creative approach to performance practices mediated by computer networks, which addresses issues of presence and liveness through the application of game-derived systems to performance settings. The thesis includes a portfolio of eight compositions; these pieces were designed and performed with the goal of implementing strategies proposed during theoretical reflection, while also suggesting new ideas for further study. The theoretical component of this work investigates the notion that performance is affected in its attributes of presence and liveness whenever reproduction and mediation technologies come into play. Building on the views of media theorists and research in psychology, it identifies the roles played by agency and social cues in the perception of presence. After reviewing contemporary artistic practices in which participation is enabled by open and playful performance situations, the thesis proposes the use of game systems as a strategy for negotiating musical play in networked settings. The notion of secrecy provides a key conceptual reference that guides both theoretical enquiry and creative exploration. This investigation argues that every act of mediation entails an opportunity for selective concealment of ideas and actions, and therefore comprehends a wide creative potential. While music performance over computer networks may entail the loss of cues that are often taken as granted in ensemble play - such as shared pulse, breath and bodily communication - it may also suggest innovative modes of engagement, based on the regulation of information rather than its unimpeded disclosure. This premise is explored throughout the portfolio, which borrows ideas from contemporary social practices of secrecy and performativity.
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Churchill, Christina. "The Muse of Secrecy: A Qabalistic Examination of Symbolist Poetry and the Music of Claude Debussy." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394685.

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The Qabalah played an important role to a number of esoteric and cultural groups in Paris from the 1840s through to the end of the 19th century. This Qabalistic brand of esotericism was spearheaded by Eliphas Lévi who combined facets of the Cabala of the Renaissance that held a Christian view of ancient Jewish Kabbalah, with Gnostic, Hermetic, Pythagorean, and Neoplatonic sources. Initiates sought the hidden and cryptographic meaning of Qabalistic texts and were attracted to the concept of a Divine language and its evocatory potential. This thesis shows how esoteric ideas were circulated though networks and clubs, including Le Chat Noir, Librairie de l'Art indépendant, and Mallarmé’s Tuesday salons. It argues that the Qabalah was especially important in these circles through the influence of Lévi, Gérard Encausse (Papus), and Joséphin Péladan. Baudelaire, Mallarmé, Verlaine, and Debussy, along with other Symbolist poets and composers such as Villiers de l’Isle Adam, J.-K. Huysmans, André Gide, Pierre Louys, Paul Adam, and Erik Satie, frequented these clubs and were confidants of Levi, Péladan, and Papus. While their interests in the Qabalah have been well documented, its doctrine and symbolic systems have not been used as the basis for the analysis of their poetry or music. This thesis offers the first detailed and extended analysis of poetry by Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine, and music by Claude Debussy, based on their deep immersion in Qabalistic knowledge. The Qabalah assigns numerical and symbolic value to the letters of the Hebrew alphabet and employs cryptographic methods in order to both encrypt and decipher its wisdom in texts. The thesis develops a methodology for reading poetry in this Qabalistic context by transliterating French letters into Hebrew and their designated numbers. For example, the Latin script letter u translates to the Hebrew letter vav with a numerical value of 6. Similarly, a method for transliterating Debussy’s music is developed according to the ouroboros, an esoteric symbol customary to 19th-century esotericists. Using methods employed by Qabalists, the thesis then calculates the Qabalistic “meaning” of words, lines, and poems, in three Symbolist poems, and in the music notation and structural components in two of Debussy’s works. The thesis then illustrates how each work’s “Qabalistic signature” relates to the broad symbolic meaning of the poetry and music as interpreted by critics. In demonstrating this, it takes up the Symbolist argument about the correspondence between language and the Divine and shows how this actually works in terms of the Qabalistic themes. The poems examined are Baudelaire’s “Correspondances”, Verlaine’s “Clair de lune”, and Mallarmé’s L'après-midi d'un faune; the music scores are Debussy’s “Clair de lune” and Prélude à l'après-midi d'un faune. Baudelaire’s poem was chosen given his determinative influence on later Symbolists, and both Debussy’s “Clair de lune” and Prélude were selected as they were composed following his awareness of Verlaine and Mallarmé’s poems. The thesis illustrates how the language itself “manifests” the themes, once it is understood in Qabalistic terms. The results reveal symbolic and synchronistic consistencies among the numerical calculations and thematic content that go beyond the realm of coincidence. Although no archival evidence has yet come to light to show that the poets and composers actually wrote according to the principles of the Qabalah, the textual evidence revealed by the thesis indicates that such a possibility needs to be explored in further research.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Dolan, Drew. "Our Little Secret." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1416569913.

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Arthurs, Thomas. "Secret gardeners : an ethnography of improvised music in Berlin (2012-13)." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20457.

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This thesis addresses the aesthetics, ideologies and practicalities of contemporary European Improvised Music-making - this term referring to the tradition that emerged from 1960s American jazz and free jazz, and that remains, arguably, one of today's most misunderstood and under-represented musical genres. Using a multidisciplinary approach drawing on Grounded Theory, Ethnography and Social Network Analysis, and bounded by Berlin's cosmopolitan local scene of 2012-13, I define Improvised Music as a field of differing-yet-interconnected practices, and show how musicians and listeners conceived of and differentiated between these sub-styles, as well as how they discovered and learned to appreciate such a hidden, 'difficult' and idiosyncratic art form. Whilst on the surface Improvised Music might appear chaotic and beyond analysis in conventional terms, I show that, just like any other music, Improvised Music has its own genre-specific conventions, structures and expectations, and this research investigates its specific modes of performance, listening and appreciation - including the need to distinguish between 'musical' and 'processual' improvisatory outcomes, to differentiate between different 'levels' of improvising, and to separate the group and personal levels of the improvisatory process. I define improvised practices within this ifeld as variable combinations of 'composed' (pre-planned) and 'improvised' (real-time) elements, and examine the specific definitions of 'risk', 'honesty', 'trust', and 'good' and `bad' music-making which mediate these choices - these distinctions and evaluatory frameworks leading to a set of proposed conventions and distinctions for Improvised Music listening and production. This study looks at the representation of identity by improvising musicians, the use of social and political models as analogies for the improvisatory process (including the interplay between personal freedom of expression and the construction of coherent collective outcomes), and also examines the multiple functions of recording, in a music that was ostensibly only meant for the moment of its creation. All of this serves to address several popular misconceptions concerning Improvised Music, and does so directly from the point of view of a large sample of its most important practitioners and connoisseurs. Such findings provide key insights into the appreciation and understanding of Improvised Music itself (both for newcomers and those already adept in its ways), and this thesis offers important suggestions for scholars of Musicology, Ethnomusicology, Sociology of Music, Improvisation Studies, Performance Studies and Music/Cognitive Psychology, as well as for those concerned with improvisation and creativity in more general, non-musical, terms.
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McConnell, Sarah E. "The Key to Unlocking the Secret Window." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33226/.

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David Koepp's Secret Window was released by Columbia Pictures in 2004. The film's score was written by Philip Glass and Geoff Zanelli. This thesis analyzes transcriptions from six scenes within the film in conjunction with movie stills from those scenes in an attempt to explain how the film score functions.
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Alley, Candace P. "Jasmine's Secret: Narrative Cantata for Five Solo Voices, Narrator, and Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935619/.

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Since Jasmine's Secret contains elements of cantata and follows a dramatic story or program, the work may be classified as a narrative or dramatic story or program, the work may be classified as a narrative or dramatic cantata employing five solo voices, narrator and orchestra. This work attempts a revival of these two genres as a combined entity due to the decreased popularity of both cantata and programmatic music in the 20th century.
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Vega, Henry. "The Secret Art of Science: An Aural-Based Analysis of Jonty Harrison's Acousmatic Work "Pair/Impair"." Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/vega%5Fhenry%5Falex/index.htm.

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Shimizu-Grow, Rina. "Selected Original Piano Solo Works of Robert Boury: Emphasis on Performance and Practice Suggestions." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322055700.

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Leathers, Jane M. "CRACKING THE LINZ CIRCLE'S SECRET CODES: A SINGER'S GUIDE TO ALTERNATE INTERPRETATIONS OF SCHUBERT LIEDER." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151698767.

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King, Martin S. ""Running like big daft girls" : a multi-method study of representations of and reflections on men and masculinities through "The Beatles"." Thesis, University of Huddersfield, 2009. http://eprints.hud.ac.uk/id/eprint/9054/.

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The aim of this thesis was to examine changing representations of men and masculinities in a particular historical period (“The Sixties”) and to explore the impact that this had in a period of rapid social change in the UK and the legacy of that impact. In order to do this, a multi-method study was developed, combining documentary research with a set of eleven semi-structured interviews. The documentary research took the form of a case study of The Beatles, arguing that their position as a group of men who became a global cultural phenomenon, in the period under study, made theme a suitable vehicle through which to read changing representations of masculinities in this period and to reflect on what this meant for men in UK society. The Beatles’ live action films were chosen as a sample of Beatle “texts” which allowed for the Beatles to be looked at at different points in the “The Sixties” and for possible changes over that time period to be tracked. Textual analysis within discourse analysis (based on a framework suggested by van Dijk [1993], Fairclough [1995] and McKee [2003]) was used to analyse the texts. Ideas advanced by the Popular Memory Group (1982) about the interaction of public representations of the past and private memory of that past were influential in the decision to combine this piece of documentary research with interviews with a sample of men, in an age range of 18 to 74. The interview stage was designed to elicit data on the perception of the participants of the role of representation (with particular reference to the Beatles) of masculinities on them as individuals and their ideas about how this may have had an impact in terms of longer term social change. Ehrenreich’s (1983) notion of a male revolt in the late 1950s, an emergence of a challenge to established ideas about men and masculinity, was also influential, particularly as it is an idea at odds with the “crisis in masculinity” discourse (Tolson, 1977; Kimmel, 1987; Whitehead, 2002) at work in a number of texts on men and masculinity. Examining further Inglis’ (2000b : 1) concept of The Beatles as “men of ideas” with a global reach, the chosen Beatle texts were examined for discourses of masculinity which appeared to be resistant to the dominant. What emerged were a number of findings around resistance, non-conformity, feminised appearance, pre-metrosexuality, the male star as object of desire and The Beatles as a global male phenomenon open to the radical diversity of the world in a period of rapid social change. The role of popular culture within this process was central to the thesis, given its focus on The Beatles as a case study. However, broader ideas about the role of the arts also emerged with a resultant conclusion that “the sixties” is where a recognition of the importance of representation begins as well as a period where representations of gender (as well as class and race) became more accessible due to the rise in popularity of TV in the UK and a resurgence in British cinema. The thesis offers a number of ideas for further research, building on the outcomes of this particular study. These include further work on the competing crisis/ revolt discourse at work in the field of critical men’s studies, ascertaining female perspectives on representations of masculinities and their impact, further work on the Beatles through fans and an application of some of the ideas at work in the thesis to other periods of British history.
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Books on the topic "Secrecy in music"

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Hannaford, Susan Doherty. A secret music. Toronto, Ontario: Cormorant Books, 2015.

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Copyright Paperback Collection (Library of Congress), ed. Secret music: A book. Los Angeles, Calif: Holloway House Publishing Co., 1988.

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Seraphina: A novel. New York: Random House, 2012.

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d'Olivet, Antoine Fabre. The secret lore of music. Rochester, Vt: Inner Traditions, 1997.

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The devil's music. London: Bloomsbury, 2010.

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Breen, Christopher. Secrets of the iPod. Berkeley, Calif: Peachpit Press, 2002.

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Breen, Christopher. Secrets of the iPod. 4th ed. Berkeley, CA: TechTV, 2004.

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Breen, Christopher. Secrets of the iPod. 2nd ed. Berkeley, Calif: Peachpit Press, 2003.

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Breen, Christopher. Secrets of the iPod. 4th ed. Berkeley, CA: TechTV, 2004.

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Retallack, Dorothy L. The secret power of music: How music affects you and your plants. Largo, Fla: Top of the Mountain, 1994.

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Book chapters on the topic "Secrecy in music"

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Honing, Henkjan. "The secret, mapped out." In Music Cognition, 113–25. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003158301-11.

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Honing, Henkjan. "The secret of the details." In Music Cognition, 105–10. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003158301-10.

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Honing, Henkjan. "The secret of the “loud rest”." In Music Cognition, 87–104. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003158301-9.

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Snoman, Rick. "The Secrets of Dance Music Production." In Dance Music Manual, 1–4. 5th ed. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781032646848-1.

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Van Horn, Hugh M. "Music of the Spheres." In Unlocking the Secrets of White Dwarf Stars, 195–209. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09369-7_17.

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Aristopoulos, Marios. "The Secret of Monkey Island (1990)." In The Game Music Toolbox, 65–70. London: Focal Press, 2023. http://dx.doi.org/10.4324/9781003146872-6.

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De Martini Ugolotti, Nicola. "Everyday Geographies and Secretly Public Spaces in Asylum Bristol." In Music, Forced Migration and Emplacement, 81–104. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-55198-7_4.

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Singh, Sachin Kumar, and Mainejar Yadav. "Audio Quality Control Method Based on ASS (Audio Secret Sharing)." In Advances in Speech and Music Technology, 25–36. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6881-1_3.

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Kramer, Lawrence. "Secrets, Technology and Musical Narrative: Remarks on Method." In The Edinburgh Companion to Literature and Music, 25–30. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0003.

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This preface to Kramer’s ‘Music and the Rise of Narrative’, Chapter 34 of this volume, identifies several methodological issues raised by the understanding that Western ‘classical music’, instrumental music composed since the nineteenth century, frequently presents itself as a narrative genre – as musical narrative. The issues include the relationship of narrative to knowledge, technology, communications and transportation systems (including the railway journey), secrecy, and self-reflection, together with the question of whether narrative language is adequate to describe musical events. Examples of music include Brahms’s Fourth Symphony and Beethoven’s String Quartet Op. 59, no. 3.
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Goehr, Lydia. "Secrecy and Silence: An Introduction to Music and its Metaphor." In The Quest For Voice, 6–47. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198166146.003.0002.

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Abstract Consider three paradoxical proclamations: first, Orwell’s: ‘the opinion that art should have nothing to do with politics is itself a political attitude’; secondly, Goethe’s: ‘You cannot escape from the world more certainly than through art; and you cannot bind yourself to it more certainly than through art’; and thirdly, Adorno’s: ‘music represents society the more deeply the less it blinks in its direction’. Though they were uttered in very different times and places, these proclamations share the rationale of protecting music, literature, and the arts from the threat of the moralizing censor, where the censor symbolizes a social or moral unfreedom. I borrow part of my opening thought from Nietzsche’s Twilight of the Idols, specifically from his comment on ‘l’art pour l’art’ (section 24): ‘The struggle against purpose in art is always a struggle against the moralizing tendency in art, against the subordination of art to morality. L’art pour !’art means: the devil take morality! But this very hostility betrays that moral prejudice is still dominant.’
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Conference papers on the topic "Secrecy in music"

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Morcz, Fruzsina. "What’s Knowledge Management Got To Do With It? The Secrets of Industry-Respected Music Business Degrees." In MEIEA Summit 2022. Music and Entertainment Industry Educators Association, 2022. http://dx.doi.org/10.25101/22.20.

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Tsuchida, Sadakatsu. "On the Creative Power of Music (Performing Secrets and the State of “Godly Sorrow” of Sergei Rachmaninoff)." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.053.

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Jensen, Bob. "Processing techniques for technical video production." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/oam.1991.tha1.

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This presentation will focus on how a technical video production is assembled. Participants will discover the advantages and secrets of producing good technical videos. Various productions from the Maui Space Surveillance Site will be used to demonstrate how many separate elements are combined to achieve videos that meet complex technical objectives. Discussion of key production elements will include establishing objectives, choosing production values for a particular audience, script and storyboard writing, pre- production work, and techniques for production/post-production. Participants will learn about camera set-up, different camera shooting techniques, and the basic elements of lighting a scene. Effective use of audio will also be explored, including microphone types and applications, narration types and effects, and how to enhance productions through the use of appropriate music tracks. Basic editing will be covered, including aesthetics, transitions, movement, and shot variety. Effective presentation of data in technical productions will be demonstrated. Participants will learn how to use switcher and special effects, slow motion, still frames, and animation to provide scene emphasis and heighten viewer interest. Incorporating documentary footage and video from outside sources will be explained. Finally, effective methods of editing to upgrade and update older productions will also be presented.
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Reports on the topic "Secrecy in music"

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Abdulkhaliq, Zubeida S. Kakai Religion and the Place of Music and the Tanbur. Institute of Development Studies, January 2023. http://dx.doi.org/10.19088/creid.2023.001.

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This paper discusses the historical context and mythic framework of the Kakai religion. While some information regarding Kakai theological views and beliefs may be known to outsiders, many facets of their religious life, customs and traditions remain undisclosed. Much secrecy surrounds this religion, and non-believers are not encouraged to engage in or witness most Kakai rites. Geopolitical instability in the Kurdistan region also makes access difficult. Throughout this paper we will look at the relationship between Kakai beliefs and music (tanburo), and how the tanbur (a sacred lute) is not merely a musical instrument but is seen as a symbol of Kakai identity, with the music preserving language and legend.
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