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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Herdman, Emma. "Piercing Proverbial Crows’ Eyes: Theft and Publication in Renaissance France." Renaissance and Reformation 43, no. 3 (December 21, 2020): 9–40. http://dx.doi.org/10.33137/rr.v43i3.35300.
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The ironic Latin proverb “cornicum oculos configere” was classically illustrated by the example of Gnaeus Flavius, celebrated for his theft and valuable but unauthorized publication of Rome’s legal secrets. Erasmus’s discussion of the proverb in the Adages consequently focuses on the tension within the transfer of knowledge between openness and secrecy, and on the fragile status of intellectual authority within a scholarly domain made increasingly public by the printing press. This article uses the example of Flavius to trace the idea of theft within Renaissance attitudes to the possession and dissemination of knowledge. It compares the reception of Flavius in three contexts: Erasmus’s ambivalence towards publication as a form of theft in the Adages; ancient criticisms of theft as social presumption; and the more positive representation of epistemological theft in the works of four Renaissance French jurists. It thus argues that Erasmus represents a turning point both in the reception history of Flavius and in attitudes to intellectual theft—and thereby to intellectual property—in the Renaissance.
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Cooke, Simon. "A ‘world of method and intrigue’: Muriel Spark's Literary Intelligence." Modernist Cultures 16, no. 4 (November 2021): 488–508. http://dx.doi.org/10.3366/mod.2021.0349.
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In 1944, Muriel Spark was recruited by the Foreign Office to work as a Duty Secretary in the Political Warfare Executive at Milton Bryan. ‘I played a very small part,’ Spark wrote in her autobiography, ‘but as a fly on the wall I took in a whole world of method and intrigue in the dark field of Black Propaganda or Psychological Warfare, and the successful and purposeful deceit of the enemy.’ Drawing on research in Spark's personal and literary archives at the McFarlin Library, Tulsa, and the National Library of Scotland, this essay explores the ways in which this ‘world of method and intrigue’ is taken in and reformulated in Spark's writing. Political espionage takes centre-stage in several of Spark's fictions, and a preoccupation with secrecy and spying runs through her work. But the methods of black propaganda can also be read as a secret sharer of some of Spark's most characteristic aesthetic strategies. Focusing in particular on Spark's most direct treatment of her secret war work – The Hothouse by the East River – critical tension centres on reading Spark's literary intelligence less as a re-enactment than as a subversion of the logics of disinformation.
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Crist, Stephen A. "Jazz as Democracy?? Dave Brubeck and Cold War Politics." Journal of Musicology 26, no. 2 (2009): 133–74. http://dx.doi.org/10.1525/jm.2009.26.2.133.
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Abstract The Dave Brubeck Quartet's 1958 tour on behalf of the U.S. State Department, part of the grand Cold War project of propagating American-style democracy in opposition to communism, did not advance in an orderly and self-evident manner. Rather it was an extremely contingent enterprise enacted through countless individual actions and statements by a motley assortment of bureaucrats and businessmen, and frequently teetered on the brink of chaos. The story of Brubeck's tour, including its evolution and impact, is complex and multifaceted, involving overlapping and conflicting agendas, governmental secrecy, high-minded idealism, and hard-nosed business. The narrative also raises issues of race and race relations in the context of the Cold War struggle against communism and brings into focus the increasing cultural prestige of jazz and other popular genres worldwide during the period when the ideological premises of the Cold War were being formulated. Thirty years later——in 1988, as the Cold War was waning——the Quartet performed in Moscow at the reciprocal state dinner hosted by President Ronald Reagan for General Secretary Mikhail Gorbachev during their fourth summit meeting. The sequence of events leading up to this occasion, including the Quartet's long-anticipated tour of the Soviet Union during the previous year, reveals Brubeck to have been not only a talented musician but a canny entrepreneur as well. By the late 1980s the cultural and political landscape had shifted so dramatically as to be virtually unrecognizable to the Cold Warriors of the 1950s. By all accounts, Brubeck's tours in the 1950s and 1980s were among the most successful of their kind. Though Brubeck attributes their efficacy primarily to the power of an influential idea that came into its own toward the beginning of the Cold War——namely, jazz as democracy——the documentary record makes clear that the impact of his travels involved a multifarious nexus of other factors as well, including reputation, personality, and marketability.
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Leushuis, Reinier. "La Châtelaine de Vergy comme histoire tragique matrimoniale: de Marguerite de Navarre (1558) à Bandello (1573) et Le sixiesme tome des histoires tragiques (1582)." Renaissance and Reformation 32, no. 2 (April 1, 2009): 5–31. http://dx.doi.org/10.33137/rr.v32i2.11258.
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The anonymous thirteenth-century poem La Châtelaine de Vergy, a courtly love story that ends in bloodshed after its central secret is divulged, was adapted as the 70th novella in Marguerite de Navarre’s Heptaméron (published 1558–1559). Matteo Bandello’s Italian adaptation of this version of the story (in his posthumously published Quarta parte delle novelle [1573]) introduces an important change by specifying that the lovers are now clandestinely married; this detail is retained in an anonymous French translation of Bandello’s reworking, which appeared in one of the volumes of the popular Histoires tragiques. While critics have been puzzled at this apparent narrative flaw (marriage needs no secrecy), this essay argues that the shift is intentional by considering it in light of the problem of clandestine marriages and post-Tridentine matrimonial reform. While Marguerite’s novella already recasts the Châtelaine de Vergy story in matrimonial terms, Bandello further exploits its drama of speech, in which tragic events are triggered through speaking and divulging secrets, to question the Church tradition of contracting matrimony merely by the partners’ spoken words. A number of textual ambiguities in the French translation reveal furthermore that the story has subsequently been re-interpreted from a new perspective on betrothal as a non-binding spoken promise that gained ground during the Counter-Reformation. The textual transformations introduced into these three versions, moreover, are examined in the context of the development of the “histoire tragique” as a literary genre during the second half of the sixteenth century. This study thus identifies a correlation between the characteristics of the “histoire tragique” and matrimony’s socio-historical dynamics.
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Bramble, R. M. "Psychoeducation Trauma Intervention for Refugee Women Survivors of Intimate Partner Violence." European Psychiatry 41, S1 (April 2017): S620. http://dx.doi.org/10.1016/j.eurpsy.2017.01.997.
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For intimate partner violence survivors, groups are helpful in that they reduce the sense of isolation, which accompanies trauma survivors as well as provides a sense of belongingness. Judith Herman states that survivors of gender-based violence in particular, suffer from the secrecy, shame and stigma that are predictable social consequences of this form of violation. Moreover, intimate partner violence increases when women are isolated from their families, communities and peers. For refugee women, the shame associated with migration trauma, along with having an undocumented status is prevalent and keeps them from seeking services. The psychoeducation 8 session intervention helps this vulnerable population understand the physiological response stress, trauma and post traumatic stress disorder. Once symptoms have been identified, sessions enable women to reduce the symptoms by utilizing methods of self-care. Cultural specific material for Latina undocumented IPV survivors in New York City with integration of breath work, sensorimotor, music and easy movements will be highlighted to demonstrate intervention.Disclosure of interestThe author has not supplied his/her declaration of competing interest.
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Darkembayeva, Assiya B., Laura A. Butabayeva, Moldir A. Urazaliyeva, Maira S. Sultanova, and Elmira D. Konysbayeva. "The Development of Moral Values of School Children with Visual Impairments Folk Music." Harmonia: Journal of Arts Research and Education 23, no. 2 (December 31, 2023): 290–300. http://dx.doi.org/10.15294/harmonia.v23i2.48118.
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The relevance of the presented paper is conditioned upon the fact that today, the subject of the development of moral values in children with visual impairment through musical motifs of folklore is a very understudied issue. However, based on the statistics of the World Health Organisation for 2021, about 2.2 billion people worldwide have visual impairments. The purpose of this paper is to study the features of the psychological and pedagogical characteristics of children with visual impairments, their moral development, and the development of ways of spiritual and moral education through folk music. To achieve this purpose, the following methods were used: analysis, synthesis, comparison, induction, statistical analysis, and deduction. In particular, the method of statistical analysis of sources of American, Kazakh, and Russian researchers within the boundaries of the subject was used. The practical basis was the statistical data of the WHO company for 2021. The result of the study was a complete analysis of the statistics of children with visual impairment in the territory of the Republic of Kazakhstan. The study’s main conclusion is that modern methods of teaching children with visual impairment are based on the musical accompaniment of educational activities since the musical form allows the development of moral values. Visually impaired students are characterised by insufficient development of the visual-imaginative level of mental activity, which determines the uniqueness of specific conceptual thinking due to visual perception disorders and limited visual experience. The alienation of a child with visual impairments from others entails secrecy and lack of communication, which can be expressed in a large volume of complexes in the future. The applied value of this paper lies in the development of recommendations for improving the system of pedagogical education of children with visual impairment through folklore-applied developmental classes.
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Guy, Adam. "Under Suspicion: Christine Brooke-Rose, Intelligence Work, and the Theory Wars." Modernist Cultures 16, no. 4 (November 2021): 509–28. http://dx.doi.org/10.3366/mod.2021.0350.
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This article looks at Christine Brooke-Rose's late work of life-writing, Remake (1996) and its depiction of Brooke-Rose's wartime experience working in the Allied code-breaking centre at Bletchley Park. I situate Remake's recall of Bletchley Park within a textual matrix that includes Brooke-Rose's own academic writing of the 1980s–90s, as well as texts that emerged out of the so-called ‘Theory Wars’ of the same period – especially relating to the revelation of Paul de Man's collaborationist journalism. In this range of writing, I trace a set of common concerns regarding personal history, suspicion, secrecy, disclosure, and mastery that herald a turn towards other forms of knowing. In doing so, I locate Remake at a crucial juncture in the emergence of our present post-critical moment.
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Liang, Yutong, and Zixin Lin. "The Influence of the Language Used in the Lyrics on How People Perceive the Emotions in Music." Lecture Notes in Education Psychology and Public Media 49, no. 1 (May 17, 2024): 52–55. http://dx.doi.org/10.54254/2753-7048/49/20231769.
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According to the existing research, the part of the brain in charge of language is also linked with musical functions. Besides, it is not a secret that music can influence language development in the human brain. However, there is seldom research on how language can influence the processing of musics. Here, research is designed to measure how the presence of language can alter the perception of music and, specifically, how lyrics (language) can affect how people perceive the emotions in the music. The scores given by the participants about how strong the emotions perceived (including positive to negative ones) in the music will be the operational definition.
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Santos Morón, María José. "La denominada “herencia digital”: ¿necesidad de regulación? Estudio de Derecho español y comparado = The so-called “digital inheritance”: need of regulation? Study of Spanish and Comparative Law." CUADERNOS DE DERECHO TRANSNACIONAL 10, no. 1 (March 8, 2018): 413. http://dx.doi.org/10.20318/cdt.2018.4128.
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Resumen: El uso de internet se ha expandido de tal modo que el mundo digital constituye un elemento cotidiano de nuestras vidas. En la actualidad se adquieren constantemente bienes y servicios de carácter digital a través de la red; se almacenan documentos en la nube; se publican fotos, contenidos íntimos, opiniones, en redes sociales y blogs y se llevan a cabo juegos y actividades de ocio por medio de internet. Pero ¿qué sucede con las comunicaciones electrónicas de un sujeto, la información almacenada por él en la red o la música o libros digitales adquiridos por éste cuando muere? Este artículo analiza los problemas que presenta la transmisión “mortis causa” de los bienes digitales y pone de manifiesto la insuficiencia de las reglas generales del Derecho sucesorio para solucionarlos así como la conveniencia de contar con una regulación específica. A continuación se examinan las soluciones legales propuestas o ya adoptadas en distintos ordenamientos, con el fin de extraer conclusiones acerca del mejor modo de regular esta cuestión. Estas conclusiones se contrastan, por último, con las reglas que pretende instaurar el Proyecto de ley de Protección de Datos que se encuentra en tramitación.Palabras clave: Bienes digitales. Cuentas. Contenidos. Transmisibilidad “mortis causa”. Naturaleza patrimonial. Naturaleza personal. Derechos de la personalidad. Privacidad. Secreto de las comunicaciones. Protección de datos. Voluntad del difunto.Abstract: The use of the internet has been expanded in such a way that the digital world represents a daily element in our life. Nowadays, products and services –analog or digital- are constantly purchased through the internet; digital documents are stored in the cloud; pictures, private information or opinions are uploaded on social networks or blogs and games and leisure activities are carried out through the internet. But ¿what’s the fate of a person’s electronic communications when he dies, of the information stored by him on the network or of the digital music or books acquired through the internet? This paper analyzes the problems involved in the transfer of digital assets upon death and highlights that the probate system is not sufficient to solve them and specific regulation should be enacted. It continues by examining the legal solutions proposed or enacted in different legal systems with the purpose to obtain conclusions about the best way to regulate this issue. These conclusions are compared, finally, with the rules contained in the Spanish Bill of Protection of personal data currently in process.Keywords: Digital assets. Accounts. Contents. Transfer of property upon death. Patrimonial nature. Personal nature. Personality Rights. Privacy. Secrecy of communications. Data protection. Deceased’s will.
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Morozova, Anna V., and Aysan Daroudi. "Written and Pictorial Sources on the Architecture of Persia and Central Asia during the Era of Timur’s and Timurids’ Rule." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 724–43. http://dx.doi.org/10.21638/spbu15.2022.409.
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The article is devoted to the study of the most valuable source at the culture and architecture of Persia and Central Asia during the reign of Timur (late 14th — early 15th centuries) — the diary of the Spanish ambassador to the court of Timur. At this stage in the development of researching on the Persian and Central Asian architecture of the Timurid period, along with the problem of “analysis” of monuments and artistic style, the problem of “synthesis” of image of these architecture is urgent. The authors of this article propose a methodology for restoring the general impression of this architecture, which can serve as a basis for the process of “synthesis”, based on the study of the contemporary written source of the early 15th century — the diary of the Spanish grandee Ruy Gonzalez de Clavijo, who was part of the Spanish embassy, sent by the Castilian king Enrice III to the court of Timur at 1403–1406. Being an educated man and receptive to the new, Clavijo was able to isolate the characteristic features of the worldview of a man of the East, primarily an oriental despot, and the associated features of the art of the East. He and his colleagues in the embassy drew attention to the cunning, treachery, ingenuity, secrecy of the eastern rulers. The Spaniards were struck by the luxury, power and wealth of Timur’s state, which at that time was at the zenith of glory. The Spaniards, accustomed to the stability of architectural images in their native Spain, were amazed at the variability of the artistic images of the East. They drew attention to the love of the representatives of the peoples of the East for free draperies, giving themselves to the will of the wind, in the temporary architecture and in festive women’s clothes, that by their nature were well consistent with the decoration of architectural buildings. The Spanish envoys revealed that subservient to the first and most faithful fresh impression, tenaciously grasping the main difference between the architecture of Timur’s state and contemporary European architecture. This difference consisted in the desire to create an image that is changing, diverse, fluid, mobile, not instantly solved and full of mystery, but at the same time striking the imagination with its luxury and wealth and according to the understanding of their masters, customers and spectators. The conclusion about the specifics of Timurid architecture, made on the basis of a study of the diary of the Spanish ambassador, is supported by the authors of the article turning to the analysis of written and pictorial sources created by representatives of the studied culture itself.
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Togulov, Utkir Askarovich, and Abdumannon Makhammatov. "CHILDREN’S DISTINCT APPROACHES TO MUSICAL WORK." International Journal of Advance Scientific Research 03, no. 04 (April 1, 2023): 1–5. http://dx.doi.org/10.37547/ijasr-03-04-01.
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This article describes the guidelines, content, and essence of working with children in the process of training future music teachers, teaching them the secrets of music, and conducting activities of singing and listening to music.
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Gordon, Bonnie. "The Secret of the Secret Chromatic Art." Journal of Musicology 28, no. 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.
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In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic melodies condoned by the Church. Beneath that compliant surface lurked secret chromaticism and seditious meanings that remained hidden from the Inquisition. Despite Lowinsky’s obvious interest in odd passages in motets of Clemens non Papa, Lassus, and others, I argue that his history as a Jew in Nazi Germany and then as an exile from that regime compelled his idiosyncratic hearing of sixteenth-century polyphony. A close reading of the text suggests that Lowinsky identified with the composers he wrote about and that he aligned Nazi Germany with the Catholic Inquisition. Beyond its engagement with music theory and cultural history, The Secret Chromatic Art delivers a modern narrative of oppressed minorities, authoritarian regimes, and the artistic triumph of the dispossessed. The Secret Chromatic Art matters today because its themes of displacement and cultural estrangement echo similar issues that Pamela Potter and Lydia Goehr have discerned in the work of other exiled musicians and scholars who migrated from Nazi-controlled Europe to the United States, and whose contributions helped shape our discipline. Moreover, Lowinsky’s theory figured prominently in the debate initiated by Joseph Kerman in the 1960s that pitted American criticism against German positivism, a polemic that is still with us today.
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Sackmann, D. "Classical Music: A State Secret." Musical Quarterly 82, no. 1 (January 1, 1998): 160–89. http://dx.doi.org/10.1093/mq/82.1.160.
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Lockwood, Jeremiah. "Live Davenings: Technologies of Ritual Learning and the Convening of a Jewish Sacred Music Underground." Jewish Social Studies 29, no. 2 (March 2024): 34–61. http://dx.doi.org/10.2979/jss.00008.
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Abstract: Surreptitiously collected field recordings of cantors at the pulpit, made in disregard for the rules of synagogue comportment, circulated for decades among a small group of collectors in an underground economy of homemade dubbed cassettes. These secret recordings, referred to as “live davenings,” usurp the characteristic ephemerality of prayer to document a twentieth century aesthetic concept of cantorial music as an art form beyond its ritual function. In the past decade, many of these recordings have surfaced on YouTube and file sharing sites, reaching an expanded audience and exposing a new generation to a largely abandoned style of liturgical performance. Through ethnography with field recording makers, internet-savvy collectors, and the artists who use the secrets in the live davening archive to build projects of cantorial revival, this article offers an examination of a body of archival material that has not previously been the topic of any scholarly investigation.
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Coggins, Owen. "Dirty, soothing, secret magic: individualism and spirituality in New Age and extreme metal music cultures." Popular Music 38, no. 01 (January 2019): 105–20. http://dx.doi.org/10.1017/s0261143018000697.
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AbstractTaking inspiration from a press article comparing doom metal and New Age music, I explore individualism and magic in these musical cultures, reflecting on the ‘dirty, soothing secret’ suggested in that article's title. I trace the loosely defined characteristics of New Age music in the limited academic research on the topic, before situating the music in the wider New Age milieu which centres around the epistemological authority of the seeking self among diverse spiritual resources. Then, I examine the claims made about metal in the news article, drawing out themes which also relate to individualism and magic. Finally, I return to the concepts of the dirty, the soothing and the secret, arguing that these are not merely incidental aspects of the mainstream reception of New Age and metal music, but in fact can be understood as contributing to the magical potential of such music for listeners.
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Maudgal, S. "Patient Engagement for Metastatic Breast Cancer Patients: WhatsApp Counseling." Journal of Global Oncology 4, Supplement 2 (October 1, 2018): 114s. http://dx.doi.org/10.1200/jgo.18.13700.
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Background: Breast cancer accounts for 1/4th of all female cancers in India. Lack of awareness, poor diagnostic facilities, low priority for women's health cause late stage presentation. Younger average age, aggressive disease, incomplete or abandoned treatment, results in large numbers of metastatic breast cancer cases (MBC). Most people have smartphones and access to the Internet. We have created a WhatsApp based counseling program where patients can be active or passive while benefiting from others’ experiences. Aim: MBC patients cannot share their fears and innermost feelings with family members. It is therefore beneficial to create a secure, nonjudgmental, empathetic group having personal experiences and knowledge about MBC. Such interactions reduce social isolation, promote hope and optimism about the future. Methods: Doctors, social workers, nurses and administrators at 5 hospitals provided phone numbers of MBC patients who were invited to join. Groups of 6-10 women were created. A 14 week program was created alternating interventions for physical and psychological problems. Results: 50% patients contacted refused to participate. They had no desire to interact with others, had sufficient information, wanted to maintain secrecy. Some joined but left due to negative comments posted by a participant. Confidentiality could not be guaranteed since software can determine phone owners' identity. Participants were given rules, but there were many infractions. Positive outcomes: Information on healthy lifestyles, yoga, inspirational and spiritual messages, recipes, fashion, makeup tips, prostheses suppliers; music, books, movies, articles from newspapers, journals, information about workshops, seminars, meetings were shared. Inputs from physiotherapists, dieticians, CBT intervention from counselors was valued. Members were reminded about exercise and care of affected arm. Financial issues, sexual problems, advice on reconstruction were some beneficial topics. Patients arranged and enjoyed physical meetings. Negative outcomes: Patients posted information on unproven cures, personal comments about doctors. Patients on treatment asked questions better directed to their doctor. One patient asked for funds. Postings through the night disturbed those who had not muted the conversation. Irrelevant forward, videos and generic messages were a distraction. Much tact was required to prevent degeneration of the conversation. Loss of a group member was a setback for all members. Conclusion: The role of a counselor has changed greatly in recent times. Side effects are minimized, hair loss is less traumatic and patients find information on the Internet. Greater acceptance, lesser stigma means that support groups are not seen to be essential. The WhatsApp group replaced physical meetings. Women with MBC experience trauma due to physical symptoms, psychological and spiritual distress. The group allowed them to share problems with other women in similar situations.
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Kurth, Lita. "A Secret Fan of Despised Music." Journal of Working-Class Studies 7, no. 2 (December 24, 2022): 40–42. http://dx.doi.org/10.13001/jwcs.v7i2.7605.
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Mellers, Wilfrid, Lucrezia Vizzana, and Musica Secreta. "Secrets of a Nun." Musical Times 139, no. 1863 (1998): 72. http://dx.doi.org/10.2307/1004213.
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Lorenz, M. "The secrets of 'Jenamy'?" Early Music 38, no. 1 (July 28, 2009): 170. http://dx.doi.org/10.1093/em/cap065.
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Jonāne, Jūlija. "Sacred Music – a Forbidden Fruit: Musical and Non-musical Ways of Survival." Musicological Annual 50, no. 2 (April 3, 2015): 127–35. http://dx.doi.org/10.4312/mz.50.2.127-135.
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Prohibition of sacred music during the period of Soviet Latvia was exerted like a syndrome of forbidden fruit, that was breached in the underground way and developed in secret and complicated forms, in which the central is secular music genres’ and radical musical language’s using. A re-reading of texts will lead to a more nuanced understanding of the development of sacred music in Latvia and other countries.
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Fujie, Linda, and Istanbul Oriental Ensemble. "Sultan's Secret Door." Yearbook for Traditional Music 29 (1997): 209. http://dx.doi.org/10.2307/768346.
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Fitch, Fabrice, John Dunstaple, Orlando Consort, Harry Christophers, Robert Fayrfax, The Cardinall's Musick, and Andrew Carwood. "The Secret Knowledge." Musical Times 137, no. 1840 (June 1996): 41. http://dx.doi.org/10.2307/1003795.
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De Li, De Li, Jiazheng Gong De Li, Zhaolong Liu Jiazheng Gong, and Xun Jin Zhaolong Liu. "Research on Copyright Protection Technology based on MIDI Music Structural Features." 電腦學刊 34, no. 2 (April 2023): 053–68. http://dx.doi.org/10.53106/199115992023043402005.
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<p>Due to the extensive use of Musical Instrument Digital Interface (MIDI) music in education, entertainment and business, copyright infringements of MIDI music are increasing rapidly. The low robustness of existing MIDI music watermarking is the main problem. Therefore, this paper proposes two novel MIDI music watermarking algorithms to comprehensively protect the copyright of MIDI music. We first propose a dual threshold audio watermarking algorithm based on MIDI note time difference and velocity value. It extracts a main melody audio track of MIDI music through a Ho-Kashyap (H-K) algorithm, generates an adaptive em-bedding double threshold for the main melody audio track, and uses a time fluctuation algorithm to embed the watermark information. We also propose a MIDI music watermarking algorithm in frequency domain using Discrete Cosine Transform (DCT). It converts the pitch of MIDI music to the fundamental frequency, obtains the Direct Current (DC) component of the fundamental frequency by DCT transform, combines the watermark information and the DC component to obtain the secret pitch, and takes the difference between the secret pitch and the original pitch as the new watermark information. Finally, a general attack experiment was conducted on the two watermarking algorithms to verify the feasibility and security. In this paper, the mean square error method and the normalized correlation coefficient method are selected to evaluate the quality of MIDI music objectively. An absolute information entropy evaluation model is proposed to evaluate MIDI music quality. Experimental results show that the proposed algorithms can extract effective watermark after MIDI command attacks with a MIDI music cutting rate of more than 88% and tampering rate of less than 5%, which means that the proposed algorithms are robust against attacks.</p> <p> </p>
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Madrimov, Bahram Khudoinazarovich. "Professional Training Is An Incentive For Moral And Aesthetic Education." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 109–13. http://dx.doi.org/10.37547/tajssei/volume03issue02-17.
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Each profession has its own characteristics, and the profession of a music teacher has its own secrets and requirements. The uniqueness of the professional competencies of the future teacher is reflected in the fact that they are aimed at enriching the inner world of students in the music sphere with spiritual values and content that are reflected in the works of musical art. Professional spiritual competences reflect the specificity and spiritual nature of the practice of musical pedagogy. Their formation is one of the most pressing problems inherent in the modern system of music education, and is a prerequisite for determining the effectiveness of the professional activity of a music teacher and his educational work with children.
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Smart, Mary Ann. "Michel Leiris and the Secret Language of Song." Representations 154, no. 1 (2021): 87–98. http://dx.doi.org/10.1525/rep.2021.154.7.87.
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Best known for his reminiscences of artistic and intellectual life in midcentury Paris and for his chronicle of the 1931 Dakar-Djibouti mission, L’Afrique fantôme (1934), Michel Leiris also wrote obsessively about music, turning to imperfectly recalled fragments of song and opera to evoke key moments of early childhood and to explore affective relationships. This article focuses on two episodes from Leiris’s writings to demonstrate that his highly emotional and anecdotal mode of writing about music anticipates, and quite possibly influenced, the more systematic theories of voice, sound, and language of Roland Barthes and Jacques Derrida. Derrida engaged directly with Leiris in his essay “Tympan” (in The Margins of Philosophy), which quotes at length a text by Leiris on the cognitive and relational dimensions of hearing and writing. Leiris’s experience in the 1930s and 40s developing a lexicon and grammar for the ritual language of the Dogon people of Mali, I argue, fundamentally shaped his conviction that both music and language are most communicative when they permeate and destabilize each other.
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Walden, Daniel K. S. "Frozen Music: Music and Architecture in Vitruvius’ De Architectura." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 124–45. http://dx.doi.org/10.1163/22129758-12341255.
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AbstractThis paper explores the convergence of musical and architectural theory in Vitruvius’De Architectura.Section 1 describes Vitruvius’ architectural lexicon, borrowed from Aristoxenus (I.2), and explores his description of the laws of harmony, modeled onElementa Harmonica(V.4). Section 2 explores how Vitruvius proposes using music theory in practical architectural design, including construction of columns using architectural orders analogous to Aristoxeniangenera(I.2.6; IV.1); acoustical designs for theatres (V.5); and the development of machines, including siege engines ‘tuned’ like musical instruments (X.12) and water-organs [hydrauli] constructed to execute all the different varieties of tuning (X.8). Section 3 reflects on Vitruvius’ use of analogies with a musical instrument, thesambuca, to explain his understanding of cosmic harmony and architectural form, and his possible sources (VI.1). Finally, Section 4 discusses Vitruvius’ ideas about the importance of a liberal arts education that includes study of music theory. The best architects, Vitruvius explains, can discover in music the secrets to forms they both encounter in nature and create themselves.
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Roberts, Timothy. "Review: Froberger's secret art." Early Music 33, no. 2 (May 1, 2005): 340–43. http://dx.doi.org/10.1093/em/cah081.
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Wessel, Jan Andreas. "Towards “The Nature and Secrets of Music”: W. C. Printz and the natural history tradition." Interdisciplinary Studies in Musicology, no. 21 (November 21, 2021): 93–105. http://dx.doi.org/10.14746/ism.2021.21.6.
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The present article provides arecontextualization of Wolfgang Caspar Printz’s (1641–1717) landmark music history published in 1690 (Historische Beschreibung der edelen Sing- und Kling-Kunst). later commentators have read it as a primitive, naïve and even failed attempt at writing the history of music. Still, they seem to agree that the text, in virtue of its subject matter, forms part of a canon of music historiography. The present article will seek the interpretative key in the wider intellectual context, outside of the narrow confines of texts about the musical past. It will advance the thesis that Printz built his music historiography from elements of the natural history tradition. Two arguments support this thesis. First, it will be argued that the organization of the material in chapters XIv, Xv and XvI betrays the influence of a classical version of taxonomy closely associated with the natural history tradition. Secondly, that Printz’s inquiry into the purpose of music reveals his reliance on a concept of nature similarly rooted in natural history.
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Kadhim, Ahlam Majead, and Huda Muhamed Jawad. "Studying Audio Capacity as Carrier of Secret Images in Steganographic System." Iraqi Journal of Physics (IJP) 19, no. 49 (May 18, 2021): 53–61. http://dx.doi.org/10.30723/ijp.v19i49.648.
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Steganography art is a technique for hiding information where the unsuspicious cover signal carrying the secret information. Good steganography technique must be includes the important criterions robustness, security, imperceptibility and capacity. The improving each one of these criterions is affects on the others, because of these criterions are overlapped each other. In this work, a good high capacity audio steganography safely method has been proposed based on LSB random replacing of encrypted cover with encrypted message bits at random positions. The research also included a capacity studying for the audio file, speech or music, by safely manner to carrying secret images, so it is difficult for unauthorized persons to suspect presence of hidden image. Measures calculations of SNR, SNR segmental, SNR spectral, MSE and correlation show that, audio music cover file (2channales) is the safest uses as arrier with replace the 9 number of LSB without noticeable noise. Bits of secret message can be hiding capacity reach up to 28 % of the total music cover audio size and the three type's measures of SNR are 32, 28 and 31 dB. For speech cover audio the replacing LSB is safely uses at LSB bits number 6, where the hiding capacity is reach up to 37 % of size speech cover audio at 37, 36 and 39 dB for three type's measures of SNR. Correlation of cover samples was did not effected as a result of hiding secret image, where its value is up to 0.99 for all hiding operations.
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Hanif, Abdulloh, and Ahmad Fathy. "DIMENSI SPIRITUALITAS MUSIK SEBAGAI MEDIA EKSISTENSI DALAM SUFISME JALALUDDIN RUMI." FiTUA: Jurnal Studi Islam 4, no. 2 (October 10, 2023): 111–28. http://dx.doi.org/10.47625/fitua.v4i2.508.
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Music in Islam is not only related to art and culture. It is also included in the discourse of religious worship and experience. Many jurists debate the legal status of music, both at the listening level and at the singing level. However, for Sufis, music is a medium of worship, a medium for expressing their experience of closeness to God. Jalaluddin Rumi, as a Sufi who often uses music and expresses his Sufi experiences through poetry and music. He has a different meaning about music, which seems to contain a spiritual (ruhani) element which is a form of his experiential existence. This issue will be explored in this article through the question: what spiritual values are contained in Sufi music? and how can music occur as a way of existence in Sufism? This research is qualitative in nature with descriptive analysis which results in the conclusion that Rumi's poetry and music show his more intimate and secret teachings in relation to the expression of his relationship with God. So the experience of ecstasy and the ma’rifat often arises through poetry or music.
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Hood, Kathleen, and Sherifa Zuhur. "Asmahan's Secrets: Woman, War, and Song." Yearbook for Traditional Music 35 (2003): 209. http://dx.doi.org/10.2307/4149340.
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Lambert, Sterling. "Schubert, Mignon, and Her Secret." Journal of Musicological Research 27, no. 4 (October 23, 2008): 307–33. http://dx.doi.org/10.1080/01411890802384359.
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Burwell, Kim, Gemma Carey, and Dawn Bennett. "Isolation in studio music teaching: The secret garden." Arts and Humanities in Higher Education 18, no. 4 (October 27, 2017): 372–94. http://dx.doi.org/10.1177/1474022217736581.
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In comparison with classroom settings that are more accessible to the scrutiny of researchers and institutional monitoring, the one-to-one setting of instrumental and vocal studio teaching has been described as a ‘secret garden’. The physical isolation of the music studio has deep roots within the traditions of apprenticeship and embodies aspects of conservatoire culture that are sometimes carried over into other musical styles. With a focus on higher education, this paper explores the nature and significance of isolation for the studio, alongside some of the benefits, limitations, and challenges that it offers. The authors contend that the physical disposition of the studio within the institution gives implicit support to the attitudes and assumptions that sustain traditional approaches to music performance teaching, and that making them explicit can help to open those approaches to further challenge, review and development.
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Margaritova, Rumiana. "Revealing the Secret Sounds and Movements." Musicological Annual 58, no. 1 (July 29, 2022): 123–44. http://dx.doi.org/10.4312/mz.58.1.123-144.
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The article examines how public and audio-visual media presentations of Alevi-Bektashi ritual music and semahs in Bulgaria act as a bridge between the community and outsider audience. Special attention is paid to the advantages of using the innovative format of the virtual tour for revealing a little known and still somewhat closed ethno-religious minority that is apprehensive about outside scrutiny.
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Gloor, Storm. "Robert King. Music Business: The Secret To Successfully Making It In the Music Industry." Journal of the Music and Entertainment Industry Educators Association 15, no. 1 (2015): 216–18. http://dx.doi.org/10.25101/15.12.
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Parmer, Dillon. "Brahms, Song Quotation, and Secret Programs." 19th-Century Music 19, no. 2 (1995): 161–90. http://dx.doi.org/10.2307/746660.
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White, Julian. "Gerhard's Secret Programme. Symphony of Hope." Musical Times 139, no. 1861 (March 1998): 19. http://dx.doi.org/10.2307/1003711.
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Parmer, Dillon. "Brahms, Song Quotation, and Secret Programs." 19th-Century Music 19, no. 2 (October 1995): 161–90. http://dx.doi.org/10.1525/ncm.1995.19.2.02a00030.
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Street, John. "Invisible republics and secret histories: A politics of music." Cultural Values 4, no. 3 (July 2000): 298–313. http://dx.doi.org/10.1080/14797580009367202.
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Freeman, Nick. "‘Mad music rising’: Chopin, Sex, and Secret Language in Arthur Symons’ ‘Christian Trevalga’." Victoriographies 1, no. 2 (November 2011): 157–76. http://dx.doi.org/10.3366/vic.2011.0027.
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This essay examines Arthur Symons’ short story, ‘Christian Trevalga’ from his Spiritual Adventures (1905). It aims to a) situate it in the context of wider late-Victorian considerations of pianistic performance and Symons’ adulation of Vladimir de Pachmann, b) examine its application of Symons’ theories about music, as advanced in his contemporaneous critical essays, and c) investigate the ways in which the story makes a suggestive link between music and sexual orientation with especial reference to the fictional encounter between Trevalga and Tchaikovsky in the Vienna of the 1890s.