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1
Comber, Chris, David J. Hargreaves e Ann Colley. "Girls, Boys and Technology in Music Education". British Journal of Music Education 10, n. 2 (luglio 1993): 123–34. http://dx.doi.org/10.1017/s0265051700001583.
Testo completoAbstract (sommario):
Information technology is having a profound impact upon the music curriculum, and there is general agreement that boys and girls should have equal opportunities to benefit from it. Although music has traditionally been a subject in which girls predominate, technology is clearly stereotyped as a male preserve. The present paper reports some findings from the Leverhulme Trust-funded ‘Gender and educational computing in the humanities’ project at the University of Leicester, which is using survey and interview techniques with a large sample of pupils and teachers in the Midlands to investigate these questions. The preliminary results suggest that boys are more confident in their use of music technology; that they are showing an increasing interest in music as a result of it; and that teachers have a crucial role to play in ensuring that girls are not disadvantaged in the use of music technology.
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Ehmann, Andreas F., e J. Stephen Downie. "Music to knowledge: A visual programming environment for the development and evaluation of music information retrieval techniques". Journal of the Acoustical Society of America 118, n. 3 (settembre 2005): 2031. http://dx.doi.org/10.1121/1.4785794.
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Smith, Julius O. "Signal processing techniques in music synthesis based on a physical model." Journal of the Acoustical Society of America 90, n. 4 (ottobre 1991): 2336. http://dx.doi.org/10.1121/1.402205.
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Mills, John A. "The application of cochlear audio analysis techniques to electro‐acoustic music". Journal of the Acoustical Society of America 115, n. 5 (maggio 2004): 2450. http://dx.doi.org/10.1121/1.4782231.
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Mills, John. "Application of cochlear analysis techniques to percussion in electro‐acoustic music". Journal of the Acoustical Society of America 117, n. 4 (aprile 2005): 2477. http://dx.doi.org/10.1121/1.4787600.
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Piryazeva, Elena Nikolaevna. "Digital music art through the prism of interdisciplinarity". Философия и культура, n. 12 (dicembre 2020): 25–39. http://dx.doi.org/10.7256/2454-0757.2020.12.34491.
Testo completoAbstract (sommario):
The processes taking place in modern science tend to integrate various scientific disciplines in studying any scientific phenomenon. This explains the search of methodology based on the techniques of different sciences involved in formation of the subject of research, which in this article is represented by the digital music art. Interpreted as a branch of music art with digital specificity, digital music art incorporates electronic music presented by specific, algorithmic, and electronic music. A signature characteristic of digital music art consists in its interdisciplinarity, which suggests the combined effect of separate parts of the system and leads to self-organization, which corresponds with the scientific tasks of synergetics. This substantiates the relevance for elaboration of interdisciplinary methodology for studying digital music art in the context of research mechanisms developed within synergetics. The scientific lies in the analysis of digital art through the prism of the qualities inherent to synergetics. The disciplines united by digital art (mathematics, set theory, probability theory, information theory, combinatorics, game theory, cybernetics, computer science, acoustics, sociology, communication, and biology) are interdisciplinary, which means that in ensemble with other disciplines they form a complex interdisciplinary knowledge of structure of digital music art. At the same time, the disciplines that comprise scientific framework of digital music art are attributed to different sciences: humanities, natural sciences, mathematics, social sciences, and technical sciences. In this context, the research of digital music art is simultaneously of interdisciplinary and multiscientific nature. The author established a peculiar impact of interdisciplinarity upon digital art, which generates the qualities inherent to synergetics – nonlinearity, disequilibrium, openness, chaotic nature, entropy, indeterminacy, and dissipation.
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Weymann, Eckhard. "Improvisation as “unthought known”: creative techniques in music therapy supervision". Nordic Journal of Music Therapy 25, sup1 (30 maggio 2016): 114–15. http://dx.doi.org/10.1080/08098131.2016.1180133.
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Kvistad, Garry M. "Rhythmic techniques and psychoacoustic effects of the percussion music of Steve Reich". Journal of the Acoustical Society of America 134, n. 5 (novembre 2013): 4187. http://dx.doi.org/10.1121/1.4831357.
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Anderson Mills, John. "Application of cochlear analysis techniques to finding percussive events in electro‐acoustic music". Journal of the Acoustical Society of America 121, n. 5 (maggio 2007): 3061. http://dx.doi.org/10.1121/1.4781825.
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Mills, Anderson. "Application of cochlear analysis techniques to finding percussive events in electro‐acoustic music". Journal of the Acoustical Society of America 119, n. 5 (maggio 2006): 3440. http://dx.doi.org/10.1121/1.4786932.
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Mathews, Max. "Techniques for expressive performance of electronic music with real‐time, computer‐controlled synthesizers". Journal of the Acoustical Society of America 87, S1 (maggio 1990): S40. http://dx.doi.org/10.1121/1.2028210.
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DiSalvo, Carl Francis. "Philosophy and Visual Representation: Imaging the Impossible". Leonardo 32, n. 2 (aprile 1999): 83–86. http://dx.doi.org/10.1162/002409499553019.
Testo completoAbstract (sommario):
Visualization techniques used in science and the arts for the advanced analysis of information and theories can and should be similarly used in the humanities. Within the discipline of philosophy there are both the possibility and the necessity to examine and present ideas using visualization techniques. The author created a CD-ROM entitled Blinded … in an attempt to use visualization techniques to analyze and represent a metaphysical action proposed by the French philosopher George Bataille. He discusses the creation of that work and the theories involved in the conjunction of philosophy and visualization.
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Misto, Riccardo. "Yoga of Sound music therapy system: techniques acting on autonomic nervous system". Nordic Journal of Music Therapy 25, sup1 (30 maggio 2016): 104–5. http://dx.doi.org/10.1080/08098131.2016.1180115.
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Tarr, Eric. "Digital models of analog circuits for musical audio production: A review of techniques and library for automated circuit solving". Journal of the Acoustical Society of America 152, n. 4 (ottobre 2022): A179. http://dx.doi.org/10.1121/10.0015958.
Testo completoAbstract (sommario):
In music production, many recording and mixing engineers prefer to use analog equipment as a matter of perceptual preference. Digital models of analog circuits have the potential to achieve similar perceptual qualities as hardware without the drawbacks of cost, maintenance, and availability. Many different techniques of system modeling are used in music production software, ranging on a spectrum from “black-box modeling” to “white-box modeling.” In black-box modeling, the analog system is modeled as a processing block which maps an input signal to an output signal. Examples include the linear impulse response, adaptive filters, Volterra series, and Weiner-Hammerstein models. In white-box modeling, each individual component of the analog circuit is modeled as part of the overall system. Examples include wave digital filters, state-space modeling, and modified nodal analysis. Various other techniques exist on the spectrum between these two types, using some combination of each. One example is Virtual Analog Filtering based on the Topology Preserving Transform. Machine Learning techniques have also had an important role in advancing the accuracy of digital modeling. Lastly, the “Point to Point Library,” developed by the author, will be demonstrated. This MATLAB and C + + library performs automated circuit solving for modeling audio effects.
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Egüz, Şule. "Social Studies Instruction With Educational Music: Write, Compose, and Apply". SAGE Open 12, n. 3 (luglio 2022): 215824402211206. http://dx.doi.org/10.1177/21582440221120651.
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The present study aimed to assist pre-service social studies teachers in the production of song lyrics adequate for the curriculum, composition of songs that would be of interest for secondary school students to construct functional educational music in social studies courses and determine the impact of this music on academic achievements and learning processes of the students. In the present study, exploratory sequential design, a mixed research method, was employed. In the first stage, song lyrics were written by 55 pre-service teachers attending the education department in a public university in Malatya province, Turkey, and songs were composed with these lyrics by a music teacher, and two music department students. The second stage (application phase) was conducted with 48 secondary school students. In the final stage, the views on the use of educational songs in the classroom were obtained. The study data were analyzed with quantitative and qualitative analysis techniques. The study findings demonstrated that the songs created by pre-service teachers improved the achievements of secondary school students in the social studies course, supported learning by fun, provided better comprehension of the course topics, and were effective in maintaining the student motivation and attention.
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Graf, Anna. "Possible transfer and evaluation of use of visual art techniques to music therapy". Nordic Journal of Music Therapy 25, sup1 (30 maggio 2016): 132. http://dx.doi.org/10.1080/08098131.2016.1180166.
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Linz, Jill A., e Christian Howat. "Atom Tones: investigating waveforms and spectra of atomic elements in an audible periodic chart using techniques found in music production". Journal of the Acoustical Society of America 152, n. 4 (ottobre 2022): A220. http://dx.doi.org/10.1121/10.0016071.
Testo completoAbstract (sommario):
Atom Music was introduced in 2019 as a way to create unique audible tones for each atomic element that are direct translations of that element’s spectral lines. Each atomic element produces a unique spectral line pattern that can be recognized as the fingerprint of that element. Sonification is the process of translating non-audible data into audible signals as a way to gain an understanding of the original data. In this paper, sonification is applied to atomic spectra, using technology primarily from music production. These were applied to atomic spectra using additive synthesis methods and analyzed using digital audio workstations. Interest in the audible tones has primarily been in element identification through each tone, as well as those interested in musical interpretation. We investigate what insights can be made by observing the digital waveforms and spectra of each element tone. We consider whether there are patterns within the different element waveforms; if there is any correlation between the elements producing similar beat patterns; and if there are any harmonic relations between electron states that are represented by the spectra itself. Results indicate that this method could be a useful tool in investigating atomic structure.
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Corey, Ryan M. "Multiple-source dynamic range compression in hearing devices: What can we learn from music mixing?" Journal of the Acoustical Society of America 153, n. 3_supplement (1 marzo 2023): A51. http://dx.doi.org/10.1121/10.0018130.
Testo completoAbstract (sommario):
Dynamic range compression (DRC), a form of nonlinear gain control, is widely used in both hearing devices and music production, but in very different ways. In hearing devices, DRC boosts quiet sounds more than loud sounds to match the reduced dynamic range of listeners with hearing loss. Compression is applied to the mixture of sounds captured by the hearing device microphone, so it is known to cause distortion in noisy environments where the level of one sound can affect the gain applied to another sound. In music mixing, DRC can be applied to individual vocal or instrumental tracks or to the overall mixture. It can also be applied to combinations of signals to introduce deliberate distortion effects, for example, by adjusting the level of one track based on the level of another. In a hearing device that could process different sound sources independently, real-life sounds could be mixed like musical tracks, reducing unwanted distortion and enabling new nonlinear techniques to improve intelligibility. This talk will explore multiple-source DRC architectures that are commonly used for music but could also be advantageous for hearing devices.
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Zandberga, Diāna. "THE PIANIST’S PERCEPTION OF FIGURATIVE TEXTURE IN PIANO WORKS BY LATVIAN COMPOSERS". Culture Crossroads 22 (13 settembre 2023): 58–70. http://dx.doi.org/10.55877/cc.vol22.438.
Testo completoAbstract (sommario):
Tracing the development of texture in Latvian piano music from the performer’s point of view, including historical and stylistic aspects, it becomes apparent that figuration is one of its most prominent specific elements which demonstrates the uniqueness of texture as well as reflects stylistic transformations. The aim of this paper is to highlight the different types of interpretation of the instrument – colourful illusionary and real motoric pianism as well as their synthesis in the context of several compositional techniques of the musical language of Latvian composers. All of these aspects are particularly important for the performer.
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Koshiol, Jared H., e Greg DeBlasio. "Improving lyrical intelligibility in live music and concert settings: Evaluating the application of alternative sound reinforcement techniques". Journal of the Acoustical Society of America 144, n. 3 (settembre 2018): 1762. http://dx.doi.org/10.1121/1.5067796.
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González-Zamar, Mariana-Daniela, e Emilio Abad-Segura. "Visual Arts in the University Educational Ecosystem: Analysis of Schools of Knowledge". Education Sciences 11, n. 4 (14 aprile 2021): 184. http://dx.doi.org/10.3390/educsci11040184.
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Throughout history, the visual arts have allowed for a dynamic of aesthetic feedback, cultural plurality, and a standardization of the artistic phenomenon. The objective of this study is to analyze the current lines of research at the international level, during the period 1952–2020, on the visual arts in the university educational ecosystem. Bibliometric techniques were applied to 1727 articles in the thematic area of the “Arts and Humanities” to obtain the findings included in this report. Scientific production has increased mainly in the last decade, making up around 70% of all publications. Five schools of knowledge have been identified that generate articles on this topic related to art, visual culture, modernity, music, and history. The growing trend of scientific production worldwide shows the interest in developing aspects of this field of study. This article contributes to the academic, scientific, and institutional discussion on the role of the visual arts in contemporary society.
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Woszczyk, Wieslaw, Aybar Aydin e Ying-Ying Zhang. "Virtual Acoustics, better than the real thing? Considering the creative side". Journal of the Acoustical Society of America 152, n. 4 (ottobre 2022): A181. http://dx.doi.org/10.1121/10.0015962.
Testo completoAbstract (sommario):
Once room acoustical reflections data are extracted from a physical space or a model, and are encapsulated in a 3D impulse response, they can be used to render immersive sound fields in real time. A range of possibilities then opens for creative use of acoustics in music. A skilled virtual acoustics designer-engineer may rebalance digital signals representing the room response to situate player and listener on the stage or at the back of the auditorium, may modify and arrange temporal segments to re-imagine the aural dimensions of the space, and apply gain and directional placement to shape the impression of immersive presence, adapting acoustics to musicians’ creative needs. In the process of building an idealized acoustical environment for the music, techniques of sound reinforcement and of rendering room acoustics are combined to balance presence with ambience and to deliver a sensation of acoustical power with lift-off. The means exist to move beyond acoustical realism into fictionalized acoustics.
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ÇANAKÇI, ERKAN, e MAHİR MAK. "BAĞLAMADA TEL AYIRMA TEKNİĞİ". Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 106 (20 giugno 2023): 1–25. http://dx.doi.org/10.34189/hbv.106.001.
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In this study, firstly, the journey of kopuz, which is accepted as the ancestor of the baglama family towards today's geography is mentioned. In addition to the change experienced by the kopuz, which has emerged in a rich range as baglama family in Anatolia, innovative initiatives applied in the baglama family are also included. Thus, we have tried to underline which baglama we should talk about. Then, the written methods on baglama and instruments with 6 and 7 strings, which are now described as "baglama" (short and long necked) and played in baglama and disordered tuning, were examined. The baglama, which was accepted to be played by hand (tapping or playing without a plectrum), began to be played with a plectrum over time, far ahead of its performance with tapping. The baglama performances with tapping, which were recalled after 1980s, have become much more developed and widespread today. The string separation technique, which has been taken into consideration since 2003, actually brought together the traditional performance form of tapping and plectrum technique. Erkan Çanakçı tried to find an answer to the need for harmony in folk music with traditional playing methods by blending these two techniques without disturbing the traditional structure of baglama. During the maturation process of the article, resources related to the field of study were accessed with the document analysis method, it has been applied to different age groups who have learned the strings separation technique since 2003, concerts and recordings have been made in various platforms and performance areas. In addition, a special transcription showing this technique was prepared and presented in the article. Keywords: Baglama, Baglama Methods, Selpe, Strings Separation Technique, Kopuz.
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Edwards, Brent Hayes. "The Literary Ellington". Representations 77, n. 1 (2002): 1–29. http://dx.doi.org/10.1525/rep.2002.77.1.1.
Testo completoAbstract (sommario):
The literary plays an indispensable role in the creative process and compositional technique of the great jazz composer and orchestra leader Duke Ellington. It is well known that he based a number of his pieces on literary sources and that many of his larger works in particular rely on narrative written by Ellington and/or his collaborator Billy Strayhorn, whether it was programmatic, recitative, or lyric. In all his music, Ellington was concerned with ''telling tales'' in language, not only in sounds - or more precisely, in both: composing in ways that combined words and music. This imperative is evidenced in the pieces Ellington called ''parallels,'' a word he chose in particular to highlight the formal relationship between music and literature. In some, such as the ''Shakespearean Suite'' known as ''Such Sweet Thunder,'' he used various structural approaches and instrumental techniques to achieve portraiture through the interrelationship between the musical and the literary. In other pieces, such as ''My People'' and especially ''Black, Brown and Beige,'' Ellington attempted to integrate literary texts into his music in a manner that is not programmatic. The longer pieces demonstrate that for Ellington's aesthetic, the representation of African American history necessitated a mixed, multimedia form.
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Kogut, Kate Berneking. "Framed: A Personal Narrative/Ethnographic Performance/One-Woman Show". Journal of American Folklore 118, n. 467 (1 gennaio 2005): 90–104. http://dx.doi.org/10.2307/4137811.
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Abstract This script explores the intersections of ethnography, autoethnography, theatre, and narrative performance by applying to ethnographic work the theatrical and performance techniques of direct audience address, audience interaction, props, music, and the performance of voice and actions of the self and others. I experiment with this multifaceted process by utilizing both the nonverbal and verbal stimuli of live performance to engage the audience’s senses and sense memories. In this way, I explore not only my own self-reflexive work, but also encourage audience members to explore ways in which the performance stimulates reflections of their own life and work.
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Eidsheim, Nina S. "An analytical framework and model for de-racializing vocal perception". Journal of the Acoustical Society of America 151, n. 4 (aprile 2022): A99. http://dx.doi.org/10.1121/10.0010782.
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Based on 20 years of research into vocal techniques, vocal styles, pedagogy, and history with reference to opera, popular music, and music synthesis software, I have developed a framework that seeks to explain racialized perceptions of the singing voice. On one hand, my model accounts for voice as an ever-developing instrument affected by age, hormones, environment, culture, and vocal training (whether through formal voice lessons or everyday encounters’ largely tacit feedback). On the other hand, it also accounts for perception as equally dynamic and culturally dependent. It recognizes that the voice and its perception together constitute a “thick event,” and that the complexity of the vocal signal and the ways in which listeners interact with voices are so numerous and so complex that a speaker’s race cannot be defined by the signal. In other words: Voice is not singular; it is collective. Voice is not innate; it is cultural. Voice’s source is not the singer; it is the listener. By applying this analytical model to musical case studies, this paper argues that voices are racialized when they are believed to sound a person’s essence or true identity.
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Linz, Jill A. "Designing an introductory musical acoustics course using physics education research techniques and the impact COVID-19 pandemic had on the course structure". Journal of the Acoustical Society of America 151, n. 4 (aprile 2022): 2672–87. http://dx.doi.org/10.1121/10.0010163.
Testo completoAbstract (sommario):
Sound & Music is an introductory musical acoustics course designed from the ground up using Physics Education Research techniques. The onset of the COVID-19 pandemic forced changes in the curriculum that essentially were reactionary in scope. This was a universal problem that opened up discussions with other educators. Although it had existed previously, the idea of “flipping” a class became a popular concept during the pandemic. Pedagogies applied to an introductory acoustics course are examined as to what they meant in the context of the pandemic. This paper will look at the structure and format of the course pre-pandemic as well as discuss excerpts from three different hands-on activities that were each designed using Physics Education Research techniques. It will then look at how these were altered to be used during the pandemic era as well as other challenges that were overcome during this time, summarizing what changes worked and what did not.
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Scott, Claire E. "Intimacy and Failed Solidarity in the Teen Girl Film Lollipop Monster (2011)". Feminist German Studies 39, n. 2 (settembre 2023): 74–97. http://dx.doi.org/10.1353/fgs.2023.a917808.
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Abstract: In this article I analyze the 2011 German indie film Lollipop Monster as a contemporary model for what Lauren Berlant calls "intimate publics." This film twists the genre of the teen girl film by portraying female friendship as a catalyst for unleashing suppressed emotions and subverting oppression. Instead of directing their aggression internally as self-harm, the protagonists of Lollipop Monster use violence against others to reinforce their strong social bond. By employing cinematic techniques from the popular multimedia genre of the music video, Lollipop Monster harkens back to the imagined sisterhoods of Riot Grrrl culture. In its nostalgic celebration, the film fails to address the racism of this movement, ultimately remaining focused on whiteness and failing to fully explore possibilities for solidarity between Black and white women. Overall, Lollipop Monster updates Berlant's cautionary theory, illustrating how gendered intimate publics co-create neoliberal landscapes of digital, multimedia music and social media stardom.
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Siedlecka, Ewa, e Thomas F. Denson. "Experimental Methods for Inducing Basic Emotions: A Qualitative Review". Emotion Review 11, n. 1 (1 marzo 2018): 87–97. http://dx.doi.org/10.1177/1754073917749016.
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Experimental emotion inductions provide the strongest causal evidence of the effects of emotions on psychological and physiological outcomes. In the present qualitative review, we evaluated five common experimental emotion induction techniques: visual stimuli, music, autobiographical recall, situational procedures, and imagery. For each technique, we discuss the extent to which they induce six basic emotions: anger, disgust, surprise, happiness, fear, and sadness. For each emotion, we discuss the relative influences of the induction methods on subjective emotional experience and physiological responses (e.g., heart rate, blood pressure). Based on the literature reviewed, we make emotion-specific recommendations for induction methods to use in experiments.
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Gomes Lobato, Thiago Henrique, Roland Sottek e Michael Vorlaender. "Implementing neural networks in low-latency audio applications". Journal of the Acoustical Society of America 153, n. 3_supplement (1 marzo 2023): A105. http://dx.doi.org/10.1121/10.0018318.
Testo completoAbstract (sommario):
The use of neural networks is becoming increasingly prevalent due to their ability to represent complex relationships and solve complex problems. However, implementing these models in systems that require low-latency output can be challenging, especially for practitioners who are used to developing their models in controlled environments like Python notebooks. Another issue is the high computational cost of complex models, which limits the minimum possible latency. This paper presents approaches for deploying models in audio applications, discusses the advantages and disadvantages of each approach, and presents strategies to reduce the inference cost of models without significantly sacrificing accuracy, using techniques such as model quantization. To illustrate these methods, example implementations of real-time beamforming deconvolution and real-time music DSP processing are shown.
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Lukyanenko, O., e R. Vynnychuk. "TRADITIONAL AND INNOVATIVE PEDAGOGICAL TECHNOLOGIES FOR THE FORMATION OF VALUES OF MASTERS IN HUMANITIES IN THE PROCESS OF PROFESSIONAL TRAINING". Ukrainian professional education, n. 12 (29 dicembre 2022): 24–33. http://dx.doi.org/10.33989/2519-8254.2022.12.278993.
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The article clarifies the prospects for the process of training Masters in the field of Humanities of those traditional pedagogical technologies that contain a set of methods, forms, techniques and tools aimed at forming the values of general culture and professional activity: modular, tutoring, project-based and individual as the most widely used in the world and the domestic practice of training specialists at the Master’s level. It was determined that in the process of choosing educational technologies as structural components of the system of training Masters in the humanitarian field (specialties 031 Religious studies, 032 History and archeology, 034 Cultural studies, 033 Philosophy, 035 Philology) on axiological principles, an innovative educational environment is formed based on the principles of: open learning; reliance on information technologies; designing the integrated content of education; application of innovative pedagogical approaches to the formation and development of universal and professional values; changes in the traditional role of a university teacher from a translator of knowledge to mastering the mission of a mentor, consultant, and senior colleague. The necessity of creative application of suggestive-pedagogical technology for the development of humanitarian values in the unity of three directions is proven: direct suggestion (imperative and motivated); use of efficiency catalysts (music, role-playing, theatricalization); and analysis of own valuable experience. The prospects of the research include the justification in the context of the selected problem of innovative aspects of technology / asynchronous learning and the search for methodological foundations for the implementation of suggestive-pedagogical methods based on the axiological scientific approach.
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Greenleaf, Monika. "Laughter, Music, and Memory at the Moment of Danger: Tsvetaeva'sMother and Musicin Light of Modernist Memory Practices". Slavic Review 68, n. 4 (2009): 825–47. http://dx.doi.org/10.1017/s0037677900024542.
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In this article, Monika Greenleaf shows how Marina Tsvetaeva protested the erasure of her generation's intimate and embodied styles of memory by postrevolutionary historical narrative. While Soviet writers began to disappear into the Lubianka, labor camps, translation programs, children's literature, and silence in the 1930s, exiled writers found themselves in European capitals contesting the keys to legitimate memory before the emigration's fracturedmilieux de mémoire.In a piece written for oral performance in Paris, Tsvetaeva uses Bergson's famous techniques of bodily and musical memory-retrieval and comic revelation of temporal rhythms and archetypes to frame her childhood memoir as an exemplary mimetic rite for her generation. Bergson's synergistic theory of “matter and memory“ promised total recall, whereas Walter Benjamin's meditation on the different nature of memories that “flash up at the moment of danger” offers new insight into the fiercely selective comic scenes her mnemonic technique “produces.” Greenleaf's examination poses the question: What is the nature of the past that involuntarily repeats itself through our bodies and the very configuration of our imaginations: living Being or copying machine? Is the poet's act of memory socially useful or dangerous and “mad“? Mimesis according to Aristotle or Plato?
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Norris, Joe. "Improvisational Drama as Inquiry: The Role of the Simulated-Actual in Meaning Making". Cultural Studies ↔ Critical Methodologies 20, n. 1 (14 dicembre 2019): 63–74. http://dx.doi.org/10.1177/1532708619884961.
Testo completoAbstract (sommario):
Based upon more than 25 years as a director of ensembles of performative research, I provide example of improvisational approaches that I have taken to explore a range of social interactions including the teacher/student relationship, subtle differences among need/want/desire, practicum politics, trust, reading power in gender, judging strangers, locus of control, homelessness, and aging parents. Techniques have included image theater, hot-seating, manipulation of objects, trust falls, music, and metaphorical roles. Theoretical discussions include an unpacking of truth claims in imaginative endeavors that explore the plausible, the false separation of truth and fiction, re-examining what makes research empirical, ways of generating information other than the traditional questionnaire, and/or interview and dialogic audience participation. In addition to justifying this approach for performative research practitioners, it provides a variety of possibilities for those who seek other means to critically and imaginatively examine the human condition.
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Чигарёва, Е. И. "Homonymous Terms in Musical and Philological Studies". Журнал Общества теории музыки, n. 1(29) (5 marzo 2020): 36–43. http://dx.doi.org/10.26176/otmroo.2020.29.1.003.
Testo completoAbstract (sommario):
Статья посвящена сравнению терминологии в музыке и литературе. Несмотря на общность многих терминов, они очень часто имеют различное значение, то есть оказываются терминами-омонимами (Е. Г. Эткинд). Подобные явления могут возникнуть и из-за параллелизма видов искусства, и как результат взаимовлияния двух гуманитарных наук (музыковедение и филология), но также вследствие аналогий, которые используют исследователи, пытаясь сблизить музыку и литературу.Омонимия терминов может проявляться: на уровне строения музыкальной и литературной речи (мотив, фраза, предложение, период и т. д.); на уровне художественных приемов и средств выразительности (консонанс и диссонанс, рифма, метр, ритм, синтаксический параллелизм и т. д.); на уровне видов музыкальной (литературной) речи (поэзия и проза, полифония и т. д.); на уровне жанров (поэма, новелла, элегия, сказка, эскиз, экспромт, афоризмы, мадригал, монолог и т. д.).В статье подробно рассматриваются первые два уровня. Анализ показывает как близость, так и подчас радикальное различие двух видов искусства (и соответственно использующейся учеными терминологии), что связано с их спецификой. The article is devoted to the comparison of terminology in music and literature. Despite the commonality of many terms, they often have different meanings, in other words, they are homonymous terms (E. G. Etkind). Such phenomena may arise because of the parallelism of the arts, and as a result of the interaction of the two humanities (musicology and philology), but also because of the analogies used by researchers trying to bring together music and literature.Homonymy of terms can be manifested at the level of structure of musical and literary speech (motive, phrase, sentence, period, etc.); at the level of artistic techniques and means of expression (consonance and dissonance, rhyme, meter, rhythm, syntactic parallelism, etc.); at the level of types of musical (literary) speech (poetry and prose, polyphony, etc.); at the level of genres (poem, Novella, Elegy, fairy tale, sketch, impromptu, aphorisms, Madrigal, monologue etc.).The article details the first two levels. The analysis shows both the commonality and sometimes radical difference between the two types of art (and, accordingly, the terminology used by researchers), which is associated with their specificity.
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Bourgeois-Bougrine, Samira, Nathalie Bonnardel, Jean-Marie Burkhardt, Branden Thornhill-Miller, Farzaneh Pahlavan, Stéphanie Buisine, Jérôme Guegan, Nicolas Pichot e Todd Lubart. "Immersive Virtual Environments’ Impact on Individual and Collective Creativity". European Psychologist 27, n. 3 (luglio 2022): 237–53. http://dx.doi.org/10.1027/1016-9040/a000481.
Testo completoAbstract (sommario):
Abstract. This paper explores the recent advances in research concerning the impact of immersive virtual environments affordances on the expression of users’ creativity at individual and team levels. While the top virtual reality (VR) application areas are entertainment and gaming, simulation and training for professionals, research in the domain of the psychology of creativity and VR is advancing rapidly in Europe. Indeed, between 2014 and 2021, 72% of publications in this domain resulted from European research in diverse fields such as engineering, design, music composition, art-making, and so forth. These studies took advantage of advanced VR affordances, such as head and hand motion trackers to synchronize an avatar in real-time, live streaming of a video into a VR headset screen to create artwork, etc. Four main topics were explored: (a) new creativity techniques involving a virtual upgrade of traditionally used techniques, virtual sketching and prototyping, as well as sophisticated interactive virtual menus and motion tracking systems, (b) the right digital self-representation for enhancing creativity and the degree to which users identify with the “persona avatar” in the context of user-centered innovations, (c) the impact of physical and social virtual contextual cues on creative performance, and (d) the perception of virtual reality by creativity and innovation professionals. Our review confirms that VR supports greater creative performance at individual and collaborative levels as well as enjoyment and fun. However, as rich and varied as this literature has become, it presents major methodological limitations that should be addressed in future research.
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Liu, Yunyi, e Craig Jin. "Impact on quality and diversity from integrating a reconstruction loss into neural audio synthesis". Journal of the Acoustical Society of America 154, n. 4_supplement (1 ottobre 2023): A99. http://dx.doi.org/10.1121/10.0022922.
Testo completoAbstract (sommario):
In digital media or games, sound effects are typically recorded or synthesized. While there are a great many digital synthesis tools, the synthesized audio quality is generally not on par with sound recordings. Nonetheless, sound synthesis techniques provide a popular means to generate new sound variations. In this research, we study sound effects synthesis using generative models that are inspired by the models used for high-quality speech and music synthesis. In particular, we explore the trade-off between synthesis quality and variation. With regard to quality, we integrate a reconstruction loss into the original training objective to penalize imperfect audio reconstruction and compare it with neural vocoders and traditional spectrogram inversion methods. We use a Wasserstein GAN (WGAN) as an example model to explore the synthesis quality of generated sound effects, such as footsteps, birds, guns, rain, and engine sounds. In addition to synthesis quality, we also consider the range of sound variation that is possible with our generative model. We report on the trade-off that we obtain with our model regarding the quality and diversity of synthesized sound effects.
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Tick, Judith. "Ella Fitzgerald & “I Can't Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music". Daedalus 148, n. 2 (aprile 2019): 83–91. http://dx.doi.org/10.1162/daed_a_01744.
Testo completoAbstract (sommario):
“If you don't learn new songs, you're lost,” Ella Fitzgerald told The New York Times in 1967. This essay is a close reading of one performance of “I Can't Stop Loving You” she gave at a concert in Berlin on February 11, 1968. The song, which had already become a global hit through a version by Ray Charles in 1962, turned into a vehicle through which Fitzgerald signified on “Soulsville,” or soul, a black popular style then sweeping the American music scene. References to Aretha Franklin's “Respect” and Vernon Duke's “I Can't Get Started With You” are examples of the interpolations included here. The essay challenges the idea that the late 1960s were a fallow period in Fitzgerald's career by highlighting the jazz techniques she used to transform one song into a self-revelatory theatrical tour de force.
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Akeroyd, Michael A., Jennifer L. Firth, Graham Naylor, Jon P. Barker, John Culling, Trevor J. Cox, Will Bailey et al. "Results of the second “clarity” enhancement challenge for hearing devices". Journal of the Acoustical Society of America 153, n. 3_supplement (1 marzo 2023): A48. http://dx.doi.org/10.1121/10.0018112.
Testo completoAbstract (sommario):
The clarity enhancement challenges (CECs) seek to facilitate development of novel processing techniques for improving the intelligibility of speech in noise for hearing-aid users through a series of signal-processing challenges. Each challenge provides entrants with a set of stimuli for development and testing of their algorithms. The performance of the algorithms is assessed using objective measures of speech intelligibility and subjective measures conducted with a panel of hearing-impaired listeners. CEC2 featured more complex listening environments than CEC1 with multiple interfering sound sources (speech, music, household appliance sounds) within a simulated living-room environment at signal-to-noise ratios (SNRs) from −12 to + 4 dB. In addition, head rotation towards the target speech was introduced. Target speech came from a new dataset of 10,000 different English sentences spoken by 40 actors speaking 250 sentences each (Graetzer S et al., 2022 Data in Brief 41, 107961). The objective assessment was provided by HASPI (Kates & Arehart, 2021 Speech Comm 131, 35–46). All 18 entries achieved substantial improvements in HASPI, averaging 0.55 across all systems and SNRs. Improvements were greatest (averaging 0.61) for SNRs between −8 and 0 dB. The best-performing system achieved HASPI scores above 0.9 for all SNRs. Listening-test data will be reported.
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Zafeiroudi, Aglaia. "Intersections between Modern and Contemporary Dance and Yoga Practice: A Critical Analysis of Spiritual Paths through Body Movement and Choreography". Academic Journal of Interdisciplinary Studies 10, n. 4 (8 luglio 2021): 1. http://dx.doi.org/10.36941/ajis-2021-0094.
Testo completoAbstract (sommario):
Bodily movement, rhythmic response, physical exercise and related techniques are sources of spiritual awareness. Yoga and dance are both concerned with the relationship between spirituality and the physical body. This paper presents a literature review of yoga and modern and contemporary dance as spiritual bodily practices. An electronic literature search was undertaken using Scopus, Google Scholar, CINAHL, EMBASE, PubMed/MEDLINE and Web of Science databases to examine the integration of modern and contemporary dance with yoga practice. The review reveals a number of important choreographic and spiritual similarities between these practices, including coordinated movement of the body with the breath, sequences of movements, rhythm, gestures and energy management. Many modern and contemporary dancers, choreographers and artists, such as Graham, include yoga techniques in their choreography and teaching. Through bodily movements, yoga and dance allow for self-awareness and self-perception, which aid in connecting the body, the brain and the soul with the divine. The paper finally suggests and describes how a combination of these two practices may be applied in conjunction with rhythm and music to enhance spirituality through body movement. This paper sought to expand the ways in which movement through yoga and modern and contemporary dance can be considered and practiced in relation to spirituality. Received: 4 March 2021 / Accepted: 6 May 2021 / Published: 8 July 2021
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Holder, Jessie. "Art Psychotherapy and Innovation: New Territories, Techniques and Technologies, Helen Jury and Ali Coles (Eds) (2022)". Journal of Applied Arts & Health 14, n. 1 (1 marzo 2023): 131–34. http://dx.doi.org/10.1386/jaah_00132_5.
Testo completoAbstract (sommario):
Review of: Art Psychotherapy and Innovation: New Territories, Techniques and Technologies, Helen Jury and Ali Coles (Eds) (2022) London: Jessica Kingsley Publishers, 312 pp., ISBN 978-1-78775-708-0, p/bk, £30.00
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Knyazeva, T. S. "Exploring the relationship between musical engagement, intelligence and academic achievement among students with different professional skills". Sibirskiy Psikhologicheskiy Zhurnal, n. 88 (2023): 21–37. http://dx.doi.org/10.17223/17267080/88/2.
Testo completoAbstract (sommario):
We investigated the relationship between music engagement, academic success and intelligence in non-musical students (N = 136). Currently, there is a lack of understanding to the extent in which individual leisure interests and extracurricular engagement influence academic success in different subject areas, as well as the relationship between fluid intelligence and crystallized experience. Clarifying these questions we formed the aim of this study. To diagnose musical engagement and intelligence we used the approved psychometric techniques - Gold-MSI v1.0 “Active engagement” scale, Raven's test, Amthauer's test. We checked the assumptions that musical engagement influences the strength of the correlation between fluid and crystallized intelligence and that the relationship between musical engagement and academic success is determined by the level of fluid intelligence on the one hand, and the degree of homogeneity of the subject areas of engagement on the other. The results of the study showed that musical engagement may play a significant role in predicting the academic performance of non-musicians as well as in the development of crystallized experience. The hypothesis that musical engagement, being a non-relevant behavioral activity in relation to general educational experience and competence, contributes to a decrease in the strength of the link between fluid and crystallized intelligence was confirmed. The other hypothesis was partially confirmed, as it was found that the relationship between musical engagement and academic success is mediated by the fluid intelligence factor, but this mediation is specific to groups with different professional skills. There is a non-linear relationship in the humanities group: the best learning performance is achieved by students with intermediate levels of engagement. In the group of "precise" occupations, the relationship between the variables is linear and negative. The findings are interpreted in terms of modern models of intelligence and subjectoriented knowledge models. The results contribute to improving the quality of prediction of learning success and professional realization, and contribute to elucidating the psychological mechanisms of engagement.
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YAŞAR, SERVET, e CEM KARATAŞ. "ÂŞIK DAİMİ’NİN HAYATI VE ESERLERİ ÜZERİNE BİR İNCELEME". Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 104 (3 dicembre 2022): 29–51. http://dx.doi.org/10.34189/hbv.104.003.
Testo completoAbstract (sommario):
A minstrel is a person who is defined as a traveller or local folk poet who gains an identity with different upbringings, can sing poems on different subjects and perform them to the accompaniment of the instrument. Minstrels are folk artists whose roots go back to the Turkish culture of Central Asia before Islam and are known by different names in different Turkish tribes. In this ancient culture, they took on many duties from sorcery to musician. During the period they lived, they played an important role in expressing the feelings and thoughts of the people against various events. In Anatolia, minstrels have undertaken an important mission in terms of reinforcing social unity, uniting people within the framework of the same feeling, and transferring the oral heritage to future generations. In this context, they became the social memory of the period before them and shed light on the period they are in. The main aim of this study is to examine the works of Âşık Daimi, one of the important representatives of the 20th century in the minstrelsy tradition, registered in the TRT Repertoire as the source person. In the works of Âşık Daimi, it is seen that social events have an important place in addition to mystical issues in general. In addition to this, Daimi's upbringing in the minstrelsy tradition, his mastery in the instrument and the richness of the products he produced make him important. In the research, in which data were obtained by using literature review and interview techniques as a method, the life of Âşık Daimi and his place in the minstrelsy tradition, as well as a detailed literary and musical analysis of 22 works that he sourced in the TRT repertoire were included. In this context, considering the poetic structure of the work in literary terms, verse type, verse unit, syllabic meter, rhyme scheme, subject and pseudonyms used in his works; in musical terms, considering the melodic structure of the work, its genre, maqam sequence, rhythm feature, sound width, rhythmic structure, metrical pattern and form were evaluated. In addition, in the study, in which the details of the historical process of the minstrelsy and minstrelsy tradition from Central Asia to Anatolia are mentioned, the current functionality of the tradition is also examined. Keywords: Turkish Folk Music, Minstrelsy Tradition, Âşık Daimi, Musical Analysis, Literary Analysis.
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KÜTÜK, YASİN. "NEŞET ERTAŞ TÜRKÜLERİNDE DUYGULANIM BOYUTUNUN İNCELENMESİ: BİR DUYGULAR ENDEKSİ UYGULAMASI". Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 104 (3 dicembre 2022): 329–48. http://dx.doi.org/10.34189/hbv.104.019.
Testo completoAbstract (sommario):
This article aims to highlight the emotional characteristics of the lyrics and compositions of the folk songs sung by Neşet Ertaş. For this purpose, the lyrics of 339 songs and the musical information of 264 compositions were crawled. There is also a speech among them. Three different sources have been used to obtain the lyrics and text of speech. Besides, an additional process on to them has been applied; finally, verse-based or sentence-based texts have been obtained. In this process, these texts have been removed from certain words that do not have a meaning on their own, such as unnecessary punctuations, stopwords, onomatopoeic words, question suffixes, and transformed into a plain form. After this stage, verses or sentences have been made processable. First of all, to find the Turkish sentiments of each lyric, state-of-the-art machine learning techniques have been applied to them, and the sentiment scores of each lyric have been computed. Three different machine learning models have been used to calculate sentiment scores. These three different models are re-trained for the Turkish sentiments, which are of the models developed by Google. Only a single sentiment score has been obtained for each verse or sentence. The average of this sentiment score obtained from three different models has been calculated and used to satisfy consistency. Afterward, a sentiment vector consisting of the verse of each song or each sentence of the speech text has been created. The average of this sentiment vector is the overall score of that text (song or speech). The variance of this sentiment vector has also been calculated, in which this variance has been used to measure the sentiment tides in the song or speech text. Later, some valuable variables from a widely used music listening platform have been obtained as a basis for composition information. Here, 10 variables named acousticness, danceability, energy, instrumentalness, liveness, loudness, speechiness, tempo, valence, popularity have been obtained. Three of them, danceability, energy, and valence variables have been taken into account to estimate the emotional score of the composition by getting the average of these three variables. These scores are going to be matched then with the musical information of compositions of each unique song which are 169 intersectional sets of them, and an emotional map has been drawn statistically, which can be modeled with the dimension of sentiments of lyrics and sentiments of composition showing Neşet Ertaş's emotional map. In the map of emotions, the axes have been set in the range of (-1, +1). Therefore, the scores obtained for both texts and compositions have been rescaled in the range of (-1, +1) with a formula generated for this purpose, which makes the scores of both texts and compositions are made comparable. After this stage, the sentiments of the texts are placed on the x-axis for the map of emotions while composition sentiments are placed on the y-axis. On the x-axis, which is called the lyrics scale, a score of -1 is indicated by feelings of "sorrow", and a score of +1 is indicated by feelings of "happy". The composition scale, on the other hand, shows -1 score as “melancholic” and +1 score as “cheerful” on the y-axis. According to the results obtained, it has been determined that the dominant characteristic of Neşet Ertaş's lyrics is based on sorrow words and that most of his folk songs are grouped in sorrowful lyrics and melancholic compositions. In addition, it has been found that his words are characterized by emotional changes and emotional tides; it has been also determined thanks to word cloud analysis that he often has given humane and moral advice in phrases in the lyrics. Keywords: Neşet Ertaş, Sentiment Analysis, Sentiment Index, Machine Learning, Deep Learning.
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Bassuet, Alban A., Terence Caulkins, Joseph Digerness e Glenn KnicKrehm. "Semi-anechoic music recording using multi-microphone technique to simulate orchestra directivity in room acoustic auralizations". Journal of the Acoustical Society of America 133, n. 5 (maggio 2013): 3581. http://dx.doi.org/10.1121/1.4806588.
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Kolek, Martin. "World of sound – and access to one´s own self: a technique in receptive music therapy with depressed patients". Nordic Journal of Music Therapy 25, sup1 (30 maggio 2016): 136–37. http://dx.doi.org/10.1080/08098131.2016.1180174.
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Хуан, Сяоюй. "CONCEPT THEATER IN M. PLISETSKAYA’S INDIVIDUAL-AUTHOR’S PICTURE OF THE WORLD". Tomsk state pedagogical university bulletin, n. 4(222) (15 luglio 2022): 73–84. http://dx.doi.org/10.23951/1609-624x-2022-4-73-84.
Testo completoAbstract (sommario):
Введение. В настоящее время изучение языковой картины мира (ЯКМ) осуществляется в различных областях гуманитарных наук. Вербализация и реконструкция индивидуальной картины мира являются важными задачами современной лингвистики, осуществляются на основе анализа конкретных концептов. Рассматривается концепт театр в индивидуально-авторской картине мира Майи Плисецкой.Цель – на фоне национальной картины мира определить понятийные, образные и оценочные составляющие концепта театр, которые характерны для индивидуально-авторской картины мира М. Плисецкой.Материал и методы. Исследование проводится на материале книги воспоминаний балерины М. Плисецкой «Я, Майя Плисецкая», а также в качестве материала выступают Национальный корпус русского языка и лексикографические источники разных типов. В работе используются традиционные методы и приемы семасиологического (компонентного, дефиниционного, контекстного, дискурсивного) исследования, а результаты этого анализа последовательно осмысливаются с когнитивных позиций и в результате этого выстраиваются ментальные модели.Результаты и обсуждение. Театр в русской картине мира является одним из главных концептов, он и занимает важное место в авторской картине мира М. Плисецкой. Сопоставление материалов толковых и ассоциативных словарей и анализы фрагментов текстов, извлеченных из Национального корпуса русского языка, позволяют выявить понятийные, образные и оценочные признаки концепта в национальной картине мира. В русской культуре и литературе театр не только относится к искусству, но и влияет на нравственные и моральные качества народа, приносит эстетическое наслаждение, способствует развитию личности. Для реконструкции индивидуально-авторского концепта театр моделировали ассоциативно-смысловое поле (АСП) театр в мемуарном дискурсе. В исследуемое поле входят 263 лексемы, которые разделены на шесть микрополей: танцевальная и музыкальная терминология; театр как здание или место; люди, имеющие отношение к театру; различные виды театральной деятельности; атрибуты театральной деятельности и театр в системе советского государства. Выявив ассоциации и оценочные дискурсы, связанные с театром, обнаружена высокая эмоциональность и экспрессивность. Признаки театра (в большинстве случаев Большого театра) на ценностном уровне можно разделить на четыре части: Большой в парадигме советской власти, закулисье Большого театра, театр как тяжелый и порой опасный труд и Большой как жизнь и судьба М. Плисецкой. Заключение. М. Плисецкая видела театр изнутри, это позволяет раскрыть особенности концепта в ее индивидуально-авторской картине мира: на понятийном уровне театр шире и богаче, чем в национальной картине мира, в АСП входят лексемы, связанные со сценой, балетом, музыкой, публикой, идеологической цензурой и др. На образном и ценностном уровнях в представлении автора театр многогранен, для автора в юности предстает как источник удовольствия и радости в тяжелое время, затем концепт театр соотносится только с Большим, эмоционально-оценочно усложняется: отношение балерины к театру двойственно: возмущение, презрение к Большому в парадигме советской власти, с другой стороны, театр для М. Плисецкой – вся жизнь, для сцены, публики, творчества, балета чаще всего встречаются положительные эмоциональные оценки. Ценностные признаки выражаются эмоционально-оценочной лексикой, языковыми и окказиональными метафорами, синтаксическим параллелизмом и эмоциональным контрастом. Introduction. At present, the study of the linguistic picture of the world is carried out in various fields of the humanities. Verbalization and reconstruction of an individual picture of the world are one of the most important tasks of modern linguistics, this is carried out on the basis of an analysis of specific concepts. This article discusses the concept of theater in the individual-author’s world picture of M. Plisetskaya.The aim of our study is determining the conceptual, figurative and evaluative components of the concept of theater, which are characteristic of the individual author’s world picture of Maya Plisetskaya (M. P.) in the background of the national picture of the world. Material and methods. The study is based on the book of memoirs of the ballerina Maya Plisetskaya “I, Maya Plisetskaya”, as well as the National Corpus of the Russian Language and lexicographic sources of various types. In this study we use traditional methods and techniques of semasiological research (component, definitional, contextual, discursive analysis), and the results of these analyzes are consistently comprehended from cognitive perspective and, as a result, mental models are built.Results and discussion. Theater in the Russian picture of the world is one of the main concepts, it occupies an important place in the author’s world picture of M. Plisetskaya. Comparison of materials from explanatory and associative dictionaries and analyzes of fragments of texts, which are extracted from the National Corpus of the Russian Language, allow us to identify the conceptual, figurative and evaluative features of the concept in the national picture of the world. In Russian culture and literature, theater not only refers to art, but also affects the moral qualities of people, brings to them aesthetic pleasure, and contributes to the development of individual. We modeled the associative-semantic field of theater in memoir discourse to reconstruct the individual-author’s theater. The field includes 263 lexemes, divided into 6 microfields: dance and music terminology, theater as a building or place, people related to the theater, various types of theatrical activity, attributes of theatrical activity and theater in the system of the Soviet state.Having identified associations and evaluative discourses, which are associated with theater, we found high emotionality and expressiveness, the features of the theater (in most cases the Bolshoi Theater) at the value level can be divided into 4 parts: Bolshoi Theater in the paradigm of Soviet power, backstage of the Bolshoi, theater as heavy and dangerous work, and Bolshoi as the life and fate of M. Plisetskaya.Conclusion. M. P. saw the theater from the inside, this allows us to reveal the features of the concept in her individual author’s picture of the world: at the conceptual level, theater is wider and richer than in the national picture of the world, our associative-semantic field includes lexemes, which are associated with the stage, ballet, music, audience, ideological censorship, etc. At the figurative and value levels, in the author’s view, theater is multifaceted; For the author, in her youth it appears as a source of pleasure and joy in difficult times, then the concept of theater correlates only with the Bolshoi, it becomes emotionally and evaluatively complicated: attitude of M. P. to theater is ambivalent: indignation, contempt for the Bolshoi in the paradigm of Soviet power, on the other hand, for M. P. theater is all her life, When it is about the stage, the public, and the creativity of the ballet, there are often positive emotional assessments. Value signs are expressed by emotional and evaluative vocabulary, linguistic and occasional metaphors, syntactic parallelism and emotional contrast.
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Kim, Heejin. "The Newness of A. Schoenberg’s Twelve-Tone Technique Interpreted through M. Csikszentmihalyi’s Systems Model". Korean Society of Culture and Convergence 44, n. 12 (31 dicembre 2022): 401–11. http://dx.doi.org/10.33645/cnc.2022.12.44.12.401.
Testo completoAbstract (sommario):
At a time when the creation of new ideas and new products is considered more important than ever, this research reconsiders the role of the cultural domain in producing the future. As seen in the case of the twelve-tone technique provided by Arnold Schoenberg, which is considered a significant new one that exerted notable influence on contemporary music but which is explained as a continuation of the past by the composer himself, newness can be understood as a variant inherited from the past and what is embedded in the accumulation of preexisting cultural products and practices. For this discussion, “A Systems Model” suggested by Mihaly Csikszentmihalyi is explored. This paper argues for the significance of the cultural practices and products from the past for the creation of newness. By doing so, this research contributes to balancing the pursuit of newness with the consideration of the value of what is transmitted from the past, and suggests a way to elaborate Csikszentmihalyi’s theoretical model as well.
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Boffito, Sara. "Mind Works: Technique and Creativity in Psychoanalysis (review)". American Imago 67, n. 1 (marzo 2010): 121–26. http://dx.doi.org/10.1353/aim.2010.a381357.
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Sawyier, Timothy. "A Fresh Look at Psychoanalytic Technique, Selected Papers on Psychoanalysis by Fred Busch". American Imago 79, n. 4 (dicembre 2022): 783–92. http://dx.doi.org/10.1353/aim.2022.0043.
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.., Abedallah Z., Rasha .. e S. Ateeq Almutairi. "Hybrid multi-criteria decision making model creation for bucket wheel excavator evaluation and selection". American Journal of Business and Operations Research 6, n. 1 (2022): 72–84. http://dx.doi.org/10.54216/ajbor.060106.
Testo completoAbstract (sommario):
Residual tensions from manufacturing components and equipment assembly, functional job loads (fixed and dynamic loads), and the disrupted exploitation process all cause strains on bucket-wheel excavators in use (non-stationary dynamic loads). For the purpose of deciding which bucket wheel excavator (BWE) should participate in the rehabilitation and modernisation process, this study proposes a technique for assessing and rating BWEs. In this context, we use a multicriteria approache. The MCDM approach, including the Additive Ratio Assessment, is examined in this work (ARAS). The model, derived from MCDM procedures, are used to the task of assessing the primary metrics that define a BWE's performance. Each cluster of factors, together with their subparameters and potential values, will be subjected to the procedures. There are two sections to the model definitions. Using the ARAS technique, the first section identifies the parameters of most importance and defines their respective priority vectors. In the second section, options are analysed and ranked in accordance with the established criteria using a different set of techniques. The benefits were shown from two perspectives in the paper's findings. The first part is creating a framework that can be used to address other issues with the same structure. There's also the actual machine selection, which is based on a complicated examination of many different variables. In most cases, the model generalises well and may be re-used in future studies with comparable parameters.