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Статті в журналах з теми "Traditional Japanese musical concepts"
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De Ferranti, Hugh. "‘Japanese music’ can be popular." Popular Music 21, no. 2 (May 2002): 195–208. http://dx.doi.org/10.1017/s026114300200212x.
Повний текст джерелаАнотація:
Traditional genres, modern popular music, ‘classical’ concert music and other styles of music-making in Japan can be viewed as diverse elements framed within a musical culture. Bourdieu's concept of habitus, and Williams' of dominant, residual and emergent traditions, are helpful in formulating an inclusive approach, in contrast to the prevailing demarcation between traditional and popular music research. Koizumi Fumio first challenged the disciplinary separation of research on historical ‘Japanese music’ and modern hybrid music around 1980, and the influence of his work is reflected in a small number of subsequent writings. In Japanese popular music, evidence for musical habitus and residual traits of past practice can be sought not only in characteristics typical of musicological analysis; modal, harmonic and rhythmic structures; but also in aspects of the music's organisation, presentation, conceptualisation and reception. Among these are vocal tone and production techniques, technical and evaluative discourse, and contextual features such as staging, performer-audience interaction, the agency of individual musicians, the structure of corporate music-production, and the use of songs as vehicles for subjectivity. Such an inclusive approach to new and old musical practices in Japan enables demonstration of ways in which popular music is both part of Japanese musical culture and an authentic vehicle for contemporary Japanese identity.
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Halliwell, Patrick. "Learning the Koto." Canadian University Music Review, no. 14 (February 22, 2013): 18–48. http://dx.doi.org/10.7202/1014309ar.
Повний текст джерелаАнотація:
This paper examines traditionally-oriented teaching and learning processes in Japanese koto music. Earlier evaluations (negative and positive) by Western scholars are introduced, together with a brief comparison to Western practices. A distinction is made between "inside" and "outside" students; the former have greater exposure to music and speech about music, and teaching methods also may differ. Traditional methods of learning through imitation are shown to have other musical goals besides the transmission of musical "text." Playing together is fundamental; teachers may use speech, shôga (oral representation of instrumental sound), or purely musical means to convey information to the student. Notation, often used nowadays, is nevertheless of relatively minor importance. The dominant values underlying traditional teaching methods are expressed through the phrase "if you can steal it, that's OK." Finally, concepts of "text" and "interpretation" are considered in relation to values concerning change in traditional koto music.
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Irlandini, Luigi Antonio. "Musical Time in Tōru Takemitsu’s November Steps." Per Musi, no. 42 (November 2, 2022): 1–28. http://dx.doi.org/10.35699/2317-6377.2022.40417.
Повний текст джерелаАнотація:
This article offers a formal analysis of Tōru Takemitsu’s composition November Steps and discusses the composer’s statements that the piece has eleven variations (that he calls “Steps”) and is an equivalent of a Western Theme and Variations form as well as of a Japanese traditional form called danmono. There is a discrepancy between these statements and the music’s temporal organization. Not too much has been written about November Steps, and musicologists that have done it have avoided the “perplexing task” of double checking what is true about them and what is not. Therefore, this article’s goal is to unveil the mysteries about November Steps’ form, which is thoroughly considered here as musical time. The work displays a unique conception of temporality, identified here as circular, at one level, and cyclic, at another. The article explains the notion of circularity as applied to musical time, and also discusses the relationship between this specific work and the Japanese and Western traditional concepts of time that are reflected in the music.
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Mannone, Maria, and Takashi Yoshino. "Temari Balls, Spheres, SphereHarmonic: From Japanese Folkcraft to Music." Algorithms 15, no. 8 (August 14, 2022): 286. http://dx.doi.org/10.3390/a15080286.
Повний текст джерелаАнотація:
Temari balls are traditional Japanese toys and artworks. The variety of their geometries and tessellations can be investigated formally and computationally with the means of combinatorics. As a further step, we also propose a musical application of the core idea of Temari balls. In fact, inspired by the classical idea of music of spheres and by the CubeHarmonic, a musical application of the Rubik’s cube, we present the concept of a new musical instrument, the SphereHarmonic. The mathematical (and musical) description of Temari balls lies in the wide background of interactions between art and combinatorics. Concerning the methods, we present the tools of permutations and tessellations we adopted here, and the core idea for the SphereHarmonic. As the results, we first describe a classification of structures according to the theory of groups. Then, we summarize the main passages implemented in our code, to make the SphereHarmonic play on a laptop. Our study explores an aspect of the deep connections between the mutually inspiring scientific and artistic thinking.
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Reehl, Duncan. "Musicalizing the Heart Sutra: Buddhism, Sound, and Media in Contemporary Japan." Religions 12, no. 9 (September 13, 2021): 759. http://dx.doi.org/10.3390/rel12090759.
Повний текст джерелаАнотація:
In Japan, explicitly religious content is not commonly found in popular music. Against this mainstream tendency, since approximately 2008, ecclesiastic and non-ecclesiastic actors alike have made musical arrangements of the Heart Sutra. What do these musical arrangements help us to understand about the formation of Buddhist religiosity in contemporary Japan? In order to answer these questions, I analyze the circulation of these musical arrangements on online media platforms. I pursue the claim that they exhibit significant resonances with traditional Japanese Buddhist practices and concepts, while also developing novel sensibilities, behaviors, and understandings of Buddhist religiosity that are articulated by global trends in secularism, popular music, and ‘spirituality’. I suggest that they show institutionally marginal but publicly significant transformations in affective relationships with Buddhist religious content in Japan through the mediation of musical sound, which I interpret as indicative of an emerging “structure of feeling”. Overall, this essay demonstrates how articulating the rite of sutra recitation with modern music technologies, including samplers, electric guitars, and Vocaloid software, can generate novel, sonorous ways to experience and propagate Buddhism.
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Kaidi, Wang. "TANG JIANPING'S OPERA "THE DAWNS HERE ARE QUIET": HISTORY OF CREATION AND SPECIFICS OF MUSICAL DRAMATURGY." Arts education and science 1, no. 3 (2020): 161–67. http://dx.doi.org/10.36871/hon.202003019.
Повний текст джерелаАнотація:
The article is devoted to the Opera "The Dawns Here Are Quiet" by the Chinese composer Tang Jianping based on the same-named novel by Boris Vasilyev. The theme of the Great Patriotic War, which for the first time became the plot of the Chinese Opera, was in tune with the theme of the Chinese Resistance to the Japanese Invasion. The composition synthesizes the characteristics of the European opera type in its Russified version, which was reflected in the heroic and epic dramaturgy and multi-part musical text. Russian folklore allusions, quasi- quotes from Russian operas, military-patriotic and Soviet mass songs reflect the author's method. The integrity of musical dramaturgy was given by the leitmotif, which became the main marker of Russian identity in the Opera. The Opera lacks a naturalistic embodiment of the War, and depicts the enemy in a conventional, symbolic way, in the form of unnamed but recognizable figures. The creators of the play sought to reveal the barbaric essence of the War, its anti-human character, to present the psychological state of the heroes and the manifestation of their human nature. The theme of the death of young girls gave a special perspective to the Opera, which is particularly acute in China due to gender disparity. The concept of the composer, director and screenwriter reflects the ideological constants of traditional Chinese culture, which gave the Opera an internal subtext.
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Azarova, Valentina Vladimirovna. "On the organization of sound space in "The Tidings brought by Mary" by Paul Claudel, 1912 edition." Культура и искусство, no. 4 (April 2022): 141–63. http://dx.doi.org/10.7256/2454-0625.2022.4.37912.
Повний текст джерелаАнотація:
The article examines the words and the meaning, as well as the dramaturgy of sound in the first edition of the mystery "The Tidings brought by Mary" by Paul Claudel. Understanding the synthesis of verbal and vocal intonation leads the author of the article to discover new ways of solving the problem of stage music in mystery drama by Claudel. The discrete nature of the design of the sound space of the mystery in the first edition represents the concept of separately performed fragments, in which the episodes integrated into the action in liturgical Latin are united by a common spiritual meaning. At the same time, the design of the sound space in the 2nd scene of Act III (the dramatic climax, the sacred space of the mystery) is characterized by novelty. Based on the interaction of theatrical-dramatic and musical structural elements, the composition of the scene is subordinated to the principle of end-to-end, continuous vocal-dramatic development of the action. Conclusions are drawn: during the 1910s, Claudel's idea of music in mystery drama was transformed - instead of musical fragments of an "applied" nature, a new compositional idea of stage music arose. The lyrical intonation of the author's voice is found in the sound space of the work. The mirror of Claudel's mystery reflects the principles of sound design of dramatic productions of traditional Japanese theater (Bunraku, Kabuki, Noh), as well as images of poetry of China and Japan. In the sound of the "The Tidings brought to Mary", the semantic and dramatic functions are performed by the verses of the songs "Oriole sings" and "Margarita, clear May!" performed by children's voices. Claudel's mystery drama formed a new understanding of the universal meaning of the mystery in the twentieth century.
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Nikulina, Nelia. "Denominative Models of Automobile Nomens (on the Material of Japanese Makes, Models and Modifications of Vehicles)." Terminological Bulletin, no. 4 (2017): 167–73. http://dx.doi.org/10.37919/2221-8807-2017-4-167-173.
Повний текст джерелаАнотація:
Denomination of material objects in the field of machine building, in particular the origin and the semantics of automobile nomens on the car makes indication, was studied by A.P.Romanchenko, N.M.Khrustyk, A.M.Yanchyshyn, also the topic was passingly considered by the Ukrainian scientists interested in the problem of pragmonims (O.O.Belei, O.V.Vinarieva, M.M.Dziuba, H.V.Zymovets, O.Iu.Karpenko, T.Iu.Kovalevska, N.V.Lysa, O.M.Tepla, S.O.Shestakova). The purpose of the article is to research the processes of nomenclature denomination, namely the formation of the nomens in the motor-transport area, especially the nomenclature names of the cars. Having analyzed more than 600 automobile nomens on indication of the makes and models of motor-transport means of Japanese manufacture, we can state that mythological, culturological, astronomical and geographical constructions from various aspects, sometimes of rather exotic nature, have been drawn to the arsenal, although traditional for marketing denomination of things was also used. In general, from 20 groups of names of Japanese cars that we distinguished the group of automobile denominative nomens in which the zoological component of the name has been used appeared to be the biggest one (21 nomenclature units), then comes the group of nomens having a musical culturological component in its name (16 nomenclature units), the third place is occupied by automobile nomens where the astronomical components are involved (15 nomenclature units). Thus, we can make a conclusion: the starting point of automobile denomination is usually an associative factor as such name is easy to remember and it catches from mind the necessary image, which is aimed at modeling the successful consumer’s concept about the commercial offer, in this case – a car. But a number of debatable issues are still to be solved, they are associated with the detailed research of the semantic component of denominative automobile nomens, the connection of the own name, the associative factor and the denoted material object, which require additional attention of the Ukrainian terminologists.
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Montagu, Jeremy, and Paul Wolff. "A Checklist of Traditional Japanese Musical Instruments." Galpin Society Journal 45 (March 1992): 147. http://dx.doi.org/10.2307/842278.
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Johnson, Henry. "Japanese collections of traditional Japanese musical instruments: Presentation and representation." Musicology Australia 22, no. 1 (January 1999): 46–62. http://dx.doi.org/10.1080/08145857.1999.10416563.
Повний текст джерелаДисертації з теми "Traditional Japanese musical concepts"
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Johnson, Henry Mabley. "The symbolism of the koto : an ethnomusicology of the form and function of a traditional Japanese musical instrument." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357620.
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Takabayashi, Miwa. "Tsutsumu : An investigation into the use of traditional Japanese paper packaging techniques and concepts for a context specific contemporary art practice." Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519572.
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Kuh, Ja-Kyoung. "THE USE OF TRADITIONAL KOREAN COMPOSITIONAL TECHNIQUES IN ISANG YUN'S OPERA "DIE WITWE DES SCHMETTERLINGS" (THE BUTTERFLY WIDOW): COMBINING EASTERN MUSICAL VALUES AND CONCEPTS WITHIN THE CONTEXT OF WESTERN PRACTICE." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/193734.
Повний текст джерелаАнотація:
Isang Yun (1917-1995) is one of the most important composers in Korean history. Even though Yun is a South Korean-born composer, most of his music was composed in Germany and has been largely performed and studied in Europe, Japan, and even North Korea. His music is unfamiliar to South Korean audiences because of the political issues surrounding the East Berlin Spy Incident (1967). Isang Yun composed a massive amount of music employing his unique compositional methods, such as the Korean traditional zither technique, Nonghyun, which is very similar to the vocal technique, Sigimsae. Also Yun created a Main-Tone Technique that was influenced by Korean court music and utilized more practically for his orchestra pieces as a Main-Sound Technique. Based on Taoist philosophy, Yun employed yin and yang concepts in his compositions and formulated his music with balance. All of his techniques and styles of music were designed by employing Eastern musical language and European compositional techniques. In this thesis, I will introduce the concepts and compositional techniques of Isang Yun. Also, by analyzing how he translated Eastern musical concepts into Western musical techniques in his opera, Die Witwe des Schmetterlings (The Butterfly Widow), I will attempt to demonstrate Yun's unique compositional style which resulted from a blending of Eastern and Western musical elements. In this opera, we have a unique example of how he successfully employed his own Korean musical values and techniques within the context of Western practice. Yun rediscovered the value of his own Eastern compositional techniques and then shared his music with Western audiences.
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Kondo, Masako. "Portfolio of recorded performances and exegesis: the influence of selected traditional Japanese musical concepts on contemporary flute repertoire." Thesis, 2010. http://hdl.handle.net/2440/61311.
Повний текст джерелаАнотація:
This submission investigates the influence of selected Japanese traditional musical concepts on the contemporary flute repertoire through performance. The influence of selected Japanese traditional musical concepts and techniques from traditional instruments particularly the shakuhachi (vertical bamboo flute) are explored. Repertoire selected from works by Japanese composers that have a theme of nature especially seasons and birds as well as two works by European composers are presented in order to compare different approaches to the same theme. The exegesis provides a brief historical context, introduces key Japanese concepts such as ma (silence), and ichion jōbutsu (tonality) as well as selected shakuhachi techniques before discussing their application in performance. Examples taken from the author’s recitals are used to illustrate the discussion and the two CDs of the complete recitals are integral to the submission.
CD 1: Nature and Seasons
Sakura Variations for Flute and Piano (1962) Japanese Folk Song (Masao Yoshida, arr.).
Autumn Fantasy for Flute and Piano (1987/88) Minoru Miki.
Air for Flute Solo (1995) Tōru Takemitsu.
Sonata for Flute and Piano -Hana no Uta (The Song of Flowers)- (1967) Hikaru Hayashi.
Itinerant -In memory of Isamu Noguchi- for Flute (1989) Tōru Takemitsu.
Sonata Festosa for Flute and Piano, Op. 17 (1937) Bunya Koh.
CD 2: Nature and Birds
Le Merle Noir for Flute and Piano (1951) Olivier Messiaen.
Air for Flute Solo (1995) Tōru Takemitsu.
First Sonata for Flute and Piano (1945) Bohslav Martinu.
Mei for Solo Flute (1962) Kazuo Fukushima.
Digital Bird Suite for Flute and Piano, Op. 15 (1982) Takashi Yoshimatsu.
Akatombo (Red Dragonflies) for Flute and Piano (1973) Kōsaku Yamada (Teruyuki Noda, arr.).Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2010
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Liao, Wan-Ting, and 廖婉婷. "Music Theatre《The Dream of Sakamoto Ryoma》：The Characteristics of Japanese Traditional Music and My Musical Composition." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/a4d3at.
Повний текст джерелаКниги з теми "Traditional Japanese musical concepts"
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Wolff, Paul. A checklist of traditional Japanese musical instruments. The Hague: Musical Instrument Collection, Music Dept., Haags Gemeentemuseum, 1988.
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Malm, William P. Traditional Japanese music and musical instruments: The new edition. Tokyo: Kodansha International, 2000.
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Japan on stage: Japanese concepts of beauty as shown in the traditional theatre. Tokyo, Japan: 3A Corp., 1990.
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Malm, William. Traditional Japanese Music and Musical Instruments (Yamaguchi Kan Series). Kodansha International, 2001.
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Goze: Women, Musical Performance, and Visual Disability in Traditional Japan. Oxford University Press, Incorporated, 2016.
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Groemer, Gerald. Goze: Women, Musical Performance, and Visual Disability in Traditional Japan. Oxford University Press, Incorporated, 2016.
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Dezenzo, Mike. Shamisen for Beginners : a Musical Journey That Will Be Both Educational and Lots of Fun: Interesting Facts about Traditional Japanese Music. Independently Published, 2021.
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Frith, Simon. Afterword. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0017.
Повний текст джерелаАнотація:
The afterword comments on the central concepts of the book. It begins with a critique of traditional musicology and of sociological studies of music, the former examining musical content with insufficient focus on social content and the latter doing the reverse. In reviewing the book’s chapters, the afterword points to the complex networks of commerce and art that are present in all pieces of music. The study of musical instruments is also crucial in this volume, as the authors examine the interaction between instrument and instrumentalist and how the concept of “musical instrument” has expanded to include electronic media. The afterword also points to the book’s focus on the social context of both instrument and genre. It concludes by pointing out the synthesis of musical pleasure and serious academic study achieved by the volume.
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Gibbons, William. Remixed Metaphors. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0007.
Повний текст джерелаАнотація:
This chapter investigates games in which classical music is remixed with popular styles, a juxtaposition that challenges traditional concepts of highbrow and lowbrow musical styles. The chapter provides readings of several games including the arcade classic Gyruss, the indie game Fez, the downloadable music game Boom Boom Rocket, and the bizarre shooter series Parodius, which has been released only in Japan. In a discussion of the concept of “carnival” developed by the cultural theorist Mikhail Bakhtin, the chapter explores how games can create spaces in which even the most serious of classical works can become humorous or even surreal.
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Johnson, Shersten. Understanding Is Seeing. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.7.
Повний текст джерелаАнотація:
Music notation, often thought of as a neutral vehicle of communication between composer and performer—a mere memory aid or set of performance instructions—is in truth hardly unbiased. It not only shapes music, but also shapes how we think and talk about it and, by extension, how we analyze it. This essay studies the influences of notation on traditional analytical understandings of music and how through the lens of disability––particularly blindness––those understandings can be “reread.” The discussion explores narratives of analysis that explicate musical structure by relying on visual means of interpretation. An obvious place to begin critiquing these narratives is by examining how tactile representations like Braille notation conceptualize music. Accounts of visually impaired musicians’ experiences with notation and analysis will motivate discussion of alternative ways of hearing and representing musical structure. The essay then contemplates other means of understanding that serve the goals of music analysis with reference to concepts of “universal design.”
Частини книг з теми "Traditional Japanese musical concepts"
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Sheppard, W. Anthony. "Conclusions? or, Contemporary Representations and Reception." In Extreme Exoticism, 372–428. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0010.
Повний текст джерелаАнотація:
This chapter focuses on examples of American japonisme and interactions with traditional Japanese culture from the past few decades, thereby revealing connections with older representational techniques and concerns. The chapter starts with an extended discussion of Stephen Sondheim’s Broadway musical Pacific Overtures and a brief discussion of films during the trade war period. The second section focuses on Weezer’s Pinkerton album as a continuation of Tin Pan Alley exoticism. In the early twenty-first century, multiple female pop stars (Madonna, Katy Perry) appropriated the geisha image in performance. The chapter then turns toward Asian American postmodern attempts to undermine Orientalism, as in David Henry Hwang’s M. Butterfly. Recently, organizations such as the Japan Society have commissioned numerous American composers to create works for Japanese instruments. In addition, numerous Americans have become professional shakuhachi players and teachers. The chapter concludes with recent examples of japonisme aimed particularly at children (animation, video games).
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Takeshi, Kensho. "Traditional Music in Japanese Music Education." In Advances in Early Childhood and K-12 Education, 94–107. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch006.
Повний текст джерелаАнотація:
The research topic deals with the development of a music education on fundamental approach of teaching shakuhachi traditional music. The shakuhachi is a Japanese bamboo flute with four finger holes in the front and one thumb hole in the back. It is a very simple instrument and is played without a reed. The purpose of the study is to investigate the extent of the interaction of traditional musical issues on Japanese music education by tracing the new music curriculum in 2019. The topic of this study is the development of a fundamental approach of teaching Japanese traditional music. The author demonstrates a basic shakuhachi training method using two to five tones in Japanese traditional children's songs, and Japanese warabeuta (traditional children's songs) and minyo (folk songs). Students study how to make sound, then they play a simple piece. Also, they will be able to study Japanese cultural background through to shakuhachi.
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Akutsu, Taichi, Richard K. Gordon, and Keiko Noguchi. "Critical Pedagogy and Children's Musical Flow." In Advances in Early Childhood and K-12 Education, 170–96. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5059-6.ch008.
Повний текст джерелаАнотація:
This study investigates the authors’ application of critical pedagogy constructs during Japanese children’s violin learning. Designing and implementing the Instructional Organizer (IO) for critical practice and adapting Custodero’s (1998, 2005) flow studies in children’s musical activities forms the conceptual framework of the study. A Japanese violin teacher, one of the researchers of this study, applied the IO in a Japanese public school’s afterschool program to construct community violin classes. In contrast, the same teacher taught group violin classes in a traditional manner at another public school. Lesson videos and field notes enabled the authors to narratively describe children’s flow experiences. Findings suggest that multiple flow experiences were identified in the community classes. In contrast, the flow was often stifled in the traditional group classes. The IO template was very useful in aiding the teacher in creating rich pedagogical spaces where community group students were able to exhibit hallmarks of “flow.”
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"From Traditional to Postmodern Concepts of Self in the West." In Exploring the Self, Subjectivity, and Character across Japanese and Translation Texts, 29–47. BRILL, 2022. http://dx.doi.org/10.1163/9789004505865_003.
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"4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka." In Musical Composition in the Context of Globalization, 82–113. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839450956-011.
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"4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka." In Musical Composition in the Context of Globalization, 82–113. transcript Verlag, 2021. http://dx.doi.org/10.1515/9783839450956-011.
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Wallmark, Zachary. "Sound and Embodiment in the Japanese Shakuhachi." In Nothing but Noise, 118–44. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190495107.003.0005.
Повний текст джерелаАнотація:
This chapter explores the performance practice tradition of the Japanese shakuhachi flute, particularly as it pertains to timbre production. It adopts a critical organological orientation, detailing the bodily mechanics and acoustics of shakuhachi performance through the analysis of phrases from the representative pieces “Sokkan” and “Yamagoe.” It shows that the noise elements (sawari) in shakuhachi music play an aesthetically and ethically important role in the tradition, and have long been contested by different factions within the shakuhachi community. It explores this conflict as a manifestation of the psychoanalytic concept of abjection—which holds the abject to be something ugly. In contrast to the usual application of this theory, to some shakuhachi practitioners, playing beautifully represents the abject state. This inversion vividly illustrates the social constructedness of timbre perceptions and points to the sometimes slippery ground separating acoustic and epistemological understandings of noise.
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Reybrouck, Mark. "Musical Information Beyond Measurement and Computation." In Advances in Multimedia and Interactive Technologies, 100–120. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0270-8.ch006.
Повний текст джерелаАнотація:
This chapter elaborates on the concepts of music information and information processing by bringing together the fields of computation, cybernetics and the dynamic systems approach. It conceives of music users as autonomous agents that behave as adaptive devices that construct their musical knowledge as the outcome of continuous epistemic interactions with the sonic world. As such, it challenges the classical symbolic-conceptual approach to musical information in terms of static, discrete and objective categories in favor of a trans-classical model that relies on subjective, process-like and non-discrete categories of meaning. In an attempt to go beyond traditional dichotomies, it proposes a hybrid perceptual-conceptual approach that does justice both to the richness and fullness of perceptual experience and the plasticity of mental operations in a kind of symbolic play.
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Blum, Stephen. "Meter and Rhythm in the Sung Poetry of Iranian Khorasan." In Thought and Play in Musical Rhythm, 75–99. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.003.0004.
Повний текст джерелаАнотація:
The rhythmic theory developed by al-Fārābī remains relevant to the analysis of sung poetry in the contemporary Middle East, not least with respect to the question of how duration comes to be determined and the conception of verse as a constituent of melody (Arabic laḥn) in the fullest sense. This chapter reviews some of Fārābī’s concepts in relation to Christopher Hasty’s discussion of projective potential. Analysis of eight examples of sung verse in Persian and Khorasani Turkish focuses on coordination of tunes with rhythmic cycles associated with different types of poetic meter. I argue that the best analytical work on Persian traditional music, notably that of Dariush Talā’i, provides an excellent foundation for studies of Iran’s regional musics.
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Sheppard, W. Anthony. "An Exotic Enemy." In Extreme Exoticism, 197–233. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0006.
Повний текст джерелаАнотація:
The cinema was the most effective medium for anti-Japanese propaganda in the U.S. during World War II and was the site of music’s most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexistent European music, stereotypical Orientalist signs, and traditional Japanese music against the exotic enemy. Select sophisticated examples of musical propaganda are analyzed, offering new perspectives for the study of cross-cultural musical encounters. For many in the U.S., Hollywood film music continues to shape their impressions of Japan and their perceptions of Japanese music.
Тези доповідей конференцій з теми "Traditional Japanese musical concepts"
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Anwar, Khairil, Dadi Rusdiana, Ida Kaniawati, and Sparisoma Viridi. "Construction of basic concepts of waves through a “gambo” (traditional musical instrument)." In THE 8TH ANNUAL BASIC SCIENCE INTERNATIONAL CONFERENCE: Coverage of Basic Sciences toward the World’s Sustainability Challanges. Author(s), 2018. http://dx.doi.org/10.1063/1.5062747.
Повний текст джерела
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Mukai, Hibiki. "An Interactive and Digital Puppeteering Interface for new musical expression (IDPI)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.
Повний текст джерелаАнотація:
Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
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Snook, Kelly, Tarik Barri, Joachim Goßmann, Jason Potts, Margaret Schedel, and Hartmut Warm. "Kepler Concordia: Designing an Immersive Modular Musical and Scientific Instrument Using Novel Blockchain and Sonification Technologies in XR." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.034.
Повний текст джерелаАнотація:
This paper describes the first steps in the creation of a new scientific and musical instrument to be released in 2019 for the 400th anniversary of Johannes Kepler's Harmonies of the World, which laid out his three laws of planetary motion and launched the field of modern astronomy. Concordia is a musical instrument that is modularly extensible, with its first software and hardware modules and underlying framework under construction now. The instrument is being designed in an immersive extended-reality (XR) environment with scientifically accurate visualizations and datatransparent sonifications of planetary movements rooted in the musical and mathematical concepts of Johannes Kepler [1], extrapolated into visualizations by Hartmut Warm [2], and sonified. Principles of game design, data sonification/visualization optimization, and digital and analog music synthesis are used in the 3D presentation of information, the user interfaces (UX), and the controls of the instrument, with an optional DIY hardware “cockpit” interface. The instrument hardware and software are both designed to be modular and open source; Concordia can be played virtually without the DIY cockpit on a mobile platform, or users can build or customize their own interfaces, such as traditional keyboards, button grids, or gestural controllers with haptic feedback to interact with the system. It is designed to enable and reward practice and virtuosity through learning levels borrowed from game design, gradually building listening skills for decoding sonified information. The frameworks for uploading, verifying, and accessing the data; programming and verifying hardware and software module builds; tracking of instrument usage; and managing the instrument's economic ecosystem are being built using a combination of distributed computational technologies and peer-to-peer networks, including blockchain and the Interplanetary Filesystem (IPFS). Participants in Concordia fall into three general categories, listed here in decreasing degrees of agency: 1) Contributors; 2) Players; and 3) Observers. This paper lays out the broad structure of Concordia, describes progress on the first software module, and explores the creative, social, economic, and educational potential of Concordia as a new type of creative ecosystem.
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Agafita, Mihail. "Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.
Повний текст джерелаАнотація:
Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.
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Zappa, Marco. "Pleasing the ‘Bubble:’ Abe Shinzō’s Strategic Self-Exhibition on Facebook." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.16-4.
Повний текст джерелаАнотація:
Not only is Abe Shinzō on the way to becoming Japan’s longest-serving Prime Minister in the country’s history. With more than 1 million followers on Twitter and slightly less than 600 hundred thousand fans on Facebook, he is by far the most successful Japanese political leader on social media. Commentators have described Abe’s turn to social networking services (SNS) as a “revenge” against “traditional” media against the background of a growing use of SNSs by other major Japanese political actors. At any rate, particularly through Facebook, combining text and pictures of himself on and off duty, Abe has successfully established his own mode to communicate with and “exhibit” himself to voters, citizens and the global community of netizens. This paper aims to address the following research question: on which themes and key concepts is this “presentation of the self” based? In other words, how is the Prime Minister communication staff constructing Abe’s “social” image and to which audience is this aimed? Based on Goffman’s theorization and later application of his work on the study of online social interactions, this paper illustrates the strive to ensure the consistency of Abe’s use of the SNS with previously expressed concepts and ideas (e.g., in the 2006 book “A Beautiful Country”), with the aim of pleasing the “bubble” of like-minded individuals constituting Abe’s (online) support base, and avoid issues that might possibly harm the Prime Minister’s reputation. Abe’s Facebook activity (a combination of text and pictures) during a critical time in his second tenure (2017), in which he faced cronyism allegations while coping with gaffes and scandals involving cabinet members, provided a case in point for multimedia content analysis.
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Shiota, Kazuko. "Effectiveness of Collaborative Learning for Improving False Beginners’ Grammar Skills and Self-efficacy." In 16th Education and Development Conference. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/edc.2021.004.
Повний текст джерелаАнотація:
Abstract: Prior studies indicate that many Japanese college students remain at the beginner level even after studying English for six years. Also, their self-efficacy is low, which hinders their improvement. Generally, grammar classes are taught in a traditional way, that is, one-way teacher centered, and students are supposed to copy what is written on a blackboard while listening to teachers’ instruction and memorizing grammar rules. In such grammar classes, false beginners have had little successful experience. Traditional teaching methods are intended to provide remedial education in many colleges but might result in poor outcomes and even be counterproductive. According to Bandura (1977), self-efficacy drives actions that are necessary to achieve desired results, and he classified the concepts of self-efficacy into the following four categories: (1) performance accomplishment, (2) vicarious learning, (3) verbal encouragement, and (4) emotional state. For improving false beginners’ English skills, self-efficacy matters. So, for college students still at the beginner level, what would be the ideal method of learning English grammar? How should teachers help them? What if collaborative learning is introduced? In collaborative learning, two or more people learn together. In contrast to individual learners, collaborative learners gain advantages from one another’s resources and skills (e.g., asking one another for information, evaluating one another's ideas, monitoring one another’s work). Under such a circumstance, learners can make it easier to accomplish tasks by encouraging each other. They see a successful peer as a future ideal self, and then they can sense possibilities for themselves, i.e., self-efficacy. In fact, beginners’ low meta-cognitive skills (Sakai, 2011) prevent them from improving their English skills. However, because collaborative learning might be a solution effective than individual learning in achieving critical thinking (Oxford, 1997). More so than in other subjects, collaborative learning is actively conducted in English classes, e.g., conversation practice in pairs, peer feedback on writings, presentations, and group discussions, but there are few pedagogical reports on collaborative learning from grammar classes. In this small poster presentation for the 16th Education and Development Conference, (1) the effectiveness of collaborative activities in Japan for learning grammar will be overviewed, and (2) other options that could improve false beginners’ self-efficacy in learning English grammar are discussed to provide directions for further research. Keywords: Collaborative/Cooperative Learning, False-beginner, grammar, self-efficacy, meta-cognitive skills
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Schneider, Jerry, Jeffrey Wagner, and Judy Connell. "Restoring Public Trust While Tearing Down Site in Rural Ohio." In The 11th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2007. http://dx.doi.org/10.1115/icem2007-7319.
Повний текст джерелаАнотація:
In the mid-1980s, the impact of three decades of uranium processing near rural Fernald, Ohio, 18 miles northwest of Cincinnati, became the centre of national public controversy. When a series of incidents at the uranium foundry brought to light the years of contamination to the environment and surrounding farmland communities, local citizens’ groups united and demanded a role in determining the plans for cleaning up the site. One citizens’ group, Fernald Residents for Environmental Safety and Health (FRESH), formed in 1984 following reports that nearly 300 pounds of enriched uranium oxide had been released from a dust-collector system, and three off-property wells south of the site were contaminated with uranium. For 22 years, FRESH monitored activities at Fernald and participated in the decision-making process with management and regulators. The job of FRESH ended on 19 January this year when the U.S. Secretary of Energy Samuel Bodman and U.S. Environmental Protection Agency Administrator Stephen Johnson — flanked by local, state, and national elected officials, and citizen-led environmental watchdog groups including FRESH — officially declared the Fernald Site clean of all nuclear contamination and open to public access. It marked the end of a remarkable turnaround in public confidence and trust that had attracted critical reports from around the world: the Cincinnati Enquirer; U.S. national news programs 60 Minutes, 20/20, Nightline, and 48 Hours; worldwide media outlets from the British Broadcasting Company and Canadian Broadcasting Company; Japanese newspapers; and German reporters. When personnel from Fluor arrived in 1992, the management team thought it understood the issues and concerns of each stakeholder group, and was determined to implement the decommissioning scope of work aggressively, confident that stakeholders would agree with its plans. This approach resulted in strained relationships with opinion leaders during the early months of Fluor’s contract. To forge better relationships, the U.S. Department of Energy (DOE) who owns the site, and Fluor embarked on three new strategies based on engaging citizens and interested stakeholder groups in the decision-making process. The first strategy was opening communication channels with site leadership, technical staff, and regulators. This strategy combined a strong public-information program with two-way communications between management and the community, soliciting and encouraging stakeholder participation early in the decision-making process. Fluor’s public-participation strategy exceeded the “check-the-box” approach common within the nuclear-weapons complex, and set a national standard that stands alone today. The second stakeholder-engagement strategy sprang from mending fences with the regulators and the community. The approach for dispositioning low-level waste was a 25-year plan to ship it off the site. Working with stakeholders, DOE and Fluor were able to convince the community to accept a plan to safely store waste permanently on site, which would save 15 years of cleanup and millions of dollars in cost. The third strategy addressed the potentially long delays in finalizing remedial action plans due to formal public comment periods and State and Federal regulatory approvals. Working closely with the U.S. and Ohio Environmental Protection Agencies (EPA) and other stakeholders, DOE and Fluor were able to secure approvals of five Records of Decision on time – a first for the DOE complex. Developing open and honest relationships with union leaders, the workforce, regulators and community groups played a major role in DOE and Fluor cleaning up and closing the site. Using lessons learned at Fernald, DOE was able to resolve challenges at other sites, including worker transition, labour disputes, and damaged relationships with regulators and the community. It took significant time early in the project to convince the workforce that their future lay in cleanup, not in holding out hope for production to resume. It took more time to repair relationships with Ohio regulators and the local community. Developing these relationships over the years required constant, open communications between site decision makers and stakeholders to identify issues and to overcome potential barriers. Fluor’s open public-participation strategy resulted in stakeholder consensus of five remedial-action plans that directed Fernald cleanup. This strategy included establishing a public-participation program that emphasized a shared-decision making process and abandoned the government’s traditional, non-participatory “Decide, Announce, Defend” approach. Fernald’s program became a model within the DOE complex for effective public participation. Fluor led the formation of the first DOE site-specific advisory board dedicated to remediation and closure. The board was successful at building consensus on critical issues affecting long-term site remediation, such as cleanup levels, waste disposal and final land use. Fluor created innovative public outreach tools, such as “Cleanopoly,” based on the Monopoly game, to help illustrate complex concepts, including risk levels, remediation techniques, and associated costs. These innovative tools helped DOE and Fluor gain stakeholder consensus on all cleanup plans. To commemorate the outstanding commitment of Fernald stakeholders to this massive environmental-restoration project, Fluor donated $20,000 to build the Weapons to Wetlands Grove overlooking the former 136-acre production area. The grove contains 24 trees, each dedicated to “[a] leader(s) behind the Fernald cleanup.” Over the years, Fluor, through the Fluor Foundation, also invested in educational and humanitarian projects, contributing nearly $2 million to communities in southwestern Ohio, Kentucky and Indiana. Further, to help offset the economic impact of the site’s closing to the community, DOE and Fluor promoted economic development in the region by donating excess equipment and property to local schools and townships. This paper discusses the details of the public-involvement program — from inception through maturity — and presents some lessons learned that can be applied to other similar projects.