Panopticon surveillance is a concept that was first used by Jeremy Bentham, an English philosopher of the 18th century, in designing a fundamentally new type of prison. Michel Foucault, a French historian and thinker, returns to this concept in the 20th century and explains it as the new surveillance mechanisms of modern societies. Foucault believed that the disciplinary power to be applied should have a permanent, exhaustive and omnipresent means of surveillance that remains invisible while making everything visible. As a result, the new strategy of this power is based on hierarchical surveillance. In fact, Foucault reads the Panopticon as a generalizable model and a plan for the future that explains power relations in the daily life of people on a very macro level. From his point of view, omniscient supervision in Bentham's plan provides a central metaphor to describe the mechanisms of disciplinary power in modern societies. As a result, he believed that modern societies can be called disciplinary societies.During recent decades, this concept has transcended the framework of social studies and entered the field of cinema studies. By reviewing the works of early cinema, film scholars have confirmed the inherent links and affinities between surveillance and medium of cinema and have paid attention to thematic and structural ways of using it in films. This article seeks to analyze the way Panopticon surveillance is represented in the film The Invisible Trap (1979), borrowing from the ideas of Michel Foucault. The Invisible Trap is a lesser-known film in Iran's pre-revolutionary cinema, which was made by the order of SAVAK security organization in 1979. Following the developments of the year of its production and the reluctance of its actors to talk about it, the film was forgotten and joined the list of abandoned films in the history of Iranian cinema. The film narrates the true story of identifying, monitoring and arresting one of the spies of the imperial army of the Pahlavi regime, named Ahmad Moqrabi, who was cooperating with KGB officers for many years. To this end, first, the surveillance mechanisms in Panopticon are examined, and then, in order to explain the concept of the Panopticon surveillance, Foucault's views are borrowed. Then, the concept of surveillance cinema is analyzed from the perspective of important theoreticians of this field and finally the selected film in Iranian cinema is analyzed. At the end, a conclusion is drawn about the application of Panopticon surveillance in The Invisible Trap (1979). The current research, which was carried out with a descriptive-analytical method and using library sources, raises the argument that through this work, SAVAK had tried to represent itself as a Panopticon institution that is able to secretly monitor and take care of all citizens in their daily affairs. From this point of view, the film takes powerful steps in the aesthetic drawing of Pahlavi's disciplinary character and displays a completely calculated disciplinary maneuver for its audience; Creating a utopian image of the city under domination.
Taiwanese Indigenous youths utilize social media to assert Indigeneity. However, while egalitarian technologies provide a platform for self-representation, fetishism and multiculturalism might misrepresent their Indigeneity. This study focuses on Ponay’s covers of Mando-pop songs on YouTube to reclaim Indigenous popular music history and challenge Han-centric aesthetics and heteronormativity.
Este artículo argumenta el uso del silbido musical como un espacio queer, pues problematiza los márgenes establecidos para una clasificación de género en base al timbre o tesitura como ocurre con la voz. Para entender la peculiaridad del silbido en relación al cuerpo que lo produce planteamos dos planos de escucha. Por un lado, una escucha acusmática del silbido nos ofrece posibilidades desubicadas en relación al cuerpo y género difíciles de categorizar en esos márgenes. Por otro lado, una escucha audiovisual nos cuestiona sobre las posibles paradojas y contradicciones corporo-sonoras que ponen en juego discursos culturales sexistas en relación al silbido musical. Utilizaremos un marco teórico basado en los estudios queer para analizar conceptos en relación a la voz —el grano de la voz, el cuerpo sónico, la voz safónica— y que pueden bien ser aplicables al estudio del silbido musical en torno a la construcción de la identidad, y el género. El objetivo será entender cómo el género y la sexualidad se inmiscuyen en la escucha y producción de la música, incluso cuando el sonido (timbre) con el que se construye el silbido ofrece posibilidades de fuga corporales y/o sexuales, o, por el contrario, puede acentuarlas y problematizarlas al encarnarse visualmente.
In systematic musicology as a branch of music psychology we found an intriguing orientation called cognitive neuroscience of music, or neuromusicology. It studies the function of the brain in music processing, the way music perception and production manifests in brain. Compared to other analytical models of music cognition, the mapping of the brain’s functioning serves to examine the outcome of music rather than its process, and as the music therapy methods discussed reflect, most approaches follow this ontological direction. As recent scientific researches shows, the brain mapping technique differentiates moment of listening, playing classical music or improvising. In the light of the research findings, our main focus was to get to know and understand how our musical brains functions during classical music audition so we could argue from a scientific approach not only the existing therapeutic methods used in music therapy, but the perception of classical music in the present. In the master class “Dialogue of the Arts”, we explore with our students in all grades the possible links between music and other artistic and scientific disciplines. One of the most exciting aspects of this is music and brain research, an incredibly fast-developing field whose results could reinforce the place and role of classical music in contemporary society, reinforcing existing broad-based promotion of classical music education (Kodály, El sistema etc.)
REZUMAT. ORIENTĂRI ÎNCURAJATOARE ÎN CERCETAREA NEUROMUZICOLOGICĂ PRIVIND UTILIZAREA MUZICII CLASICE ÎN TERAPIA SONORĂ – CÂND ȘTIINȚA DEVINE MAGIE. În cadrul muzicologiei sistematice, ca ramură a psihologiei muzicale, există o orientare interesantă numită neuroștiința cognitivă a muzicii sau neuromuzicologie. Aceasta studiază funcțiile creierului în procesarea muzicii, modul în care percepția și producția muzicală se manifestă în creier. În comparație cu alte modele analitice ale cogniției muzicale, cartografierea funcționării creierului uman servește la examinarea efectului muzicii mai degrabă decât a procesului acesteia și, așa cum reflectă metodele de terapie prin muzică discutate, astfel majoritatea abordărilor urmează această direcție ontologică. După cum arată cercetările științifice recente, tehnica de cartografiere a creierului diferențiază momentul ascultării, al interpretării muzicii clasice sau al improvizației. În lumina rezultatelor, obiectivul nostru principal a fost să cunoaștem și să înțelegem modul în care funcționează creierul nostru muzical în timpul audiției muzicii clasice, astfel încât să putem argumenta dintr-o abordare științifică nu doar în favoarea metodelor existente utilizate în terapia muzicală, ci și în favoarea percepției generale ale muzicii clasice în prezent. În cadrul cursului de master intitulat Dialog interartistic, explorăm împreună cu studenții noștri posibilele legături dintre muzică și alte discipline artistice și științifice. Unul dintre cele mai interesante aspecte este cercetarea în domeniul muzicii și al creierului, un domeniu care se dezvoltă incredibil de rapid și ale cărui rezultate ar putea consolida locul și rolul muzicii clasice în societatea contemporană, întărind promovarea existentă pe scară largă a educației muzicale clasice (de ex. Kodály, El Sistema etc.).
Cuvinte cheie: cogniție muzicală, neuromuzicologie, terapie sonoră, muzică clasică, modele de terapie.
Yiting Cheah, Hoo Keat Wong, Michael Spitzer
et al.
Research on the effect of background music (BgM) on cognitive task performance is marked by inconsistent methods and inconclusive findings. In order to provide clarity to this area, we performed a systematic review on the impact of BgM on performances in a variety of tasks whilst considering the contributions of various task, music, and population characteristics. Following the PRISMA and SWiM protocols, we identified 95 articles (154 experiments) that comprise cognitive tasks across six different cognitive domains—memory; language; thinking, reasoning, and problem-solving; inhibition; attention and processing speed. Extracted data were synthesized using vote counting based (solely) on the direction of effects and analyzed using a sign test analysis. Overall, our results demonstrate a general detrimental effect of BgM on memory and language-related tasks, and a tendency for BgM with lyrics to be more detrimental than instrumental BgM. Only one positive effect (of instrumental BgM) was found; and in most cases, we did not find any effect of BgM on task performance. We also identified a general detrimental impact of BgM towards difficult (but not easy) tasks; and towards introverts (but not extraverts). Taken together, our results show that task, music, and population-specific analyses are all necessary when studying the effects of BgM on cognitive task performance. They also call attention to the necessity to control for task difficulty as well as individual differences (especially level of extraversion) in empirical studies. Finally, our results also demonstrate that many areas remain understudied and therefore a lot more work still needs to be done to gain a comprehensive understanding of how BgM impacts cognitive task performance.
Dwuaktowa komische Oper zatytułowana Die Schweizerhütte to nieznane, młodzieńcze dzieło Stanisława Moniuszki, które swojego pierwszego wystawienia doczekało się dopiero w 2018 r., a więc po ok. 180 latach od czasu swojego powstania. Niemiecki tekst tego utworu – zasadniczo zapożyczony przez Moniuszkę z opery Carla Bluma Mary, Max und Michel – pomija niektóre fragmenty „pierwowzoru”, zawiera także interpolację nieustalonego autorstwa oraz odmiennie zredagowane didaskalia. W omówieniu problematyki Die Schweizerhütte autor skupia się na analizie uwertury oraz zastosowanych przez kompozytora form arii, duetów, chórów i finałów. Spójność zastosowanych środków kompozytorskich z koncepcją dramaturgiczną dzieła potwierdza m.in. świadome powiązanie tematyczne uwertury z wieloczęściowymi finałami obydwu aktów oraz wprowadzenie motywów przypominających.
Niemieckojęzyczny utwór przyszłego „ojca opery polskiej” dowodzi zatem poważnych przemyśleń wykształconego w Berlinie, dwudziestoletniego zaledwie, operowego nowicjusza na temat sposobów wewnętrznej integracji dzieła i zaskakująco dojrzałej świadomości reguł dramaturgii muzycznej. Wszystko wskazuje na to, że po powrocie do Wilna Moniuszko nie znalazł niestety sprzyjających warunków do dalszego rozwoju swojego talentu. Jednakże o ile za kontynuację i rozwinięcie ambitnych pomysłów dostrzegalnych w Die Schweizerhütte trudno uznać tzw. operetki (pisane przez Moniuszkę na początku lat 40. z myślą o śpiewających aktorach i szerokich kręgach odbiorców), to pomysły te odezwały się zapewne echem w zaginionej dzisiaj, pierwszej „operze seria” polskiego kompozytora zatytułowanej Twardowski i z pewnością ujawniły się w pełni w wileńskiej Halce.
Staje się coraz bardziej oczywiste, że styl operowy Moniuszki od samego początku ściśle powiązany był nie tylko z tradycją lokalną, wzorcami wykształconymi przez Stefaniego, Elsnera i Kurpińskiego, lecz także z poetyką opery europejskiej, przede wszystkim włoskiej i francuskiej. Transfer ten został jednak zapośredniczony przez niemiecką kulturę muzyczną, teatralną i literacką. Pobyt Moniuszki w Berlinie i stworzenie tam pierwszego, niemieckojęzycznego dzieła operowego odegrał zatem kluczową rolę w złożonym procesie absorpcji i syntezy różnych wzorów dramaturgii operowej. Dzięki niemu kompozytor osiągnąć miał z czasem swoją artystyczną dojrzałość.
Four composite case examples are presented and discussed as they relate to emotional expression, significant moments in the therapeutic process, and communication using a variety of modalities in music therapy with adults diagnosed with intellectual and developmental disabilities. Building on therapeutic awareness through discussing musical elements, body movement and posture, countertransference, and interactional patterns, the implications of deep emotional connection and processing are approached using primarily nonverbal methods. Composite vignettes from the author’s clinical work demonstrate awareness of these factors in the moment as they impacted the session, therapeutic relationship, and other professionals’ understanding of music therapy in this population. Implications for emotional processing in clinical practice are presented as they relate to the concepts presented in this paper.
Christoph Seibert, Fabian Greb, Wolfgang Tschacher
Die Praxis der Musikrezeption im Rahmen klassischer Konzerte ist von restriktiven Verhaltenskonventionen geprägt. Aktuelle kognitionswissenschaftliche und philosophische Ansätze, welche Musik-Erleben als verkörpert oder als über mehrere Individuen verteilt konzeptualisieren, scheinen daher für die Erklärung des Musik-Erlebens in klassischen Konzerten weniger geeignet. Vor diesem Hintergrund untersuchte die vorliegende explorative Studie das Auftreten koordinierter Körperbewegungen als nonverbale Synchronie im Rahmen eines klassischen Konzertes und den Zusammenhang zwischen den Synchronien innerhalb des Publikums und Aspekten des subjektiven Musik-Erlebens. Im Rahmen eines Forschungskonzerts wurden 22 Teilnehmern verschiedene Kammermusikwerke präsentiert, sowie dabei Selbstauskünfte zu Aspekten des Musik-Erlebens erhoben und Körperbewegungen mit drei stationären Kameras erfasst. Non-verbale Synchronie, als Indikator für koordinierte Körperbewegungen, wurde über die Korrelation von Bewegungsenergie-Zeitreihen ermittelt. Die Bewegungsenergie wurde als Anzahl der sich ändernden Pixel aufeinanderfolgender Frames operationalisiert. Es zeigte sich stark ausgeprägte Synchronie zwischen den Musikern sowie eine Synchronie kleiner bis mittlerer Effektstärke innerhalb des Publikums. Zwischen den Musikern und dem Publikum konnte hingegen keine Synchronie festgestellt werden. In Bezug auf das Verhältnis von Synchronie innerhalb des Publikums und dem subjektiven Musik-Erleben zeigten sich signifikante negative Zusammenhänge zwischen dem Gefühl der Verbundenheit mit den Musikern, dem Grad der Absorption und der Synchronisierung innerhalb des Publikums. Dies lässt sich dahingehend interpretieren, dass bei einem stärkeren Fokus der Aufmerksamkeit und des Erlebens auf das Bühnengeschehen die Synchronisierung mit den anderen Mitgliedern des Publikums abnimmt. Die Ergebnisse dieser Studie stehen im Einklang mit Theorien zum verkörperten Musik-Erleben, sie stützen jedoch Ansätze nicht, die darunter die Nachahmung der klangproduzierenden Bewegungen der Musiker verstehen. Ebenso stehen die Befunde nicht in Einklang mit Ansätzen zum verteilten Musik-Erleben. Abschließend werden die Ergebnisse hinsichtlich ihrer musikpraktischen Relevanz bezüglich einer Diversifizierung klassischer Konzerte diskutiert.
The existence of this Chinese Tradisonal music instrument is know by people and seldom used at the become not sacral because the arrival of modern music that can be sepatrated from daily life that can’t depend on any else. Method used to learn this Guzheng instrument isn’t so easy, because that instrument is very hard to teach, if it learned rarely. Guzheng is Traditional music instrument from China. It is the oldest music intrument in China and it has 21 gstring. Guzheng gives a separate color for itself. All this time Guzheng is never known by people or Indonesia people specially Chinese people in Medan. Jade Music School is one of a music course that teach how to play traditional music instrument specially for Guzheng. Jade Music School tries to introduce Guzheng in Medan specially for Chinese people in Medan and international. Guzheng is starting known through a Jade Music School show. Jade Music School tries to introduce, to show, and to perpetuate Guzheng as a Chinese traditional music instrument to progress Chinese people in Medan. Guzheng music instrument in Jade Music School can be accompanied by another music instrument. Guzheng has a role to bring the melody in every show.
‘Recorded by the School of Scottish Studies…’ The Impact of the Tape-Recorder In a Rural Community Most people in Scotland interested in traditional songs and stories will have heard the phrase ‘they were recorded by the School of Scottish Studies’. From 1951, when the School was founded, those whose songs, stories and oral traditions were of interest to collectors and research staff enjoyed the prestige of having their names linked with what has become our national collection. For many years, the fact that a singer or story-teller had been ‘recorded by the School of Scottish Studies’ would often form part of an introduction at a ceilidh or a concert.
David Whidden Magnitzky Vargas, Andrea Bernardita Sepúlveda Ortega
En virtud de la evolución histórica de la educación musical en Chile, en el marco de las tres reformas curriculares correspondientes a los años 1965, 1981, 1996 y 1998, es posible advertir cambios experimentados en la estructura curricular de la asignatura, conforme a los procesos sociales y necesidades educativas de cada época referida. No obstante, hasta la fecha aún constituye una problemática la discusión acerca de la conceptualización que se tiene de evaluación y cómo ésta se debe aplicar en términos prácticos. En este marco, en la actualidad se cuenta con el aporte teórico de connotados académicos como: Pujol, Santos Guerra, Poblete y Fautley, así como los lineamientos del Ministerio de Educación, a través de sus Programas de Estudio de primero hasta octavo año básico. Si bien esta última institución entrega sugerencias y enfoques que propenden a identificar algunos aspectos que pueden ser observados y potenciados en los estudiantes, estableciendo en nuestro país lineamientos en torno a ¿qué se debe evaluar?, ¿cómo se debe evaluar? y ¿para qué se evalúa?, persisten ciertas confusiones sobre el proceso de evaluación por parte de algunos docentes. En este sentido se orienta la presente investigación, pues es fundamental comprender desde una perspectiva Constructivista, la percepción que tienen los docentes en torno al concepto de evaluación, al impacto de la evaluación que reconocen en sus estudiantes y las decisiones que consideran para mejorar el proceso de enseñanza-aprendizaje a través de la información rescatada de las evaluaciones. A partir del estudio realizado se develan percepciones que responden a componentes cognitivos, afectivos y conductuales, que ofrecen una interesante reflexión que se invita a rescatar en las siguientes páginas.
Many songs and dance pieces from the Balkan Peninsula employ aksak meter, in which two categorically different durations, long and short, coexist in the sequence of beats that performers emphasize and listeners move to. This paper analyzes the durations of aksak beats and measures in two recorded percussion performances that use a particular aksak beat sequence, long-short-short. The results suggest that the timing of beats varies in conjunction with factors including melodic grouping and interaction among members of a performing ensemble and audience. Timing variation linked to melodic groups occurs on a solo recording of a Macedonian Romani folk song. The performer, Muzafer Bizlim, taps an ostinato while singing, and the timing of his taps seems to mark some local and large-scale group boundaries. Melodic organization also seems relevant to the timing of beats and measures on a recording of Bulgarian percussionist Mitko Popov playing the tŭpan, a double-headed bass drum, in a small folk music ensemble. In Popov’s performance, however, timing differences might be related to characteristics of the ensemble dynamic, such as the coordination of multiple musical participants. These interpretations generate possibilities for future study of timing variations in relation to rhythm and meter.
In keyboard music, early as well as modern, there are characteristic instrumental figures, which, in the case of great musical works, appear to be inextricably bound up with the compositional technique and the composer’s way of musical thinking. In studying keyboard music, it is necessary to consider the method of notation of the musical texture; it is the examination of this, the notational aspect of the musical work, that makes possible a correct understanding and interpretation of the composer’s ideas.