The sound of music may arouse profound emotions in listeners. But such experiences seem to involve a 'paradox', namely that music--an abstract form of art, which appears removed from our concerns in everyday life--can arouse emotions - biologically evolved reactions related to human survival. How are these (seemingly) non-commensurable phenomena linked together? Key is to understand the processes through which sounds are imbued with meaning. It can be argued that the survival of our ancient ancestors depended on their ability to detect patterns in sounds, derive meaning from them, and adjust their behavior accordingly. Such an ecological perspective on sound and emotion forms the basis of a recent multi-level framework that aims to explain emotional responses to music in terms of a large set of psychological mechanisms. The goal of this review is to offer an updated and expanded version of the framework that can explain both 'everyday emotions' and 'aesthetic emotions'. The revised framework--referred to as BRECVEMA--includes eight mechanisms: Brain Stem Reflex, Rhythmic Entrainment, Evaluative Conditioning, Contagion, Visual Imagery, Episodic Memory, Musical Expectancy, and Aesthetic Judgment. In this review, it is argued that all of the above mechanisms may be directed at information that occurs in a 'musical event' (i.e., a specific constellation of music, listener, and context). Of particular significance is the addition of a mechanism corresponding to aesthetic judgments of the music, to better account for typical 'appreciation emotions' such as admiration and awe. Relationships between aesthetic judgments and other mechanisms are reviewed based on the revised framework. It is suggested that the framework may contribute to a long-needed reconciliation between previous approaches that have conceptualized music listeners' responses in terms of either 'everyday emotions' or 'aesthetic emotions'.
Numerous callers contact hospital switchboards, many repeatedly. Recorded switchboard messages have broad reach. We sampled outgoing calls from our regional infectious diseases service to other hospital switchboards over a 3-month period. Wait times varied substantially. Two calls were cut off unanswered. Recorded messages commonly covered infection control precautions for visitors, visiting rules, and guidance regarding calling for medical advice. At least one message was out of date. Another advised unwell people not to visit the hospital. We followed up our sample with freedom of information requests, focusing on call volume data and policies regarding switchboard systems and messaging. Many policies were informal. Overall, the user experience varied substantially between hospitals. Messaging policies appeared to have little regard to messages’ relevance, utility and impact. Calling a hospital switchboard is a common, non-biomedical task that would benefit from substantial effort to establish and promote best practice.
Johannes Hentschel, Yannis Rammos, Markus Neuwirth
et al.
Abstract The present corpus is the outcome of a long-term collaborative effort to produce analytically annotated music scores suitable for the computer-assisted study of European compositions since 1600. With 1283 analytically annotated, symbolically encoded music scores by 36 composers, our corpus amounts to one of the largest published resources of its kind. At the same time, it provides a modular digital infrastructure for the accountable, collaborative curation of annotated scores (“sheet music”). All annotations were created and reviewed by a team of trained music theorists, who collaborated online using the git version control software according to a formally codified workflow. To improve the consistency of analytical practices given the diversity of represented eras and genres, the corpus has been automatically parsed for notational well-formedness and cross-reviewed by annotators for adherence to our music-analytical guidelines. The computational infrastructure has been designed with “data persistence” and open access in mind.
Se destacan los aportes de Chalena Vasquez desde sus obras teóricas, el derecho a la cultura propia y los procesos de producción artística así como estudios de caso sobre la Danza de Negritos de El Carmen, las danzas de Paucartambo, el carnaval ayacuchano, la biografía del compositor Ranulfo Fuentes y reflexiones sobre luz y sonido en la obra de José María Arguedas.
In recent years, there has been much public debate about the staging of operas that might perpetuate racist and misogynist ideologies. Students who are trained to read such texts in the light of contemporary race and gender politics often find these historical theatrical works shocking. However, what seems regressive to students today sometimes served liberatory ends for audiences and artists in other times and places. When teachers help students interpret such works through a historical lens, they provide insight into the oppressive structures and forms of resistance that have always shaped the production and reception of musical theater. In this essay, we take Giacomo Puccini’s Madama Butterfly (1904) as a case study. We introduce primary and secondary sources that students can examine to better understand the politics of this opera at its premiere and throughout the 20th century. In doing so, we lay out a framework for teaching any piece of music that has meant different things to performers and audiences across time and place.
Music and books on Music, Musical instruction and study
This study considers perceptions of group teaching among classical instrumental music teachers in Swedish art and music schools. Quantitative and qualitative data were collected using a survey of music teachers in a region of Sweden and analysed using a mixed methods approach. Communities of practice and communities of musical practice served as the theoretical framework for both the deductive and the inductive parts of the study. The literature indicates a tension between the demand for more group teaching and signs of reluctance on the teachers’ part. It is found that the respondents in this study value individual teaching over group teaching, but the difference is not as significant as indicated in previous reports: their general attitude to group teaching is in fact slightly positive. The results also show that although teachers generally have extensive training from their higher music education, 61.4% of respondents hoped for continued education in group teaching.
The relevance of the article. The relevance of the research topic is determined by the extraordinary popularity of the remote form of joint choral performance in contemporary musical culture. The virtual choir is a fairly new, but already very widespread form of music-making, which is gradually acquiring new characteristics and functions compared to those that were inherent in its early days.
The main factors of the development of the virtual choir phenomenon can be divided into “evolutionary” (the digitalization of art; the interest of performers in new forms of music making; active development of art therapy and inclusive art practices) and “revolutionary” (the COVID-19 pandemic and the Russian-Ukrainian war, which, although more localized than the pandemic, involves a very large number of choirs that have been unable to work as usual).
The latter two factors have led to a quantitative explosion of virtual projects, as well as significant changes in their focus, structure, functions, and composition of performers, etc. that require appropriate scientific understanding.
The purpose of the research is to analyze and systematize existing studies of the virtual choir and to make up a strategy for its comprehensive research.
The methodology. The study of the available scientific literature on the phenomenon of the virtual choir was carried out using the tools of systematic, textual comparative and comprehensive analysis.
The results. The main scientific works on the virtual choir are systematized in four main areas: socio-psychological, technical, didactic and historical. It was found that musicology, choral studies and interpretation aspects have been studied very briefly. Most of the works reveal certain inaccuracies in the presentation of the history of virtual choral performance (except for Сayari), as well as some contradictions in the results of previous studies. In addition, the article raises the question of the conformity of the studied phenomenon with the concept of “virtual choir”.
The scientific novelty. For the first time, the research provides a systematic review of scientific papers about the virtual choir, revealing the current trend towards the study of non-musical aspects.
The practical significance. The materials of the article can be used in practical activities of conductors and choristers, as well as in the educational process of training conductors, choirmasters and vocalists in conditions of remote work.
Conclusions. Scientific comprehension of the phenomenon of the virtual choir is active, but rather limited. Most often, it acts as a certain aesthetic phenomenon that should replace (mostly temporarily) the work of “live” choirs during social cataclysms that limit the possibility of creative communication between people. That is why the most relevant areas of research are socio-psychological and technical. At the same time, many works raise the question of the legality of using the term “virtual choir” for this multimedia activity, which, according to experts, has little in common with both the choir and virtuality. As a matter of fact, the lack of musicological, choral, interpretological investigations, typical for traditional choral activity, revealed within the scope of this study indirectly confirms this idea. The first step on the way to further scientific development of this topic should be a multi-faceted analysis of the current activity of virtual choirs.
From 1912 to 1948, eighteen hundred artists participated in art competitions within the Olympic Games. Art competitions were held at the following Olympic Games during the period from 1912 to 1948: Stockholm (1912), Antwerp (1920), Paris (1924), Amsterdam (1928), Los Angeles (1932), Berlin (1936), and London (1948). The introduction of art competitions at the Olympic Games was intended to integrate sport and art, spirit and body, and at the same time as a reminder of the cultural values and ideals represented in Ancient Greece. Prominent artists of that era served as judges for the artworks. The aim of this study is to present artistic disciplines from 1912 to 1948, to determine how many works of art, from which field of art, were inspired by sports events, primarily those related to the disciplines of athletic competitions of the analyzed period. At the Cultural Olympiad, from 1912 to 1948, the largest number of medals were awarded for paintings and graphic art (a total of 38 (applied graphics 5, drawings and watercolors 8, other graphic arts 9, paintings 16 medals)), sculpture (a total of 34 (10 medals awarded for medals, 3 for reliefs, and 21 for sculptures)), followed by literature (a total of 29 (dramatic works 1, epic works 9, literature - all kinds 11, lyrics 8 medals)), architecture (a total of 28 (architectural designs 12, designs for town planning 16)), music (a total of 17 (compositions for one instrument 2, compositions for orchestra of all kinds 7, compositions of songs for soloists or choir with or without instrumental accompaniment 4, music - all kinds 4)). When the number of medals awarded for artistic works inspired by athletic events is separated, the most are those from sculpture (7 medals), architecture (4 medals), painting and graphics (3 medals), literature (3 medals), music (1 medal).
Malian music is ubiquitous in world music. Indeed, Malian artists consistently appear more often and rank higher in world music record charts than artists of any other nationality. While the concept and industry of world music and the histories and workings of Malian music have been examined at length in the past, scholarship on the intersection of the two has been sparse. This article investigates how various marketing techniques and narrative tropes have been used to secure Mali’s on-going presence within world music. Tuareg essouf band Tinariwen is introduced as a specific case study to allow exploration into themes of audience familiarity and unfamiliarity; the use of wider narratives to promote music; and the role of cultural brokers in this process. Malian music can be considered ideal for the world music markets, with musical, narrative and political forces aligning in an optimal manner to facilitate the most effective strategies of marketing towards world music audiences. By studying the dominance of Malian music in world music, we can examine more clearly the mechanics of the industry, but also the attitudes and behaviours of the world music audience and the artistic, industrial and even institutional practices and processes that define world music as a whole.
Games are consistently acknowledged as a powerful approach that can significantly impact people’s behavior towards living in a sustainable way. Sensory cues are regarded as influential factors in facilitating immersive experiences in gamified applications to foster sustainable behavior. As our perception of an environment is influenced not only by what we can see but also by additional sensory input such as sound and touch, additional sensory information can be part of the participant’s experience. This study systematically scrutinized game-based applications containing sensory cues to interpret current technology-assisted sustainable behavior development. This study provides a review of the impact of the sensory signals offered by video games, virtual reality, and augmented reality on pro-environmental behavioral intention. This research found that human senses can change the perception of immersion in multiple ways: visual (dimensions, angles, color), auditory (music, dialogue), and haptic, and these can affect sustainable behavior. Thus, we argue that multiple sensory modalities provide more opportunities to influence users to act sustainably. Based on the results, the theoretical contribution of this paper emphasizes the level of immersion, which is closely related to various sensory perceptions, and explains the correlation between them. In terms of industrial applications, it provides game designers, developers of VR and AR applications, and planners of sustainable education guidelines for the adoption of immersive scenarios.
The Passion of Christ is not only an important theme in Christian theological and devotional literature, iconography, and music, but it is likewise the focus of considerable attention in contemplative, mystical literature. This contribution focuses on a specific interpretation of the suffering of Christ, which is to be found in an important but now somewhat forgotten mystical text, namely the <i>Evangelical Pearl</i>. This text is to be situated within the broad mystical network and initiatives of the Cologne Carthusians in the early sixteenth century. The <i>Pearl</i> has a remarkable interpretation of Christ’s passion, namely that—simultaneously—his body was in terrible pain, his soul was deeply sorrowful and his spirit was joyful. These reflections culminate in a radical theology of deification.
This essay analyses Leonardo da Vinci’s innovative iconography in the making of the panel known as the <i>Virgin of the Rocks</i> (Paris, Louvre) in relation to his considerations on the important Renaissance debate of <i>Paragone</i>, or comparison among the arts, namely, Painting, Sculpture, Music, and Poetry. It will be argued that this work, as a depiction of a complex religious theme, may be interpreted as a laboratory for <i>Paragone</i>-related demonstrations, especially in regards to five points: the optical tangibility of the image; the temporalities involved in the representation; the variety of subjects; and, finally, its iconic stability and semiotic openness as vehicles to further stimulate the devotional value of the painting.
The Return of Odeons or Dramatised Reading as Performance
The actor is by tradition a transmitter of texts: this role is not new. However, a discreet but growing phenomenon has made him an explicit mediator of reading books. The ancient odeons, those buildings once dedicated to public reading or music, seem to double the stages of our theatres with an invisible presence. Often the actor, or the director, dramatizes reading, makes a performance of his relationship with the book: the show becomes a dramatized reading. This article endeavours to isolate its distinctive features, in particular: the delegation of the first act of opening the book, the staging of the reading, the principle of interaction, the principle of aperitive selection, and the production of a major affect, the ‘libido legendi’, which in turn induces a particular dramaturgy, where the treatment of thresholds and scansions is of particular importance. In appendix, a testimony by Nicolas Lormeau.
Студия на Поварской (Театр-студия на Поварской), возникшая при Московском Художественном театре, была создана в мае 1905 г. усилиями одного из его руководителей, К.С. Станиславским, и актером В.Э. Мейерхольдом. Н.Н. Сапунов, как нельзя более, был уместен в новой Студии, которая нравилась ему своими постановочными идеями и планами, намеченным репертуаром, в котором главная роль отводилась драматургам – неоромантикам и символистам, поисками новых форм для его сценического осуществления, стремлением к созданию новых принципов театрального искусства. После закрытия студии в октябре того же года, В.Э. Мейерхольд получил приглашение от В.Ф. Комиссаржевской работать в ее театре, который стал центром притяжения новых сил русской культуры. Это предложение было принято режиссером. В.Ф. Комиссаржевскую и В.Э. Мейерхольда объединяло огромное желание прекратить со сценическим бытовизмом и натурализмом, обрести новые театральные формы. Такому мастеру, как В.Э. Мейерхольд, обладавшему удивительным даром зрительно-пластического видения спектакля, нужна была на сцене выразительность настоящей живописи. В театр В.Ф. Комиссаржевской он привлек молодых художников, Н.Н. Сапунова, С.Ю. Судейкина, Б.И. Анисфельда, и не принадлежавшего к этому кругу, но близкого им, В.И. Денисова. Талантливые живописцы, эти молодые мастера были неопытны в вопросах сценической техники, разрешения пространственных задач. Но это и не требовалось В.Э. Мейерхольду. Он освободил декораторов от кропотливой и тщательной работы с макетом и ориентировал их на решение спектакля в чисто живописном плане. В мейерхольдовский период, который длился с 1906 по 1907 гг., в театре В.Ф. Комиссаржевской ведущими художниками были неразлучные друзья Н.Н. Сапунов и С.Ю. Судейкин – ученики К.А. Коровина. В их сценической живописи возникали образы символистской поэтики с ее недосказанностью, туманными грезами и призрачной мечтательностью. Она становилась невесомой, воздушно легкой либо декоративно острой, возбуждающей, построенной на неожиданных сочетаниях изысканных колористических созвучий цвета. В данной публикации автор, основываясь на изучении архивных и библиографических источников, анализирует живопись Н.Н. Сапунова, которая поражает своей удивительной красотой и гармонией, неизбывной декоративной фантазией. Мастер был способен, уйдя от натуры, преображать все видимое, – природу, предметы, – в мир красоты, волнующей, манящей, одушевленной и порою таинственной. Прослеживается творческий путь Н.Н. Сапунова, в таланте которого с его неисчерпаемой декоративностью В.Э. Мейерхольд распознал еще одну особенность дарования мастера – острую ироничность гротескного видения.
The article states that the reform of contemporary vocal education based on the principles of civilization integration of different, sometimes quite distant from each other, musical cultures, traditions and practices on the one hand, and the necessity for free access to the world vocal-performing and vocal-pedagogical experience on the other. In this regard, information and communication technologies (ICT) are becoming one of the most effective components of the educational process in primary specialized artistic educational institutions in the context of non-classical contemporary vocal. In the article, this issue is considered from the attitude of activity and culture appropriate approaches to learning.
Based on the analysis of scientific and pedagogical sources on contemporary vocal pedagogy in the context of the use of ICT, the following methods and their respective means are separated: the methods of familiarization (3D technology, animation technology, audiovisual ICT); methods of work on vocal techniques (audio, visual and audiovisual ICT, computer, synthesizers, dictaphone, etc.); methods of work on the features of musical language and improvisation (audio, visual and audiovisual ICT, computer, video content, synthesizers, iReal-Pro, etc.); methods of preparing vocal repertoire (software for downloading, editing and storing information, notes and audio editors, etc.); methods of preparation and implementation of public performance (3D technology, animation technology, graphic and audio editors, video camera, voice recorder, dictaphone, video content, computer, mobile devices, etc.); methods of communication (computer, mobile devices, e-mail, instant messaging technology, social networks, messengers, video and audio conferencing systems, Internet, etc.), monitoring methods (video camera, dictaphone, memory cards and storage devices, etc.)
The conclusions state that the methodological findings regarding the use of ICT in teaching of contemporary vocal are fragmented and do not constitute systematic methodological knowledge, what actualizes the problem of further research on the use of ICT and protection from artificial intelligence threats in the process of formation a contemporary non-classical vocal-performing thesaurus at pupils of specialized art educational institutions and institutions of non-formal art education.
Special aspects of education, Electronic computers. Computer science