Hasil untuk "Music and books on Music"

Virginia Blankenhorn

Adam Eric Berkowitz

Popular social media platforms, such as YouTube and Facebook, see insurmountable volumes of media uploaded every day. The extent of which cannot be feasibly monitored through human efforts alone to identify infringing activity. Such companies employ algorithmic methods to enforce copyright by removing or monetizing content on behalf of copyright owners; however, occasionally flagged material is misidentified as infringing. These instances represent a potential loss of income for independent artists by way of misappropriated revenue or removal of material, and time spent challenging automated decisions. This article discusses an experiment seeking to ascertain the false positive rate of YouTube’s Content ID and Facebook’s Rights Manager. This is put in the context of existing legal precedence in the United States, including the Digital Millennium Copyright Act (DMCA). The article makes recommendations for technological and logistical modifications to these systems, and it encourages public education and research on the topic.

Gabriel Navia

O. Lamonova

Людмила Бруєвич — одна з найвідоміших сучасних вітчизняних мисткинь-графіків. Найпопулярнішими серед її творів є офорти, для розфарбовування яких авторка використовує акварель чотирьох кольорів (червоний краплак, зелений смарагдовий, вохра і золотий): «Ніч» (1991), серія «Спокій» («Коти», «Русалка», «Три риби», «Риба», «Ваза», усі — 1994), «Танок вужів, або Нескінченність», «Доісторична тварина, або Дракон» (об. — 1997). Але протягом 1990-х рр. Людмила Бруєвич активно працювала не лише над офортами, але й над акварелями. Серед них є твори, основані на несподіваному використанні фольклорних джерел («Туга» (1992), «Русалочка», «Королева-русалка»), біблійних образах («Трапеза», «Алілуя» (усі — 1995)), прийомах наївного мистецтва («Мисливець» (1998)). Художниця створювала також акварельні мініатюри. Пластичні образи, знайдені в акварелях, могли пізніше використовуватися в офортах. Акварелі є органічною та невіддільною складовою графіки мисткині.

Javier García Fernández

A entrevista foi realizada no contexto da I Conferência do Caribe Afroandaluz, organizada por Javier García Fernández e Pedro Ordoñez Eslava, em colaboração com o Departamento de História e Ciências da Música e graças ao financiamento da Vice-Reitora do de Cultura e Pesquisa da Faculdade de Filosofia e Letras da Universidade de Granada. A entrevista tematiza a relação entre África e Andaluzia, a partir do ativismo cultural e musical de Cosano e também explora os livros que publicou sobre a presença africana no sul da Europa. Palavras chave: Jesús Cosano. Andaluzia. África. Relações Resumen: Entrevista realizada en el contexto de las I Jornadas del Caribe Afroandaluz, organizadas por Javier García Fernández y Pedro Ordoñez Eslava, en colaboración con el Departamento de Historia y Ciéncias de la Música y gracias a financiación del Vicedecanato de Cultura e Investigación de la Facultad de Filosofía y Letras de la Universidad de Granada. La entrevista se centra en la relación entre África y Andalucía, basada en el activismo cultural y musical de Cosano y también explora los libros que publicó sobre la presencia africana en el sur de Europa. Palabras clave: Jesús Cosano. Andalucia. África. Relaciones Abstract: This interview took place in the context of the 1st Afroandaluz Caribbean Days, organized by Javier García Fernández and Pedro Ordoñez Eslava, in collaboration with the Department of History and Music Sciences and the funding of the Vicedecanato de Cultura e Investigación de la Facultad de Filosofía y Letras de la Universidad de Granada. This interview focuses on the relationship between Africa and Andalucía, based on Cosano’s cultural and musical activism and also explores the books he published about the African presence in the south of Europe. Keywords: Jesús Cosano. Andalucia. Africa. Relations

Bence ASZTALOS

The pandemic has greatly accelerated the need for modernisation and digital transformation of education and training systems. NERa (A New Era of Digital Platforms in Music E-ducation) Erasmus+ Strategic Partnership emphasises digital creativity in teaching and focuses to actively contribute and support the process of recovery. The partnership promotes intercultural dialogue approaches linking digitalised music education and training. Higher education institutes from various parts of Europe bring their digital music pedagogical expertise to provide a universal and comprehensive tool for the international academic environment based on real practice and experience. The study examines NERa’s implementation of digital components and viewpoints into the traditional music teaching and training systems. NERa Erasmus+ Strategic Partnership was founded in 2020 by the Eszterházy Károly University (H), University of Rzeszów (PL), Conservatorio Lorenzo Perosi Campobasso (I), Conservatorio Ottorino Respighi Latina (I), Academy of Arts Banská Bystrica (SK), Babeș-Bolyai University (RO), Zeneiroda Kft. (H). Rezumat. TENDINȚE DE TRANSFORMARE DIGITALĂ ÎN SISTEMELE DE PREDARE ȘI FORMARE MUZICALĂ. Pandemia a accelerat foarte mult nevoia de modernizare și transformare digitală a sistemelor de educație și formare. Parteneriatul strategic Erasmus+ NERa (A New Era of Digital Platforms in Music E-ducation) pune accentul pe creativitatea digitală în predare și se concentrează pentru a contribui activ și a sprijini procesul de redresare. Parteneriatul promovează abordările de dialog intercultural care leagă educația și formarea muzicală digitalizată. Instituțiile de învățământ superior din diferite părți ale Europei își aduc expertiza pedagogică în domeniul muzicii digitale pentru a oferi un instrument universal și cuprinzător pentru mediul academic internațional, bazat pe practici și experiențe reale. Studiul examinează implementarea de către NERa a componentelor și punctelor de vedere digitale în sistemele tradiționale de predare și formare muzicală. Cuvinte cheie: NERNa: NERa, muzică, educație, transformare digitală, pandemie

Vanja Ljubibratić

Temporality, as a narrative device, was a central element in Alban Berg’s operas both textually and musically. The systematic form of creating circular structures with palindromes via large-scale retrogrades was meant to turn narrative time back onto itself as an expression of fatalistic negation. This conceptualization held metaphysical implications for Berg that coalesced with his notions of time and space. In his operas, and among other ploys, Berg would appropriate the libretti to textually traverse between the two temporal realms of the empirical world and the metaphysical plane in order to obfuscate the perceptions of reality for his characters, and ultimately put them on paths of predetermined doom through a perpetual repetition of fate, as in the case of Wozzeck. Berg would do this at his own discretion, superseding the authority of the playwrights whose texts he chose to set to music, in order to achieve his desired philosophical and autobiographical outcomes, which were his primary concerns. It will become evident, therefore, that the temporal implications were just as viable textually for Berg as they were musically, but that the metaphysical dimension of those implications were reserved solely for the libretti. Lastly, a comprehensive understanding of these Bergian aesthetics will be brought full circle by making explicit the essential associations of textual metaphysical temporality that Berg shared with and derived from Richard Wagner.

Adriana Jarvis Twitchell, Guilherme Sauerbronn Barros

This article aims to analyze temporality in Leon Kirchner’s Interlude I for solo piano, in light of Jonathon Kramer’s book The Time of Music. The first section serves as an introduction to the composer – his biography, influences, and compositional style. The following section introduces Jonathon Kramer’s book and his concepts of linear and nonlinear time in music. Thereafter an analysis of aspects of the Interlude’s linear time, as defined by Kramer, is presented, including linearity manifest through developing variation, step-wise motion, tonal references, changes in tempo, flexion count changes, and transpositions. The next section seeks to examine manifestations of nonlinear time in the Interlude, such as balance and recapitulation, and discusses the implications of Kramer’s nonlinear moment time. The conclusion summarizes interactions between linearity and nonlinearity in the Interlude.

Jan-Peter Herbst, Tim Albrecht

Among the professional roles in the recording industry, studio musicians have received relatively little academic attention. The present study explores the work realities of professional studio musicians in Germany, one of the largest music industries in the world, and is based on interviews with six pop musicians; guitarists, bassists, keyboardists and drummers who are between 27 and 66 years old. The findings show how changes in the recording industry - most notably dwindling budgets, the rise of project studios and virtual collaboration - have affected working practices, skill requirements and business models. The findings indicate that in Germany it is hardly possible to make a living from studio work as a professional musician. This is true even for leading session players. Sinking fees and the lack of access to royalties pose a problem that is not tackled due to fierce competition and the risk of damaging one’s reputation.

Daniel Barolsky

This commentary situates Neumann's research within the existing literature on musicological ontologies of the musical work as well as scholarship on the analysis of performance and recordings. The response focuses on the interdisciplinary strength of the author's method while offering a few caveats about the analytical tools used. Although Neumann ventures into an under-explored territory (i.e. the analysis of operatic voices), I urge the author not to isolate this analysis from other elements of performance, including both visual content and listening experience

Alessandro Mastropietro

Rot, “azione coreografica” di Domenico Guaccero (musica) e Amedeo Amodio (coreografia), può ritenersi lavoro emblematico delle sperimentazioni teatral-musicali ferventi nel contesto romano degli anni ’60-’70, anche per il coinvolgimento, quale scenografo della première realizzata al Teatro dell’Opera nel giugno 1973, di un esponente di punta della neo-avanguardia astrattista, il milanese Agostino Bonalumi. La genesi, l’impianto drammaturgico e il duplice orizzonte di senso del lavoro saranno indagati anche attraverso i non esigui schizzi compositivi di Guaccero e la documentazione conservata presso vari archivi con l’obiettivo di mettere in risalto i seguenti elementi: la concezione complessa e analitico-polifonica nella gestione di tutte le componenti in gioco (azione, scenografie e luci, elementi sonori strumentali, vocali o elettronici); il pensiero compositivo essenzialmente ‘informale’, ma non privo di richiami a quello generativo-seriale, di Guaccero; la scelta e la costruzione di un parallelo percorso di lettura (alchemico-psicologico e politico-civile) quale luogo di una possibile sintesi umanistica, e di un’idea di teatro mirante utopicamente al rito come “partecipazione attiva”. A Polyphonic and Polysemic Danced Musical Theatre: Rot (1970-1972) by Domenico Guaccero Rot, “choreographic action” by Domenico Guaccero (music) and Amedeo Amodio (choreography) could be considered emblematic of the common experimentations led in Rome’s musical theatre during the Sixties and Seventies, also thanks to the involvement of Agostino Bonalumi - leading exponent of the new avant-garde abstract art movement in Milan - as set designer at Teatro dell’Opera’s première in 1973. The genesis, dramatic structure and double horizons of meaning of this work will be considered through the close reading of Guaccero’s sketches and of the work’s documentation, preserved in different archives. In particular, the following features will be highlighted: the nonlinear and analytic-polyphonic conception in the organization of all the dimensions of the work (action, scenography and lighting, non instrumental – either vocal or electronic – sounding elements); Guaccero’s “informal” compositional thought, even if reminiscent of the generative-serial one; the choice and the construction of a twofold reading path (alchemic-psychological from the one side and civil-political from the other one) intended as the place for a possible humanistic synthesis and for a theatre intended as a rite of “active participation”.

Mônica Lucas

Resumo: O Der Vollkommene Capellmeister ("O mestre-de-capela Perfeito") é o último escrito musical de Johann Mattheson (1671-1764) e, sem dúvida, sua obra mais ambiciosa. Ela representa o mais importante dos escritos pertencentes ao gênero de preceptivas musicais conhecidas como Musica Poetica - um conjunto de tratados surgidos entre os sécs. XVI e XVIII que faz uso sistemático de conceitos oriundos da instituição oratória para descrever os elementos da composição e da actio musical. Neste texto discorrer-se-á sobre a noção do músico-orador perfeito. Inicialmente, será examinada a maneira como Mattheson se representa em sua autobiografia, não como sujeito individual, mas como tipo cortesão humanista, cristão, luterano, propondo uma leitura da mesma a partir do universo poético-retórico. Nesta parte, será possível definir também o tipo constituído pelos destinatários da obra. Com isto, será possível evidenciar como o autor alemão emula lugares-comuns já apresentados em retóricas latinas, em especial o De Oratore ciceroniano e a Institutio Oratoria, de Quintiliano ao definir o mestre-de-capela perfeito. Finalmente, serão examinados lugares-comuns diretamente ligados à ideia do músico perfeito: a possibilidade de se atingir a perfeição, os requisitos para alcançá-la, assim como a contribuição da natureza e da arte para esta tarefa e a importância de conhecimentos extrínsecos à técnica musical para se atingir este ideal.

Ágnes GYOVAI, Tímea Mária HEVESI

In this paper, we examine whether the use of the circle symbol can enhance achieving this flow state, thus achieving deeper knowledge, and also, how the circle can be present in musical education. Through content analysis, we examine how the theory is put into practice, looking for the presentation of the circle symbol in dances, songs and other musical pieces. We reveal how and in what form, context and association the circle symbol appears in musical education. Our aim is to draw attention to the secrets of our surrounding world, the secrecy of the circle symbol in music. The circle, as a design in space, has a distinctive role in acoustic communication, which opens up the infinity of the musical cosmos through its individual and community building force. The ancient circle walks and dances are joint experiences of wholeness. The relevance of the research is the better understanding of the musical projection of the circle symbol, which can broaden perspective in school education.

Lina Barrientos Pacheco

Svetlana Savenko

Soviet cultural politics was completely determined in the 1930s and remained unchangeable almost until the collapse of the USSR (1991). Musical creativity was subject to the dictates of the strict ideological standards of socialist realism, which left no room for free artistic experimentation. This situation continued in more liberal times, which began after Stalin’s death.The development of the Russian post-war avant-garde began in the second half of the 1950s, with the first dodecaphonic work dating from 1956: Musica Stricta for piano by Andrei Volkonsky. The truly new works gradually penetrated into concert halls; new music became known and even popular among concertgoers, who perceived it as a symbol of spiritual freedom.All this had no relation yet to educational institutions and to teaching, which remained hopelessly conservative. The real institutional changes came only after the collapse of the USSR in the 1990s. Back then, there were three main directions associated with new music: first of all, the establishment of new composers’ associations, such as the Association of Modern Music and the Centre for Contemporary Music; secondly, festivals of contemporary music, such as the festival Moscow Autumn and the annual international festival of contemporary music Moscow Forum; thirdly, the performing collectives connected to them, such as the ensemble Studio for New Music.These institutions were established in the Moscow State “Tchaikovsky” Conservatory, and therefore played a crucial role in the formation of new teaching principles for contemporary music.

Tihomir Popovic

Der antikisierende Gestus der Arie »Ah fuggi il traditor« aus Mozarts Don Giovanni wurde in der Musikkritik und der Musikgeschichtsschreibung seit dem 18. Jahrhundert wiederholt thematisiert. In dem vorliegenden Beitrag wird, in Anlehnung an die Vorarbeiten Staehelins und Revers’, nach einer Deutung des Mozart’schen kompositionstechnischen Vorgangs gesucht. Dabei werden auch neue satztechnische Argumente in Bezug auf den antikisierenden Gestus der Arie vorgetragen. Diese liegen vorwiegend in der rhythmisch-metrischen Konstellation sowie der Präsenz von historischen Satzmodellen. Der Gestus der Arie wird unter einem Blickwinkel interpretiert, der auch die Ebene der sozialen Einordnung intensiv mit einbezieht: Die Musik scheint in der Arie in einer konkreten dramaturgischen Situation auch im Dienste der Repräsentation sozialer Stellungen zu stehen. The pseudo-archaic style of the aria »Ah fuggi il traditor« from Mozart’s opera Don Giovanni has been repeatedly dealt with in musical criticism and musical historiography since the 18th-century. The present article is searching, following the preliminary studies of Staehelin and Revers, for an interpretation of the creative process Mozart was undergoing with respect to questions of compositional technique. New arguments are produced concerning the texture in reference to the pseudoarchaic style of the aria. These are predominantly based on the rhythmic-metrical constellation as well as on the presence of historical schemata. The style of the aria is being interpreted from a point of view that also gives much attention to the aspect of social classification. The music of the aria seems to help creating a dramatic situation reflecting social attitudes.

Guillermina Guillamón

Manica Špendal

Mnenja o datumih ustanovitve čitalnic na Slovenskem so deljena. Zlasti velja to za mariborsko in ljubljansko čitalnico. Medtem ko nekateri muzikologi trdijo, da je za Narodno slovansko čitalnico v Trstu (29. januarja 1861) bila kot druga ustanovljena ljubljanska Narodna čitalnica (20. oktobra 1861) in nato kot tretja mariborska Narodna slovanska čitalnica (4. septembra oziroma 10. novembra 1861), meni večina raziskovalcev tega obdobja, da je treba upoštevati formalni datum ustanovitve, ko so ustanovitelji s podpisi potrdili ustanovitveni zapisnik, kar je bilo v Mariboru 17. julija 1861.

Brett Pyper

In the early 1990s, when Louise Meinges conducted the bulk of the re-search on which Sound of Africa!: Making Music Zulu in a South African Studio is based, Zulu ethnicity was being celebrated on the world's stages at the same time that it was being bitterly contested at home. In the wake of Paul Simon's Graceland collaborations, accomplished studio musicians and eth-nically identified groups like Ladysmith Black Mambazo gained access to the burgeoning world music market. At the same time, however, a violent upsurge of Zulu ethnic nationalism threatened the negotiated transition from white minority rule to nonracial democratic elections. This violence, which jeopardized the transition process from Nelson Mandela's release in 1990 until the eve of South Mrica's historic 1994 elections, was a mani-festation of the apartheid state's reification and manipulation of Mrican ethnicity as a divide-and-rule strategy.

Antonio Hurtado Torres, David Hurtado Torres