Description Ce livre est né d'une intuition et d'une question. L'intuition : il est des textes de poètes qui ne révèlent leur cohérence et leur sens que si on les écoute comme des morceaux de musique. La question : l'écriture poétique peut-elle réellement porter en elle des traces d'écriture musicale, pareil phénomène se prête-t-il à l'analyse ? En s'arrêtant sur certains passages de l'œuvre de trois poètes ayant eux-mêmes pratiqué la musique et la connaissant « de l'intérieur » – Cendrars, Mandelstam, P...
Description In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, punk, reggae, and hip-hop. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries.
Description From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent.
Description A popular fascination with fame and stardom has existed in Western culture since the late eighteenth century; a fascination that, in the twenty‑first century, reaches into almost every facet of public life. The pervasive nature of stardom in modern society demands study from the perspectives of a range of distinct but thematically connected disciplines. The exploration of intersections between broader considerations of stardom and the discourses of popular music studies is the genesis for this volume. The chapters collected here demonstrate the variety of work currently being undertaken in stardom studies by scholars in Australia. The contributions range from biographical considerations of the stars of popular music, contributions to critical discourses of stardom in the industry more broadly, and the various ways in which the use of astronomical metaphors, in both cultural commentary and academic discourse, demonstrate notions of stardom firmly embedded in popular music thought. Not only do these chapters represent a range of perspectives on popular music, stars and stardom, they provide eloquent and innovative contributions to the developing discourse on stardom in popular music.
Description This volume is the result of the “Before and After Cavour: the music between Sabaudo State and United Kingdom (1848-1870)” conference, held in 2011 during the celebrations for the bicentenary of the birth of Cavour and the 150th of the Italian unification
Description La musique, c’est bien connu, est avant tout source d’émotion et de plaisir. Elle accompagne notre vie quotidienne, dont elle constitue le paysage sonore sans même que nous nous en rendions compte. Alors, pourquoi y a-t-il des musicologues, c’est-à-dire des chercheurs qui prétendent aborder la musique d’un point de vue scientifique ? Quelles questions se posent-ils ? Quels problèmes cherchent-ils à résoudre ? Comment travaillent-ils et où ? Le discours sur la musique ne serait-il pas quelque...
Description Sound and music computing is a young and highly multidisciplinary research field. It combines scientific, technological, and artistic methods to produce, model, and understand audio and sonic arts with the help of computers. Sound and music computing borrows methods from computer science, electrical engineering, mathematics, musicology, and psychology.
Description Recent years have brought new insights to the understanding of Parkinson’s disease, impact of exercise and sound displays in rehabilitation and movement facilitation. There is growing evidence that auditory signals in the environment can provide a temporal template for movement and change the mode of motor control from intrinsic to extrinsic; habitual to goal-directed, enabling enhanced motor performance in patients. In addition, forced exercise rate studies show that exercising at the pace of healthy adults can have potential neuroprotective benefits for patients. Many research groups have explored the use of auditory cues (such as rhythmical auditory training) in improving gait and upper limb movement parameters. Cues are usually either intermittent (metronome) or continuous (dynamic sound displays). Similarly, dance based interventions suggest that patients benefit from additional sensory information (i.e. the temporal structure embedded in music and proprioceptive information from a dancing partner) that facilities movement. On the contrary, studies dedicated to auditory perception and motor timing report an impaired ability of patients to perceive and synchronise with complex rhythmical structures (i.e. causing an inability to play musical instruments).
With the growth of modern technology and the increasing portability of hi-specification devices (such as smart phones), new research questions on the design of interventions are beginning to emerge as we strive for more efficient therapeutic approaches. In this Research Topic we wanted to bring together top scientists from the movement disorder, motor control and sound related studies along with therapists. That way, we can engage in cross-disciplinary and challenging scientific debate about future rehabilitation avenues and frontiers for Parkinson’s disease patients.
Description "Examining materials from early modern and contemporary North India and Pakistan, Tellings and Texts brings together seventeen first-rate papers on the relations between written and oral texts, their performance, and the musical traditions these performances have entailed. The contributions from some of the best scholars in the field cover a wide range of literary genres and social and cultural contexts across the region. The texts and practices are contextualized in relation to the broader social and political background in which they emerged, showing how religious affiliations, caste dynamics and political concerns played a role in shaping social identities as well as aesthetic sensibilities. By doing so this book sheds light into theoretical issues of more general significance, such as textual versus oral norms; the features of oral performance and improvisation; the role of the text in performance; the aesthetics and social dimension of performance; the significance of space in performance history and important considerations on repertoires of story-telling.
Tellings and Texts is essential reading for anyone with an interest in South Asian culture and, more generally, in the theory and practice of oral literature, performance and story-telling."
Description Trouble Songs is a hybrid serial work that tracks the appearance of the word “trouble” in 20th- and 21st-century American music. It reads (and sings) songs and poems, with reference to cultural events ranging from the death of a pop singer to the growth of popular resistance movements. The trouble singer invokes the word “trouble” in place of actual trouble—the song is a spell that conjures trouble (from bad luck and disaffection to infidelity, impotence, destitution, and the specter of death) in a temporary form that can be dis-spelled, if only for the length of the song. Singer and song also open a critical space for making trouble, for stirring the heart and mind. This space is a disjunction in time (and a superimposition of events) where singer and listener collaborate on meaning (un/)making as they temporarily transform trouble.
Trouble Songs enacts its poetics with the use of footnote and body text as modular, contiguous, and porous fields of writing and imagination, a corollary for overlapping singer/listener roles. In effect, the footnotes sing along with (and trouble) each chapter, providing chorus and counterpoint to these Trouble Songs, as the compositional horizon between body and notes rises and falls. These cultural investigations suggest that the way we sing about trouble, and the way we receive those songs and cultural transmissions, says much about what preoccupies us spiritually and intellectually—what moves us and disturbs us, brings us together even as we keep some things to ourselves.
ABOUT THE AUTHOR
Jeff T. Johnson is a writer and cultural critic living in Philadelphia. His music writing has appeared in Pitchfork, SF Weekly, The Rumpus, Fanzine, Coldfront, Humanities, and Jacket2. Poetry and prose have appeared in PEN America, Encyclopedia, Tarpaulin Sky, 1913: a journal of forms, and Gramma. A chapbook, trunc & frag, is at Our Teeth. His open-field concrete digital poem The Archiverse is documented at archiverse.net, and is anthologized in Electronic Literature Collection Volume 3. Other hybrid projects include Special America (with Claire Donato) and UnderAcademy College. He was a founding editor at Kitchen Sink, where he edited the Louder Than Words music section, and was editor in chief at LIT. He is a Visiting Instructor in the Architecture Writing and BFA Writing Programs at Pratt Institute, and a 2017–2018 Digital Studies Fellow at Rutgers University-Camden. Currently, he is at work on Janky Materiality, a poetics of digital language art and analog synth music. For more information, visit jefftjohnson.com.
Description This course introduces the basic concepts and terms needed to discuss melody and harmony. It is intended for teens or adults with no background in music theory but some familiarity with reading common notation and playing an instrument (or singing). Concepts covered include interval, major and minor keys and scales, triads and chords.
Description This course may be used to introduce or reinforce music-reading skills for someone just learning to play an instrument, or the individual lessons can be used to expand on basic music-reading knowledge or to look up any music-notation terms that are still unfamiliar.
Description Explanations (suitable for any age) of the basic elements of music, with suggested activities for introducing the each concept to children at early elementary school level. The course may be used by instructors not trained in music; all necessary definitions and explanations are included.
Description A combination social studies and music course for children at elementary school level. Some lessons feature music to learn; others introduce interesting aspects of music in other cultures. Individual lessons can be used in any order or left out.
Description The activities in this course are designed for children preschool or elementary school age. Some introduce basic music concepts; others focus on music of a particular culture. All encourage noise and activity, so they make excellent breaks from desk work, but be sure you are not disturbing the class down the hall!
Description For middle school and up, a short course that explains acoustics (the physics of sound waves) as it relates to music and musical instruments. Suggestions for presenting some of the concepts to younger students are included.
Description To detect the pitch and instrument of a monophonic signal. To decompose polyphonic signals into their component pitches and instruments by analyzing the waveform and spectra of each instrument. Elec 301 Project Fall 2005.
This license lets others distribute, remix, tweak, and build upon your work, even commercially, as long as they credit you for the original creation. This is the most accommodating of licenses offered. Recommended for maximum dissemination and use of licensed materials.
This license lets others remix, tweak, and build upon your work even for commercial purposes, as long as they credit you and license their new creations under the identical terms. This license is often compared to “copyleft” free and open source software licenses. All new works based on yours will carry the same license, so any derivatives will also allow commercial use. This is the license used by Wikipedia, and is recommended for materials that would benefit from incorporating content from Wikipedia and similarly licensed projects.
This license lets others remix, tweak, and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they don’t have to license their derivative works on the same terms.
This license is the most restrictive of our six main licenses, only allowing others to download your works and share them with others as long as they credit you, but they can’t change them in any way or use them commercially.
OpenEdition license for Books
All open access books on OpenEdition Books platform are protected by French Law (droits d’auteur). They are free to read for everybody, without limitation. They can be shared with our embeddable reader, in any context, without limitation. And they can be shared for private use.
The materials are the copyright of The Australian National University or are reproduced with permission from other copyright owners. All electronic versions have been prepared by ANU Press. All rights are reserved.
By their use of these e-books, users agree to observe the following conditions of use:
UNLESS EXPLICITLY STATED OTHERWISE you are free to read, copy, download, print and display the work solely for personal use or use within your organisation. Under the following conditions:
You must provide appropriate acknowledgement to the original copyright owner
The texts and images may not be used for any commercial purpose without permission from ANU Press.
The texts and images are not to be mounted on any other server for public or commercial access without permission from ANU Press.
Links to these materials may be made, subject to these conditions of use.
You may not alter, transform or build upon this work.
CC0 enables scientists, educators, artists and other creators and owners of copyright- or database-protected content to waive those interests in their works and thereby place them as completely as possible in the public domain, so that others may freely build upon, enhance and reuse the works for any purposes without restriction under copyright or database law.
In contrast to CC’s licenses that allow copyright holders to choose from a range of permissions while retaining their copyright, CC0 empowers yet another choice altogether – the choice to opt out of copyright and database protection, and the exclusive rights automatically granted to creators – the “no rights reserved” alternative to our licenses.