Suchergebnisse

"Mortality and Music examines the ways in which popular music has responded to our awareness of the inevitability of death and the anxiety it can evoke. Exploring bereavement, depression, suicide, violence, gore, and fans' responses to the deaths of musicians, it argues for the social and cultural significance of popular music's treatment of mortality and the apparent absurdity of existence

The purpose of this study is to analyze the history of the oboe instrument in the context of world music. This goal mediates the following tasks: to analyze which instruments are the predecessors of the oboe, to characterize them; to reveal the genesis of the oboe during the 16th - 20th centuries; to identify the differences between the Viennese and French oboe models; to reveal the history of the oboe in Russia.

Iran's particular system of traditional Persian art music has been long treated as the product of an ever-evolving, ancient Persian culture. In Music of a Thousand Years, Ann E. Lucas argues that this music is a modern phenomenon indelibly tied to changing notions of Iran's national history. Rather than considering a single Persian music history, Lucas demonstrates cultural dissimilarity and discontinuity over time, bringing to light two different notions of music-making in relation to premodern and modern musical norms. An important corrective to the history of Persian music, Music of a Thousand Years is the first work to align understandings of Middle Eastern music history with current understandings of the region's political history. "Ann E. Lucas very effectively combines historical analysis, ethnomusicology, and musicology to provide a broad, holistic explanation for complex, nuanced processes of change. Well written and highly original in its approach, this is a major contribution to the field." KAMRAN SCOT AGHAIE, Associate Professor of Iranian History, University of Texas "Music of a Thousand Years presents an innovative narrative of Persian music history and also provides important new perspectives on how to analyze the meaning of music and culture in historical perspective." MOHSEN MOHAMMADI, Lecturer in Ethnomusicology, University of California, Los Angeles "Lucas turns the standard history of Persian music on its head, proving it is not a story of the survival of an ancient tradition, but rather the story of the invention of tradition. Revisionist in the best sense of the word." JAMES L. GELVIN, author of The Modern Middle East: A History ANN E. LUCAS is Assistant Professor of ethnomusicology in the Department of Music at Boston College, where she also teaches in the Islamic Civilizations and Societies Program. She is recognized for her work on music historiography of the Middle East.

This article analyzes the main forms of modern pop music creation and the relationship between traditional folk music and modern pop music, and expounds the infiltration and integration path between traditional folk music and contemporary pop music. The article is aimed at identifying the ways of the most harmonious development of Chinese traditional and modern music.

"Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory, Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field's white supremacist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive"--

The article considers the compatibility of the Serbian Cyrillic script with
the scripts used in the keyboard layouts of typewriters and computers. After
a short overview on the most popular keyboard layouts (so-called universal,
i.e. QWERTY, that is primarily intended for Anglo-Saxon and German world,
and ??????, intended for the part of the world using the Cyrillic script),
it is pointed out that the layout identified as Serbian in reality is the
QWERTY with minor modifications. In the second part of the article, with the
use of Markov chains and empirically examplified by Seobe (Migrations - one
of the most popular novels of the Serbian literature), the incompatibility
of these layouts for the Serbian Cyrillic script is confirmed, and thus the
need for a new standard is emphasized.

In any conflict, there is a struggle of wills that is resolved through strategy-which, by definition, is the art and science of developing and using the political and economical power of a nation, together with its military force, to secure national objectives.

"Interpreting Music Video introduces students to the musical, visual, and sociological aspects of music videos, enabling them to critically analyze a multimedia form with a central place in popular culture. With highly relevant examples drawn from recent music videos across many different genres, this concise and accessible book brings together tools from musical analysis, film and media studies, gender and sexuality studies, and critical race studies, requiring no previous knowledge. Exploring the multiple dimensions of music videos, this book is the perfect introduction to critical analysis for music, media studies, communications, and popular culture. Brad Osborn"--

The purpose of this investigation is to resolve an almost half a century old debate about the ethics in music and the extent of freedom of artistic expression. This debate originates in a few thousand year-old discourse which held the interests of a social group higher than the music preference of an individual, which has now completely reversed. The arguments for censorship of emotional expression in music that prevailed during Antiquity and Christianity, up until the 19th century, became ideologically tainted by what was perceived as communist propaganda, and was therefore downplayed in the middle of the 20th century. Today, the argument for individual freedom in music preference for production and consumption, has evolved into the status quo of Western music industry. However, unrestrained usage of music is found to lead to substantial increase in aggressive content in music which today constitutes about a fifth of the music products consumed in the U.S. This paper implements a number of approaches to draw a perspective view on the connection between violence in music and violence in society. It provides an insight into the causes for why violent music is cultivated, as well as the causes for persistent denial of ties between violent music and violent behavior that characterizes public consensus and opinion of music scholars.

The article provides a theoretical retrospective analysis of Russian folk music in the context of ethnic musical traditions on the example of four nationalities: Turkish, Avar, Chechen and Finno-Ugric. Historical information about the features of the formation of Russian folk music is given, its key national features are presented. More detailed information is given about the ethnic musical traditions of the Turkish, Avar, Chechen and Finno-Ugric peoples.

A driving simulator experiment was conducted to determine the effects of entering addresses into a navigation system during driving. Participants drove on roads of varying visual demand while entering addresses. Three address entry methods were explored: word-based speech recognition, character-based speech recognition, and typing on a touch-screen keyboard. For each method, vehicle control and task measures, glance timing, and subjective ratings were examined. During driving, word-based speech recognition yielded the shortest total task time (15.3 s), followed by character-based speech recognition (41.0 s) and touch-screen keyboard (86.0 s). The standard deviation of lateral position when performing keyboard entry (0.21 m) was 60% higher than that for all other address entry methods (0.13 m). Degradation of vehicle control associated with address entry using a touch screen suggests that the use of speech recognition is favorable. Speech recognition systems with visual feedback, however, even with excellent accuracy, are not without performance consequences. Applications of this research include the design of in-vehicle navigation systems as well as other systems requiring significant driver input, such as E-mail, the Internet, and text messaging.