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Sounding Indigenous explores the relations between music, people, and places through analysis of Bolivian music performances: by a non-governmental organization involved in musical activities, by a music performing ensemble, and by the people living in two rural areas of Potosi. Based on research conducted between 1993 and 1995, the book frames debates of Bolivian national and indigenous identities in terms of different attitudes people assume towards cultural and artistic authenticity. The book makes unique contributions through an emphasis on music as sensory experience, through its theorization of authenticity in relation to music, through its combined focus on different kinds of Bolivian music (indigenous, popular, avant-garde), through its combined focus on music performance and the Bolivian nation, and through its interpretation of local, national, and transnational fieldwork experiences

Cover -- Half Title -- Title Page -- Copyright Page -- Dedication -- Contents -- List of Examples, Figures and Tables -- Introduction -- PART I: Voice and Agency -- 1 I'm with the Band: Redefining Young Feminism -- 2 Girls at Work: Gendered Identities, Sex Segregation, and Employment Experiences in the Music Industry -- 3 "I Love Beyoncé, but I Struggle with Beyoncé": Girl Activists Talk Music and Feminism -- PART II: Voice and Vocality -- 4 "These Stupid Little Sounds in Her Voice": Valuing and Vilifying the New Girl Voice -- 5 Girls and Puberty: the Voice, It Is a-Changin' -- A Discussion of Pedagogical Methods for the Training of the Voice through Puberty -- 6 The Curse of the "O mio bambino caro": Jackie Evancho as Prodigy, Diva, and Ideal Girl -- 7 Authority, Ability, and the Aging Ingénue's Voice -- PART III: Voice and Authenticity -- 8 Performing Pop Girlhood on Disney Channel -- 9 When Loud Means Real: Tween Girls and the Voices of Rock Authenticity -- 10 You Tube, Twerking and You: Context Collapse and the Handheld Copresence of Black Girls and Miley Cyrus -- PART IV: Voice and Narrative -- 11 The Counterpoint of Aging and Coming of Age in the Mother-Daughter Duets of Tori Amos and Natashya Hawley -- 12 Listen to the Mockingjay: Voice, Identity, and Agency in The Hunger Games Trilogy -- Afterword: "The Art of Yearning -- List of Contributors -- Index.

Certain trends in the recital of Western art music composition and performance have embraced indeterminacy through an emerging sonic aesthetic that seeks to redefine the notion of failure. From Charles Ives' adoption of bi-tonality in the early twentieth century to the 'glitch' movement in contemporary computer music, this article traces ways in which musicians have sought to embrace the risk for failure in performance with special attention to virtuosic instrumental music ( Cascone 2006 ; Rodgers 2003 ; Godlovitch 1998 ; Rosen 2002 ). Drawing upon the author's recent interdisciplinary practice-led research 'Woman=Music=Desire' (2010) and adopting a choreographic approach to the re-appropriation of musical gesture, the author explores how the risk for failure contributes to live musical experience. This discussion is then extended to the process of corporeal acquisition necessary in rehearsing and performing a piece of music which, the author suggests, results in a degree of gestural self-simulation. In this way, the performer's personal authenticity is discussed as a potential locus of failure in which the physical manifestation of emotional expression helps to determine empathetic identification between performer, spectator and instrument ( Kivy 1995 ). Drawing upon Steven Baker's notion of 'botched taxidermy' (2000), the author suggests that this empathetic identification creates a space in which the potential risk for failure might be considered intrinsic to conceptions of corporeality in music performance. In this way, live musical experience is posited a site of risk in which the performer, as a desiring subject, emerges as the embodiment of failure. A short excerpt of the case study 'Woman=Music=Desire' may be viewed at: http://www.imogene-newland.co.uk/perf_women_md.php

Comunicació presentada a: 10th International Workshop on Machine Learning and Music (MML), celebrat a Barcelona (Espanya), el 6 d'octubre de 2017. ; Computational modelling of expressive music performance has been widely studied in the past. While previous work in this area has been mainly focused on classical piano music, there has been very little work on guitar music, and such work has focused on monophonic guitar playing. In this work, we present a machine learning approach to automatically generate expressive performances from non expressive music scores for polyphonic guitar. We treated guitar as an hexaphonic instrument, obtaining a polyphonic transcription of performed musical pieces. Features were extracted from the scores and performance actions were calculated from the deviations of the score and the performance. Machine learning techniques were used to train computational models to predict the aforementioned performance actions. Qualitative and quantitative evaluations of the models and the predicted pieces were performed. ; This work has been partly sponsored by the Spanish TIN project TIMUL (TIN2013-48152-C2-2-R), the European Union Horizon 2020 research and inno- vation programme under grant agreement No. 688269 (TELMI project), and the Spanish Ministry of Economy and Competitiveness under the Maria de Maeztu Units of Excellence Programme (MDM-2015-0502).

The automatic assessment of music performance has become an area of increasing interest due to the growing number of technology-enhanced music learning systems. In most of these systems, the assessment of musical performance is based on pitch and onset accuracy, but very few pay attention to other important aspects of performance, such as sound quality or timbre. This is particularly true in violin education, where the quality of timbre plays a significant role in the assessment of musical performances. However, obtaining quantifiable criteria for the assessment of timbre quality is challenging, as it relies on consensus among the subjective interpretations of experts. We present an approach to assess the quality of timbre in violin performances using machine learning techniques. We collected audio recordings of several tone qualities and performed perceptual tests to find correlations among different timbre dimensions. We processed the audio recordings to extract acoustic features for training tone-quality models. Correlations among the extracted features were analyzed and feature information for discriminating different timbre qualities were investigated. A real-time feedback system designed for pedagogical use was implemented in which users can train their own timbre models to assess and receive feedback on their performances. ; This work has been partly sponsored by the Spanish TIN project TIMUL (TIN2013-48152-C2-2-R), the European Union Horizon 2020 research and innovation programme under grant agreement No. 688269 (TELMI project), and the Spanish Ministry of Economy and Competitiveness under the Maria de Maeztu Units of Excellence Programme (MDM-2015-0502).

A warming critical reception and the appearance of computers within musicmaking domains that have traditionally been solely occupied by acoustic instruments is evidence that the computer is on a trajectory towards becoming a fully integrated musical instrument within both academic and popular musics. "Fractured bodies: gesture, pleasure and politics in contemporary computer music performance" opens the question of whether or not the receptive discomfort computer music performance has struggled against is the result of a conceptual error of function over form, or whether it is simply the result of historical bias and an awkward creative adolescence. I explore this question by providing a wide perspective on how computer music and post-digital performers are rewriting the well-understood historical role of the musical body, and how this situates the computer as an ideal site from which to critically reexamine the issues of musical gesture, intentionality, reception, and cultural capital

Across its history, K-pop has put traditional Korean elements to a diversity of uses, including in music, dance and visual style. This article investigates the use of traditional elements in the sub-genre of Korean hip hop and rap performance. In this strongly masculine sub-genre, the cultural meanings invoked in the incorporation and remediation of traditional Korean elements take on a more particular generic significance, one that highlights the hegemonic masculinity enjoyed by the referenced figure of the 'gentleman scholar' ( seonbi). With this narrower scope of investigation, I argue that the use of traditional cultural elements in Korean popular music can simultaneously function as an element of attraction for global audiences, as has previously been argued, while still maintaining local, genre-specific meanings. In particular, I argue that the gentlemanliness of the 'gentleman scholar' comes from and expresses a position of power and privilege.