Suchergebnisse

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-century music in both East Asian and Western music. The authors approach musical meaning in specific case studies against the background of general trends of cultural globalization and the construction/deconstruction of identity produced by human (and artificial) voices. The essays proceed from different angles, notably sociocultural and historical contexts, philosophical and literary aesthetics, vocal technique, analysis o

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.

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.

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.

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.

Hiding Behind the Keyboard: Uncovering Covert Communication Methods with Forensic Analysis exposes the latest electronic covert communication techniques used by cybercriminals, along with the needed investigative methods for identifying them. The book shows how to use the Internet for legitimate covert communication, while giving investigators the information they need for detecting cybercriminals who attempt to hide their true identity. Intended for practitioners and investigators, the book offers concrete examples on how to communicate securely, serving as an ideal reference for those who truly need protection, as well as those who investigate cybercriminals.Covers high-level strategies, what they can achieve, and how to implement themShows discovery and mitigation methods using examples, court cases, and moreExplores how social media sites and gaming technologies can be used for illicit communications activitiesExplores the currently in-use technologies such as TAILS and TOR that help with keeping anonymous online Brett Shavers is a former law enforcement officer of a municipal police department. He has been an investigator assigned to state and federal task forces. Besides working many specialty positions, Brett was the first digital forensics examiner at his police department, attended over 2000 hours of forensic training courses across the country, collected more than a few certifications along the way, and set up the department's first digital forensics lab in a small, cluttered storage closet.

International audience ; Keyboard instruments preserved in French museums are in various states of conservation. Some came into public collections in the second half of the 19th century being part of decorative art collections (they are often in quite an "historic" state). Some were previously in musician's hands, and they then show signs of use, maintenance, and adaptation to specific "tastes". Whilst in the museum, they also get several "stratifications of restoration", each generation having a peculiar deontology, different techniques and different results. This paper present facsimiles and reconstitution of instruments in playing order of great historical and musical importance; facsimiles of instruments modified in the course of their life or highly damaged; facsimiles of unique instruments in a very "original" state and finally facsimiles for museographic purposes. As conclusion, we give some considerations regarding the "reception" of these policies among administrators and musicians, taking into account the public and the media. ; Les instruments à clavier historiques conservés dans les musées français présentent un état de conservation très variable. Certains sont entrés dans les collections publiques dans la deuxième moitié du XIXe siècle alors qu'ils appartenaient à des ensembles d'objets d'art (ils sont en général dans un état très "original"). D'autres ont été auparavant entre les mains des musiciens et présentent alors des traces d'usure, de jeu, d'entretien, d'adaptation à l'évolution du goût. Une fois dans les musées, ils ont aussi subi différentes interventions de restauration, chaque génération ayant eu sa propre déontologie, ses techniques et ses résultats. Cette étude présente différents types de fac-similés : des fac-similés et reconstitutions d'instruments en état de jeu d'une grande importance historique et musicale ; des fac-similés d'instruments modifiés au cours de leur période d'utilisation et très endommagés ; des fac-similés d'instruments uniques et dans un état très "original" ; des ...

International audience ; Keyboard instruments preserved in French museums are in various states of conservation. Some came into public collections in the second half of the 19th century being part of decorative art collections (they are often in quite an "historic" state). Some were previously in musician's hands, and they then show signs of use, maintenance, and adaptation to specific "tastes". Whilst in the museum, they also get several "stratifications of restoration", each generation having a peculiar deontology, different techniques and different results. This paper present facsimiles and reconstitution of instruments in playing order of great historical and musical importance; facsimiles of instruments modified in the course of their life or highly damaged; facsimiles of unique instruments in a very "original" state and finally facsimiles for museographic purposes. As conclusion, we give some considerations regarding the "reception" of these policies among administrators and musicians, taking into account the public and the media. ; Les instruments à clavier historiques conservés dans les musées français présentent un état de conservation très variable. Certains sont entrés dans les collections publiques dans la deuxième moitié du XIXe siècle alors qu'ils appartenaient à des ensembles d'objets d'art (ils sont en général dans un état très "original"). D'autres ont été auparavant entre les mains des musiciens et présentent alors des traces d'usure, de jeu, d'entretien, d'adaptation à l'évolution du goût. Une fois dans les musées, ils ont aussi subi différentes interventions de restauration, chaque génération ayant eu sa propre déontologie, ses techniques et ses résultats. Cette étude présente différents types de fac-similés : des fac-similés et reconstitutions d'instruments en état de jeu d'une grande importance historique et musicale ; des fac-similés d'instruments modifiés au cours de leur période d'utilisation et très endommagés ; des fac-similés d'instruments uniques et dans un état très "original" ; des ...

In an Encyclopedia Devoted to Matters Pertaining to Persia and The greater Iranian cultural sphere, musical items cannot be too numerous or diverse. Musical topics fall under four categories: 1) the theory and history of traditional art music; 2) folk music of different regions; 3) musical instruments; and 4) individual musicians and their work, past and present, worthy of mention. Of these, art music provides the most extensive area for representation. The folk music of Persia, with patchy exceptions, has not been adequately studied; unfortunately satisfactory encyclopedia entries cannot be constructed in more than a few areas. The country is very rich in diverse musical instruments, but many are folk instruments about which, again, comparatively little scholarly work has been done. As to individual musicians, there are those medieval figures, mostly claimed by the Arabs and Turks as well, whom we know mainly through their extant writings on the theory of music. Only contemporary figures can be properly identified, both biographically and as to their artistic merits. They are mainly performers of the urban musical tradition.

"Since the first edition was published in 2009, Patrik Wikström's book has become a go-to text for students and scholars. This thoroughly updated third edition provides an international overview of the music industry and its future prospects in the world of global entertainment"--