Music

No Brasil ha uma grande demanda por pesquisas que tenham como principal objeto o estudo sobre o adolescente em fase de mudanca vocal. Com relacao ao estudo do canto destes jovens, tanto solo, como em corais, o que se observa e a utilizacao de praticas pedagogicas apropriadas para as vozes maduras dos adultos. O professor de canto, assim como o regente, devem ser conhecedores dos estagios de desenvolvimento vocal, previsiveis e sucessivos, que ocorrem com os jovens no momento de transicao entre a infância e a fase adulta. Alem destes estagios, faz-se necessario conhecer as questoes emocionais, fisiologicas, sociologicas e cognitivas dos adolescentes. De posse destes conhecimentos, o professor e o regente poderao acompanhar e desenvolver as vozes de seus alunos/cantores a partir do principio da saude vocal e emocional. O tratamento inadequado destas vozes em fase de amadurecimento pode provocar problemas vocais e psicologicos muitas vezes irreversiveis. Sob a luz de teorias contemporâ...

This paper describes the Lattice Harp, a new musical instrument which functions simultaneously as an acoustic instrument and a hardware controller. The Lattice Harp consists of two overlaid, perpendicular planes of strings which are electrically connected to a microcontroller. The microcontroller detects when two strings are touching and treats this data as a button being pressed. Furthermore, each string has an individual piezoelectric pickup, which allows for the strings to be separately amplified and processed ...

Vocal treatises of the 18th c. and recent research suggest that Mozart\u27s concert arias should be embellished with restraint. Appropriate ornaments include turns, filling-in patterns, appoggiaturas, and short cadences at elongated fermatas. Two arias--Alcandro lo confesso...Non so d\u27onde viene, K.294, and Bella mia fiamma...Resta, o cara, K.528--are discussed in more detail

Analysis of the impact of human resources management, marketing, human resources and in the light of its effects on the competitiveness of the enterprise becomes a theme increasingly widely researched in the scientific literature. Modern marketing is considered crucial for the success of today's organization, the miraculous solution resolves its problems, the basic tool in achieving great performance and maintaining the competitiveness of the enterprise. At the present time became, as it influences the lives of everyone, being the means by which it gives people the standard of living.

Grime is a genre of Black British music originating from London at the turn of the twenty-first century. In this article, I explore responses to moments of Grime music making and engagement in live performance settings. I make connections between Grime, Black music streams (Lena), Black Atlantic (Gilroy) practices, the Black Public Sphere (Baker) AND how engagements at these intersections are connected to spiritual practice in the context of live performance. The power in Grime live performance settings; where the spiritual is found, connects to the sonic characteristics deployed, embodied and emotive responses and cultural practice. Spirituality, through cultural practice, is an Africanised religious/spiritual outlook that remains with the African diaspora over time and space (Mbiti). Smith’s work shows how African derived religious and spiritual practice continues in diasporic religious practice contemporarily. Through live performance (raving/club culture), I explore and theorise...

La concesión de este premio ha despertado en mí una serie de interrogantes, que la nebulosa del correr del tiempo, en todo lo transcurrido hasta ahora, en el lento destilar de una obra escrita tras otra a lo largo de mi vida, no me permite responder fácilmente. De modo que puesto, hoy, ante la prueba de tener que formular una explicación, me encuentro de algún modo trabado y con la aturdidora sensación de ser objeto de una suerte de encantamiento. Un hechizo indescifrable, como si me hubiera tocado súbitamente una vara mágica, dejándome con una sensación muy pariente del susto. Y las preguntas gotean inexorablemente de mi mente. ¿Qué es lo que he hecho, para merecer esto que hoy me emociona? ¿Es este el resultado de lo que no ha sido otra cosa que una serie interrumpida de decisiones tomadas casi inconscientemente, casi como un acto reflejo, de sentarme tantas mañanas febriles ante mi máquina, a dejar que me acosaran mis obsesiones para ver si desde ellas era capaz de elaborar algo plausible, algo que tuviera sentido y que fuera fiel testimonio de mis inquietudes y que me permitieran hacer contacto con mi público?

This study evaluated the relationship between primitive and scheme-driven grouping (A. S. by comparing the ability of different listeners to detect single note changes in 3-voice musical compositions. Primitive grouping was manipulated by the use of 2 distinctly different compositional styles (homophony and polyphony). The effects of scheme-driven processes were tested by comparing performance of 2 groups of listeners (musicians and nonmusicians) and by varying task demands (integrative and selective listening). Following previous studies, which had tested only musically trained participants, several variables were manipulated within each compositional style. The results indicated that, although musicians demonstrated a higher sensitivity to changes than did nonmusicians, the 2 groups exhibited similar patterns of sensitivity under a variety of conditions.

This study examined three assumptions of the theory of deliberate practice for practice playing music on an electronic keyboard. 40 undergraduate students, divided into two separate groups, practiced one of two music sequences and rated the relevance of practice for improving performance on the sequences, the amount of effort needed to learn the sequences, and the inherent enjoyment of practice sessions. Findings for each assumption were consistent with those suggested by theory but also showed that perceptions are affected by the amount of practice completed and performance of the skill.

Prior to the 1980s the music curriculum consisted of class-singing, sol-fah deciphering and music appreciation. Typical resources were the piano, the Curwen modulator, numerous sets of song and sight-reading books (to suit single gender class groupings) and a record player. More enlightened teachers would have some percussion instruments or recorders in the classroom and, from the 1970s, the odd guitar. The Scottish Examination Board 'O' Grade examination at the end of year 4 was designed to be overtaken by pupils who had expertise on an instrument or voice to the equivalent of Associated Board Grade 5, tuition on which was given outwith the classroom while the teacher concentrated on historical study, rudiments and analysis. Such elitism fuelled growing disillusionment in pupils and many teachers who experienced a different world of music in their private lives (Witkin, 1974). Significant and effective change came in 1978 with the publication by the Scottish Education Depar...

Este artigo demonstrará como o processo de edição do manuscrito da Sonata para Violino e Piano da compositora americana Blythe Owen (1898–2000) revelou informações a respeito da vida musical do início do século XX, os desafios encontrados pela compositora para obter formação musical, seu processo composicional, a busca por performance e a luta por publicações.

Recently, we attended a professional development workshop on instructional strategies to integrate literacy and mathematics. At the workshop we heard a math teacher, Vonda Stamm, sing a variation of the Duckworth Chant, also known as "Sound Off," to demonstrate how chants can be used as a strategy to teach mathematics. She wrote this variation and titled it "Zero.

ABSTRACTSchubert's song Ganymed has attracted a great deal of interest from analysts on account of its progressive tonal plan, which is often seen as a challenge to Schenkerian theories of tonal structure, as well as its evocative text. This article draws upon a spatial theory of tonal meaning which helps both to resolve the epistemological impasse faced by reductive theories of tonal structure and to better access Schubert's interpretation of Goethe's text through spatial metaphors that derive from the harmony of the song. It also highlights an allusion to Beethoven's ‘Waldstein’ Sonata in the song, which has previously gone unremarked, and identifies this as part of a network of references to Beethoven's Sonata that act both as homage to and critique of his middle‐period style. These serve as a window both into the song and into Schubert's aesthetic stance vis‐à‐vis his musical forebear. It realises latent directional metaphors in the diatonic sharp‐flat an...

The lack of attention given to Schenkerian theory by empirical research in music is striking when compared to its status in music theory as a standard account of tonality. In this paper I advocate a different way of thinking of Schenkerian theory that can lead to empirically testable claims, and report on an experiment that shows how hypotheses derived from Schenker’s theories explain features of listener’s perception of key relationships. To be relevant to empirical research, Schenker’s theory must be treated as a collection of interrelated but independent theoretical claims rather than a comprehensive analytical method. These discrete theoretical claims can then lead to hypotheses that we can test through empirical methods. This makes it possible for Schenkerian theory improve our scientific understanding of how listeners understand tonal music. At the same time, it opens the possibility of challenging the usefulness of certain aspects of the theory. This paper exemplifies the emp...

JMM's recent special issue (7/2) reveals substantial common ground between mathematical theories of harmony advanced by Tymoczko, Hook, Plotkin, and Douthett. This paper develops a theory of scalar inflection as a kind of voiceleading distance using quantization in voice-leading geometries, which combines the best features of different approaches represented in the special issue: it is grounded in the concrete sense of voice-leading distance promoted by Tymoczko, invokes scalar contexts in a similar way as filtered point-symmetry, and abstracts the circle of fifths like Hook's signature transformations. The paper expands upon Tymoczko's "generalized signature transform" showing the deep significance of generalized circles of fifths to voice-leading properties of all collections. Analysis of Schubert's Notturno for Piano Trio and "Nacht und Träume" demonstrate the musical significance of inflection as a kind of voice leading, and the value of a robust geometrical understanding of it.

Version 2025 revue et corrigée par l'auteur, comprenant des coupes et des mises à jour JEAN DURING © LA MUSIQUE SACREE DES AHL-E HAQQ KURDES
Le présent ouvrage repose sur des recherches effectuées en Iran entre 1973 et 1983. Il est tiré d'un chapitre d'une thèse de doctorat d'État d'un millier de pages, sur les relations entre la musique et la mystique dans les cultures iraniennes.  C'est de cette thèse que sont tirés les chapitres sur les Ahl-e haqq, mais dans une version dûment révisée. Ces chapitres avaient été traduits en persan et publiés en 1999 /1378 sous le titre Musiqi va 'erfân. Sonnat-e shi'i ahl-e haqq. L'ouvrage étant épuisé depuis au moins dix ans, un éditeur s'est proposé de le rééditer, ce qui impliquait pour l'auteur d'en réviser le contenu, et notamment la traduction persane initiale.  Par rapport à l'édition de 1989, cette réédition comporte de nombreuses mises à jour, coupes, corrections et améliorations. Il n'est pas prévu de la reproduire et de la publier en version papier. Elle reste pour l'instant en version électronique, et sous la propriété de l'auteur (©).

Hélio Rebello Cardoso Jr * A fi losofi a cria conceitos, sendo essa sua atividade distintiva em face das demais formas de pensamento, segundo Deleuze e Guattari. Assim, o próprio estatuto do conceito deve caracterizar essa criação, qualifi cando a multiplicidade fi losófi ca. Deleuze já encontrara em Nietzsche uma fi losofi a que era definida pela sua potência de criação. O fi lósofo, de fato, ao criar conceitos, cria também valores. Mas o que caracteriza uma fi losofi a, defi nitivamente, é se esses valores são realmente novos ou se eles vêm confi rmar valores estabelecidos em outros domínios. A criação, o caráter da vontade de que se imbui uma fi losofi a, é seu próprio elemento crítico (DELEUZE, 1962, p. 96-98; DELEUZE, 1965, p. 19-20). Por isso, a história, bem como qualquer tipo de referência espaço-temporal, é insufi ciente para explicar a criação de um conceito. O que interessa é qual a novidade, que acontecimento o conceito desencadeia a fi m de contra-efetuar suas condições históricas, e, portanto, renová-las. Em suma, a criação de conceitos é também uma criação de "novas possibilidades de vida", afi rma Mengue (1994, p. 7-8). Um conceito, conforme nos informam Deleuze e Guattari, é formado por pelo menos dois componentes heterogêneos. Em princípio, a heterogênese que preside à criação fi losófi ca já permite qualifi car o conceito como multiplicidade, visto que "todo conceito tem componentes e se defi ne por eles. É uma multiplicidade, embora nem toda multiplicidade seja conceptual" (1991, p. 21). Naturalmente, desde que se identifi quem os componentes de um conceito é possível traçar sua história, isto é, entender como cada um de seus componentes está retrospectivamente incluído em outro conceito, oriundo de um sistema fi losófi co anterior. No entanto, o que importa para defi ni-lo não é sua diacronia, o que importa é que cada nova criação fi losófi ca compõe um todo fragmentário que consegue se suster em sua heterogeneidade, como uma unidade do múltiplo. Ou seja, o essencial é a novidade que cada conceito apresenta ao 50 Hélio Rebello Cardoso Jr defi nir-se por uma "zona de vizinhança" de todos os seus componentes compondo uma multiplicidade, cuja origem somente importa secundariamente (ibid., p. 21, 87, 90, 92). Deleuze viu, com Nietzsche, que a associação da criação fi losófi ca com a historicidade da fi losofi a não esgotava a potência de um conceito, assim como essa associação era perniciosa para o pensamento fi losófi co de um modo geral. Sempre que há uma historicização da fi losofi a, os conceitos ou métodos desta acabam por elevar ao estatuto de verdade abstrata um valor temporal. Assim, por exemplo, o fi lósofo socrático já submisso ao "Divino", ao "Belo", à "Verdade" e ao "Bem"; o criticismo kantiano do "fi lósofo legislador", que nos alerta para a heteronomia que confunde os interesses da razão, mas não se questiona sobre a origem e a natureza dos valores que fundamentam esses interesses, e por isso continua a pregar o "verdadeiro conhecimento", a "verdadeira moral", a "verdadeira religião"; mesmo na dialética, ao propor o "retorno ao Espírito", o papel da consciência de si na defi nição do homem como ser genérico, não deixa de ser fi el, a seu modo, à Reforma. Todos esses compromissos, muitas vezes velados, com a história e com os valores superiores nela estabelecidos, impediriam o fi lósofo de agir contra o seu tempo, de ser um verdadeiro criador (DELEUZE, 1965, p. 20-23). Mas, afi nal, de onde parte o fi lósofo para criar um conceito, conectando seus componentes, de modo que se possa afi rmar que ele é uma multiplicidade que não pode ser explicada pela origem de seus componentes, neste ou naquele sistema fi losófi co? Todo conceito, ou melhor, a vizinhança que se estabelece entre seus componentes corresponde à solução de um problema fi losófi co como condição de sua criação. De fato, se, em geral, diz-se que conceitos anteriores preparam a emergência de um novo, isto signifi ca tão somente que os conceitos supostamente originários tinham como ponto de partida um determinado problema e que eles aparecem no novo conceito de acordo com um problema que se modifi cou. O conceito, enfi m, submete suas condições, ou dados históricos, a uma distribuição que acaba por renová-las. Como afi rma o próprio Deleuze, "em fi losofi a, a questão e a crítica da questão são idênticas, ou, melhor, não há crítica de soluções, mas somente uma crítica dos problemas" (DELEUZE, 1953, p. 119). Assim, o problema é o fator que diz respeito ao domínio do conceito onde os componentes estão juntos, não em virtude de sua história, mas em virtude de sua heterogeneidade. Claro, um conceito pode dividir com outros um mesmo domínio, um espaço de "cocriação", porém, mesmo aí, trata-se de problemas diversos em cada caso, ainda que se suponha que esses problemas estejam interconectados. Nesse caso, é possível afi rmarmos, com Deleuze e Guattari, que um conceito nasce a partir de uma "encruzilhada de problemas", cada um determinando uma multiplicidade conceitual (1991, p. 24). A solução de um problema fi losófi co, em primeiro lugar, permite compreender a complexidade de um conceito, pois se trata de dispor novos componentes. Em segundo lugar, a solução de um pro-

Il corno è uno degli strumenti musicali più antichi che l’umanità abbia creato. Questo elaborato si pone come obiettivo di esplorare l’evoluzione dello strumento sin dalle sue origini, ben più antiche della sua apparizione in orchestra a inizio Settecento, e anche del cosiddetto “corno da caccia”, solo di pochi decenni più antico. Le origini del corno, che si addentrano fin nella Preistoria, risultano indagabili con buona precisione soltanto a partire da circa tremila anni fa in piena Età del Bronzo, periodo in cui già veniva utilizzato come mezzo per comunicare a distanza. Indagando sugli usi dei vari tipi di corni creati, si è potuto constatare che, nel corso dei secoli, in certi casi si arrivava a creare un vero e proprio linguaggio in codice tra chi lo utilizzava per inviare un messaggio e chi dall’altra parte stava in ascolto o rispondeva. Si indagheranno strumenti celtici, romani, rinascimentali; strumenti popolari e strumenti “colti”, trovando non solo antenati ma progenitori comuni.
Proseguendo il discorso verso strumenti più affini al corno moderno, si è potuto analizzare l’evoluzione del corno in un ambiente meno rustico e più aristocratico quali erano le corti nobiliari delle casate europee, in cui si praticava la caccia. I compositori utilizzavano da una parte sequenze di derivazione antecedente, dall’altra ne ideavano di nuove. In pratica, si consolidò l’idea di uno strumento con una “doppia anima”: da una parte squillante e battagliera come quella del dord celtico, dall’altra lirica e melodica come quella del corno delle Alpi.
Indagato infine l’uso che alcuni grandi compositori hanno fatto di questa eredità millenaria, si è giunti alla conclusione che il corno è diventato una sorta di ponte di collegamento tra epoche, popoli ed estrazioni sociali diverse, i quali, attraverso la musica creata per questo strumento, hanno potuto entrare in contatto in modo viscerale e profondo, seppure magari non consapevolmente, e auspicabilmente continueranno a farlo.

Theories of musical listening are well established in the fields of music cognition and, increasingly, of music theory. Historical musicologists, however, tend to take it for granted: while we mostly believe in Historically Informed Performance, we assume that our ears can take care of themselves once attuned to contextual referents and stylistic difference. But making music sound as it might have done at any given time is one thing, and making it heard as such is quite another. Here we find ourselves at unexplored intersections of theory and practice, and of “drastic” and “gnostic” approaches to musical experience grounded within, rather than beyond, its history. I also ask a simple question: what precisely did Italian composers and performers around 1600 do to make people listen to music in new ways?

Claudio Monteverdi revived his second opera, "Arianna" (Mantua, 1608; now mostly lost) for performance in the new public opera houses of Venice in 1640. A close examination of the sources reveals what he added and removed, and also prompts consideration of how the opera was first staged some thirty years before.

Any attempt to write a history of the libretto is fraught with paradox. Almost without exception, a text is the starting point for any opera. Indeed, before Mozart, and often after, the libretto was normally complete before the composer put pen to paper, for all that it might then be revised according to the musical and other demands made upon it. As we shall see, its poetry usually had quite precise musical implications. Moreover, in early opera the poet was normally the prime mover in the operatic enterprise, not just by devising the subject and fleshing it out with appropriate words, but also given his often standard role as director of the production. The libretto was itself the public face of opera in terms of the artefacts that survive to record a given performance: libretti were usually printed for general consumption inside or outside the theatre, whereas musical scores were, on the whole, regarded as more ephemeral performance materials, to be adopted, adapted, and disposed of at will. Poets also acted as the chief ideologues of opera, promoting and defending the genre against its detractors and inserting it into broader literary and cultural debates. In a very real sense, the history of the libretto is the history of opera tout court.

"42nd Street" brought Busby Berkeley into the Warner Bros. fold, and initiated a series of highly successful musicals that rescued the studio's financial fortunes. The grittily realistic approach to the "backstage" formula, plus attractive diegetic songs by Harry Warren and Al Dubin, are also distinctive, as are its broader political messages in the context of Franklin D. Roosevelt's victory in the 1932 US presidential election.

Il s'agit en premier lieu de présenter brièvement la dyspraxie visuo-spatiale : les troubles qu'elle induit, ses conséquences fonctionnelles, son retentissement émotionnel, ainsi que les ressources dont peuvent disposer les enfants et adolescents qui en sont atteints. Une meilleure connaissance de ces jeunes permet de dégager des principes d'action pédagogique d'ordre général. Au-delà, elle oriente l'action de l'enseignant vers des adaptations didactiques qui sont illustrées en mathématiques et en EPS. Dans chacune de ces disciplines, deux domaines principaux sont abordés : l'adaptation des tâches et l'apprentissage de connaissances et de compétences, disciplinaires ou non, qui sont à privilégier. Mots-clés : troubles praxiques, troubles du regard, handicap moteur, enfants cérébrolésés, apprentissages, mathématiques, EPS, pédagogie adaptée Après avoir été pris en charge dès l'âge de trois ans et demi pour " graves troubles du comportement ", Thibault n'est diagnostiqué comme porteur d'une dyspraxie visuo-spatiale que dix ans plus tard environ. " Dix ans ! s'exclame sa mère, il a fallu attendre dix ans ! dix ans de non écoute, dix ans de culpabilité, dix ans d'incompréhension, dix ans de mauvais jugements, dix ans de souffrance inutile, dix ans de mésestime de soi, dix ans de vie perdue ! Je pense, ajoute-t-elle, qu'on a beaucoup abîmé Thibault, on l'a rendu encore plus handicapé, il se sentait tellement exclu, rejeté ! " Quant à Julie, ce n'est qu'à dix-neuf ans qu'elle vient d'apprendre qu'elle était dyspraxique. Elle écrit que ce diagnostic est pour elle un " gros soulagement ", car à l'école elle avait " d'énormes difficultés qui étaient incomprises par les professeurs. Tout le monde, dit-elle, me prenait pour une fille bête et bonne à rien et n'hésitait pas à me le faire comprendre. J'en ai beaucoup souffert." Ces deux témoignages, exprimés sur le site , résument bien les difficultés considérables trop souvent rencontrées par des jeunes présentant une dyspraxie visuo-spatiale et par leurs familles. Ils ne manquent pas d'interpeller l'enseignant : quel peut être son rôle pour favoriser la réussite de ces jeunes ? Afin de contribuer à répondre à cette question, nous illustrerons les stratégies préconisées à partir de deux disciplines qui ont en commun d'être à l'origine de grandes difficultés pour les enfants dyspraxiques : les mathématiques et l'EPS (éducation physique et sportive). La pertinence de l'approche didactique et pédagogique nécessitant de prendre en compte les caractéristiques des élèves, il convient au préalable de les connaître suffisamment. Comme la dyspraxie visuo-spatiale n'est pas suffisamment connue, ses symptômes donnent lieu à des interprétations erronées : les difficultés d'apprentissage qu'elle induit sont parfois imputées à une déficience intellectuelle ou réduites à des explications de nature psycho-affective. Il s'agit en fait d'une pathologie qui associe des troubles du regard et des troubles praxiques. Elle concerne notamment nombre d'enfants anciens prématurés qui ont été victimes de lésions cérébrales. Une distinction neurologique est établie entre les voies de la vision, qui sont des voies afférentes, conduisant l'information des images rétiniennes vers le cortex pour qu'elle y soit analysée et décodée, et les voies du regard, qui sont des voies efférentes. Lorsque nous avons le projet de regarder un objet déterminé, les effecteurs de ce projet sont les muscles oculo-moteurs, dont les mouvements coordonnés orientent les globes oculaires pour favoriser une " saisie fovéale " de l'objet, en d'autres termes pour amener l'image rétinienne de l'objet sur la fovéa -zone centrale de la rétine. Pour mener à bien ce projet, la commande de saisie fovéale a son origine dans le cortex cérébral et se transmet aux muscles de l'oeil par les nerfs oculo-moteurs. Chez l'enfant dyspraxique, différents domaines de la motricité oculaire sont plus ou moins altérés : -la fixation. Elle consiste à saisir du regard un objet/cible pour en maintenir l'image sur la fovéa ; -les saccades. Ce sont des mouvements rapides, qui contribuent à suivre du regard la trajectoire d'un objet animé d'un mouvement brusque, bref et rapide ; -le nystagmus optocinétique. C'est un mouvement oculaire réflexe qui peut être déclenché par le suivi d'une scène se déplaçant rapidement, par exemple le défilement d'un paysage vu de la fenêtre d'un train ; -la poursuite. C'est un mouvement volontaire, qui vise à fixer une cible mobile et à maintenir le regard fixé sur elle en la suivant de façon régulière, sans à-coups ; -l'exploration. Il s'agit là de parcourir volontairement du regard un espace déterminé, à la recherche d'un ou de plusieurs éléments. Ce qui met en jeu une coordination complexe de mouvements lents et réguliers, de saccades et de fixations.

This paper reports the findings of a transdisciplinary project undertaken between Coventry University, Manchester Camerata and a small group of older adults. Participants were given the opportunity to compose music interactively with professional musicians. The impact of this on the participants was investigated using an action research process (Roth and Esdaile 2001) and an interpretive interactionism approach (Denzin 2001). In keeping with the empowerment principles of the project, the resultant thematic findings were represented in a group composition written by the participants and performed by Manchester Camerata. The findings demonstrate that group music composition had contributed to a sense of well-being through control over musical materials, opportunities for creativity and identity-making, validation of life experience and social engagement with other participants and professional musicians. It is the focus on music composition as an arts-in-health activity for older peop...

The article proposes a survey on the adoption of a gender perspective on historiography and dance studies, showing how, although it has struggled to achieve full academic validation in Italy, it has achieved important results (Veroli 2001, Nordera 2001, Paoli Merlo 2016, Pontremoli 2020, Caleo 2021), bringing out new genealogies and epistemologies at the same time.
Gender is thus understood not as a substratum (biological or cultural), but as a doing that shapes bodies and their interactions (Butler 1991, 1993).  If, therefore, ‘the ways of dancing and seeing dancing are deeply rooted in the cultural construction of the body’ (Nordera 2001), the article intends to demonstrate how, starting from a recognition of the specificity of gender positioning, the feminist perspective can constitute a productive background for contemporary choreographic practices, and vice versa.
A first part of the article will therefore be dedicated to analysing the theoretical advantages in reconstructing a genealogy of contemporary Italian dance based on a gender perspective, also underlining how dance and choreography entail interesting spin-offs on gender studies (Foster 1998; Caleo 2021). The second part, on the other hand, will consist of a critical examination of some choreographic experiences in which feminist thought acts as a propulsive substratum for composition and aesthetic production in an emblematic way.

Recientes avances de la flamencología han puesto de relieve el sofisticado e intrincado lenguaje musical del flamenco, basado en su propia gramática y sintaxis. El análisis de este lenguaje, regido por pautas y códigos generalmente tácitos, requiere un conocimiento desde dentro. Este artículo presenta los resultados de combinar la perspectiva y los criterios de los profesionales del flamenco con un análisis en niveles de pulso de acuerdo con el modelo presentado en 1983 por el musicólogo Fred Lerdahl y el lingüista Ray Jackendoff.

Este método de análisis dual, aplicado sistemáticamente a cada género o palo, culmina en una clasificación exhaustiva del flamenco acompasado distribuida en cinco grupos de acuerdo con el tipo de tensión métrica que contienen. A partir de esta clasificación, el artículo desvela la presencia en el flamenco de dos matrices métricas, ambas con carácter hemiólico, que apoyan la hipótesis del flamenco como una música íntegramente hispanoamericana.

Así, la priorización del análisis musicológico a la hora de definir los rasgos esenciales y los orígenes del flamenco, en vez de poner el acento en aspectos no musicales como el nombre, la letra o el tono emocional de cada palo, pretende también abrir un nuevo camino en la investigación filogenética del flamenco.

Inscrit en 2021 au Patrimoine culturel immatériel de l'Unesco, le moutya des Seychelles est défini comme une pratique chantée, tambourinée et dansée issue du contexte esclavagiste, dont on peut repérer des traces à partir de la seconde moitié du XVIIIe siècle. Cet ouvrage, fruit de plusieurs terrains menés dans les années 2010, propose une première analyse systémique du moutya. Il invite à revisiter son histoire et ses développements en tant que mode d'expression créole et décrit le moutya dit « authentique », une notion associée à la genèse d'un processus de patrimonialisation entamé au tournant de la Révolution de 1977. Les espaces contemporains de production et de diffusion des musiques aux Seychelles ont également été abordés afin de faire ressortir la place accordée au moutya et ses modalités d'expression et de ne pas le figer dans une forme fixe ou idéale dont on craindrait la perte ou l'oubli. Le moutya est alors envisagé en tant que forme relationnelle, dans laquelle la négociation des transferts d'une identité musicale à l'autre va jusqu'à construire de nouvelles identités. Cette démarche permet de le mettre en relation avec d'autres phénomènes culturels, notamment créoles. Ainsi, bien qu'il ait été institutionnalisé à des fins nationalistes, il continue d'être l'expression d'une culture en transition, en transformation, toujours en quête de repères identitaires.

This article examines how police officers in the United States use a racialized and gendered way of speaking called ‘cop voice’ to provoke fear and extreme forms of compliance from people of colour. Through autoethnographic analysis coupled with sonic attention to how Jay-Z (‘99 Problems’), Public Enemy (‘Get the Fuck Out of Dodge’) and Prince Paul (‘The Men in Blue’) represent ‘cop voice’ through shifts in their rapping flow or by using white guest rappers, ‘Doing 55 in a 54’ argues that police weaponize their voices. Identifying and listening closely to these examples of cop voice reveal how people who are raced as ‘white’ in the United States mobilize this subject position in their voices through particular cadences that audibly signify racial authority, while at the same time, never hearing themselves as doing so.

LOCATED IN THE INDIAN OCEAN, NORTHEAST OF THE island of Madagascar and about a thousand miles from the East African coast, the Seychelles archipelago was uninhabited until its colonization in 1770 by French settlers then by the British from 1811. During the very first years of colonization, a plantation system was set up and enslaved people were brought from La Réunion and Mauritius islands (then named Bourbon and Île de France, also colonized by the French), Mozambique and Madagascar, to work not only on the main islands of Mahé, Praslin and La Digue, but also on the outer islands. The British administration prohibited slavery in 1835, but African and some Asian workers (mostly Chinese, Indian and Malay) continued to immigrate to Seychelles. Nowadays, all the natives from Seychelles consider themselves Creole, no matter their backgrounds . For this population -estimated at 107,740 inhabitants in 2023 -(World Population Review. n.d. "Seychelles Population 2023 (Live)". Accessed August 21, 2023) Creole traditional culture developed in the Seychelles territory from the meeting of diverse populations and strengthened as a national culture from the independence of the country, is a landmark and contributes to their sense of identity.

Docente e Investigadora en el campo de la cognición y desarrollo musical aplicado a la Educación. Autora de obras de la Pedagogía musical, artículos publicados en revistas nacionales y extranjeras, canciones, cuentos y espectáculos musicales para niños.

This chapter examines auditory racism via the concepts of the sonic colour line and the listening ear and details its fundamental, deeply-rooted impact on what is called 'sound art'. As the sonic colour line sorts 'good' listeners from 'bad', the curatorial listening ear-the disciplinary mode of white listening operating as the sonic colour line's ready atten dant-thoroughly permeates the exhibition, review, and scholarship of sound art, particu larly in three areas: the field's origin story, the pointed rejection of self-identified black di asporic aesthetics, and a refusal to hear critique on these grounds. In addition to auditing prior scholarship, I challenge previous renderings of 'sound art' via close and historicallycontextualized analysis of artworks by Camille Norment, Betye Saar, Mendi + Keith Obadike, and Jennie C. Jones.

Reservados todos os direitos. Toda a reprodução ou transmissão, por qualquer forma, seja esta mecânica, electrónica, fotocópia, gravação ou qualquer outra, sem a prévia autorização escrita do autor e editor é ilícita e passível de procedimento judicial contra o infractor.

Abstract: In addition to being a vibrant financial and cultural center in Brazil’s Southeast region, Sao Paulo is Latin America’s biggest metropolis and an alpha global city. Despite its many museums and transportation infrastructure, 11% of the paulistana population lives in favelas [shantytowns]. In this chapter, I examine the way in which this Brazilian megalopolis has been represented in two films by Walter Salles and Daniella Thomas, Terra estrangeira (1995) and Linha de passe (2008), which are set in the period that led to the instauration of neo-liberalism as well as in the 2000s. In these films, Sao Paulo appears as an urban center in which anonymity and stark class differences prevail, a portrayal that conspires against male characters’ civil and political rights and exacerbates the tensions brought about by liberalism with its emphasis on individualism. In addition, both films present allegorical representations of the family in neoliberal times, characterized by the absen...

Esta pesquisa dedica-se ao o estudo do afeto e da espetacularidade do grupo de breaking Dragon Crazy de Sao Domingos do Capim-PA. A partir das minhas vivencias enquanto integrante do grupo Dragon Crazy, desenvolvo a pesquisa com enfase nos afetamentos e olhar sensivel, enquanto artista-etno-pesquisador, tendo como aporte teorico e metodologico a Etnocenologia. Para tanto, foi realizado um tracado historico sobre o breaking desde seus primordios na Jamaica e Estados Unidos ate chegar ao Brasil e Sao Domingos do Capim, constituindo a trajetoria do grupo Dragon Crazy e desvelar seu o afeto e espetacularidade. Para a concretizacao teorica da pesquisa foi efetuado um sistema de relacoes com pessoas do Hip-Hop, com os integrantes do grupo, com pesquisadores da Etnocenologia, em especial Brigida (2015) que aponta a importância do afeto nas pesquisas etnocenologicas. A pesquisa alcancou como resultado a identificacao da poetica artistica do grupo Dragon Crazy que se constitui pela coletivid...

The study assessed whether the auditory reference provided by a music scale could improve spatial exploration of a standard musical instrument keyboard in right‐brain‐damaged patients with left spatial neglect. As performing music scales involves the production of predictable successive pitches, the expectation of the subsequent note may facilitate patients to explore a larger extension of space in the left affected side, during the production of music scales from right to left. Eleven right‐brain‐damaged stroke patients with left spatial neglect, 12 patients without neglect, and 12 age‐matched healthy participants played descending scales on a music keyboard. In a counterbalanced design, the participants' exploratory performance was assessed while producing scales in three feedback conditions: With congruent sound, no‐sound, or random sound feedback provided by the keyboard. The number of keys played and the timing of key press were recorded. Spatial exploration by patients wit...

Aytul Akal’in ilk genclik grubuna yonelik yazdigi “Super Gazeteciler-1, Super Gazeteciler 2- Parktaki Esrar, Super Gazeteciler 3- Likorlu Cikolata ve Super Gazeteciler 4- Belali Davetiye” den olusan dort roman serisinde, yedinci sinifa giden dort arkadasin kendi cabalariyla hazirladiklari gazeteyi olustururken karsilastiklari maceralar anlatilmaktadir. Roman boyunca dort arkadasin yasantilari birlikte hazirladiklari Super Gazete’ye her zaman ilham kaynagi teskil edecektir. Calismada, Aytul Akal’in cocuk romani serisinde “abartilmis merak” ogesi tarama yontemi kullanilarak incelenmistir. Bu dogrultuda cocuk okurda merak uyandiran noktalar romanda tespit edilerek siralanmis ve bu noktalardan hareketle merak ogesine iliskin alti kod olusturulmustur. Bu kodlar ve kodlardaki merak ogesine iliskin frekans degerlerinin dagilimi dort roman serisinde toplam soyledir: “Kahramanlari Tanima” (f:4), “Kahramanlarin Olayla Baglantisi Kuruluyor” (f:11), Kahramanlarin Olaya Katilmasi (f:14), Kahrama...

This recital is given in partial fulfillment of the performance requirements for the degree Master of Music in bassoon performance. Hugo A. Doege is a student of Albie Micklich. Out of respect for the performers and those audience members around you, please turn all beepers, cell phones and watches to their silent mode. Thank you.

This study evaluated the relationship between primitive and scheme-driven grouping (A. S. by comparing the ability of different listeners to detect single note changes in 3-voice musical compositions. Primitive grouping was manipulated by the use of 2 distinctly different compositional styles (homophony and polyphony). The effects of scheme-driven processes were tested by comparing performance of 2 groups of listeners (musicians and nonmusicians) and by varying task demands (integrative and selective listening). Following previous studies, which had tested only musically trained participants, several variables were manipulated within each compositional style. The results indicated that, although musicians demonstrated a higher sensitivity to changes than did nonmusicians, the 2 groups exhibited similar patterns of sensitivity under a variety of conditions.

Recent speech research has begun to evaluate the internal structure of categories. In one such study, found that discrimination was poorer for vowel stimuli that were more representative of the category (prototype, or P, set) than it was for less representative stimuli (nonprototype, or Np, set). This finding was interpreted as indicating that a category prototype may function as a "perceptual magnet," effectively decreasing perceptual distance, and thus discriminability, between stimuli. The present study examines the function of prototypes in a musical category-another natural, but nonspeech category. Paralleling the Kuhl study, representative (P) and less representative (NP) sets of major triad stimuli were constructed, based on equal temperament. Musically experienced subjects rated the stimuli in each set for goodness as a major triad, with the highest rated stimulus serving as a prototype standard for a subsequent discrimination task. Results from the discrimination task demonstrated better performance in the P context than in the NP context. The current nonspeech results indicate that a prototype functions as an anchor rather than a magnet. In addition to providing a natural, nonspeech standard for comparison with speech findings, the results provide some important insights into the nature of musical categories. Although it has long been conjectured that speech categorization may be based on the use of prototypes or exemplars, most speech perception research has tended to focus on the location of category boundaries. This focus on category boundaries is probably a carryover from the notions of categorical perception which posited absolute recoding of perception in terms of discrete phonetic categories, and which dismissed any within-category perceptual variation as being due to stimulus artifacts . As a result, little attention has been given to differences in perceptual quality or goodness, which, in theory, should exist within categories that are based on the use of prototypes or exemplars. In contrast to this long tradition ofcategorization studies based on labeling tasks, some recent research has begun to examine the internal structure of speech categories (e.g.

Cloud services allow musicians and developers to build audience participation software with minimal network configuration for audience and no need for server-side development. In this paper we discuss how a cloud service supported the audience participation music performance, Crowd in C [loud] [10], which enables audience participation on a large scale using the audience audience's smartphones. We present the detail of the cloud service technology and an analysis of the network transaction data regarding the performance. This helps us to understand the nature of cloud-based audience participation pieces based on the characteristics of a performance reality and provides cues about the technology's scalability.

In this work we present the SuperCopair package, which is a new way to integrate cloud computing into a collaborative live coding scenario with minimum efforts in the setup. is package, created in Coffee Script for Atom.io, is developed to interact with SuperCollider and provide opportunities for the crowd of online live coders to collaborate remotely on distributed performances. Additionally, the package provides the advantages of cloud services offered by Pusher. Users can share code and evaluate lines or selected portions of code on computers connected to the same session, either at the same place and/or remotely. e package can be used for remote performances or rehearsal purposes with just an Internet connection to share code and sounds. In addition, users can take advantage of code sharing to teach SuperCollider online or fix bugs in the algorithm.

The position of a participant during an installation is a valuable data. One may want to start some sample when someone cross a line or stop the music automatically whenever there is nobody inside the main area. GPS is a good solution for localization, but it usually loses its capabilities inside buildings. This paper discuss the use of Wi-Fi signal strength during an installation as an alternative to GPS.

Sažetak: U članku razmatram dvije teme. Prvu temu, dakle, radiofoniju romana Na rubu pameti (1938) otvaram s obzirom na završetak 12. poglavlja Među brodolomcima na koji je iz vizure akustičkoga disparatizma prvi upozorio Viktor Žmegač. Drugi dio članka razmatra Krležin simbol singerice od njegova rukopisa Singerov simbol. Radio opera, skica pa sve do singer-mašine kao simbola otpora u Krležinim dramama i romanima. Dakle, dok se u navedenoj radio-operi Krleža više bavi simbolom singerice i radija/radio-aparata kao tehničkim fenomenima, singericu kao feministički simbol i simbol otpora razmatra u svojim dramama i romanima. Ključne riječi: radiofonija, singerica, Miroslav Krleža, "Singerov simbol. Radio opera, skica" Ta mašina, to je moja "paranoidna" mašina i nema s tim juridičkim tvojim vicevima nikakve veze! Ja sam s tom singericom zakasnio na liniji svoje vlastite "paranoidne" odgovornosti! Leone Glembay

This research aims to document experimental music produced in the Northeast of Brazil through a multi-case study involving mapping and documentation of technological devices, initiatives and various creative processes of a sample of agents inserted in the context of experimental music, with the objective of increasing artistic and knowledge production in music. Due to the scarcity of texts addressing the subject presented here, this investigation contemplates artistic projects linked to agents of experimental music in the region mentioned beforehand. The methodology in which this study is based on reflects the ideas of Piekut (2011) that considers the mapping of an artistic network is made without ignoring social issues in the music field. As a result, a growing and vast artistic production was documented, in addition to collaborations by seven of the nine States of the Northeast, resulting in compositions, meetings and exhibitions of experimental music.

El documento presentado contiene una investigación de tipo descriptiva, que pretende demostrar la relación entre las inteligencias lingüística y musical y su influencia en la adquisición de una lengua extrajera. El estudio contó con un diseño transeccional. De una población de 1000 estudiantes con edades se encuentren comprendidas entre los 12 y 17 años, se incluyó una participación muestral de 448 estudiantes residentes en la ciudad de Lima (Perú), quienes además de ser estudiantes de idiomas en sus instituciones educativas, eran estudiantes regulares de música. Para recopilar la información se aplicó un “TEST VRIMYL” o “Test para la valoración de la relación entre las inteligencias musical y lingüística” (Briceño & Durán, 2021), compuesto por 11 ítems, de los cuales 10 de ellos son de escala nominal dicotómica, y uno de selección múltiple. Los resultados obtenidos demuestran una relación positiva entre el aprendizaje de música y el desarrollo de una lengua, permitiendo concluir qu...