The Kaon’CPT Collective: Building a musical culture of not-in-real-life performance through conducted live comprovisation

2021 ◽  
Vol 26 (3) ◽  
pp. 368-377
Author(s):  
Nicolas Bouillot ◽  
Michał Seta
Keyword(s):  
Social Process ◽  
Real Life ◽  
Musical Instruments ◽  
Live Performance ◽  
Musical Culture ◽  
Technological Basis ◽  
Time Zones ◽  
Performance Events ◽  
Collective Building ◽  
Networked Music

In this article we describe a Networked Music Collective for online live performance events. Four characteristics of live performance (bodies, space and time, musical culture and social process) are identified as the conceptual and technological basis of our approach. Our recent distributed comprovisation, Perripplayear, is used to illustrate these concepts and to describe the technology stack we employed. The Kaon’CPT collective uses diverse instrumentation including acoustic and electronic instruments, voice and digital musical instruments (DMIs). Its members span 12 time zones and their comprovisation is conducted via a custom distributed score.

scholarly journals Musik Tiup dan Upacara Adat: Kasus Pengayaan Identitas Kebudayaan Musikal pada Masyarakat Batak Toba di Kota Medan

Panggung ◽  
2016 ◽  
Vol 24 (3) ◽  
Author(s):  
Mauly Purba
Keyword(s):  
Social Process ◽  
Musical Instruments ◽  
The Other ◽  
Customary Law ◽  
Social Phenomenon ◽  
Musical Culture ◽  
Brass Instruments ◽  
Other Hand ◽  
The People

ABSTRACT Up to the 1990’s the use of the gondang sabangunan, the traditional ceremonial music ensamble of the Batak Toba people,  still played an important role in the practice of their adat (customary law) ceremonies—such as wedding and funeral ceremonies. In present time, however, the so-called musik tiup, a combination of Western brass instruments and Batak Toba traditional musical instruments, tends  to take place of the role of the gondang sabangunan in the adat ceremonies; its use is in fact countinuous. This paper aims to investigate whether or not it is a kind of  social process of  forming a new musical culture identity of the Batak Toba people in Medan. Ethnomusicological and ethno- historical approaches are used in investigating this particular social phenomenon. This research uses decriptive method and the result shows that, on one hand, the people intend to look after their ances- tors’ traditions through the practice of adat ceremonies where they use musik tiup, yet at the same time, they not only perform traditional gondang repertoires (gondang compositions) but also employ certain instruments of the gondang sabangunan ensamble. On the other hand, through the use of musik tiup the people mean to construct and  enrich their musical culture identity. Keywords: Batak Toba, musik tiup, Gondang Sabangunan, identity, adat    ABSTRAK Hingga  dekade  1990an  penggunaan  gondang  sabangunan,  ensambel  musik  seremo- nial masyarakat Batak Toba Toba di kota Medan, masih memainkan peran yang penting di dalam upacara-upacara adat, antara lain upacara perkawinan dan kematian. Namun, dewasa ini ensambel yang dikenal sebagai musik tiup, yang merupakan kombinasi alat musik tiup logam (dari kebudayaan Barat) dengan alat musik dari kebudayaan Batak Toba, kelihatannya menggantikan posisi ensambel gondang sabangunan di dalam upacara-upa- cara adat; kondisi ini berkesinambungan. Apakah ini suatu dinamika proses sosial dalam rangka pembentukan identitas kebudayaan musikal yang baru bagi masyarakat Batak Toba di kota Medan? Pendekatan etnomusikologi dan etnohistori diaplikasikan dalam hal me- mahami dan menganalisa masalah ini. Penelitian ini menggunakan metode deskriptif dan hasilnya menunjukkan bahwa di satu sisi, masyarakat berusaha menjaga kesinambungan tradisi musik leluhur mereka melalui pelaksanaan upacara adat walaupun dengan format ensambel yang berbeda (musik tiup), tetapi tetap memberi ruang kepada elemen musik dan ekstra musikal tradisi gondang Batak Toba, khususnya instrumen dan melodi gondang. Di sisi yang lain, melalui musik tiup masyarakat memberikan kontribusi pada pengayaan identitas kebudayaan musikalnya. Kata kunci: Batak Toba, musik tiup, Gondang Sabangunan, identitas, adat

scholarly journals The social mandate of the holistic/integrated approach to learning

2021 ◽  
Author(s):  
Tatiana Callo ◽  
Keyword(s):  
Functional Integration ◽  
Social Process ◽  
Real Life ◽  
Holistic Approach ◽  
Integrated Approach ◽  
Current Status ◽  
The Social ◽  
Key Competencies ◽  
Specificity Of Learning ◽  
Relationship Of

The specific elements in the ontological planning of the social require the holistic approach of the social process, but also of the educational ones. The whole-part dichotomy as a relationship of complementarity raises the issue of the specificity of learning integration, starting from the educational purpose, marked by the formation of key competencies, recorded by knowledge, skills, attitudes. The current status of integration, of the action to make something full, complete, very complex, generates a series of renovations, including the issue of this article, focused on the idea of the need for a model of bio- (or eco-) functional integration, designating a useful process for the student in the sense of his real life or his concrete environment.

scholarly journals The Enlightenment Philosophy Impact on the Musical Culture of Russia in the 18th–19th Centuries

2020 ◽  
Vol 6 (3) ◽  
pp. 30-37
Author(s):  
A.V. Kamenets ◽  
◽  
L.V. Molina ◽  
◽  
Keyword(s):  
Real Life ◽  
Musical Culture ◽  
The West ◽  
Russian Music ◽  
Democratic Attitudes ◽  
The Enlightenment ◽  
Life Problems ◽  
West European ◽  
Enlightenment Philosophy

this article discusses the key ideas of the philosophy of the Enlightenment (applying democratic attitudes, referring to real-life problems and issues, promoting humaneness and humanism) that have influenced the Russian musical culture. A connection is traced between the worldview of the West-European philosophers of the Enlightenment and the works of European composers and musicians that influenced the Russian musical culture in the 18th and 19th centuries. The article highlights how the philosophy of the Enlightenment affected the development of the operatic and singing art in Russia and how it in many ways dictated subsequent trends in the Russian music.

Film and Performance: Intermedial Intersections

2021 ◽  
pp. 11-22
Author(s):  
Stephen Barber
Keyword(s):  
Digital Media ◽  
Live Performance ◽  
Moving Image ◽  
Image Projection ◽  
Media Events ◽  
Performance Events ◽  
And Performance

Film and performance have always been closely interconnected, from the origins of cinematic projection in 1895. This essay, with a theoretical focus, explores how film and moving-image forms work to transform performance when they intersect with it, and vice versa. It examines how film serves to mediate and ‘reframe’ the experience and the time of live performance events, notably through the incorporation of moving-image elements into the space of performance, and through particular forms of projection and audience perception. It also probes how conceptions of intermediality can be traced specifically through the intersection of film and performance. The essay spans the entirety of moving image culture, beginning with an account of the connections between film and performance in the work of the German innovators of moving-image projection, the Skladanowsky Brothers, and ending with an examination of the work of the contemporary Lebanese filmmaker and performance artist, Rabih Mroué, whose work resonates with early cinema’s performative strategies but focuses also on current digital media events such as the dangerous ‘performative’ public filming with iPhones of government snipers in the streets of Syria.

Hacking Choreography: Dance and Live Coding

2014 ◽  
Vol 38 (1) ◽  
pp. 31-39 ◽  
Author(s):  
Kate Sicchio
Keyword(s):  
Programming Languages ◽  
Real Time ◽  
Performance Practice ◽  
Computer Music ◽  
Computer Programming ◽  
Live Performance ◽  
Research Project ◽  
Transdisciplinary Approach ◽  
Performance Events ◽  
The Creation

This article explores the intersection of live coding and choreography, discussing the “practice as research” project Hacking Choreography. It examines the use of computer programming languages within dance scores, the creation of scores in real time, and the transparency of these scores to the audience during performance. Four pieces created by the author are discussed in terms of these elements and compared to live-coding practices for computer music. Through this, not only does live coding emerge as a performance practice related to sound or visuals, but it also continues its trajectory as a transdisciplinary approach to live performance events.

scholarly journals Multipitch estimation using judge-based model

2014 ◽  
Vol 62 (4) ◽  
pp. 751-757
Author(s):  
K. Rychlicki-Kicior ◽  
B. Stasiak
Keyword(s):  
Information Retrieval ◽  
Fundamental Frequency ◽  
Music Information Retrieval ◽  
Real Life ◽  
Musical Instruments ◽  
Music Information ◽  
Test Database

Abstract Multipitch estimation, also known as multiple fundamental frequency (F0) estimation, is an important part of the Music Information Retrieval (MIR) field. Although there have been many different approaches proposed, none of them has ever exceeded the abilities of a trained musician. In this work, an iterative cancellation method is analysed, being applied to three different sound representations - salience spectrum obtained using Constant-Q Transform, cepstrum and enhanced autocorrelation result. Real-life recordings of different musical instruments are used as a database and the parameters of the solution are optimized using a simple yet effective metaheuristic approach - the Luus-Jaakola algorithm. The presented approach results in 85% efficiency on the test database.

scholarly journals The Irish World Music Café: Performing and Recording as Tools for Sustainable Social Integration

2017 ◽  
Vol 17 (3) ◽  
Author(s):  
Helen Phelan ◽  
Julianne Hennelly ◽  
Dominic Chappell ◽  
Andrew Nathan Roberts
Keyword(s):  
Social Integration ◽  
Video Recording ◽  
World Music ◽  
Potential Contribution ◽  
Live Performance ◽  
Community Based ◽  
Migrant Communities ◽  
Performance Events ◽  
The City

This arts-based and ethnographic research comprises two video submissions; ‘Elikya’ and ‘Irish World Music Café’ as well as an accompanying paper exploring the potential contribution of live musical performance and video recording to sustainable social integration for new migrant communities. The research is anchored in an exploration of an initiative called The Irish World Music Café in Limerick city, Ireland. The café is a community-based event promoting social singing for new migrants and Limerick residents in the heart of the city. The paper discusses the growing body of evidence concerning the role played by music (particularly singing) in supporting sustainable social integration. It also presents two video-based projects: the first captures the live performances of the café with the second focusing on Elikya, a Congolese music group associated with the café. The paper also discusses the growing importance of video documentation in supporting and disseminating live performance events such as the café. Using Turino’s categories of cultural formations and cultural cohorts (2008), it argues for the role of the café, both as a live event and a recorded phenomenon, in contributing to the development of alternative values and social change.

scholarly journals ИСТОРИЯ ИЗУЧЕНИЯ МУЗЫКАЛЬНОЙ КУЛЬТУРЫ ЮКАГИРОВ

2020 ◽  
Author(s):  
Yuri Sheykin ◽  
Tatyana Ignatieva ◽  
Oksana Dobzhanskaya
Keyword(s):  
Theoretical Analysis ◽  
20Th Century ◽  
Musical Instruments ◽  
Birch Bark ◽  
Musical Culture

Юкагиры – малочисленный народ, насчитывающий 1603 человека (по данным Всероссийской переписи 2010 г.). В статье производится описание процесса изучения музыкального фольклора двух сохранившихся локальных групп этноса – одулов (верхнеколымских юкагиров) и вадулов (нижнеколымских) юкагиров. Первые известия о музыкальной культуре юкагиров появляются в трудах путешественников и миссионеров, участников экспедиций XVIII–XIX вв., изучавших Колымский край (Ф. Ф. Матюшкина, С. И. Мицкевича, М. С. Вруцевича, А. Е. Дьячкова, В. Г. Богораза). Важное значение для изучения музыкальной культуры имеют юкагироведческие труды В. И. Иохельсона, содержащие обширный этнографический, словарный и фольклорный материал по верхнеколымским юкагирам. Иохельсон описал пиктографические письмена на бересте шангар шорилэ, имеющие отношение к песенной традиции. В ХХ в. значимыми для изучения юкагирской культуры являются труды Е. А. Крейновича. А. Н. Лаптев опубликовал ряд фольклорных текстов, собранных в 1959 г. экспедицией СОАН СССР. Хореограф М. Я. Жорницкая на основе собранных в 1959 и 1964 гг. материалов описала круговые и подражательные танцы. Собирание и исследование собственно музыкального фольклора юкагиров началось в начале 1960-х гг. усилиями композиторов и музыковедов (Г. А. Григорян, Э. Е. Алексеев, Г. Н. Комраков). В 1973 г. музыковед И. А. Бродский записал образцы музыкального и танцевального фольклора, зафиксировал несколько фоноинструментов и наигрышей, произвел первичное теоретическое осмысление интонационной практики. Музыковед Т. С. Шенталинская собрала образцы песенно-лирических импровизаций (андыльщин), характерных для русских старожилов и юкагиров Нижней Колымы. Начиная с 1980 гг., постоянную работу по сбору и публикации музыкального фольклора юкагиров вели Т. И. Игнатьева и Ю. И. Шейкин. В 1980–1990-е гг. записи юкагирского фольклора осуществляли К. Танимото и Т. Миллер. Лингвист С. Оде на основе собственных полевых материалов 1990–2000-х гг. исследовала интонацию юкагирской речи. Уникальная музыкальная культура юкагиров принадлежит к исчезающим музыкально-фольклорным традициям и нуждается в скорейшем изучении.Yukaghirs are a very small Northern people, their number is only 1603 people (according to the all-Russian census of 2010). The article describes the process of studying the musical folklore of two preserved local groups of Yukaghirs: Oduls (Upper Kolyma Yukaghirs) and Vaduls (Lower Kolyma Yukaghirs). The first account of the musical culture of the Yukaghirs appear in the works of travelers and missionaries, participants of expeditions of the 18–19 centuries, who studied the Kolyma region (F. F. Matyushkin, S. I. Mickiewicz, M. S. Vrutsevich, A. E. Dyachkov, V. G. Bogoraz). The works by V.I. Iohelson contain extensive ethnographic, linguistic and folklore materials on Oduls, which have a significant importance for researching the Yukaghirs musical culture. V.I. Iochelson described pictographic inscriptions on birch bark which are called changar shorile and related to the song tradition. In the 20th century, the works of E. A. Kreinovich were significant for the study of Yukaghir culture. A. N. Laptev published a number of folklore texts collected in 1959 by the expedition of USSR’s Academy of Science. Choreographer M. Ya. Zhornitskaya describing circular and imitative dances based on the field materials collected in 1959 and 1964. Yukaghir music became an object of research from 1960s, when composers and musicologists G. A. Grigoryan, E. Ye. Alekseev, G. N. Komrakov began to record examples of musical folklore and study them. In 1973, I. A. Brodsky recorded melodies of musical and dance folklore, gathered several musical instruments and instrumental tunes, made a primary theoretical analysis of intonation practice. T. S. Shentalinskaya in 1982 collected samples of song and lyrical improvisations (andylschina), characteristic for Russian old inhabitants and Yukaghirs of the Lower Kolyma. Since 1980s, T. I. Ignatieva and Yu. I. Sheykin have been working on the collection and publication of musical folklore of Yukaghirs. In the 1980s and 1990s, recordings of Yukaghir folklore were made by K. Tanimoto and T. Miller. Linguist S. Ode using their own field materials 1990–2000s studied recitative melodies in the tales of Yukaghir. The unique musical culture of the Yukaghirs belongs to the disappearing musical and folklore traditions and needs to be studied urgently.

Networked wearable musical instruments will bring a new musical culture

2002 ◽  
Author(s):  
K. Nishimoto ◽  
T. Maekawa ◽  
Y. Tada ◽  
K. Mase ◽  
R. Nakatsu
Keyword(s):  
Musical Instruments ◽  
Musical Culture

ICT in Health Care: Sociotechnical Approaches

2003 ◽  
Vol 42 (04) ◽  
pp. 297-301 ◽  
Author(s):  
M. Berg ◽  
J. Aarts ◽  
J. van der Lei
Keyword(s):  
Social Sciences ◽  
Health Care ◽  
Formative Evaluation ◽  
Social Process ◽  
Real Life ◽  
Care Work ◽  
High Price ◽  
Health Care Work ◽  
The Social ◽  
Life Phenomenon

SummaryThe importance of the social sciences for medical informatics is increasingly recognized. As ICT requires interaction with people and thereby inevitably affects them, understanding ICT requires a focus on the interrelation between technology and its social environment. Socio-technical approaches increase our understanding of how ICT applications are developed, introduced and become a part of social practices. Sociotechnical approaches share several starting points: 1) they see health care work as a social, ‘real life’ phenomenon, which may seem ‘messy’ at first, but which is guided by a practical rationality that can only be overlooked at a high price (i.e. failed systems). 2) They see technological innovation as a social process, in which organizations are deeply affected. 3) Through in-depth, formative evaluation, they can help improve system design and implementation.

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