scholarly journals ‘Habitually Embodied’ Memories: The Materiality and Physicality of Music in Hardy's Poetry

2020 ◽  
Vol 17 (2) ◽  
pp. 245-269
Author(s):  
Catherine Charlwood
Keyword(s):  
Material Culture ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Poetic Form ◽  
Mechanical Contact ◽  
Critical Fields ◽  
The Unconscious ◽  
Interdisciplinary Field ◽  
History Of ◽  
Century Science

This article reads Thomas Hardy's many musical instrument poems as the meeting point for the concerns of several critical fields: material culture, memory studies and the emerging interdisciplinary field of musical haptics. Close readings illuminate not only their relevance to such enquiries, but also how Hardy's manipulation of poetic form engenders a tactile musicality or ‘poetics of touch’ (as Marion Thain puts it). This article focuses on the aspects of these poems which have undergone least exploration: the depiction of the bodily effort involved in music-playing. While some of the poems are critical favourites (‘Old Furniture’) many of those studied here are routinely overlooked.A mnemonically-minded poet, Hardy wrote about the memories objects hold and the memories that may be mediated through them. For Hardy, the history of objects is inseparable from that of their now-dead owners: person and thing are tied together in memory. This is in part due to an object's inherent tangibility, and musical instruments are particularly tactile objects, benefiting from the further mnemonic of music itself.The core of the article considers Hardy's late poem ‘Haunting Fingers: A Phantasy in a Museum of Musical Instruments’, which hears instruments speak out their memories of being touched, and through memory feel ‘old muscles travel/Over their tense contours’. Revisions to the manuscript show Hardy removing ‘death’ and privileging instead the immediacy of remembered touch.Paying attention to the reading and note-taking Hardy did within nineteenth-century science, this article traces Hardy's imaginative explorations of the processes involved in playing musical instruments back to discoveries about the workings of the unconscious. Saleeby, James, Maudesley and Bastian informed Hardy's knowledge of the science behind music-playing, while musical haptics helps this study unpack why Hardy attends to the interactions which take place at the point of mechanical contact: finger to key, and to string.

3D printing technology in musical instrument research: reviewing the potential

2018 ◽  
Vol 24 (9) ◽  
pp. 1511-1523 ◽  
Author(s):  
Antreas Kantaros ◽  
Olaf Diegel
Keyword(s):  
Additive Manufacturing ◽  
Design Methodology ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Wind Instruments ◽  
Content Type ◽  
New Class ◽  
History Of ◽  
New Applications ◽  
Practical Implications

Purpose This paper aims to discuss additive manufacturing (AM) in the context of applications for musical instruments. It examines the main AM technologies used in musical instruments, goes through a history of musical applications of AM and raises the questions about the application of AM to create completely new wind instruments that would be impossible to produce with conventional manufacturing. Design/methodology/approach A literature research is presented which covers a historical application of AM to musical instruments and hypothesizes on some potential new applications. Findings AM has found extensive application to create conventional musical instruments with unique aesthetics designs. It’s true potential to create entirely new sounds, however, remains largely untapped. Research limitations/implications More research is needed to truly assess the potential of additive manufacturing to create entirely new sounds for musical instrument. Practical implications The application of AM in music could herald an entirely new class of musical instruments with unique sounds. Originality/value This study highlights musical instruments as an unusual application of AM. It highlights the potential of AM to create entirely new sounds, which could create a whole new class of musical instruments.

scholarly journals Politik dan Situasi Sosial dalam Sejarah Keroncong di Indonesia

2020 ◽  
Vol 15 (1) ◽  
pp. 6-11
Author(s):  
Rully Aprilia Zandra ◽  
Rustopo Rustopo
Keyword(s):  
Literature Review ◽  
Cultural Heritage ◽  
Musical Instrument ◽  
Musical Instruments ◽  
The Political ◽  
New Order ◽  
Social Situations ◽  
Treatment Techniques ◽  
Valid Data ◽  
History Of

Keroncong merupakan musik, instrumen musik, dan genre yang diklaim sebagai warisan budaya indonesia. Keroncong sebagai warisan budaya tentunya memiliki sejarah yang panjang.sejarah yang panjang juga tidak akan luput dari pasang surut dan perkembangan. Pasang surut dan perkembangan umumnya dipengaruhi politik dan situasi sosial. Untuk memetakan sejarah keroncong di Indonesia yang diwarnai politik dan situasi sosial, data dikumpulkan melalui dokumentasi, telaah pustaka, dan wawancara. Data valid dikonfirmasi dan dipaparkan secara kronologis berdasar periodesasinya. Hasil penelitian ini menunjukkan bahwa keroncong bermula dari diseminasi instrumen musik bangsa Portugis yang menjalin hubungan dengan Majapahit. Diseminasi instrumen fado di nusantara mengalami perubahan morfologi dan teknik perlakuan alatnya. Perubahan morfologi dan perlakuan alat ini melahirkan instrumen keroncong atau cukulele. Gaya lirik dibangun oleh kearifan lokal nusantara sesuai demografi dan situasi sosial di masing-masing lokasi penciptaannya. Gaya lirik dan pasang surut popularitas keroncong sebagai kelompok musik didorong dan dihentikan oleh naik turunnya kekuatan politik Portugis, Majapahit, Belanda, Jepang, dan Orde Lama dan Orde Baru. Political and Social Situations in the History of Keroncong in IndonesiaAbstract:Keroncong is music, musical instrument, and the genre that is claimed to be Indonesia's cultural heritage. Keroncong, as a cultural heritage, certainly has a long history. A long history will not escape its ups and downs and developments. Political and social situations generally influence the ups and downs and developments. In order to map the history of keroncong in Indonesia, which is colored by politics and social situations, data is collected through documentation, literature review, and interviews. Valid data are confirmed and presented chronologically based on the periodization. The results of this study indicate that keroncong originated from the dissemination of Portuguese musical instruments, which had a relationship with Majapahit. The dissemination of fado instruments in the archipelago has changed the morphology and treatment techniques of the tools. Changes in the morphology and treatment of this tool gave birth to the keroncong or Cukulele instrument. The local wisdom of the archipelago builds the lyric style according to the demographics and social situations in each location of its creation. The lyric style and the ebb and flow of keroncong's popularity as a musical group was driven and stopped by the ups and downs of the political power of the Portuguese, Majapahit, Dutch, Japanese, and the Old and New Order.

The Anthropomorphic Analogy: Humanising musical machines in the early modern and contemporary eras

2018 ◽  
Vol 23 (2) ◽  
pp. 167-180
Author(s):  
Rebecca Cypess ◽  
Steven Kemper
Keyword(s):  
Seventeenth Century ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Physical Computing ◽  
Western Art ◽  
History Of ◽  
Musical Systems ◽  
Historical Contextualisation ◽  
Sensor Interfaces ◽  
The Relationship

Since the late twentieth century, the development of cybernetics, physical computing and robotics has led artists and researchers to create musical systems that explore the relationship between human bodies and mechanical systems. Anthropomorphic musical robots and bodily integrated ‘cyborg’ sensor interfaces explore complementary manifestations of what we call the ‘anthropomorphic analogy’, which probes the boundary between human artificer and artificial machine, encouraging listeners and viewers to humanise non-musical machines and understand the human body itself as a mechanical instrument.These new approaches to the anthropomorphic analogy benefit from historical contextualisation. At numerous points in the history of Western art music, philosophers, critics, composers, performers and instrument designers have considered the relationship between human musician and musical instrument, often blurring the line between the two. Consideration of historical examples enriches understandings of anthropomorphism in contemporary music technology.This article juxtaposes the anthropomorphic analogy in contemporary musical culture with manifestations of anthropomorphism in early seventeenth-century Europe. The first half of the seventeenth century witnessed a flourishing of instrumentality of all sorts. Musical instruments were linked with the telescope, the clock, the barometer, the paintbrush, and many other instruments and machines, and these came to be understood as vehicles for the creation of knowledge. This flourishing of instrumental culture created new opportunities for contemplation and aesthetic wonder, as theorists considered the line between human being and machine – between nature and artifice. Manifestations of the anthropomorphic analogy in seventeenth-century conceptions of musical instruments help to contextualise and explain similar articulations of the anthropomorphic analogy in the present day.

The Oxford Handbook of Philosophy and Psychoanalysis

2018 ◽  
Keyword(s):  
Final Section ◽  
Social Institutions ◽  
Therapeutic Action ◽  
The Unconscious ◽  
Interdisciplinary Field ◽  
Current Thinking ◽  
Psychoanalytic Perspective ◽  
History Of ◽  
Literature And Film ◽  
Evolutionary Neuroscience

With contributions from 35 leading experts in the field, The Oxford Handbook of Philosophy and Psychoanalysis provides the definitive guide to this interdisciplinary field. The book comprises eight sections, each providing an overview of current thinking at the interface between philosophy and psychoanalysis through original contributions that will shape the future of the debate in its area. The first section covers the philosophical pre-history of the psychoanalytic unconscious, including discussions of Spinoza, Kant, Hegel, Schopenhauer, and Nietzsche. The next three present evaluations of psychoanalysis. Thus, the second examines how psychoanalysis was received and developed in the twentieth century by Merleau-Ponty, Wittgenstein, the Frankfurt School, and Ricoeur. In the third, central clinical concepts, such as transference, symbolism, wish-fulfilment, making the unconscious conscious, and therapeutic action are presented and interrogated. The fourth discusses the scientific credentials of psychoanalysis, and whether it is better understood as a form of phenomenology. The final four sections turn to the contribution and significance of a psychoanalytic perspective for different aspects of human self-understanding. In that on aesthetics, philosophical theories of art, literature and film are illuminated. In the section on religion, Freud’s challenge to theism, philosophical and psychoanalytic responses to that, and Lacan’s reinterpretation of religion take centre-stage. Next, questions of love, mental health and evolutionary neuroscience are discussed in relation to ethics. The final section examines the radical challenge of psychoanalysis to political and social institutions, including issues of education, gender and war.

A Study of Musical Instrument Pictographs on Zuojiang Huashan Rock Arts

2020 ◽  
Vol 6 ◽  
pp. 1-16
Author(s):  
Huang Yu [黄羽]
Keyword(s):  
Ethnic Group ◽  
Music History ◽  
Musical Instrument ◽  
Han Dynasty ◽  
Musical Instruments ◽  
The Other ◽  
Western Han Dynasty ◽  
Historical Materials ◽  
Depth Study ◽  
History Of

The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the rock arts into certain periods. This study has found out that after the Western Han Dynasty, the sheep-horn knob bells gradually lost the function of ceremonial and musical instruments due to the destruction of the rite system, thus withdrawing from the historical arena. On the other hand, the artisanship of bronze drums has become more and more exquisite, highlighting its three-fold use for rites, rituals and musical instruments. The drums also continue to occupy a significant part of the music history of the Luoyue ethnic group. Through an in-depth study of the musical instrument pictographs, the music history of the Luoyue is further, clarified and understood.

scholarly journals Penelusuran Jejak Musik Instrumental dalam Naskah Sunda Kuna

Manuskripta ◽  
2020 ◽  
Vol 10 (1) ◽  
pp. 95
Author(s):  
Ilham Nurwansah
Keyword(s):  
20Th Century ◽  
Instrumental Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
The Body ◽  
Basic Material ◽  
Early 20Th Century ◽  
Islamic Period ◽  
History Of ◽  
Ritual Process

Abstract: Until the early 20th century, the Sundanese region was considered to have no musical history, even though such information contained, among others, the Old Sundanese script. Not many researches on the history of Sundanese music have used Old Sundanese textual sources. This paper discusses aspects of instrumental music found in Old Sundanese texts including terms used to refer to music and the types of musical instruments used. The sources used are Old Sundanese texts from the pre-Islamic period between the 15th and 17th centuries AD. Several Old Sundanese musical instruments are still known and used today with or without changes. Others are no longer known. Old Sundanese musical instruments are played alone or in groups, either on a stage or a parade. Its function is to accompany entertainment and also to accompany the ritual process. The basic material for the body of the musical instrument used is generally bronze metal and wood, including bamboo. --- Abstrak: Hingga awal abad ke-20 wilayah Sunda dianggap tidak memiliki sejarah musik, padahal informasi demikian antara lain terdapat dalam naskah Sunda Kuna. Penelitian sejarah musik Sunda pun tampaknya belum banyak yang menggunakan sumber tekstual Sunda Kuna. Tulisan ini membahas aspek-aspek musik instrumental yang terdapat pada teks-teks Sunda Kuna mencakup istilah yang digunakan untuk menyebut musik dan jenis-jenis alat musik yang digunakan. Sumber-sumber yang digunakan yaitu teks Sunda Kuna dari masa pra-Islam antara abad ke-15 sampai abad ke-17 M. Beberapa instrumen musik Sunda Kuna masih dikenal dan digunakan hingga sekarang dengan atau tanpa perubahan. Sebagian lainnya sudah tidak dikenal. Instrumen musik Sunda kuna ada yang dimainkan sendiri maupun berkelompok, baik pada sebuah panggung maupun parade. Fungsinya untuk mengiringi hiburan dan juga mengiringi proses ritual. Bahan dasar badan alat musik yang digunakan umumnya berupa logam perunggu dan kayu-kayuan, termasuk bambu. Keywords: Old Sundanese, music, instrumental. Kata Kunci: Sunda Kuna, musik, instrumental.

scholarly journals «ORIENTAL APHRODITE» ON THE OBJECTS FROM TERRITORY OF SCYTHIA (on the origins of iconography)

2019 ◽  
Vol 33 (4) ◽  
pp. 340-347
Author(s):  
H. V. Vertiienko
Keyword(s):  
Material Culture ◽  
Eastern Mediterranean ◽  
Ancient Egypt ◽  
Musical Instruments ◽  
National Museum ◽  
First Case ◽  
National University ◽  
Female Deities ◽  
History Of ◽  
The Village

The article analyzes the origins of the iconography of a woman’s face with a hairstyle that has characteristic curls, which have been deployed in different directions, on the objects of Scythian material culture. This feature of iconography is fixed twice. The first case are four silver and gilded pendants from the barrow 34 near the village Sofiyivka, Kherson region (Museum of Historical Treasures of Ukraine — a branch of the National Museum of History of Ukraine, inv. no. 2755/1—4). The second case, is the image on the working part of a bronze stamp from the Kamyanskoe settlement (Archaeology Museum of the Karazin National University of Kharkiv, inv. no. VN 2089). As for the female hairstyle on these images, it is not typical for classical Hellenic art, but finds parallels in the art of the Eastern Mediterranean and Ancient East. This style is similar to the so-called «Hathoric wig» in the art of ancient Egypt (on stelae, sculptures, amulets, painting on coffins, mirrors, musical instruments, etc.), which influenced the iconography of the hairstyles of female deities («Oriental Aphrodite») of the Mediterranean. The image of the goddess in the «Hathoric wig» could permeate to the Northern Pontic Sea Region through the Hellenic craftsmen, as a replica of the image of «Oriental Aphrodite» cult of whom may have existed in the region. At the same time, these images could be a «copy» (imitation) made by the Scythian craftsmen directly from the Egyptian original, most likely from some faience amulet, which usually has similar size and sometimes reproduces the head of Hathor. According to Herodotus, in the Scythian pantheon, the figure of Celestial Aphrodite (Aphrodite Urania) was corresponded by Argimpasa (Herod. IV, 59). Consequently, in such an iconographic form these images could depict this goddess. The image of the «Hathoric wig» on these objects can be considered the most northern examples of this iconographic element.

scholarly journals Telephones, music and history: From the invention era to the early smartphone days

2021 ◽  
pp. 135485652110288
Author(s):  
Frauke Behrendt
Keyword(s):  
Research Agenda ◽  
Field Work ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Sound Studies ◽  
Future Research ◽  
Future Research Agenda ◽  
History Of ◽  
Empirical Field ◽  
The Internet Of Things

This article focusses on the musical history of the telephone, an aspect of telephonic history that is often overlooked and has not yet received systematic academic attention. The article is structured around two musical themes of telephonic history: (1) public performances of telephones as musical instruments and (2) the telephone network as musical instrument. Two historic periods are considered for both themes, (a) the late 1800s/early 1900s and (b) the late 2000s. The article’s approach draws loosely on media historic and media archaeologic perspectives to analyse existing material about telephone history (with a musical focus) alongside empirical field work on the musical use of mobile phones in the late 2000s. The results contribute to debates regarding the ‘newness’ of media, and to sound studies approaches to media histories. The article shows how the theme of the musical telephone has been re-occurring but often overlooked throughout its history, and also sketches out a future research agenda. The article contributes a new understanding of the musical uses of the telephone across history, relevant for both understanding contemporary uses of telephone technologies such as smartphones and the Internet of Things, and for a richer understanding of historic telephone uses.

scholarly journals The Body as Musical Instrument

2018 ◽  
pp. 78-96 ◽  
Author(s):  
Atau Tanaka ◽  
Marco Donnarumma
Keyword(s):  
Human Body ◽  
Digital Technology ◽  
Musical Instrument ◽  
Scientific Field ◽  
Musical Instruments ◽  
The Body ◽  
Physiological Signals ◽  
Embodied Interaction ◽  
History Of ◽  
Body Theory

This chapter explores the possibility of thinking of the human body as musical instrument. It builds on the philosophy of phenomenology to discuss body schemata that might be considered “instrumental” and discusses the diversity of bodies proposed by body theory to consider the incorporation of digital technology. Concepts of embodied interaction from the scientific field of human–computer interaction are discussed with an eye toward musical application. The history of gestural musical instruments is presented, from the Theremin to instruments from the STEIM studio. The text then focuses on the use of physiological signals to create music, from historical works of Lucier and Rosenboom to recent performances by the authors. The body as musical instrument is discussed in a dynamic of coadaptation between performer and instrument in different configurations of body and technology.

Theremin in the Press: Instrument remediation and code-instrument transduction

2018 ◽  
Vol 23 (3) ◽  
pp. 256-269
Author(s):  
Jaime E. Oliver La Rosa
Keyword(s):  
New Media ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Media Theory ◽  
Human Machine Interaction ◽  
Cultural Life ◽  
The Press ◽  
History Of ◽  
The One ◽  
Machine Interaction

This article shows how the theremin as a new musical medium enacted a double logic throughout its century-old techno-cultural life. On the one hand, in an attempt to be a ‘better’ instrument, the theremin imitated or remediated traditional musical instruments and in this way affirmed the musical values these instruments materialised; simultaneously, by being a new and different medium, with unprecedented flexibility for designing sound and human–machine interaction, it eroded and challenged these same values and gradually enacted change. On the other hand, the theremin inadvertently inaugurated a practice of musical instrument circulation using electronics schematics that allowed for the instrument’s reproduction, starting with the publication of schematics and tutorials in amateur electronics magazines and which can be seen as a predecessor to today’s circulation of open source code. This circulation practice, which I call instrument-code transduction, emerged from and was amplified by the fame the theremin obtained using its touchless interface to imitate or remediate traditional musical instruments, and in turn, this circulation practice has kept the instrument alive throughout the decades. Thus remediation and code-instrument transduction are not just mutually dependent, but are in fact, two interdependent processes of the same media phenomenon. Drawing from early reactions to the theremin documented in the press, from new media theory, and from publications in amateur electronics, this article attempts to use episodes from the history of the theremin to understand the early and profound changes that electric technologies brought to the concept of musical instruments at large.

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