Introduction

2017 ◽  
Author(s):  
Denise Gill
Keyword(s):  
Classical Music ◽  
Affect Theory ◽  
Spiritual Practices ◽  
Musical Meaning ◽  
The Third ◽  
Invented Tradition ◽  
Rhizomatic Analysis ◽  
Classical Musicians ◽  
The Rich ◽  
Islamic Belief

The Introduction offers an overview of the theoretical stakes of the book and uses rhizomatic analysis as a framework to define the four persistent topics that run throughout the internal chapters. The first rhizome examined is “Turkish classical music” as an invented tradition; the second rhizome is the archive of melancholies in Turkish. The third rhizome attends to the rich academic landscape of affect theory and studies of affect/emotion/feeling, as the chapter demonstrates why a focus on affective practice is the most appropriate and necessary approach to understanding Turkish classical musicians’ emotional and musical lives. The fourth rhizome interrogates Islamic belief and spiritual practices that are affixed in musicians’ senses of musical meaning.

Amiya Kumar Bagchi. The Political Economy of Underdevelopment. London: Cambridge University Press. 1982. Reprint 1983. pp.viii+276. List of books for further reading; Index. Price: £ 8.50 (paperback edition).

1985 ◽  
Vol 24 (1) ◽  
pp. 77-82
Author(s):  
Zia Ul Haq
Keyword(s):  
Economic Growth ◽  
Economic Development ◽  
Third World ◽  
Social Process ◽  
Growth Strategies ◽  
Cambridge University ◽  
Working Classes ◽  
The Third ◽  
The Rich ◽  
The Third World

Amiya Kumar Bagchi, an eminent economist of the modern Cambridge tradition, has produced a timely treatise, in a condensed form, on the development problems of the Third World countries. The author's general thesis is that economic development in the developing societies necessarily requires a radical transformation in the economic, social and political structures. As economic development is actually a social process, economic growth should not be narrowly defined as the growth of the stock of rich capitalists. Neither can their savings be equated to capital formation whose impact on income will presumably 'trickle down' to the working classes. Economic growth strategies must not aim at creating rich elites, because, according to the author, "maximizing the surplus in the hands of the rich in the Third World is not, however, necessarily a way of maximizing the rate of growth".

scholarly journals Linking musical metaphors and emotions evoked by the sound of classical music

2021 ◽  
pp. 030573562199123
Author(s):  
Simon Schaerlaeken ◽  
Donald Glowinski ◽  
Didier Grandjean
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Empirical Method ◽  
Mixed Effects Models ◽  
Musical Meaning ◽  
Linear Mixed Effects ◽  
Generalized Linear Mixed Effects ◽  
Perceptual Characteristics ◽  
Valence And Arousal ◽  
Western Classical Music

Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

Lessons of the Oil Crisis for the Third World

1975 ◽  
Vol 1 (4) ◽  
pp. 515-522
Author(s):  
György Adam
Keyword(s):  
World Bank ◽  
Third World ◽  
Development Aid ◽  
World Bank Group ◽  
The Third ◽  
The Rich ◽  
Oil Crisis ◽  
New Perspective ◽  
Bank Group ◽  
The Third World

The author argues that the so-called oil crisis may open out a new perspective on development aid to the Third World if the oil-producing countries, instead of allowing the giant Western banks and corporations to make a grab for their petro dollars (as the Western nations had so far made a grab for incredibly cheap oil energy), decide to pool the surplus oil revenues for self-help among the Third World countries. He suggests the setting up of an interregional Third World Bank, which, unlike the existing World Bank group (typecast as the instrument of the rich market economies), would be the instrument of the developing countries, thus breaking the monopoly of the West in international financing.

The Macroform in Post-Tonalmusic. Listening and Analysis

2003 ◽  
Vol 7 (2) ◽  
pp. 219-240 ◽  
Author(s):  
Mario Baroni
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Extreme Points ◽  
Musical Time ◽  
The Third ◽  
The Past ◽  
Hierarchical Levels ◽  
Twentieth Century Music ◽  
Recorded Performance ◽  
A Performance

Form in classical music is fundamentally a question of organising musical time in order to facilitate a listening corresponding to author's expectations. In the past this was obtained by coordinating different parameters towards a single goal. In twentieth century music, the more detached relationship between the composer and the listener meant that less importance was given to the idea of “correct” listening and to the coordination of parameters. This article is devoted to one of the extreme points in this process: A quartet by Bruno Maderna composed in 1956 under the influence of the ideologies of Darmstadt. The quartet was examined by three different groups of analysts. The first group examined the score of the quartet, while the third group only had a recorded performance at its disposal; the second group analyzed both the score and the performance. The three groups had to describe the form of the piece in terms of three hierarchical levels: Its microform {i.e. the organisation of minimal units not divisible into smaller parts); its macroform (i.e. its division into the minimum possible number of parts); the medium form {i.e. a collection of minimal units that could also be interpreted as an acceptable division of the parts at a macroformal level). Two basic criteria were used: Segmentation (local parametric discontinuity between two adjacent parts) and similarity (coherence between the parameters within each part). The results of the three analyses were somewhat diverse, thus demonstrating the tendency to relax the sense of form in such a quartet, as well as the presence of different procedures used when listening to a performance and analysing a score.

scholarly journals Abrupt Climate Chang: Time Is Tight

2018 ◽  
Vol 5 (4) ◽  
pp. 127
Author(s):  
Jan-Erik Lane
Keyword(s):  
Climate Change ◽  
Carbon Capture ◽  
Third World ◽  
Climate Change Policy ◽  
The Third ◽  
Change Policy ◽  
The Rich ◽  
Global Coordination ◽  
The Third World ◽  
Rich Countries

The new theme of abrupt climate change (“Hawking tipping point”) must be taken up by global coordination – the UNFCCC, IPCC and the G20. The only policy response is to reinforce the COP21 project, and start managing its quick implementation of decarbonisation. A more decisive climate change policy – no coal or charcoal, solar power parks, and possibly carbon capture – may not guarantee the goal of + 2 degrees Celsius, but it may help avoid climate chaos. Only global coordination can break through the resistance of markets in the rich countries and governments in the Third World together with vibrant civil society. The large COP21 Secretariat must become a management agency for rapid decarbonisation with support from other global bodies (WB, IMF) and the G20.

scholarly journals An Analytical study of Bediuzzaman Said Nursi’s Intellectual Development and Composition of Risale-i Nur (a Thematic Qur’ānic Exegesis)

2020 ◽  
Vol 10 (2) ◽  
Author(s):  
Dr. Shumaila Majeed
Keyword(s):  
Intellectual Development ◽  
Analytical Study ◽  
Muslim Community ◽  
The Third ◽  
Life Education ◽  
Representative Work ◽  
Qur'anic Exegesis ◽  
Islamic Belief ◽  
Distinguishing Features ◽  
Insight Into

The current study analyses Bediuzzaman Said Nursi’s life and contributions. It presents a short description of his early life, education and dissatisfaction with the then prevailing education systems. This is followed by an analysis of his intellectual development due to rapidly changing circumstances. The paper also presents an insight into Nursi’s representative work ‘Risale-i Nur’ through an analysis of its structure and methodology. This is significant because his intellectual development, due to changes in his circumstances, played an instrumental role in determining the style, method and objectives of Risale. Hence, the study of his intellectual development is imperative to understand the objectives of Risale. The findings of the paper revealed that Nursi’s approach to reform the Muslim society was not stagnant. In the ‘Old Said’ phase, he attempted to neutralize the decline in Muslim community through sociopolitical reforms. The ‘New Said’ phase was marked by his efforts to strengthen belief, encounter anti-religious ideologies and detachment from politics. In the ‘Third Said’ phase, he again took interest in sociopolitical matters but it was limited to the theoretical realm with no practical involvement. The study also found that the structure of Risale, its treatment of subjects and its methodology are its distinguishing features. It consists of the elements well-suited to the needs of the time to save Islamic belief against the onslaught of atheistic ideologies. The current research was conducted using the qualitative approach. It is beneficial for academia in understanding the intellectual development of this great 20th century Turkish Muslim scholar.

Psalmodic Adaptation as Musical Translation

2020 ◽  
pp. 194-254
Author(s):  
Peter Mercer-Taylor
Keyword(s):  
Classical Music ◽  
Art Music ◽  
Common Source ◽  
Low Level ◽  
The Third ◽  
One To One

The psalmodic adaptation of classical music constitutes a distinctive creative act in instances in which we find adapters not simply importing excerpts essentially unchanged (a chiefly curatorial service), but making substantive musical decisions to bridge the gap dividing art music from psalmody. This chapter explores such “translational actions,” unfolding in four phases. The first concerns low-level decisions, involving rhythm, ornamentation, and texture. The second centers on syntactic challenges that arise in drawing brief excerpts from larger works (negotiating European passages that begin and end in different keys, for instance). The third focuses on “purposeful substitution”: the replacement of musical effects inappropriate to psalmody with wholly different effects calculated to achieve comparable goals. The fourth explores adaptations that challenge the very notion of a one-to-one correspondence between “excerpt” and “psalm tune”: tunes that draw on more than one European movement, say, or adjacent pairs of tunes drawn from a common source.

When theory and practice meet: Avenues for entrepreneurship education in music conservatories

2020 ◽  
Vol 38 (3) ◽  
pp. 352-369
Author(s):  
Margarita Lorenzo de Reizabal ◽  
Manuel Benito Gómez
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Entrepreneurship Education ◽  
Theory And Practice ◽  
Entrepreneurial Spirit ◽  
Professional Success ◽  
The Hague ◽  
Classical Musicians ◽  
Western Classical Music ◽  
Music Entrepreneurship

In the field of higher music education conservatories, and more specifically in the so-called ‘classical music’, the first steps towards research regarding entrepreneurship are being taken, although the main obstacles to overcome are still at a conceptual level (to define what is entrepreneurship in this field, what the profile of a musician entrepreneur is, what exactly is understood when we talk about an entrepreneurial identity referred to Western classical music) and on a referential level (research is scarce on the professional identity of classical musicians, on motivation that leads to professional success, on employability of a musician in the 21st century). At the same time, thought and analysis are lacking on how music education addresses entrepreneurial spirit and how conservatories for higher education in Western classical music could provide their students with the necessary capacities to become professional entrepreneurial musicians. This article aims to explore the state of entrepreneurship of classical musicians and analyse what challenges and barriers are found in particular in this subfield. In order to clarify the key concepts, the most relevant and recent literature in entrepreneurship education has been reviewed. Searching for avenues for entrepreneurship education in music conservatories, theory and practice have been merged by applying the literature findings to some practical considerations raised at the International Conference on Music Entrepreneurship recently held in The Hague, together with the personal experience in the specific context of higher music education conservatories.

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