Script versus Structure

2020 ◽  
pp. 263-286
Author(s):  
Daphne Leong
Keyword(s):  
Music Theory ◽  
Ways Of Knowing ◽  
Rich Variety ◽  
Time Domains ◽  
Array Structure ◽  
Points Of View

This chapter contextualizes the authors’ Music Theory Online essay (2005), which examined Babbitt’s None but the Lonely Flute from the points of view of flutist and theorist. That essay investigated the significant technical and interpretational challenges facing performers of Lonely Flute, their interface with listener experience, and their intertwining with structure and surface. It analyzed the compositional dexterity found in the work’s array structure, in its modes of projection in both pitch and time domains, and in its composing out to produce a rich variety of cross-references. In short, it demonstrated specific examples of interwoven performative and compositional virtuosity in Lonely Flute, explored how such virtuosity is concealed or displayed, and traced its role in defining the work’s narrative. The authors had learned the piece simultaneously: McNutt by playing it and Leong by analyzing it. In her “Postscript on Process,” McNutt described the tensions inherent in the two authors’ different ways of getting to know the piece. This contextualization explores those tensions to illuminate how performers’ and analysts’ ways of knowing might not intersect—and might even clash. McNutt’s complete performance of Lonely Flute on video closes the chapter.

scholarly journals Ways of Knowing the Body, Bodily Ways of Knowing

2016 ◽  
Vol 22 (2) ◽  
Author(s):  
Peter Martens
Keyword(s):  
Case Studies ◽  
Music Theory ◽  
Music Cognition ◽  
Ways Of Knowing ◽  
Music Analysis ◽  
The Body ◽  
Musical Score ◽  
Research Methodologies

The central role of the body in producing music is hardly debatable. Likewise, the body has always played at least an implicit role in music theory, but has only been raised as a factor in music analysis relatively recently. In this essay I present a brief update of the body in music analysis via case studies, situated in the disciplines of music theory and music cognition, broadly construed. This current trajectory is part of a broader shift away from the musical score as the sole focus for analysis, which admittedly—though, in my view, delightfully—raises a host of challenging epistemological questions surrounding the interaction of performer (production) and listener (perception). While the concomitant research methodologies and technologies may be unfamiliar to scholars trained in humanities disciplines, I advocate for a full embrace of these approaches, either by individual researchers or in the form of cross-disciplinary collaboration.

scholarly journals TOWARDS A VIRTUAL ART/ARCHAEOLOGY

2021 ◽  
Author(s):  
Paul Reilly ◽  
◽  
Ian Dawson
Keyword(s):  
Cultural Heritage ◽  
Community Of Practice ◽  
Digital Technology ◽  
Ways Of Knowing ◽  
Digital Tools ◽  
Personal Computing ◽  
Digital Devices ◽  
Virtual Archaeology ◽  
Points Of View ◽  
Archaeological Landscape

The term Virtual Archaeology was coined 30 years ago when personal computing and the first wave of digital devices and associated technologies became generally available to field archaeologists (Reilly 1991; 1992). The circumstances that led to the origin of Virtual Archaeology have been recounted elsewhere. Put briefly, Virtual Archaeology was intended for reflexive archaeological practitioners “to be a generative concept and a provocation allowing for creative and playful improvisation around the potential adoption or adaptation of any new digital technology in fieldwork; in other words to explore how new digital tools could enable, and shape, new methodological insights and interpretation, that is new practices” (Beale, Reilly 2017). Digital creativity in archaeology and cultural heritage continues to flourish, and we can still stand by these aspirations. However, in 2021, the definition and extent of this implied “archaeological” community of practice and its assumed authority seems too parochial. Moreover, the archaeological landscape is not under the sole purview of archaeologists or cultural heritage managers. Consequently, experimentation with novel modes and methods of engagement, the creation of new forms of analysis, and different ways of knowing this landscape, are also not their sole prerogative. This applies equally to Virtual Archaeology and digital creativity in the realm of cultural heritage more generally. We assert that other affirmative digitally creative conceptions of, and engagements with, artefacts, virtual archaeological landscapes and cultural heritage assemblages – in their broadest sense – are possible if we are willing to adopt other perspectives and diffract them through contrasting disciplinary points of view and approaches. In this paper we are specifically concerned with interlacing artistic and virtual archaeology practices within the realm of imaging, part of something we call Virtual Art/Archaeology.

scholarly journals Conclusion: A Critical Agenda for the Anthropocene

2021 ◽  
pp. 179-192
Author(s):  
Jonathan Pugh ◽  
David Chandler
Keyword(s):  
Research Agenda ◽  
Ways Of Knowing ◽  
Critical Research ◽  
Relational Ontology ◽  
Important Resource ◽  
Rich Variety ◽  
Working Through ◽  
Per Se ◽  
The Rich ◽  
Key Sites

This conclusion restates the argument of the book that the engagement with islands in many debates today is not merely caught up in the slipstream of contemporary social and philosophical trends but is important to the ontological and onto-epistemological framing and tools of the Anthropocene. It clarifies that the book undertakes an analysis of the ‘work’ that thinking with islands, island imaginaries, island writers, artists, poets, activists, and island problematics is doing in these debates. Not only thinking about, but ‘with ‘islands has become an important resource for alternative and non-modern relational ontologies and understandings in the Anthropocene. The authors suggest that there is a need to not only critically focus upon how the modern episteme reductively grasps islands but to also establish a new critical research agenda focused upon how islands are being enrolled in debates about the Anthropocene as key sites for understanding relational entanglements and in the generation of many different forms of relational ontology and ways of knowing. Working with islands or relational thought per se is not one homogenous ‘other’ to modernist or mainland approaches, and so the chapter clarifies why it is important to start a new conversation about how we engage in working through the rich variety of possibilities and opportunities that these approaches afford. In conclusion the chapter elaborates upon how the authors see this book as an initial opening for a new critical agenda for island studies in the Anthropocene.

Performers, Structure, and Ways of Knowing

2020 ◽  
pp. 3-18
Author(s):  
Daphne Leong
Keyword(s):  
Performance Studies ◽  
Music Theory ◽  
Ways Of Knowing ◽  
Video Frame ◽  
Musical Structure ◽  
Theme And Variations ◽  
Knowing That ◽  
Subjective Agency ◽  
And Performance ◽  
Violin And Piano

This opening chapter presents the book’s overarching project: the illumination of relations between analysis and performance through theorist-performer collaborations on twentieth-century works. The project is set in the context of two distinct though overlapping disciplines: the tradition of relating analysis and performance within the field of music theory, and the field of musical performance studies. Musical structure, on which the book focuses, is broadly defined as relations among parts and whole, emerging through interactions of objective materials and subjective agency. Ways of knowing that arise in the course of relating analysis and performance are encapsulated by wissen (knowing that), können (knowing how), and kennen (knowing, as in knowing a person). The book’s title and form (a theme and variations) are briefly described. Two rehearsal vignettes (from Crumb’s Four Nocturnes for violin and piano and Shende’s Throw Down or Shut Up!), the first accompanied by a performance video, frame the chapter.

scholarly journals Desequencing the Music Theory Core: A Liberal Arts Model

2020 ◽  
Vol 7 ◽  
Author(s):  
Andrew Gades
Keyword(s):  
Communication Skills ◽  
Information Literacy ◽  
Music Theory ◽  
Liberal Arts ◽  
Liberal Arts College ◽  
Ways Of Knowing ◽  
Music Curriculum ◽  
Core Theory ◽  
The Subject

The undergraduate music curriculum has been the subject of ongoing discussion with regards to technology, repertoire, pedagogy, and purpose. This article contributes to this continuing conversation by presenting a case study of a restructured music theory sequence at a small liberal arts college. Part of the liberal arts mission at the College of Idaho includes a commitment to interdisciplinary ways of knowing, effective written communication skills, and information literacy. The curriculum proposed in this article reflects the liberal arts identity of the instition and some of the practical realities faced by smaller programs. Although specific to the needs of the institution, this model provides one path forward to a more efficient and flexible core theory curriculum.

scholarly journals ‘I Respect You but I Am Not Willing to Be You’: Critical Reflections of Western Teaching of Social Work to Students in China—What Can be Learned Both Ways?

2019 ◽  
Vol 8 (10) ◽  
pp. 272
Author(s):  
Gallagher ◽  
Yang ◽  
Liang
Keyword(s):  
Social Work ◽  
Critical Reflection ◽  
Role Model ◽  
Social Work Students ◽  
Ways Of Knowing ◽  
Chinese Student ◽  
Common Point ◽  
Chinese University ◽  
Points Of View ◽  
East West

Staff from a Western University annually travel to China to teach social work students at a Chinese University, providing a rich opportunity to share ideas and knowledge about values and practices in social work. One common point of tension that arises each year is how to teach critical reflection whilst considering differences between Eastern and Western ways of knowing and doing. This article is based on email conversations between one Australian lecturer and one Chinese student, containing their discussions on not just critical reflection but also of various key social work topics in China such as social worker’s salary, social work as a profession and using empathy. The student questioned social work in an authentic and practical manner; while the lecturer responded with examples and reflections as a role model of critical reflective thinking and practice in the Chinese context. While such letters of exchange only reflect the particular points of view of the lecturer and the student, much can still be learned about current issues and debates in both countries. The insights given raise many questions about the implications and benefits for sensitively teaching social work across East/West contexts whilst trying to develop anti-colonial social work educational approaches.

High Resolution Specimen Area Imaged Under Negligible Field Aberrations

1970 ◽  
Vol 28 ◽  
pp. 540-541 ◽  
Author(s):  
T. Yanaka ◽  
K. Shirota
Keyword(s):  
High Resolution ◽  
Field Distribution ◽  
Image Space ◽  
Beam Deflection ◽  
Objective Lens ◽  
Resolution Limit ◽  
Leakage Flux ◽  
Specimen Area ◽  
Points Of View ◽  
Aberration Theory

It is significant to note field aberrations (chromatic field aberration, coma, astigmatism and blurring due to curvature of field, defined by Glaser's aberration theory relative to the Blenden Freien System) of the objective lens in connection with the following three points of view; field aberrations increase as the resolution of the axial point improves by increasing the lens excitation (k2) and decreasing the half width value (d) of the axial lens field distribution; when one or all of the imaging lenses have axial imperfections such as beam deflection in image space by the asymmetrical magnetic leakage flux, the apparent axial point has field aberrations which prevent the theoretical resolution limit from being obtained.

Crystal structure images of large gold clusters and growing crystals by HRTEM

1984 ◽  
Vol 42 ◽  
pp. 428-429
Author(s):  
L.R. Wallenberg ◽  
J.-O. Bovin ◽  
G. Schmid
Keyword(s):  
Crystal Structure ◽  
Nucleation And Growth ◽  
Close Packing ◽  
Gold Clusters ◽  
Molecular Weight Determination ◽  
Growth Mechanisms ◽  
Starting Point ◽  
Different Types ◽  
Nucleation And Growth Mechanisms ◽  
Points Of View

Metallic clusters are interesting from various points of view, e.g. as a mean of spreading expensive catalysts on a support, or following heterogeneous and homogeneous catalytic events. It is also possible to study nucleation and growth mechanisms for crystals with the cluster as known starting point.Gold-clusters containing 55 atoms were manufactured by reducing (C6H5)3PAuCl with B2H6 in benzene. The chemical composition was found to be Au9.2[P(C6H5)3]2Cl. Molecular-weight determination by means of an ultracentrifuge gave the formula Au55[P(C6H5)3]Cl6 A model was proposed from Mössbauer spectra by Schmid et al. with cubic close-packing of the 55 gold atoms in a cubeoctahedron as shown in Fig 1. The cluster is almost completely isolated from the surroundings by the twelve triphenylphosphane groups situated in each corner, and the chlorine atoms on the centre of the 3x3 square surfaces. This gives four groups of gold atoms, depending on the different types of surrounding.

Structural phenomena in the growth of carbon nanotubes

1993 ◽  
Vol 51 ◽  
pp. 750-751
Author(s):  
Jun Jiao
Keyword(s):  
Carbon Nanotubes ◽  
Growth Mechanism ◽  
Carbonaceous Material ◽  
Cluster Growth ◽  
Structural Elements ◽  
Rich Variety ◽  
Different Shapes ◽  
Point To Point

HREM studies of the carbonaceous material deposited on the cathode of a Huffman-Krätschmer arc reactor have shown a rich variety of multiple-walled nano-clusters of different shapes and forms. The preparation of the samples, as well as the variety of cluster shapes, including triangular, rhombohedral and pentagonal projections, are described elsewhere.The close registry imposed on the nanotubes, focuses attention on the cluster growth mechanism. The strict parallelism in the graphitic separation of the tube walls is maintained through changes of form and size, often leading to 180° turns, and accommodating neighboring clusters and defects. Iijima et. al. have proposed a growth scheme in terms of pentagonal and heptagonal defects and their combinations in a hexagonal graphitic matrix, the first bending the surface inward, and the second outward. We report here HREM observations that support Iijima’s suggestions, and add some new features that refine the interpretation of the growth mechanism. The structural elements of our observations are briefly summarized in the following four micrographs, taken in a Hitachi H-8100 TEM operating at an accelerating voltage of 200 kV and with a point-to-point resolution of 0.20 nm.

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