Voiceness in Musical Instruments

2019 ◽  
pp. 236-268
Author(s):  
Cornelia Fales
Keyword(s):  
Pilot Study ◽  
Musical Instruments ◽  
Primary Language ◽  
Acoustic Features ◽  
Musical Sound ◽  
The World ◽  
Per Se ◽  
The Difference ◽  
Musical Sounds ◽  
The Voice

This chapter presents the results of a pilot study of “voiceness” in instrumental musical sound across cultures. This study grew from the proposition that not only is the voice of primal importance in music, but “voiceness” in nonvocal musical sounds is a quality that seems to exert a particular fascination to music cultures around the world. The objective is to look at the use of voiceness in music across cultures in order to discover something about the constituents of voiceness. Since it is normally not the case that voice-like instruments, either alone or in combination, sound like voices per se, it must be the case that the quality they convey as voiceness consists of some distillation of acoustic features, presumably proper to “real” vocal sound. A primary question addressed in the chapter is whether the voiceness in music of specific cultures varies in a way consistent with that culture’s primary language, or whether there are features that convey voiceness across cultures independent of language. Unlike many other instruments, the voice is capable of immense timbral variation, and the magnitude of difference across individual voices can be as great as the difference between instrument classes. The author has taken the results of the study as a preliminary indication of an abstract auditory category of voiceness consisting of perceived commonalities across several levels of vocal variation. The chapter focuses on sounds from just three cultures that are particularly illuminating in regard to these issues.

scholarly journals MUSICALISATION OF J. BUNYAN’S AND H. SKOVORODA’S LITERARY DISCOURSE

2019 ◽  
pp. 372-384
Author(s):  
O. Shykyrynska
Keyword(s):  
Significant Influence ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Common Features ◽  
Musical Space ◽  
The Bible ◽  
Musical Theme ◽  
The World ◽  
Musical Sounds ◽  
Artistic Heritage

The article deals with the musical space of the artistic heritage of J. Bunyan and H. Skovoroda that has many common features. The general place in the heritage of both writers is reference to solemn church or angelic singing, accompanying the scenes of triumph of the heroes. There are numerous quotations from the Bible psalms, that both writers mastered perfectly. Outplaying of the mythologemes “a man as a musical instrument” and “a world as a musical instrument” became common for both authors. Musical code is expressed in comparison with man’s features and musical sounds; assimilation of the world with a musical instrument, desire to hear “the music of spheres”. The comparison of a man’s emotional impulse with the sounds of musical instruments reveals willingness of the man of the Baroque age for the search of correspondence and for the synthesis of arts in a broad sense. Music as an art differs in the ability to reveal symbols by means of a sound, having a significant influence on the recipient. The analysis of musical component of H. Skovoroda and J. Bunyan’s work demonstrates its precise orientation on musicalisation of writers’ discourse. In the meantime musical theme is represented much wider in Skovoroda’s work than in the work of the English writer. The article introduces J. Bunyan and H. Skovoroda as bright representatives of national variants of baroque aesthetics.

scholarly journals The role of musical instruments in the globalization of music

Comunicar ◽  
2010 ◽  
Vol 17 (34) ◽  
pp. 83-89
Author(s):  
Kazadi wa-Mukuma
Keyword(s):  
Cultural Values ◽  
Computer Games ◽  
Musical Instruments ◽  
Cultural Interaction ◽  
Global Community ◽  
Language And Culture ◽  
The World ◽  
The Creation ◽  
Musical Sounds ◽  
Different Cultures

In recent years, the term «globalization» has become a catchword in many languages. It is an open-ended process that implies different levels of unification. In music, attempts have been made by individual and collectively by artists from different cultures in the world. In each case, the process has been focused on the unification of musical sounds that can be identified within the global community. Technology is successful with the duplication of sounds of musical instruments for computer games, but the creation of zones of cultural interaction as defined by actual musical instruments is presenting challenges with the unification of cultural values into one global community. In music, globalization implies «world music» that is articulated as a hybrid product. The process of globalization is readily realized electronically, with sounds of musical instruments, but the creation of zones of cultural interaction, with the same musical instruments, will require a mixture of configuration of factors ranging from ecology to language and cultural manifestation. The objective of zones of cultural interaction is not to unify style of music, but through globalization is the sharing of actual musical instruments. To accomplish this objective, geographic spaces will have to surmount the globalization of the world ecology, language, and culture. En los últimos años, el término «globalización» se ha convertido en una palabra clave para muchas lenguas. Con él se hace referencia a un proceso abierto que implica diferentes niveles de unificación. En el campo de la música, han participado en él, tanto de forma individual como colectiva, artistas de diferentes culturas del mundo. En todos los casos, el proceso se ha centrado en la unificación de sonidos musicales que puedan identificarse por una comunidad global. En este sentido, la tecnología ha conseguido con éxito duplicar los sonidos de los instrumentos musicales para los videojuegos, pero la creación de zonas de interacción cultural, como las definidas por los instrumentos musicales actuales, se enfrenta a una serie de retos derivados de la unificación de los valores culturales en una comunidad global. El proceso de globalización se puede desarrollar fácilmente de manera electrónica con sonidos de instrumentos musicales, la creación de las zonas de interacción cultural con los mismos instrumentos musicales necesitará que se den además una serie de factores, que van desde lo ecológico hasta lo lingüístico y cultural. El principal objetivo de las zonas de interacción cultural no es el de unificar el estilo de música, sino el de compartir los instrumentos musicales actuales a través de la globalización. Para cumplir este objetivo, los territorios en los que se produzca esa interacción tendrán que completar este proceso globalizador atendiendo a criterios ecológicos, lingüísticos y culturales.

scholarly journals The Architectonics of Musical Sound

ICONI ◽  
2019 ◽  
pp. 112-128
Author(s):  
Irina B. Gorbunova ◽  
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Basic Principles ◽  
Musical Sound ◽  
Music Making ◽  
Wide Range ◽  
Fast Development ◽  
Musical Sounds ◽  
Computer Generation

At the turn of the 20th and 21st centuries there appeared a new trend in musical composition and musical pedagogy conditioned by the fast development of electronic musical instruments: from the simplest synthesizers to powerful musical computers. In the wide range contemporary electronic musical instrument the accumulated informational technologies in music and the art of music making have manifested themselves in the fullest and most perfect manner. The current and the subsequent issues of the journal shall provide a consecutive presentation of four lectures, compiling the basis of the discipline “Informational Technologies in Music” and a set of programs of advanced training, which include “Informational Technologies in Music,” “Informational Technologies in Musical Education,” “Computer Musical Composition,” etc. The first lecture, “The Architectonics of Musical Sound” shall disclose themes connected with the study of the physical characteristics of musical sounds, the means of their recording and reproduction; explanation is given to the aural perception of sound by the human being, and the basic principles of computer generation of musical sound are examined. The material elucidated in the lection possesses a theoretical and practical directedness and contains information in which the technological aspects of contemporary perceptions of music, about the musical instrument range (including computer musical instruments); without knowledge of these aspects a competent interpretation of musical instruments is impossible.

scholarly journals The Musical Synthesizer

ICONI ◽  
2019 ◽  
pp. 111-129
Author(s):  
Irina B. Gorbunova ◽  
Keyword(s):  
Detailed Examination ◽  
Musical Instruments ◽  
Stages Of Development ◽  
Musical Sound ◽  
Musical Practice ◽  
Computer Technologies ◽  
Musical Sounds

The various aspects of formation and development of the musical instrumentarium disclose the main regular occurrences of functioning of musical instruments as synthesizers of musical sound in all its diversity, from the sources of their formation to the contemporary stage of the present process. In the fi rst lecture, “The Architectonics of Musical Sound” there was detailed examination of the particularities of the structure, the diversity and the various interpretations of the concept of “musical sound,” as well as the connection with the contemporary technical possibilities of notation, preservation and elaboration of musical sounds. In the present lecture the author turns to the main stages of evolution of the concept of “musical sound,” which refl ects the changes of sound material itself during the course of development of musical practice. The emergence of new musical instruments or musical synthesizers, according to the authorial conception, is stipulated by two main reasons. The fi rst of them is musicians’ aspirations of enriching the palette of their musical artistry. The second reason is connected with the historical perfections of the musical instrumentarium, which in its construction aspires to rely on contemporary achievements of science and technique in the domain of creation of sound. The level of development of contemporary program and machinery means of musical computer technologies (MCT) makes it possible to model diverse stages of development of systems of musical sounds.

Inter-country inequality as a dynamic process and the problem of post-industrial development

2018 ◽  
pp. 5-29 ◽  
Author(s):  
L. M. Grigoryev ◽  
V. A. Pavlyushina
Keyword(s):  
Economic Growth ◽  
Political Institutions ◽  
Industrial Development ◽  
Modern World ◽  
New Approach ◽  
Development Level ◽  
The World ◽  
Long Time ◽  
The Difference ◽  
Post Industrial

The phenomenon of economic growth is studied by economists and statisticians in various aspects for a long time. Economic theory is devoted to assessing factors of growth in the tradition of R. Solow, R. Barrow, W. Easterly and others. During the last quarter of the century, however, the institutionalists, namely D. North, D. Wallis, B. Weingast as well as D. Acemoglu and J. Robinson, have shown the complexity of the problem of development on the part of socioeconomic and political institutions. As a result, solving the problem of how economic growth affects inequality between countries has proved extremely difficult. The modern world is very diverse in terms of development level, and the article offers a new approach to the formation of the idea of stylized facts using cluster analysis. The existing statistics allows to estimate on a unified basis the level of GDP production by 174 countries of the world for 1992—2016. The article presents a structured picture of the world: the distribution of countries in seven clusters, different in levels of development. During the period under review, there was a strong per capita GDP growth in PPP in the middle of the distribution, poverty in various countries declined markedly. At the same time, in 1992—2016, the difference increased not only between rich and poor groups of countries, but also between clusters.

Indonesian Literature’s Position in World Literature

TEKNOSASTIK ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Dina Amelia
Keyword(s):  
World Literature ◽  
The Other ◽  
National Literature ◽  
Western World ◽  
The World ◽  
The One ◽  
The Voice

There are two most inevitable issues on national literature, in this case Indonesian literature. First is the translation and the second is the standard of world literature. Can one speak for the other as a representative? Why is this representation matter? Does translation embody the voice of the represented? Without translation Indonesian literature cannot gain its recognition in world literature, yet, translation conveys the voice of other. In the case of production, publication, or distribution of Indonesian Literature to the world, translation works can be very beneficial. The position of Indonesian literature is as a part of world literature. The concept that the Western world should be the one who represent the subaltern can be overcome as long as the subaltern performs as the active speaker. If the subaltern remains silent then it means it allows the “representation” by the Western.

Speculative Realism and Science Fiction

2017 ◽  
Author(s):  
Brian Willems
Keyword(s):  
Science Fiction ◽  
Identity Formation ◽  
Cormac Mccarthy ◽  
Doris Lessing ◽  
Speculative Realism ◽  
Neil Gaiman ◽  
The World ◽  
The Difference ◽  
Quentin Meillassoux

A human-centred approach to the environment is leading to ecological collapse. One of the ways that speculative realism challenges anthropomorphism is by taking non-human things to be as valid objects of investivation as humans, allowing a more responsible and truthful view of the world to take place. Brian Willems uses a range of science fiction literature that questions anthropomorphism both to develop and challenge this philosophical position. He looks at how nonsense and sense exist together in science fiction, the way in which language is not a guarantee of personhood, the role of vision in relation to identity formation, the difference between metamorphosis and modulation, representations of non-human deaths and the function of plasticity within the Anthropocene. Willems considers the works of Cormac McCarthy, Paolo Bacigalupi, Neil Gaiman, China Miéville, Doris Lessing and Kim Stanley Robinson are considered alongside some of the main figures of speculative materialism including Graham Harman, Quentin Meillassoux and Jane Bennett.

Between High Culture and Low Culture; and also The Difference Between Popular Culture and Folk Culture

2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath
Keyword(s):  
Popular Culture ◽  
Folk Culture ◽  
Common People ◽  
High Culture ◽  
The World ◽  
The Common ◽  
The Difference ◽  
Low Culture

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

L'anglicisme dans la langue française

2019 ◽  
Vol 3 ◽  
pp. 00013
Author(s):  
Danny Susanto
Keyword(s):  
English Language ◽  
Oil Industry ◽  
English Word ◽  
Public Institutions ◽  
Font Size ◽  
The World ◽  
French Speaking ◽  
The Difference ◽  
Definition Of ◽  
Bibliographic Study

<p class="Abstract">The purpose of this study is to analyze the phenomenon known as&nbsp;<span style="font-size: 1rem;">“anglicism”: a loan made to the English language by another language.&nbsp;</span><span style="font-size: 1rem;">Anglicism arose either from the adoption of an English word as a&nbsp;</span><span style="font-size: 1rem;">result of a translation defect despite the existence of an equivalent&nbsp;</span><span style="font-size: 1rem;">term in the language of the speaker, or from a wrong translation, as a&nbsp;</span><span style="font-size: 1rem;">word-by-word translation. Said phenomenon is very common&nbsp;</span><span style="font-size: 1rem;">nowadays and most languages of the world including making use of&nbsp;</span><span style="font-size: 1rem;">some linguistic concepts such as anglicism, neologism, syntax,&nbsp;</span><span style="font-size: 1rem;">morphology etc, this article addresses various aspects related to&nbsp;</span><span style="font-size: 1rem;">Anglicisms in French through a bibliographic study: the definition of&nbsp;</span><span style="font-size: 1rem;">Anglicism, the origin of Anglicisms in French and the current situation,&nbsp;</span><span style="font-size: 1rem;">the areas most affected by Anglicism, the different categories of&nbsp;</span><span style="font-size: 1rem;">Anglicism, the difference between French Anglicism in France and&nbsp;</span><span style="font-size: 1rem;">French-speaking Canada, the attitude of French-speaking society&nbsp;</span><span style="font-size: 1rem;">towards to the Anglicisms and their efforts to stop this phenomenon.&nbsp;</span><span style="font-size: 1rem;">The study shows that the areas affected are, among others, trade,&nbsp;</span><span style="font-size: 1rem;">travel, parliamentary and judicial institutions, sports, rail, industrial&nbsp;</span><span style="font-size: 1rem;">production and most recently film, industrial production, sport, oil industry, information technology,&nbsp;</span><span style="font-size: 1rem;">science and technology. Various initiatives have been implemented either by public institutions or by&nbsp;</span><span style="font-size: 1rem;">individuals who share concerns about the increasingly felt threat of the omnipresence of Anglicism in&nbsp;</span><span style="font-size: 1rem;">everyday life.</span></p>

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