scholarly journals The Community of Classical Japanese Music Transmission: The Preservation Imperative and the Production of Change in Nō. By Takanori Fujita. Translated by Edgar W. Pope.

2019 ◽  
pp. 1-41
Author(s):  
Takanori Fujita ◽  
Edgar W. Pope
Keyword(s):  
Community Of Practice ◽  
The Other ◽  
Musical Sound ◽  
Other Hand ◽  
Japanese Music ◽  
Music Transmission ◽  
Musical Sounds ◽  
Musical Change

A puzzling situation defines the contemporary transmission of nō theater. On one hand, the genre’s community of practice is governed by strict orders to preserve musical sound through repeated imitation and to avoid change at all costs. On the other hand, the community discourages explicit dialogue between teachers and learners concerning what exactly constitutes those ideal musical sounds as well as the extent to which those sonic ideals are being faithfully maintained across performances. With a focus on the transmission of hiranori vocal rhythms, Fujita explores the ambivalent strategies with which participants navigate this conundrum and discovers a paradoxical process by which nō theater’s so-called “preservation imperative” actually encourages musical change. Citation: Fujita, Takanori. The Community of Classical Japanese Music Transmission: The Preservation Imperative and the Production of Change in Nō. Translated by Edgar W. Pope. Ethnomusicology Translations, no. 9. Bloomington, IN: Society for Ethnomusicology, 2019. Originally published in Japanese as “Koten ongaku denshō no kyōdōtai: nō ni okeru hozon meirei to henka no sōshutsu." In Shintai no kōchikugaku: shakaiteki gakushū katei toshite no shintai gihō, edited by Fukushima Masato, 357-413. Tokyo: Hitsuji Shobō, 1995. 藤田隆則　1995年「古典音楽伝承の共同体―能における保存命令と変化の創出」福島真人編『身体の構築学』：357-413

scholarly journals 2. Note on the Perception of Musical Sounds

1875 ◽  
Vol 8 ◽  
pp. 342-347
Author(s):  
John G. M'Kendrick
Keyword(s):  
The Other ◽  
Other Hand ◽  
Musical Sounds ◽  
The Brain

Certain individuals appear to be incapable of appreciating musical sounds. They cannot distinguish one melody from another; and if by many repetitions of the melody in their hearing, they at last appear to know it, the addition of one or more of the parts of the harmony again renders the music unrecognisable to them. The question naturally arises, Is this defect owing to any peculiarity in the structure of the internal ear of persons so constituted which prevents them hearing certain sounds, or is it to be referred to the condition of the brain? On the other hand, many have what is termed a “fine ear,” by which we understand the faculty of appreciating, remembering, and, in some cases, of successfully imitating musical sounds. Have those individuals the organ of hearing more delicately developed?

scholarly journals Against Nature? or, Confessions of a Darwinian Modernist

2014 ◽  
Vol 75 ◽  
pp. 151-182
Author(s):  
Murray Smith
Keyword(s):  
Final Section ◽  
Aesthetic Experience ◽  
Classical Music ◽  
The Other ◽  
Musical Form ◽  
Musical Expression ◽  
Musical Sound ◽  
Musical Sounds ◽  
Western Classical Music ◽  
The Way

A few years ago I gave a paper on the aesthetics of ‘noise,’ that is, on the ways in which non-musical sounds can be given aesthetic shape and structure, and thereby form the basis of significant aesthetic experience. Along the way I made reference to Arnold Schoenberg's musical theory, in particular his notion ofKlangfarbenmelodie, literally ‘sound colour melody,’ or musical form based on timbre or tonal colour rather than on melody, harmony or rhythm. Schoenberg articulated his ideas aboutKlangfarbenmelodiein the final section of hisHarmonielehre(1911). ‘Pitch is nothing else but tone colour measured in one direction,’ wrote Schoenberg. ‘Now, if it is possible to create patterns out of tone colours that are differentiated according to pitch, patterns we call ‘melodies’…then it must also be possible to make such progressions out of the tone colours of the other dimension, out of that which we simply call “tone colour.”’ In other words, traditional melodies work by abstracting and structuring the dominant pitch characterizing a musical sound, while ‘sound colour melodies’ work, Schoenberg argues, by structuring the combined set of pitches contained in a given musical sound (the overtones as well as the dominant pitch). Schoenberg is emphatic that, although a neglected and underdeveloped possibility within Western classical music, ‘sound colour melody’ is a perfectly legitimate and viable form of musical expression; indeed for Schoenberg it is a musical form with enormous potential.

BAROQUE MINIMALISM IN JOHN ADAMS'S VIOLIN CONCERTO

Tempo ◽  
2012 ◽  
Vol 66 (260) ◽  
pp. 23-33
Author(s):  
Kheng Keow Koay
Keyword(s):  
The Other ◽  
Musical Language ◽  
Creative Imagination ◽  
Performance Practices ◽  
Musical Sound ◽  
Violin Concerto ◽  
Other Hand ◽  
Creative Methods ◽  
Harmonic Language ◽  
Stylistic Unity

AbstractThis study explores Adams's interpretation of Baroque genres and his creative methods that draw on a relationship between past and present in the Violin Concerto. In this composition, Adams not only revives Baroque musical language through new performance practices, but also draws together diverse musical idioms, creating a way to communicate with our society. Repetition plays a large part in the Violin Concerto, but more in the sense of variation and sequences than of literal repetition. On the other hand, techniques such as the Lombard Snap and “unequal-note’ (notes inégales) are not treated in a traditional way. Structurally, although there is no trace of motivic connexion throughout the work, the music does not lack stylistic unity. The ‘harmonic’ language is generally consonant, which reflects Adams's honor of conventional musical sound. The Concerto certainly demonstrates the composer's creative imagination.

scholarly journals O valor formativo das comunidades de prática na construção da identidade profissional

2017 ◽  
Vol 30 (2) ◽  
pp. 159
Author(s):  
Margarida Alves ◽  
Paula Queirós ◽  
Paula Batista
Keyword(s):  
Preservice Teachers ◽  
Communities Of Practice ◽  
Professional Identity ◽  
Community Of Practice ◽  
The Other ◽  
Future Teachers ◽  
Other Hand

A formação de professores tem experienciado alterações substantivas no que diz respeito à sua concetualização e organização. Atendendo ao facto de a aprendizagem ser situada social e culturalmente, este texto de reflexão concetual procurou reequacionar o valor formativo das Comunidades de Prática para a construção da identidade profissional de futuros professores em contexto de estágio, bem como identificar os constrangimentos que pode encerrar. Da reflexão sobreveio o potencial das Comunidades de Prática no processo de construção da identidade profissional dos estagiários, que aqui encontram um espaço de partilha e de reflexão que lhes permite construir e reconstruir conceções, pelo assumir gradual de papéis potencialmente emancipatórios. Já as limitações incorrem das relações estabelecidas no seio das Comunidades de Prática quando estas se estruturam com base numa hierarquia excessiva e unidirecional.Palavras-chave: Comunidade de Prática; Identidade profissional; Estágio; Estudantes estagiários ABSTRACTTeacher training has experienced substantive changes with respect to its composition and organization. Given that learning is socially and culturally situated, this conceptual reflection text aimed to re-evaluate the formative value of the Communities of Practice in the construction of the professional identity of future teachers within practicum, as well as recognize the constraints that Communities of Practice may entail. From the reflection, it can be emphasised the potential of the Communities of Practice in the process of building the professional identity of the preservice teachers, since they find a space of sharing and reflection that allows them to construct and reconstruct conceptions, by gradually taking on potentially emancipatory roles. Limitations, on the other hand, lie in the relations established within the Communities of Practice when they are structured on the basis of an excessive and unidirectional hierarchy.Keywords: Community of Practice; Professional identity; Practicum; Preservice teachers

A study of cometary eruptions through OH radio-lines

1999 ◽  
Vol 173 ◽  
pp. 249-254
Author(s):  
A.M. Silva ◽  
R.D. Miró
Keyword(s):  
Short Duration ◽  
Growth Curves ◽  
The Other ◽  
Initial Mass ◽  
Radio Lines ◽  
Other Hand ◽  
Sudden Rise

AbstractWe have developed a model for theH2OandOHevolution in a comet outburst, assuming that together with the gas, a distribution of icy grains is ejected. With an initial mass of icy grains of 108kg released, theH2OandOHproductions are increased up to a factor two, and the growth curves change drastically in the first two days. The model is applied to eruptions detected in theOHradio monitorings and fits well with the slow variations in the flux. On the other hand, several events of short duration appear, consisting of a sudden rise ofOHflux, followed by a sudden decay on the second day. These apparent short bursts are frequently found as precursors of a more durable eruption. We suggest that both of them are part of a unique eruption, and that the sudden decay is due to collisions that de-excite theOHmaser, when it reaches the Cometopause region located at 1.35 × 105kmfrom the nucleus.

Closing the GAP—A 5Å Scanning Microscope

1969 ◽  
Vol 27 ◽  
pp. 6-7
Author(s):  
A. V. Crewe
Keyword(s):  
Normal Form ◽  
The Other ◽  
Resolving Power ◽  
Scanning Microscope ◽  
Conventional Microscope ◽  
Other Hand ◽  
Closing The Gap ◽  
Thermal Sources ◽  
Better Than ◽  
Transmission Microscope

We have become accustomed to differentiating between the scanning microscope and the conventional transmission microscope according to the resolving power which the two instruments offer. The conventional microscope is capable of a point resolution of a few angstroms and line resolutions of periodic objects of about 1Å. On the other hand, the scanning microscope, in its normal form, is not ordinarily capable of a point resolution better than 100Å. Upon examining reasons for the 100Å limitation, it becomes clear that this is based more on tradition than reason, and in particular, it is a condition imposed upon the microscope by adherence to thermal sources of electrons.

Life Beyond 1MeV

1980 ◽  
Vol 38 ◽  
pp. 30-33
Author(s):  
K.H. Westmacott
Keyword(s):  
Electron Microscopy ◽  
Past Experience ◽  
The Other ◽  
Good Case ◽  
Other Hand ◽  
The U.S

Life beyond 1MeV – like life after 40 – is not too different unless one takes advantage of past experience and is receptive to new opportunities. At first glance, the returns on performing electron microscopy at voltages greater than 1MeV diminish rather rapidly as the curves which describe the well-known advantages of HVEM often tend towards saturation. However, in a country with a significant HVEM capability, a good case can be made for investing in instruments with a range of maximum accelerating voltages. In this regard, the 1.5MeV KRATOS HVEM being installed in Berkeley will complement the other 650KeV, 1MeV, and 1.2MeV instruments currently operating in the U.S. One other consideration suggests that 1.5MeV is an optimum voltage machine – Its additional advantages may be purchased for not much more than a 1MeV instrument. On the other hand, the 3MeV HVEM's which seem to be operated at 2MeV maximum, are much more expensive.

Can the Academic Self-Concept be Positive and Realistic?

2005 ◽  
Vol 19 (3) ◽  
pp. 129-132 ◽  
Author(s):  
Reimer Kornmann
Keyword(s):  
Academic Performance ◽  
Opposite Effect ◽  
Self Esteem ◽  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
High Ability ◽  
Self Image ◽  
Other Hand

Summary: My comment is basically restricted to the situation in which less-able students find themselves and refers only to literature in German. From this point of view I am basically able to confirm Marsh's results. It must, however, be said that with less-able pupils the opposite effect can be found: Levels of self-esteem in these pupils are raised, at least temporarily, by separate instruction, academic performance however drops; combined instruction, on the other hand, leads to improved academic performance, while levels of self-esteem drop. Apparently, the positive self-image of less-able pupils who receive separate instruction does not bring about the potential enhancement of academic performance one might expect from high-ability pupils receiving separate instruction. To resolve the dilemma, it is proposed that individual progress in learning be accentuated, and that comparisons with others be dispensed with. This fosters a self-image that can in equal measure be realistic and optimistic.

Stories and the Self

2020 ◽  
Vol 32 (2) ◽  
pp. 47-58 ◽  
Author(s):  
Stefan Krause ◽  
Markus Appel
Keyword(s):  
Meta Analysis ◽  
The Self ◽  
The Other ◽  
Lower Degree ◽  
Contrast Effects ◽  
Self Perception ◽  
Self Perceptions ◽  
Other Hand ◽  
The One ◽  
Implicit And Explicit

Abstract. Two experiments examined the influence of stories on recipients’ self-perceptions. Extending prior theory and research, our focus was on assimilation effects (i.e., changes in self-perception in line with a protagonist’s traits) as well as on contrast effects (i.e., changes in self-perception in contrast to a protagonist’s traits). In Experiment 1 ( N = 113), implicit and explicit conscientiousness were assessed after participants read a story about either a diligent or a negligent student. Moderation analyses showed that highly transported participants and participants with lower counterarguing scores assimilate the depicted traits of a story protagonist, as indicated by explicit, self-reported conscientiousness ratings. Participants, who were more critical toward a story (i.e., higher counterarguing) and with a lower degree of transportation, showed contrast effects. In Experiment 2 ( N = 103), we manipulated transportation and counterarguing, but we could not identify an effect on participants’ self-ascribed level of conscientiousness. A mini meta-analysis across both experiments revealed significant positive overall associations between transportation and counterarguing on the one hand and story-consistent self-reported conscientiousness on the other hand.

Don’t Put Me in This Group

2019 ◽  
Vol 50 (2) ◽  
pp. 80-93
Author(s):  
Jort de Vreeze ◽  
Christina Matschke
Keyword(s):  
Positive Emotions ◽  
Negative Emotions ◽  
Negative Information ◽  
The Self ◽  
The Other ◽  
Other Hand ◽  
Group Memberships

Abstract. Not all group memberships are self-chosen. The current research examines whether assignments to non-preferred groups influence our relationship with the group and our preference for information about the ingroup. It was expected and found that, when people are assigned to non-preferred groups, they perceive the group as different to the self, experience negative emotions about the assignment and in turn disidentify with the group. On the other hand, when people are assigned to preferred groups, they perceive the group as similar to the self, experience positive emotions about the assignment and in turn identify with the group. Finally, disidentification increases a preference for negative information about the ingroup.

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