scholarly journals Cortical Songs: Musical Performance Events triggered by artificial spiking neurons

2007 ◽  
Vol 7 (1) ◽  
Author(s):  
John Matthias ◽  
Nick Ryan
Keyword(s):  
Spiking Neurons ◽  
Musical Performance ◽  
Performance Events

LIVENESS, MULTIFOCALITY, EAVESDROPPING IN ETHNOMUSICOLOGICAL FIELDWORK RESEARCH AT GHANAIAN FESTIVALS AND ROYAL FUNERALS

2020 ◽  
Vol 11 (2) ◽  
pp. 102-118
Author(s):  
Moses Nii-Dortey
Keyword(s):  
Data Gathering ◽  
Musical Performance ◽  
Music Making ◽  
Research Outcomes ◽  
Performance Events ◽  
Integrated Performance

Ethnomusicological research that involves live, sprawling, multifocal and integrated ceremonies often present liveness-induced challenges that may undermine the authenticity of the research outcomes. )is article describes multifocal and integrated music making performances such as festivals and royal funerals in Ghana and how the vagaries of liveness are largely responsible for nuanced peculiarities which every live musical performance assumes. )e article argues in favour of a central role for eavesdropping among informed participating audience members in data gathering efforts as an important strategy for dealing with liveness-induced contingencies in multifocal and integrated performance events.

scholarly journals Beyond reproduction: Semiotic perspectives on musical performance

Muzikologija ◽  
2014 ◽  
pp. 15-30
Author(s):  
Nicholas Cook
Keyword(s):  
Musical Performance ◽  
Musical Meaning ◽  
Communicative Function ◽  
Semiotic Approach ◽  
Performance Events ◽  
The Relationship

The traditional musicological conception of performance is as the reproduction of pre-existing texts. This makes no allowance for the extent to which meaning emerges from the act of performance, and from the interactions between the various participants in performance events. A broadly semiotic approach focusses attention on such issues, and in this article I illustrate such an approach in terms of the communicative function of the mazurka ?script? and the role of performance gesture in conditioning musical meaning. I argue that, instead of thinking in terms of the reproduction of works, it is better to borrow Jeff Pressing?s term and think in terms of performances referencing scores, traditions, and other pre-existing entities: this way it is possible to conceptualise performances that range from the Werktreue ideology or tribute bands to parody or burlesque. Discourses of the relationship between works and performances are mirrored by those between performances and recordings, and consideration of the latter helps to clarify features shared by both: creativity, collaboration, and semiosis.

Gendering Emotions: Ṭarab, Women and Musical Performance in Three Biographical Narratives from ‘The Book of Songs’

2019 ◽  
Vol 8 (2) ◽  
pp. 164-183
Author(s):  
Karen Moukheiber
Keyword(s):  
Formative Period ◽  
Musical Performance ◽  
Ruling Elite ◽  
Islamic History ◽  
Musical Performances ◽  
Slave Women ◽  
Social Conduct ◽  
Literary Biographies ◽  
The One ◽  
The Book Of Songs

Musical performance was a distinctive feature of urban culture in the formative period of Islamic history. At the court of the Abbasid caliphs, and in the residences of the ruling elite, men and women singers performed to predominantly male audiences. The success of a performer was linked to his or her ability to elicit ṭarab, namely a spectrum of emotions and affects, in their audiences. Ṭarab was criticized by religious scholars due, in part, to the controversial performances at court of slave women singers depicted as using music to induce passion in men, diverting them from normative ethical social conduct. This critique, in turn, shaped the ethical boundaries of musical performances and affective responses to them. Abū l-Faraj al-Iṣfahānī’s tenth-century Kitāb al-Aghānī (‘The Book of Songs’) compiles literary biographies of prominent male and female singers from the formative period of Islamic history. It offers rich descriptions of musical performances as well as ensuing manifestations of ṭarab in audiences, revealing at times the polemics with which they were associated. Investigating three biographical narratives from Kitāb al-Aghānī, this paper seeks to answer the following question: How did emotions, gender and status shape on the one hand the musical performances of women singers and on the other their audiences’ emotional responses, holistically referred to as ṭarab. Through this question, this paper seeks to nuance and complicate our understanding of the constraints and opportunities that shaped slave and free women's musical performances, as well as men's performances, at the Abbasid court.

Performativity in Words: Musical Performance in Katherine Mansfield's Stories

2011 ◽  
Vol 3 (1) ◽  
pp. 21-34 ◽  
Author(s):  
Delia da Sousa Correa
Keyword(s):  
Musical Performance
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