scholarly journals Compare and Contrast Different Meanings of the Term World Music/World Music

2019 ◽  
Vol 4 (4) ◽  
pp. 1
Author(s):  
Xueqian Li
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
World Music ◽  
The Other ◽  
Music Genres ◽  
Other Hand ◽  
Increasing Demand ◽  
Compare And Contrast

With the booming popularity of the music industry today, there has been an equally increasing demand for new or refreshing music types. Over the years, this has a resulted in alternative/non-mainstream music genres gradually being accepted as popular music. To cater for the different tastes of music for consumers, in a world where advancement in technology has accelerated globalization to unprecedented levels, music Creators are producing music that have blurred the boundaries between music genres. On the other hand World Music is one that is seen by many as one which is routed in tradition. In that aspect, world music and popular music can be seen as two contrasting categories.

scholarly journals Machine Learning in Medical Emergencies: a Systematic Review and Analysis

2021 ◽  
Vol 45 (10) ◽  
Author(s):  
Inés Robles Mendo ◽  
Gonçalo Marques ◽  
Isabel de la Torre Díez ◽  
Miguel López-Coronado ◽  
Francisco Martín-Rodríguez
Keyword(s):  
Machine Learning ◽  
Systematic Review ◽  
Language Processing ◽  
Emergency Services ◽  
Clinical Decision ◽  
Quality Of Healthcare ◽  
The Other ◽  
Other Hand ◽  
Increasing Demand ◽  
Commercial Applications

AbstractDespite the increasing demand for artificial intelligence research in medicine, the functionalities of his methods in health emergency remain unclear. Therefore, the authors have conducted this systematic review and a global overview study which aims to identify, analyse, and evaluate the research available on different platforms, and its implementations in healthcare emergencies. The methodology applied for the identification and selection of the scientific studies and the different applications consist of two methods. On the one hand, the PRISMA methodology was carried out in Google Scholar, IEEE Xplore, PubMed ScienceDirect, and Scopus. On the other hand, a review of commercial applications found in the best-known commercial platforms (Android and iOS). A total of 20 studies were included in this review. Most of the included studies were of clinical decisions (n = 4, 20%) or medical services or emergency services (n = 4, 20%). Only 2 were focused on m-health (n = 2, 10%). On the other hand, 12 apps were chosen for full testing on different devices. These apps dealt with pre-hospital medical care (n = 3, 25%) or clinical decision support (n = 3, 25%). In total, half of these apps are based on machine learning based on natural language processing. Machine learning is increasingly applicable to healthcare and offers solutions to improve the efficiency and quality of healthcare. With the emergence of mobile health devices and applications that can use data and assess a patient's real-time health, machine learning is a growing trend in the healthcare industry.

Experience the Experimental

Contracultura ◽  
2016 ◽  
Author(s):  
Christopher Dunn
Keyword(s):  
Popular Music ◽  
Active Participation ◽  
The Other ◽  
Experimental Writing ◽  
Avant Garde ◽  
Cultural Phenomenon ◽  
Mass Audience ◽  
Other Hand

Chapter 2 explores the connections between the artistic avantgarde and the counterculture. A small, but influential group of artists sometimes identified as “marginal” or “underground” coalesced in the aftermath of Tropicália. Cultura marginal may be located at the intersection of two cultural phenomenon: On one hand it had deep affinities with the emergent counterculture. On the other hand, cultura marginal was indebted to the mid-century constructivist avant-garde, especially neo-concretism. The author discusses the work of experimental artist, Hélio Oiticica and Lygia Clark, who developed a series of environmental and performative works that demanded the active participation of spectators to create meaning. The author explores Oiticica’s dialogue with experimental writer and songwriter, Waly Salomão, whose work circulated within the rarified field of experimental writing, while also finding a mass audience through popular music, notably in the performances of Gal Costa. The author devotes a section to the journalist and artist Torquato Neto, who promoted cultura marginal and also performed in “Nosferato no Brasil,” a celebrated example of Super 8 film. Finally, the author analyzes the publication Navilouca, a graphic and textual project that brought together key figures of cultura marginal and the avantgarde.

Music for Socialism, London 1977

2019 ◽  
Vol 16 (1) ◽  
pp. 67-93
Author(s):  
BENJAMIN PIEKUT
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Good Time ◽  
Arts Funding ◽  
National Front ◽  
Music Genres ◽  
Rock Band ◽  
Archival Documents ◽  
The Relationship ◽  
Means Of Production

AbstractMembers of the rock band Henry Cow co-founded Music for Socialism in early 1977 with the assistance of several associates in London's cultural left. Their first large event, a socialist festival of music at the Battersea Arts Centre, gathered folk musicians, feminists, punks, improvisers, and electronic musicians in a confabulation of workshops, performances, and debates. The organization would continue to produce events and publications examining the relationship between left politics and music for the next eighteen months. Drawing on published sources, archival documents, and interviews, this article documents and analyzes the activities of Music for Socialism, filling out the picture of a fascinating, fractious organization that has too often served as a thin caricature of abstruse failure compared with the better resourced, more successful, and well-documented Rock Against Racism. As important as the latter was to anti-racist activism during the rise of the National Front, it was not concerned with the issues that Music for Socialism considered most important – namely, how musical forms embody their own politics and how musicians might control their means of production. Affiliated with the Socialist Workers Party (UK), Rock Against Racism produced massive benefit concerts and rallies against the fascist right, drawing together musicians and audiences from punk and reggae. The much smaller events of Music for Socialism enrolled musicians from a range of popular music genres and often placed as much emphasis on discussion and debate as they did on having a good time. The organization's struggles, I will suggest, had less to do with ideological rigidity than it did with the itineracy and penury of musicians and intellectuals lacking support from the music industry, governmental arts funding, labor organizations, or academia.

The power ballad

Popular Music ◽  
2012 ◽  
Vol 31 (3) ◽  
pp. 437-459 ◽  
Author(s):  
David Metzer
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Culture Media ◽  
The Other ◽  
Music Genres ◽  
History Of ◽  
The 1960S

AbstractThe power ballad has become a mainstay of popular music since the 1970s. This article offers a history of the songs and discusses their place in the larger field of popular music genres. The songs are defined by the use of both a musical formula based on constant escalation and an expressive formula that combines the euphoric uplift created by rousing music with sentimental themes and ploys. Contrary to views that power ballads first appeared in 1980s rock and are primarily rock numbers, the songs emerged in the 1970s pop recordings of Barry Manilow and others, and from early on crossed genre lines, including pop, rock and R&B. These crossings result in an exchange between the fervour of the power ballad and the distinct expressive qualities of the other genres. This article also places the power ballad in the larger history of the ballad. The songs are part of a shift toward more effusive and demonstrative styles of ballads underway since the 1960s. In addition, the emotional excesses of the power ballad fit into a larger change in the expressive tone of works across different popular culture media. With those works, emotions are to be large, ecstatic and immediate.

Notation and identity in contemporary popular music

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 215-234 ◽  
Author(s):  
H. Stith Bennett
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Classical Music ◽  
The Other ◽  
Other Hand ◽  
The World ◽  
Long Term Changes ◽  
Western European ◽  
Rock N Roll

Popular music, like all manifestations of popular culture, lives on in spite of recurring criticisms that cast it as somehow inauthentic. In fact, defences against this discounting are built into popular music (for example, the Rolling Stones' classic: ‘It's only rock 'n' roll but I like it’) and built in, as well, to the identities of those who make the music a part of their lives, be they players, producers, consumers or critics. On the other hand, so-called classical music, not unlike other manifestations of Western European art culture, lives on in spite of popular music and provides the touchstone of authenticity that creates the defensive popular response. The ideas I am advancing here are intended to allow the players in this authenticity contest to be recognised as evidence of unique historical circumstances: recognised, that is, not only as stock dramatists of ethnocentrism, but as indicators of long-term changes in music cultures in all parts of the world.

Big Houses in Kano Emirate

Africa ◽  
1974 ◽  
Vol 44 (2) ◽  
pp. 117-135 ◽  
Author(s):  
Polly Hill
Keyword(s):  
Population Density ◽  
Special Reference ◽  
The Other ◽  
Economic Conditions ◽  
Economic Organization ◽  
Other Hand ◽  
Opening Paragraph ◽  
The Village ◽  
Compare And Contrast

Opening ParagraphIn 1971–2 I undertook research in part of the very densely populated farming zone around Kano city (often called the Kano close-settled zone) in order to compare it with a Hausa village, Batagarawa, some 100 miles further north in Katsina Emirate, where I had lived and worked in 1967. At Batagarawa farmland is not scarce and members of the community are free to establish farms on uncultivated (bush) land, some of which is no further than a mile or so from the village. For some 30 to 40 miles or more around Kano city, on the other hand, there is little or no uncultivated bush and farmers with insufficient land are obliged to buy or to ‘borrow’ (aro) farmland from others. My purpose was to compare and contrast the socio-economic organization and economic conditions of farmers in the two localities, with special reference, in so far as this variable could be isolated, to population density.

scholarly journals Compare and Contrast the Two Approaches: The ‘Conventional Approach’ and the ‘Computational Approach’ Described by Stiny and Mitchell 1978, for Analyzing an Architectural Style

2019 ◽  
Vol 7 (1) ◽  
pp. 19-34
Author(s):  
Nujaba Binte Kabir
Keyword(s):  
Construction Method ◽  
Computational Approach ◽  
Conventional Approach ◽  
The Other ◽  
Structural System ◽  
Architectural Style ◽  
Other Hand ◽  
Compare And Contrast

Architectural historians have focused more on traditional analysis of a style on the basis of concept, compositional order, construction method, structural system and much more. This approach can be called as ‘Conventional approach’. On the other hand the ‘Computational approach’, which was described by George Stiny and William J. Mitchell in 1978, can regenerate new design of a particular style by analyzing the characteristics of that style. The question is how these two approaches conflict with each other and how they can be compared with each other. The aim of this paper is to find out Keywords: the differences and comparisons between these two approaches with explanation of some examples.

scholarly journals „Ich weiß, ich muss noch an mir arbeiten“

2005 ◽  
Vol 35 (141) ◽  
pp. 619-635 ◽  
Author(s):  
Uli Jähner
Keyword(s):  
Music Industry ◽  
The Other ◽  
The Public ◽  
Testing Ground ◽  
Other Hand ◽  
The One

Over the last years casting shows have become one of the most popular TV-formats. What conditions made this success possible? The music industry, on the one hand, was looking for and, for the time being, found a way out of its notorious crises in sales. The public, on the other hand, is not only pleased to listen to the singers' contest but also to find a testing ground for the rules of a growing neoliberal culture of competition.

scholarly journals Lucas Galon’s Concerto for Violin, Percussion and Strings (2018)

2019 ◽  
Vol 5 (1) ◽  
Author(s):  
Ricardo Alex Palmezano
Keyword(s):  
Popular Music ◽  
Contemporary Music ◽  
Compositional Style ◽  
The Self ◽  
The Other ◽  
Specific Method ◽  
Twelve Tone ◽  
Violin Concerto ◽  
Second Viennese School ◽  
Other Hand

In this paper, I investigate how the composer searches for his own voice in his violin concerto while using a blend of influences such as Bartok, twelve-tone and Brazilian popular music. Galon argues that composers such as Bartok, Stravinsky and Villa-Lobos followed an independent, more varied compositional style without subscribing to any specific method.[1]On the other hand, the self-proclaimed mainstream of the Second Viennese School established a very structured, particular way of writing music. The composer seems to put into question the mechanization of composition of the dodecaphonic method, but validates its use as a way of refraining his creative impulse.[2]While Bartok’s Violin Concerto No. 2provides a framework for his piece; the tools he uses to manipulate the musical material are drawn from a free use of serialism and Brazilian contemporary music philosophy and aesthetic.    

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