The Musical Object

2022 ◽  
pp. 49-71
Keyword(s):  
Musical Object

Shadows of Black and White

2021 ◽  
pp. 178-206
Author(s):  
Leslie C. Gay Jr
Keyword(s):  
First Century ◽  
The Other ◽  
Black And White ◽  
Material Resources ◽  
Digital Era ◽  
Recorded Sound ◽  
Musical Object ◽  
Social Meanings ◽  
The One

This chapter considers the role of seen and unseen infrastructures in the material transmission and circulation of May Irwin’s (1862–1938) famous “Frog Song.” Just as ontologies of music shift in our digital era, the chapter peels back the hazy ontological histories of this song—as material commodity, technology, and memory—to consider its ramifications as a musical object replete with racial and social meanings. The argument developed here brings together aspects of the “hard” infrastructures of song sheet publishing, paper, and lithography, on the one hand, and the “soft” infrastructures of race, body, and memory, on the other. More specifically, the material resources of the song’s production—in printed page, body, and recorded sound—illuminate the shadowy histories of this song and emphasize how these materials reconfigure shifting notions of gender and race across cultural and historical boundaries into the twenty-first century.

Locality, Distance, and Troubadour Song in the Second Crusade

2020 ◽  
pp. 188-224
Author(s):  
Rachel May Golden
Keyword(s):  
Golden Age ◽  
Courtly Love ◽  
Musical Object ◽  
The Voice

Troubadour song has been explored as an expression of courtly love and early vernacular song creation, even mythologized as a brief flowering of a romanticized Occitanian golden age. However, troubadour songs also importantly act as expressions of place and provide indices of contemporaneous regional communities and identities. Contemporary with the Second Crusade, the troubadour songs Pax in nomine Domini by Marcabru and Lanqan li jorn by Jaufre Rudel employ circularity, dialectic, and movement as ways of expressing place and creating a sense of near versus far. These songs should not be understood as only fixed texts; rather in sounding, transmission, and the enacting of motion they move through new environments and assume new agency as they travel. Troubadour songs of the Second Crusade thus transcend the role of fixed musical object to mediate between the position of composer-poet, the voice of the performer, and the reception of distant listeners.

scholarly journals Automatic Staff Reconstruction within SIMSSA Project

2020 ◽  
Vol 10 (7) ◽  
pp. 2468
Author(s):  
Lorenzo J. Tardón ◽  
Isabel Barbancho ◽  
Ana M. Barbancho ◽  
Ichiro Fujinaga
Keyword(s):  
Object Identification ◽  
Research Topic ◽  
Identification System ◽  
The Public ◽  
Post Process ◽  
Correct Analysis ◽  
Musical Object ◽  
Musical Scores ◽  
Ancient Music ◽  
Music Databases

The automatic analysis of scores has been a research topic of interest for the last few decades and still is since music databases that include musical scores are currently being created to make musical content available to the public, including scores of ancient music. For the correct analysis of music elements and their interpretation, the identification of staff lines is of key importance. In this paper, a scheme to post-process the output of a previous musical object identification system is described. This system allows the reconstruction by means of detection, tracking and interpolation of the staff lines of ancient scores from the digital Salzinnes Database. The scheme developed shows a remarkable performance on the specific task it was created for.

The Musical Object Revisited

2002 ◽  
Vol 21 (3) ◽  
pp. 327-380 ◽  
Author(s):  
MATTHEW BUTTERFIELD
Keyword(s):  
Musical Object

scholarly journals Listening, Mediation, Event: Anthropological and Sociological Perspectives

2010 ◽  
Vol 135 (S1) ◽  
pp. 79-89 ◽  
Author(s):  
Georgina Born
Keyword(s):  
Empirical Research ◽  
Empirical Studies ◽  
Musical Experience ◽  
Sociology Of Music ◽  
Relational Analysis ◽  
Musical Object ◽  
The Social

ABSTRACTThis paper outlines an approach to listening drawn from the anthropology and sociology of music, arguing that there is a pressing need for comparative empirical studies of listening. I suggest that the terms of the discussion should shift from listening to the broader category of musical experience, in this way allowing questions of the encultured, affective, corporeal and located nature of musical experience to arise in a stronger way than hitherto. I propose a focus on the relations between musical object and listening subject, where this entails analysis of the social and historical conditions that bear on listening, and of the changing types of subjectivity brought to music. The point is that neither these conditions, nor the forms of music's mediation, nor the relations between musical object and subject can be fully known in advance. I sketch three perspectives from anthropology and sociology that indicate the kinds of insight offered by empirical research which takes listening-as-musical-experience, and the situated, relational analysis of musical subjects and objects, as its focus.

Nessie the Hydraulophone: A Water-Driven Musical Object for Children

2012 ◽  
Vol 22 (2) ◽  
pp. 263 ◽  
Author(s):  
Jason Nolan ◽  
Steve Mann ◽  
Danny Bakan
Keyword(s):  
Musical Object

scholarly journals Re-imagining Operatic "Objects": Commentary on Neumann's Phenomena, Poiesis, and Performance Profiling: Temporal-Textual Emphasis and Creative Process Analysis in Turandot at the Metropolitan Opera

2018 ◽  
Vol 12 (3-4) ◽  
pp. 272
Author(s):  
Georgia Volioti
Keyword(s):  
Creative Process ◽  
Process Analysis ◽  
Cultural Practice ◽  
Valuable Contribution ◽  
Performance Profiling ◽  
The Past ◽  
Metropolitan Opera ◽  
Musical Object ◽  
Musical Works ◽  
And Performance

Objects come in all sorts of shapes, sizes and forms. The notion of musical works as objects, represented by their written scores, has proved to be effete and limiting to the study of music as diverse social-cultural practice and performed craft. The past two decades have witnessed considerable efforts to renew conceptual and methodological tools, and Neumann's study makes a valuable contribution to this effect. This commentary responds to some issues raised by Neumann's article in relation to the notion of musical "object". Specifically, I retrace the shift from a score-based to a process-oriented musicology geared towards performances, placing the concerns of contemporary opera studies within this broader disciplinary change. I consider some implications of technology in mediating new operatic objects for discourse. Finally, I reflect on some of the inherent dangers of objectifying performance in empirical analyses.

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