scholarly journals What Dreams May Come - Ambient Suite for Jazz Orchestra

2021 ◽  
Author(s):  
◽  
Louisa Williamson
Keyword(s):  
Textural Analysis ◽  
Compositional Process ◽  
Jazz Orchestra ◽  
Ambient Music ◽  
Listening Experience ◽  
Harmonic Techniques ◽  
Musical Elements ◽  
Compositional Approaches

<p>What Dreams May Come is a five-movement suite for jazz orchestra, intended to create a calm and relaxing listening experience. The project is inspired by the mystery of dreaming, and it attempts to communicate musical ideas which reflect the relaxed state one is in when sleeping. The aims of What Dreams May Come are to highlight the timbral combinations available in a jazz orchestra and to draw on characteristics of ambient music to give the listener a relaxing atmosphere. This exegesis explores timbre both in music that served as inspiration for this composition and in the composition itself, and it describes how emphasising timbre in my compositional process affected other musical elements of the piece. Chapter 1 explores Brian Eno’s ambient album Ambient 1: Music for Airports, specifically looking at the role of timbre and texture in the album, and at the overall structuring techniques used by Eno on the album to create coherency. Chapter 2 analyses two compositions for jazz orchestra by Maria Schneider, “Nocturne” and “Sea of Tranquility”, examining the role of timbre in the compositions, as well as the ways Schneider uses soft dynamics and harmonic techniques to structure the pieces. These two chapters look into how Eno and Schneider, in different ways, both highlight timbre in their compositional approaches and processes. Each chapter dives deep into timbral and textural analysis, with additional analysis of form and harmony. Chapter 3 reflects on the ways these two composers informed What Dreams May Come, focussing on how I used techniques from Eno and Schneider to challenge myself in composing for jazz orchestra. In the course of the project, I strove to tap into music’s therapeutic qualities, putting this idea at the forefront of my intentions as a composer. Using dreaming as aesthetic and conceptual influence, Brian Eno’s ambient music as inspiration, and Maria Schneider’s compositions as a musical guide, I have been able to produce a work which not only challenges traditional jazz orchestra techniques but also relaxes listeners by complementing their environments.</p>

scholarly journals What Dreams May Come - Ambient Suite for Jazz Orchestra

2021 ◽  
Author(s):  
◽  
Louisa Williamson
Keyword(s):  
Textural Analysis ◽  
Compositional Process ◽  
Jazz Orchestra ◽  
Ambient Music ◽  
Listening Experience ◽  
Harmonic Techniques ◽  
Musical Elements ◽  
Compositional Approaches

<p>What Dreams May Come is a five-movement suite for jazz orchestra, intended to create a calm and relaxing listening experience. The project is inspired by the mystery of dreaming, and it attempts to communicate musical ideas which reflect the relaxed state one is in when sleeping. The aims of What Dreams May Come are to highlight the timbral combinations available in a jazz orchestra and to draw on characteristics of ambient music to give the listener a relaxing atmosphere. This exegesis explores timbre both in music that served as inspiration for this composition and in the composition itself, and it describes how emphasising timbre in my compositional process affected other musical elements of the piece. Chapter 1 explores Brian Eno’s ambient album Ambient 1: Music for Airports, specifically looking at the role of timbre and texture in the album, and at the overall structuring techniques used by Eno on the album to create coherency. Chapter 2 analyses two compositions for jazz orchestra by Maria Schneider, “Nocturne” and “Sea of Tranquility”, examining the role of timbre in the compositions, as well as the ways Schneider uses soft dynamics and harmonic techniques to structure the pieces. These two chapters look into how Eno and Schneider, in different ways, both highlight timbre in their compositional approaches and processes. Each chapter dives deep into timbral and textural analysis, with additional analysis of form and harmony. Chapter 3 reflects on the ways these two composers informed What Dreams May Come, focussing on how I used techniques from Eno and Schneider to challenge myself in composing for jazz orchestra. In the course of the project, I strove to tap into music’s therapeutic qualities, putting this idea at the forefront of my intentions as a composer. Using dreaming as aesthetic and conceptual influence, Brian Eno’s ambient music as inspiration, and Maria Schneider’s compositions as a musical guide, I have been able to produce a work which not only challenges traditional jazz orchestra techniques but also relaxes listeners by complementing their environments.</p>

scholarly journals Looking Beyond the Score

2012 ◽  
Vol 18 (1) ◽  
Author(s):  
Michael Schutz ◽  
Fiona Manning
Keyword(s):  
Sound Production ◽  
Audio Recordings ◽  
Musical Scores ◽  
Listening Experience ◽  
Multi Media ◽  
Physical Gestures ◽  
Musical Elements ◽  
Insight Into ◽  
The Way

Performing musicians frequently use physical gestures that are more elaborate than required for sound production alone. Such movements are not prescribed in traditional musical scores, nor are they evident in audio recordings, and consequently they are rarely regarded as integral to a formal musical analysis. However, there is growing evidence that these movements do in fact alter an audience’s listening experience—i.e., the way a performance “sounds.” Therefore, we believe that analyses of these movements can inform more traditional analyses of notes and rhythms by lending insight into the way in which these musical elements areperceived. Here, we review research on the role of gestures in shaping the musical experience, focusing in particular on gestures used by percussionists to control perceived note duration. This paper embraces the multi-media affordances ofMusic Theory Onlineby integrating stimuli from key experiments—the first publication of these materials. Our aim is not only to summarize a growing body of work on the musical role of extra-acoustic factors such as ancillary gestures, but also to present new avenues of musical research that complement existing approaches.

scholarly journals Composing the Chimera Suite: Grafting the Conventions of Extreme Metal onto a Jazz Orchestra Setting

2021 ◽  
Author(s):  
◽  
Chris Beernink
Keyword(s):  
Musical Aesthetics ◽  
Compositional Process ◽  
Jazz Orchestra ◽  
Modern Jazz ◽  
Thematic Unity ◽  
Extreme Metal ◽  
And Control

<p>The Chimera Suite is a five-movement composition for a modern jazz orchestra augmented with timbres derived from extreme metal. Each movement explores how conventions located in extreme metal can be combined with modern jazz orchestra conventions to create a unique multi-movement suite. While each movement is composed discretely and can stand on its own, the Chimera Suite is intended to be experienced in one continuous sitting, as local and global through-composed forms are used to create thematic unity across the entire suite.  Chapter 1 examines the global scenes of jazz and extreme metal, as well as the local Wellington jazz scene through Fabian Holt’s popular genre framework of ‘networks’ and ‘conventions’, and identifies the musical aesthetics that I drew from during the Chimera Suite’s compositional process. In Chapter 2, I analyse extreme metal band Between the Buried and Me’s ‘Silent Flight Parliament’ off their album The Parallax II: Future Sequence, jazz pianist Tigran Hamasyan’s ‘The Grid’ and ‘Out of The Grid’, and jazz drummer Dan Weiss’ ‘Annica’. Each of the artists’ works exhibits various musical conventions located in both jazz and extreme metal genres that I observe via the lenses of through-composed form, heaviness, and the dialectic of freedom and control. I analyse my own composition, the Chimera Suite, through the same lenses of through-composed form, heaviness, and the dialectic of freedom and control in Chapter 3, while discussing the ways in which the musical scenes identified in Chapter 1, and the musical inspirations found in Chapter 2, have impact the suite’s conception. Throughout this thesis, I discuss the unique perspectives afforded through this combination of genres that in turn, call into question the defining elements that contribute towards a genre’s identity.</p>

scholarly journals Composing the Chimera Suite: Grafting the Conventions of Extreme Metal onto a Jazz Orchestra Setting

2021 ◽  
Author(s):  
◽  
Chris Beernink
Keyword(s):  
Musical Aesthetics ◽  
Compositional Process ◽  
Jazz Orchestra ◽  
Modern Jazz ◽  
Thematic Unity ◽  
Extreme Metal ◽  
And Control

<p>The Chimera Suite is a five-movement composition for a modern jazz orchestra augmented with timbres derived from extreme metal. Each movement explores how conventions located in extreme metal can be combined with modern jazz orchestra conventions to create a unique multi-movement suite. While each movement is composed discretely and can stand on its own, the Chimera Suite is intended to be experienced in one continuous sitting, as local and global through-composed forms are used to create thematic unity across the entire suite.  Chapter 1 examines the global scenes of jazz and extreme metal, as well as the local Wellington jazz scene through Fabian Holt’s popular genre framework of ‘networks’ and ‘conventions’, and identifies the musical aesthetics that I drew from during the Chimera Suite’s compositional process. In Chapter 2, I analyse extreme metal band Between the Buried and Me’s ‘Silent Flight Parliament’ off their album The Parallax II: Future Sequence, jazz pianist Tigran Hamasyan’s ‘The Grid’ and ‘Out of The Grid’, and jazz drummer Dan Weiss’ ‘Annica’. Each of the artists’ works exhibits various musical conventions located in both jazz and extreme metal genres that I observe via the lenses of through-composed form, heaviness, and the dialectic of freedom and control. I analyse my own composition, the Chimera Suite, through the same lenses of through-composed form, heaviness, and the dialectic of freedom and control in Chapter 3, while discussing the ways in which the musical scenes identified in Chapter 1, and the musical inspirations found in Chapter 2, have impact the suite’s conception. Throughout this thesis, I discuss the unique perspectives afforded through this combination of genres that in turn, call into question the defining elements that contribute towards a genre’s identity.</p>

Perfection Makes Practice

2006 ◽  
Vol 23 (3) ◽  
pp. 98-100
Author(s):  
Muhamad Ali
Keyword(s):  
Social Relations ◽  
Muslim Community ◽  
Beliefs And Practices ◽  
Psychological Dimension ◽  
South Sulawesi ◽  
Complex Dimensions ◽  
History Of Religions ◽  
History Of

Studies of Islam in Southeast Asia have sought to better understand its multifacetedand complex dimensions, although one may make a generalizedcategorization of Muslim beliefs and practices based on a fundamental differencein ideologies and strategies, such as cultural and political Islam.Anna M. Gade’s Perfection Makes Practice stresses the cultural aspect ofIndonesian Muslim practices by analyzing the practices of reciting andmemorizing the Qur’an, as well as the annual competition.Muslim engagement with the Qur’an has tended to emphasize the cognitiveover the psychological dimension. Perfection Makes Practice analyzesthe role of emotion in these undertakings through a combination ofapproaches, particularly the history of religions, ethnography, psychology,and anthropology. By investigating Qur’anic practitioners in Makassar,South Sulawesi, during the 1990s, Gade argues that the perfection of theQur’an as a perceived, learned, and performed text has made and remade thepractitioners, as well as other members of the Muslim community, to renewor increase their engagement with the holy text. In this process, she suggests,moods and motivation are crucial to preserving the recited Qur’an and revitalizingthe Muslim community.In chapter 1, Gade begins with a theoretical consideration for her casestudy. Drawing from concepts that emphasize the importance of feeling andemotion in ritual and religious experience, she develops a conceptualizationof this engagement. In chapter 2, Gade explains memorization within thecontext of the self and social relations. She argues that Qur’anic memorizershave a special relationship with its style and structure, as well as with thesocial milieu. Although Qur’anic memorization is a normal practice for mostMuslims, its practitioners have learned how to memorize and recite beautifullysome or all of the Qur’an’s verses, a process that requires emotion ...

Introduction

2018 ◽  
Author(s):  
Francis L. F Lee ◽  
Joseph M Chan
Keyword(s):  
Hong Kong ◽  
Social Movement ◽  
Media System ◽  
System P ◽  
Connective Action ◽  
Integrated Media ◽  
Media And Communication ◽  
The Ideal

Chapter 1 introduces the background of the Umbrella Movement, a protest movement that took hold in Hong Kong in 2014, and outlines the theoretical principles underlying the analysis of the role of media and communication in the occupation campaign. It explicates how the Umbrella Movement is similar to but also different from the ideal-typical networked social movement and crowd-enabled connective action. It explains why the Umbrella Movement should be seen as a case in which the logic of connective action intervenes into a planned collective action. It also introduces the notion of conditioned contingencies and the conceptualization of an integrated media system.

Saddam Takes Control

2018 ◽  
Author(s):  
Samuel Helfont
Keyword(s):  
20Th Century ◽  
Good Deal ◽  
Intellectual Heritage ◽  
Role Of Religion ◽  
Religious Landscape

Chapter 1 discusses Saddam Hussein’s rise to the presidency in Ba’thist Iraq in which he inherited an existing relationship between his regime and the Iraqi religious landscape. Saddam also inherited a rich Ba‘thist intellectual heritage, which had a good deal to say about religion, and Islam in particular, and offered what he considered to be powerful tools to face the challenges that lay before him. Chapter 1 highlights the the role of religion in Saddam’s rise to power and the secret polices on religion that he enacted. It will then discuss the initial steps he took to consolidate his power and contain uprisings within Iraq’s religious landscape. His polices reflect a Ba’thist interpretation of Islam that was first articulated by the Syrian Christian intellectual, Michel Aflaq, in the mid-20th century. Under Saddam’s leadership, the Ba’thist regime attempts to impose its ideas on religion.

‘And all my children?’

2018 ◽  
Author(s):  
Charlotte Scott
Keyword(s):  
Early Modern ◽  
Life Stage ◽  
Early Modern Period ◽  
Life Stages ◽  
Cultural Imagination ◽  
Modern Period

Beginning with an exploration of the role of the child in the cultural imagination, Chapter 1 establishes the formative and revealing ways in which societies identify themselves in relation to how they treat their children. Focusing on Shakespeare and the early modern period, Chapter 1 sets out to determine the emotional, symbolic, and political registers through which children are depicted and discussed. Attending to the different life stages and representations of the child on stage, this chapter sets out the terms of the book’s enquiry: what role do children play in Shakespeare’s plays; how do we recognize them as such—age, status, parental dynamic—and what are the effects of their presence? This chapter focuses on how the early moderns understood the child, as a symbolic figure, a life stage, a form of obligation, a profound bond, and an image of servitude.

Modernism and American Ballet

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
Mass Culture ◽  
American Culture ◽  
Modern Dance ◽  
The Political ◽  
Cultural Conditions ◽  
The Arts ◽  
Wide Range ◽  
Political Economic

This chapter explores the international and interdisciplinary backdrop of Lincoln Kirstein’s efforts to form an American ballet in the early 1930s. The political, economic, and cultural conditions of the Depression reinvigorated the search for an “American” culture. In this context, new openings for a modernist theory of ballet were created as intellectuals and artists from a wide range of disciplines endeavored to define the role of the arts in protecting against the dangerous effects of mass culture. Chapter 1 sheds new light on well-known critical debates in dance history between Kirstein and John Martin over whether ballet, with its European roots, could truly become “American” in contrast to modern dance. Was American dance going to be conceived in nationalist or transnationalist terms? That was the deeper conflict that underlay the ballet vs. modern dance debates of the early 1930s.

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