Weaving Words and Music: Fostering a Meaningful Intercultural Exchange through Music Composition

2018 ◽  
Vol 5 (3) ◽  
pp. 259-284
Author(s):  
Mary Ellen Haupert
2016 ◽  
Vol 23 (2) ◽  
pp. 107-136
Author(s):  
Jung Jee Min ◽  
◽  
Hyun Byun Ji

Author(s):  
Khafiizh Hastuti ◽  
Azhari Azhari ◽  
Aina Musdholifah ◽  
Rahayu Supanggah

2019 ◽  
Vol 5 (3) ◽  
Author(s):  
Joshua Banks Mailman

Babbitt’s relatively early composition Semi-Simple Variations (1956) presents intriguing surface patterns that are not determined by its pre-compositional plan, but rather result from subsequent “improvised” decisions that are strategic. This video (the third of a three-part video essay) considers Babbitt’s own conversational pronouncements (in radio interviews) together with some particulars of his life-long musical activities, that together suggest uncanny affiliations to jazz improvisation. As a result of Babbitt’s creative reconceptualizing of planning and spontaneity in music, his pre-compositional structures (partial orderings) fit in an unexpected way into (or reformulate) the ecosystem relating music composition to the physical means of its performance.


Author(s):  
Patricia Zimmerman Beckman

Global travelers today search for ultimate meaning, and many seek transformation through journeys into interreligious exchange. They share these goals with mystics of old. By immersing themselves in the scholarship of mysticism, religion, and travel before they go, today’s pilgrims can prepare for genuine, life-transforming encounters. Attention to debates about essentialism and constructivism, plural truth claims within and among traditions, and notions of the fluid self prepare them. Traveling mindfully with theory allows them to recognize what analytical baggage they carry while opening them to new experiences. Thoughtful processing upon return can avoid the dangers of shallow interreligious interpretations even while encouraging intercultural exchange. In essence, they reveal the mystic heart of travel.


1998 ◽  
Vol 51 (1) ◽  
pp. 83-129 ◽  
Author(s):  
Annegret Fauser

In 1903, one hundred years after the Prix de Rome had been created in music composition, women were allowed to participate in the competition for the first time. In 1913, Lili Boulanger became the first woman to win the prize, crowning the efforts of three others-Juliette Toutain, Hélène Fleury, and Nadia Boulanger-to achieve this goal. Their stories are fascinating case studies of the strategies women employed to achieve success and public recognition within the complex framework of French cultural politics at the beginning of the twentieth century.


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