Jean-Luc Godard’s Prénom: Carmen (1983)

2021 ◽  
Vol 15 (1) ◽  
pp. 3-35
Author(s):  
MICHAEL BAUMGARTNER
Keyword(s):  
String Quartets ◽  
Artistic Expression ◽  
Primary Concern ◽  
Music Making ◽  
Hands On ◽  
Simultaneous Sounds ◽  
Film Sound

In an interview discussing Prénom: Carmen (1983), Jean-Luc Godard underlines the correlation between the processes of music and filmmaking: ‘Making a film is like performing a quartet’. The emphasis on such a relationship between these two virtually different modes of artistic expression, the act of reflecting upon art in general, and the final artwork, represents Godard’s primary concern in this film. In order to emphasise this self-reflexive stance in Prénom: Carmen, the footage of the Quatuor Prat rehearsing Ludwig van Beethoven’s string quartets is intertwined with fictional material narrating a contemporary version of the Carmen myth. With this alternation, Godard conveys that his conception of cinema emerges from observing how performers create music. Music-making is thus as much a hands-on endeavour as filmmaking itself. Since we are limited to having two hands to edit the soundtrack and mix and arrange the different sounds, we consequently can hear only two sounds at the same time. With this self-inflicted limitation, Godard shapes the soundtrack of Prénom: Carmen with only two simultaneous sounds. Such an overtly self-conscious approach to film sound shifts the focus onto Beethoven’s music, not only as an artistic key device, but also as an alien within the surprisingly complex soundscape and more generally also within the contemporary Carmen story.

Americans Learning Gamelan in Bali

2020 ◽  
pp. 113-132
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
Study Abroad ◽  
Performing Arts ◽  
Tourism Industry ◽  
Study Abroad Programs ◽  
Direct Involvement ◽  
Music Making ◽  
Educational Tourism ◽  
Hands On ◽  
Dance Instruction

The chapter analyzes the development and scope of educational tourism programs in the performing arts, including collegiate study-abroad programs, in the context of the Balinese tourism industry. The programs—which include hands-on music making and dance instruction, lectures and workshops, and visits to performing arts events and tourist sites—feature elements of both educational and leisure tourism. Through an examination of several different models for such “edutourism” programs, the chapter suggests that while they capitalize on presenting an “authentic” experience of Balinese-ness for participants, they also provide distinctive opportunities for foreigners to transcend the conventional tourist role via more direct involvement in Balinese community events and by treating and compensating teachers as professionals.

Auditory Streaming Cues in Eighteenth- and Early Nineteenth-Century String Quartets

2013 ◽  
Vol 31 (1) ◽  
pp. 46-58 ◽  
Author(s):  
Ben Duane
Keyword(s):  
Nineteenth Century ◽  
String Quartets ◽  
Acoustic Cues ◽  
Auditory Streaming ◽  
Early Nineteenth Century ◽  
Spectral Overlap ◽  
Or Groups ◽  
Simultaneous Sounds

This study uses a corpus of excerpts from eighteenth- and early nineteenth-century string quartets to examine how four acoustic cues—onset and offset synchrony, pitch comodulation, and spectral overlap—help to afford the perception of auditory streams. Two types of streams are dealt with: textural streams, which house individual string parts or groups of them that function as single musical units; and music streams, which typically house the music as a whole and distinguish it from other simultaneous sounds of music. The corpus contained real excerpts from classical string quartets as well as synthesized excerpts in which lines from two different quartets were combined. Both the author and ten survey respondents analyzed the corpus, identifying likely textural streams. Each of the four acoustic cues was modeled computationally, in order to assess its prevalence in textural and music streams found in the corpus. The results suggested that some cues are more important than others in establishing textural streams, music streams, or both.

scholarly journals Teaching and Learning Undergraduate Music Theory at the Keyboard

2015 ◽  
Vol 21 (3) ◽  
Author(s):  
Michael Callahan
Keyword(s):  
Music Theory ◽  
Teaching And Learning ◽  
Practical Method ◽  
Undergraduate Curriculum ◽  
Music Majors ◽  
Student Work ◽  
Curricular Intervention ◽  
Music Making ◽  
Hands On ◽  
Contact Hours

Music making at the keyboard can be of significant value to students learning music theory and aural skills, but an instructor must clear several logistical hurdles in order to integrate it fully into an undergraduate curriculum and capitalize on its aural, visual, and tactile advantages. Most music majors have only modest technical facility at the keyboard, and opportunities for individual coaching and assessment are often constrained by large class sizes, one-piano classrooms, and limited contact hours. This article describes a classroom-tested solution to these challenges in which students work outside of class at keyboards linked toSmartMusicsoftware, record snapshots of their work, and submit them online for immediate and detailed feedback. The software supports novel and interactive learning formats that give even non-keyboardists access to activities such as guided improvisation, play-along, echoing, sing-and-play, transposition, and fill-in-the-blanks. In addition to sharing samples of student work, the article also substantiates the effectiveness of this curricular intervention with qualitative and quantitative data collected during a formal impact study with 37 second-year undergraduates during fall 2013. Following research methodologies common in the Scholarship of Teaching and Learning, students participated confidentially in interviews, surveys, and practice journals that documented their experiences with this learning format. The results show powerful positive impacts on how, what, and how well students learned in the music theory course; to their attitudes about music theory; and to their ability to apply what they learned to their musical endeavors outside the theory classroom. Thus, this study offers both a practical method and a strong justification for placing hands-on music making at the center of students’ engagement with music theory.

scholarly journals Sketching music: Exploring melodic similarity and contrast using a digital tabletop

2020 ◽  
Vol 13 (1) ◽  
pp. 5-31 ◽  
Author(s):  
Andrea Franceschini ◽  
Robin Laney ◽  
Chris Dobbyn
Keyword(s):  
Short Story ◽  
Music Composition ◽  
Musical Instruments ◽  
Main Task ◽  
Musical Structure ◽  
Instrumental Training ◽  
Music Making ◽  
Hands On ◽  
The Relationship

In this article, we investigate the effectiveness of a purposely built Digital Tabletop Musical Instruments (DTMI) in helping novices and casual users to explore music composition. Our participants explored how melodic similarity and contrast can convey narrative through musical structure in sessions involving one participant and one tutor to guide the session. We structured the sessions as a combination of open-ended discussions and increasingly open-ended music-making exercises, culminating in the main task: Invent a short story and compose a melody to describe it. We found that the combination of a structured tutor-led activity and an approachable technology allowed our participants to explore the relationship between their ideas of similarity and contrast, the ways these concepts are manifested in melody, and the ways they can help describe a narrative. The hands-on activities provided adequate scaffolding for discussing the concepts and contextualizing them within music. Lastly, by not requiring any formal musical or instrumental training, the DTMI allowed the participants to make music while discussing similarity and contrast in a comfortable and continuous way.

Agency in ensemble interaction and rehearsal communication

2021 ◽  
pp. 35-44
Author(s):  
Su Yin Mak ◽  
Hiroko Nishida ◽  
Daisuke Yokomori
Keyword(s):  
Case Studies ◽  
String Quartets ◽  
Verbal Communication ◽  
Critical Perspective ◽  
Music Making ◽  
Capacity To Act ◽  
Research Outcome ◽  
Research Frameworks ◽  
Empirical Case Studies

Agency refers to the capacity to act and act upon, to initiate and carry out actions either for their own sakes or to influence and affect others. The concept is often invoked in music studies, but the nature and types of actions and agents are defined differently in various research frameworks. This study integrates sociocultural and metaphorical approaches to investigate the interactions between work and performer agencies in the verbal communication and gestural exchanges that take place during ensemble rehearsal. The chapter begins with an overview of current theories of musical agency and traces their implications for research on ensemble music-making. Next, using conversational segments drawn from two empirical case studies of professional string quartets as illustrations, the chapter considers agential roles and ascriptions that are not accounted for in current paradigms. In closing, the chapter explores the theoretical implications of the research outcome and proposes a new critical perspective.

Music for Men of Leisure

2017 ◽  
Author(s):  
Marie Sumner Lott
Keyword(s):  
Middle Class ◽  
String Quartets ◽  
Class Identity ◽  
Musical Style ◽  
Sheet Music ◽  
Middle Classes ◽  
Duty Hours ◽  
Professional Activities ◽  
Music Making ◽  
Social Uses

This chapter demonstrates some of the ways that the musical style of string quartets and quintets from the 1830s and 1840s reflects specific social uses of music in middle-class life by examining works of three composers clearly linked to this cultural milieu: Louis Spohr, George Onslow, and Friedrich Kuhlau. These composers belonged to the middle classes, and their music appealed to their neighbors and friends, as well as to a broad audience of sheet music purchasers throughout Europe who shared the composers' middle-class identity. In addition to their professional activities as composers, performers, conductors, and teachers, these three men also engaged in private, recreational music making during their “off-duty” hours that mirrored the activities of their patrons and other consumers of music. Their musical creations for this audience reflect the practice of their social peers—members of the Bildungsbürgertum, or the upper middle classes.

scholarly journals At the Intersection of Public and Private Musical Life: Brahms's Op. 51 String Quartets

2012 ◽  
Vol 137 (2) ◽  
pp. 243-305 ◽  
Author(s):  
Marie Sumner Lott
Keyword(s):  
Chamber Music ◽  
String Quartets ◽  
Teachable Moment ◽  
Musical Life ◽  
Public And Private ◽  
Music Making ◽  
Political Views ◽  
Performance Traditions ◽  
Compositional Choices ◽  
Joseph Joachim

AbstractBrahms's dedication of his op. 51 string quartets (1873) to the surgeon Theodor Billroth provides a window into Brahms's musico-political views in the 1870s that has hitherto been unexplored by music scholars. Analysis of correspondence, performance traditions and the scores of these two quartets demonstrates that Brahms chose to align himself and his works with the learned connoisseurs of the domestic chamber-music-making tradition, represented by Billroth and his frequent musical soirées. Brahms's music also shows the influence of Joseph Joachim, his oldest and dearest friend and Europe's premier chamber musician. Brahms's compositional choices in these two works combine public and private musical styles, to offer a touching memorial to earlier composers and friends, and to provide a teachable moment for the musical public.

Inelastic Electron-Matter Interactions

1978 ◽  
Vol 36 (3) ◽  
pp. 259-267
Author(s):  
J. Silcox
Keyword(s):  
Electron Microscope ◽  
Energy Loss ◽  
Chemical Structure ◽  
Inelastic Electron ◽  
Primary Concern ◽  
Unique Probe ◽  
Introductory Paper ◽  
Elastic Processes ◽  
Experimental Level ◽  
Inelastic Processes

In this introductory paper, my primary concern will be in identifying and outlining the various types of inelastic processes resulting from the interaction of electrons with matter. Elastic processes are understood reasonably well at the present experimental level and can be regarded as giving information on spatial arrangements. We need not consider them here. Inelastic processes do contain information of considerable value which reflect the electronic and chemical structure of the sample. In combination with the spatial resolution of the electron microscope, a unique probe of materials is finally emerging (Hillier 1943, Watanabe 1955, Castaing and Henri 1962, Crewe 1966, Wittry, Ferrier and Cosslett 1969, Isaacson and Johnson 1975, Egerton, Rossouw and Whelan 1976, Kokubo and Iwatsuki 1976, Colliex, Cosslett, Leapman and Trebbia 1977). We first review some scattering terminology by way of background and to identify some of the more interesting and significant features of energy loss electrons and then go on to discuss examples of studies of the type of phenomena encountered. Finally we will comment on some of the experimental factors encountered.

The Instructional SEM Laboratory at Iowa State University

1996 ◽  
Vol 54 ◽  
pp. 396-397
Author(s):  
L. S. Chumbley ◽  
M. Meyer ◽  
K. Fredrickson ◽  
F.C. Laabs
Keyword(s):  
Materials Science ◽  
Computer Network ◽  
Energy Dispersive Spectrometer ◽  
Computer Control ◽  
State University ◽  
Iowa State University ◽  
Internet Server ◽  
Schematic Layout ◽  
Hands On ◽  
Improve Instruction

The Materials Science Department at Iowa State University has developed a laboratory designed to improve instruction in the use of the scanning electron microscope (SEM). The laboratory makes use of a computer network and a series of remote workstations in a classroom setting to provide students with increased hands-on access to the SEM. The laboratory has also been equipped such that distance learning via the internet can be achieved.A view of the laboratory is shown in Figure 1. The laboratory consists of a JEOL 6100 SEM, a Macintosh Quadra computer that acts as a server for the network and controls the energy dispersive spectrometer (EDS), four Macintosh computers that act as remote workstations, and a fifth Macintosh that acts as an internet server. A schematic layout of the classroom is shown in Figure 2. The workstations are connected directly to the SEM to allow joystick and computer control of the microscope. An ethernet connection between the Quadra and the workstations allows students seated there to operate the EDS. Control of the microscope and joystick is passed between the workstations by a switch-box assembly that resides at the microscope console. When the switch-box assembly is activated a direct serial line is established between the specified workstation and the microscope via the SEM’s RS-232.

Characterization of lead-bearing phases in municipal waste combustor fly ash

1996 ◽  
Vol 54 ◽  
pp. 516-517
Author(s):  
L. L. Sutter ◽  
G. R. Dewey ◽  
J. F. Sandell
Keyword(s):  
Fly Ash ◽  
Bottom Ash ◽  
Municipal Waste ◽  
Primary Concern ◽  
Leaching Behavior ◽  
Waste Combustion ◽  
Lead And Cadmium ◽  
Lead Speciation ◽  
Accepted Practice

Municipal waste combustion typically involves both energy recovery as well as volume reduction of municipal solid waste prior to landfilling. However, due to environmental concerns, municipal waste combustion (MWC) has not been a widely accepted practice. A primary concern is the leaching behavior of MWC ash when it is stored in a landfill. The ash consists of a finely divided fly ash fraction (10% by volume) and a coarser bottom ash (90% by volume). Typically, MWC fly ash fails tests used to evaluate leaching behavior due to high amounts of soluble lead and cadmium species. The focus of this study was to identify specific lead bearing phases in MWC fly ash. Detailed information regarding lead speciation is necessary to completely understand the leaching behavior of MWC ash.

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