scholarly journals Musicology: Doubts about its Subject(s) and its Pedagogical Function(s)

2003 ◽  
Vol 39 (1) ◽  
pp. 25-29
Author(s):  
Nikša Gligo
Keyword(s):  
Contemporary Music ◽  
Social Meaning ◽  
Musical Work ◽  
Critical Approach ◽  
Critical Attitude ◽  
Sociological Approach ◽  
Musical Works ◽  
The One ◽  
Pedagogical Function ◽  
Analytical Tools

The author's experience with musicological research of contemporary music developed his critical attitude towards musicology in general, especially towards the one that considers music only as text and limits the approaches to musical works on philological methodology. Both Schering's Experimentelle Musikgeschichte (1913) and Kerman's requests for musicology as fusion of scholarly musicological work and sense for music as art (1985) attempt to get rid of this »philological burden«. A further problem, however, is the equality of all kinds of music, requested by the New musicology and the impossibility to develop appropriate analytical tools for each of them. Harrison's suggestion of ethnomusicological (i.e. sociological) approach is not sufficiently convincing, because – as proven by the quotation from Treitler – the contextual (i.e. social) meaning of any musical work is not so easily to decipher. The author pleads for consciously critical approach to musicological research which permits even contrary readings of the same text, and points out that this is the way in which he persuades his students to cope with the lacunae of their subjects of interest.

Isaac's Signature

2011 ◽  
Vol 28 (1) ◽  
pp. 9-33 ◽  
Author(s):  
Rob C. Wegman
Keyword(s):  
Contemporary Music ◽  
Music History ◽  
Musical Work ◽  
Personal Style ◽  
Contractual Obligation ◽  
Commercial Transaction ◽  
Musical Works ◽  
History Of

ABSTRACT The notion of the signature could serve as an appropriate metaphor by which to explore Heinrich Isaac as a man of his time and world. It may be mere coincidence that he has left more documents signed in his own hand than contemporary composers, but some of the documents he authenticated in this way really do attest to a new idea of professional musicianship that Isaac was the earliest and most successful in implementing: that of the professional composer who undertakes to produce new works under contractual obligation. Isaac is the first-known musician who signed a document specifically in this capacity. Yet his signature, or at least the assurance that he personally composed and signed a musical work, is also found in the context of practical musical sources, where they would appear to have no legal significance. Martin Just has shown, however, that the particular folios containing these compositions, in the manuscript Berlin 40021, were originally sent as letters. The implication is that Isaac's signature, in this case, is not an attribution so much as a mark of authentication—something that would have been required only if the musical works in question were sent, and changed hands, as part of a commercial transaction. Taking the metaphor of the signature in a broader figurative sense, one could suggest that Isaac's work also bears his musical signature—namely in the personal style that his contemporaries tried to recognize and in some cases to characterize in words. Two authors who tried to capture the peculiar quality of Isaac's music are Paolo Cortesi and Heinrich Glarean. The latter's attempt is especially significant, since Glarean seems to attest to a new way of hearing and conceptualizing polyphony. Although it is hard to identify specifically which passages in Isaac's music he would have had in mind, the key to his appraisal seems to lie in a different way of conceptualizing the interplay of contrapuntal voices in contemporary music. To the extent that we can associate this with Isaac's musical signature, it would appear, once again, that this composer, more than any other, was at the forefront of some of the most significant developments in the music history of his time.

scholarly journals Sacred-Musical Work of Authorship: the Genre’s Specifics

2015 ◽  
pp. 89-93
Author(s):  
Andrey B. Kovalev
Keyword(s):  
Creative Thinking ◽  
The Other ◽  
Orthodox Church ◽  
Musical Work ◽  
Other Hand ◽  
Musical Works ◽  
The One ◽  
The Church

The article examines the genre specifics of the sacred-musical works of authorship; on the one hand, they belong, directly or indirectly, to the Orthodox Church, on the other hand, they are connected with the composer’s individual creative thinking, which makes them exceed the bounds of the church choir up to the concert sphere. Thus, a phenomenal feature of the sacred-musical works of authorship is their predominant tendency toward either liturgical or concert performance environment. The specifics of the sacred-musical works, in the context of one or another performance environment, are considered in terms of the four aspects: ontological, of the rites of divine service and the concert program realization, communicative, and compositional.

There Are No Such Things As Theories

2020 ◽  
Author(s):  
Steven French
Keyword(s):  
Scientific Theory ◽  
The Other ◽  
Musical Works ◽  
The One ◽  
Realism Debate

What is a scientific theory? Is it a set of propositions? Or a family of models? Or is it some kind of abstract artefact? These options are examined in the context of a comparison between theories and artworks. On the one hand, theories are said to be like certain kinds of paintings, in that they play a representational role; on the other, they are compared to musical works, insofar as they can be multiply presented. I shall argue that such comparisons should be treated with care and that all of the above options face problems. Instead, I suggest, we should adopt a form of eliminativism towards theories, in the sense that a theory should not be regarded as any thing. Nevertheless, we can still talk about them and attribute certain qualities to them, where that talk is understood to be made true by certain practices. This shift to practices as truth-makers for theory talk then has certain implications for how we regard theories in the realism debate and in the context of the nature and role of representation in science.

Authorship in the Age of Machine Learning and Artificial Intelligence

2021 ◽  
Author(s):  
J.-M. Deltorn ◽  
Franck Macrez
Keyword(s):  
Neural Network ◽  
Artificial Intelligence ◽  
Machine Learning ◽  
Musical Work ◽  
Musical Works ◽  
New Generation ◽  
Specific Contribution

A new generation of machine learning (ML) and artificial intelligence (AI) creative tools are now at the disposal of musicians, professionals and amateurs alike. These new technical intermediaries allow the production of unprecedented forms of compositions, from generating new works by mimicking a style or by mixing a curated ensemble of musical works to letting an algorithm complete one’s own creation in unexpected directions or by letting an artist interact with the parameters of a neural network to explore fresh musical avenues. Unsurprisingly, this new spectrum of algorithmic compositions question both the nature and the degree of involvement of the creator in the musical work. As a consequence, the issue of authorship and, in particular, the assessment of the specific contribution of a (human) creator through the algorithmic pipeline may require special scrutiny when AI and ML tools are used to produce musical works.

Treatment of frostbite in an open way (without dressings)

1937 ◽  
Vol 33 (1) ◽  
pp. 84-86
Author(s):  
V. A. Petrovykh
Keyword(s):  
Recovery Period ◽  
Climatic Conditions ◽  
The Other ◽  
Critical Approach ◽  
Tatar Strait ◽  
Other Hand ◽  
Number Of Patients ◽  
The One ◽  
Apparent Similarity ◽  
Methods Of Treatment

The harsh climatic conditions of the coast of the Tatar Strait make explainable the large number of patients with frostbite who passed under our supervision during the winter of 1935-36 and amounted to 2.8% (26 people) of the total contingent of inpatients. The variety of recommended methods for treating frostbite, on the one hand, and the relatively long recovery period for all of them, on the other hand, made us take a critical approach to the proposed methods of treatment. All currently existing methods are reduced to the treatment of frostbite areas with bandages; and on the locus morbi apply indifferent or slightly disinfecting ointments, or a similar property of a powder, or wipes moistened with slightly disinfecting solutions, for example, Sol. kalii hyperm. 1: 1000. The apparent similarity of the external manifestations of frostbite and burns inspired us with the idea of ​​conducting frostbite therapy in an "open way", which has long occupied a well-deserved place in the treatment of burns.

scholarly journals QUEER CRITICISM AS A POST-MODERNIST APPROACH

2015 ◽  
Vol 1 (1) ◽  
pp. 132
Author(s):  
Hamdi Hameed Yousif
Keyword(s):  
Literary Criticism ◽  
Literary Work ◽  
First Century ◽  
Critical Approach ◽  
The Social ◽  
Late Twentieth ◽  
The Common ◽  
Characteristic Features ◽  
The One ◽  
Late Twentieth Century

One of the post-modernist approaches to literary criticism is the queer criticism which has not been evaluated properly. Queer criticism can refer to any piece of literary criticism that interprets a text from a non-straight perspective. Therefore, it includes both lesbian and gay criticism. The aim of this paper, therefore, is to trace the social and political reasons behind the emergence of Queer criticism in the late twentieth century till it acquired momentum in the twenty-first century. After trying to define the terms related to the Queer criticism, the paper tries to examine the poetics of queer (gay and lesbian) literary works and to point out the main characteristic features of this critical approach by identifying the criteria and the textual evidence by which a literary work is labeled queer. It, also tries to shed light on the common features between queer criticism and feminism, on the one hand, and queer criticism and the deconstructuralist approach on the other hand. The final section of the study is a critique which points out the negative aspects of this approach.

scholarly journals POLA KEBERAGAMAAN MASYARAKAT MARGINAL

1970 ◽  
Vol 8 (2) ◽  
pp. 129-156
Author(s):  
Ahmad Muttaqin
Keyword(s):  
Natural Resources ◽  
Qualitative Method ◽  
Local Community ◽  
Sociology Of Religion ◽  
Religious Practices ◽  
Sociological Approach ◽  
Government Institutions ◽  
Religious Issues ◽  
The One ◽  
Descriptive Qualitative

This is a research on sociology of religion, focusing on the issue of religious practices in a local community. Kampung Laut was chosen as the setting of this research for two reasons. First, the rituals of religion practices in the region are different from mainstream practices, which result in label and justification that their religiosity is not a part of or only a fragment of the mainstream religion and tend to be the target of correction. Second, this region raises conflicts among government institutions in relation to the rights of natural resources possession and utilization. The bad image built through this marginalization has formed Kampung Laut community as the one that is resistant and latent. This research used descriptive qualitative method with sociological approach. Rituals of religious practices that are different from the mainstream are explained on the basis of Weber’s theory of behavior categorized into value-oriented rationality. This kind of practices is considered to be more beneficial in the context of struggling for identity among the practices of marginalization experienced by Kampung Laut community. This condition gives a description to public that Kampung Laut community receives unfair treatments for their natural resources. Religious issues is made an entry for its massive, communal, and related to transcendental values.

scholarly journals Pierrot, Arlequín y nosotros, los espectadores. A propósito de Funny Games (Michael Haneke, 1997)

2020 ◽  
pp. 255-269
Author(s):  
Pablo Ferrando-García
Keyword(s):  
Daily Life ◽  
The Other ◽  
Moral Dimension ◽  
Modes Of Representation ◽  
The Family ◽  
P 16 ◽  
The Subject ◽  
Ultimate Objective ◽  
The One ◽  
Pedagogical Function

We present an analysis of the filmic representation of Funny Games to highlight its playful structure as a game of games. Through a series of narrative efforts, a double operation is carried out, aimed at a specular relationship with the viewer. On the one hand, Michael Haneke’s film offers a series of expressive mechanisms that are aimed at shifting the objective gaze to subjective in order to transfer the perception of the subject presented to the viewer. On the other, it presents a brutal clash between the registers of comedy and tragedy through the young psychopaths, Peter and Paul, who emerge as contemporary clowns, in the figures of Pierrot and Harlequin, whose negative resonances lead to the incarnation of absolute EVil. In turn, the family are the victims, and this is presented as the prototype of the family institution while Peter and Paul are mere archetypes. In this way, the cinematographic screen is turned into a device for interrogating its modes of representation and, in turn, offers a solid moral dimension. The ultimate objective of the Hanekian story is to cover it with “a pedagogical function: to familiarize the cinema, to bring it closer to a daily life so that it speaks from you to you to the experience –to the conscience– of the viewer” (Font, 2002, p. 16). Resumen Nuestra propuesta trata de desarrollar un análisis de la representación fílmica con el propósito de poner de relieve la estructura lúdica de Funny Games como juego de juegos. A través de toda una serie de gestiones narrativas se efectúa una doble operación dirigidas a una relación especular con el espectador. Por un lado, la película de Michael Haneke ofrece una serie de mecanismos expresivos que van encaminados al desplazamiento de la mirada objetiva en subjetiva con el fin de trasladar la percepción del sujeto de la enunciación al narratario/espectador. Por otro, presenta un brutal choque entre el registro de la comedia con la tragedia a través de los jóvenes psicópatas, Peter y Paul, que se erigen en los payasos contemporáneos, en las figuras de Pierrot y Arlequín, cuyas resonancias negativas conducen a la encarnación del Mal absoluto. A su vez, George y Anne Schöber son las víctimas y estos son expuestos como el prototipo de la institución familiar mientras Peter y Paul son meros arquetipos narrativos. De este modo, la pantalla cinematográfica se convierte en un dispositivo de interrogación sobre sus modos de representación y, a su vez, ofrece una sólida dimensión moral. El objetivo último del relato hanekiano es revestirlo de “una función pedagógica: familiarizar el cine, acercarlo a una cotidianidad para que hable de tú a tú a la experiencia –a la conciencia– del espectador” (Font, 2002: 16).

scholarly journals Methodical Expediency of Enrichment of Repertoire of the Beginning Pianist in Educational Institutions of the People’s Republic of China

2019 ◽  
Vol 7 (3) ◽  
pp. 126-137
Author(s):  
Kang Yunyu
Keyword(s):  
Educational Institutions ◽  
Compositional Techniques ◽  
Musical Work ◽  
Republic Of China ◽  
Piano Repertoire ◽  
Musical Works ◽  
Effective Performance ◽  
Personal Qualities ◽  
Russian Composers ◽  
Selection Of

The article deals with the activity of the teacher-musician on the choice of educational piano repertoire. Currently, in China, this practice is based almost exclusively on the empirical experience of teachers and is largely random, does not have sufficient methodical support. They use rather standard, so-called basic musical repertoire, especially at the initial level of piano training in the genre of a program play. At the same time, the individuality of the student, his personal qualities, promising musical development, genre and style diversity of works, certain methodological indications for study, motivational readiness are not adequately taken into account. There is an urgent need to expand the children’s piano repertoire in China, primarily through the musical works of composers from other countries, for example, the easy plays of Russian composers of the Soviet and post-Soviet periods. The article shows a specific example of the educational repertoire in children’s educational programs with effective performance of young musicians at concerts. Actions of the teacher-musician at the choice of this or that musical work inevitably actualize personal-creative and reflexive qualities, skills of the methodological analysis. The introduction of young musicians to the performance of music from other eras and national schools, familiarity with different compositional techniques and directions, painstaking individual selection of each play has a pronounced methodological, educational and motivational effect.

Following Gesture Following: Grounding the Documentation of a Multi-Agent Music Creation Process

2012 ◽  
Vol 36 (4) ◽  
pp. 59-80 ◽  
Author(s):  
Guillaume Boutard ◽  
Catherine Guastavino
Keyword(s):  
Conceptual Framework ◽  
Creative Process ◽  
Relevant Information ◽  
Musical Work ◽  
Levels Of Abstraction ◽  
Musical Works ◽  
Multi Agent ◽  
Ethnographic Data ◽  
Different Levels ◽  
Do So

The documentation of electroacoustic and mixed musical works typically relies on a posteriori data collection. In this article, we argue that the preservation of musical works having technological components should be grounded in a thorough documentation of the creative process that accounts for both human and nonhuman agents of creation. The present research aims at providing a ground for documentation policies that account for the creative process and provide relevant information for performance, migration, and analysis. To do so, we analyzed secondary ethnographic data from a two-year creation and production process of a musical work having a focus on gesture following. Using grounded theory, we developed a conceptual framework with different levels of abstraction and consequent levels of transferability to other creative contexts. Finally, we propose several paths for grounding a subsequent documentation framework in this conceptual framework.

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