Place-Making and Music-Making

2018 ◽  
pp. 17-55
Author(s):  
Shelley Brunt
Keyword(s):  
Place Making ◽  
Music Making

Sense of Place in Place Making of Creative Multimedia Foundation Studies Annual Exhibition

2020 ◽  
Vol 1 (2) ◽  
pp. 34-56
Author(s):  
Elyna Amir Sharji ◽  
Lim Yan Peng ◽  
Peter Charles Woods ◽  
Vimala Perumal ◽  
Rose Linda Zainal Abidin
Keyword(s):  
Observational Study ◽  
Sense Of Place ◽  
Sense Of Belonging ◽  
Social Values ◽  
Empty Space ◽  
Design Criteria ◽  
Visitor Experience ◽  
Place Making ◽  
Individual Behaviour ◽  
The People

The challenge of transforming an empty space into a gallery setting takes on the concept of place making. A place can be seen as space that has meaning when the setting considers space, surroundings, contents, the people and its activities. This research concentrates on investigating how visitors perceive the space by gauging their sense of place (sense of belonging towards a place). Galleries are currently facing changes in this technological era whereby multiple content and context, space and form, display modes, tools and devices are introduced in one single space. An observational study was done during the Foundation Studies Annual Exhibition held at Faculty of Creative Multimedia, Multimedia University. The exhibition was curated and managed by staff and students of Foundation Year showcasing an array of design works. Analogue and digital presentations of paintings, drawings, sculptures, photography and video works were displayed.. The outcome of this research will contribute towards a better design criteria of place making which affects individual behaviour, social values and attitudes. Characterizing types of visitor experience will improve the understanding of a better design criteria of place making, acceptance, understanding and satisfaction.

Music of Tragedy

2017 ◽  
Author(s):  
Naomi A. Weiss
Keyword(s):  
Cultural Context ◽  
Musical Language ◽  
New Approach ◽  
Late Work ◽  
Music Making ◽  
Dramatic Action ◽  
Instrumental Accompaniment ◽  
And Performance

The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Drawing on the ancient conception of mousikē, in which words, song, dance, and instrumental accompaniment were closely linked, Naomi Weiss emphasizes the interplay of performance and imagination—the connection between the chorus’s own live singing and dancing in the theater and the images of music-making that frequently appear in their songs. Through detailed readings of four plays, she argues that the mousikē referred to and imagined in these plays is central to the progression of the dramatic action and to ancient audiences’ experiences of tragedy itself. She situates Euripides’s experimentation with the dramaturgical effects of mousikē within a broader cultural context, and in doing so, she shows how he both continues the practices of his tragic predecessors and also departs from them, reinventing traditional lyric styles and motifs for the tragic stage.

The Taubman/Golandsky Approach to the Violin

Public Voices ◽  
2016 ◽  
Vol 12 (2) ◽  
pp. 7
Author(s):  
Sophie Till
Keyword(s):  
The Other ◽  
Technical Approach ◽  
Piano Technique ◽  
Pedagogical Approach ◽  
New Developments ◽  
Body Of Knowledge ◽  
Music Making ◽  
Helping Others ◽  
The One ◽  
The Right

Three years ago Sophie Till started working with pianist Edna Golandsky, the leading exponent of the Taubman Piano Technique, an internationally acclaimed approach that is well known to pianists, on the one hand, for allowing pianists to attain a phenomenal level of virtuosity and on the other, for solving very serious piano-related injuries. Till, a violinist, quickly realized that here was a unique technical approach that could not only identify and itemize the minute movements that underlie a virtuoso technique but could show how these movements interact and go into music making at the highest level. Furthermore, through the work of the Golandsky Institute, she saw a pedagogical approach that had been developed to a remarkable depth and level of clarity. It was an approach that had the power to communicate in a way she had never seen before, despite her own first class violin training from the earliest age. While the geography and “look” on the violin are different from the piano, the laws governing coordinate motion specifically in playing the instrument are the same for pianists and violinists. As a result of Till’s work translating the technique for violin, a new pedagogical approach for violinists of all ages is emerging; the Taubman/Golandsky Approach to the Violin. In reflecting on these new developments, Edna Golandsky wrote, “I have been working with the Taubman Approach for more than 30 years and have worked regularly with other instrumentalists. However, Sophie Till was the first violinist who asked me to teach her with the same depth that I do with pianists. With her conceptual and intellectual agility as well as complete dedication to helping others, she has been the perfect partner to translate this body of knowledge for violinists. Through this collaboration, Sophie is helping develop a new ‘language’ for violinist that will prevent future problems, solve present ones and start beginners on the right road to becoming the best they can be. The implications of this new work for violinists are enormous.”

Music Downtown Eastside

2020 ◽  
Author(s):  
Klisala Harrison
Keyword(s):  
Human Rights ◽  
Popular Music ◽  
Social Deprivation ◽  
Cultural Practices ◽  
Urban Neighborhoods ◽  
Community Centers ◽  
Human Capabilities ◽  
Music Making ◽  
Downtown Eastside ◽  
Therapy Sessions

Music Downtown Eastside explores how human rights are at play in the popular music practices of homeless and street-involved people who feel that music is one of the rare things that cannot be taken away of them. It draws on two decades of ethnographic research in one of Canada’s poorest urban neighborhoods, Vancouver’s Downtown Eastside. Klisala Harrison takes the reader into popular music jams and therapy sessions offered to the poorest of the poor in churches, community centers and health organizations. There she analyzes the capabilities music-making develops, and how human rights are respected, promoted, threatened, or violated in those musical moments. When doing so, she also offers new and detailed insights on the relationships between music and poverty, a type of social deprivation that diminishes people’s human capabilities and rights. The book contributes to the human rights literature by examining critically how human rights can be strengthened in cultural practices. Harrison’s study demonstrates that capabilities and human rights are interrelated. Developing capabilities can be a way to strengthen human rights.

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