scholarly journals Knowing Music as Representation or as Operation: Exploring Musical Diversity through Collaborative Music Making in Kaleidoscope

2021 ◽  
Vol 10 (2) ◽  
Author(s):  
Camilla Kvaal
Keyword(s):  
Knowledge Production ◽  
Music Making ◽  
Musical Knowledge ◽  
Collaborative Music ◽  
The Way

A society considered to be in a multicultural condition is likely to condition the way things are seen and what is seen as important. Attention is likely to be drawn to difference and diversity and the prospects of including it, and high hopes may be set on music in this. Within a certain multicultural discourse, music is expected to affirm and represent identities, while at the same time to create unity across diversity. Departing from a Norwegian context, drawing on results from fieldwork within the intercultural ensemble Kaleidoscope, this paper explores collaborative music making in relation to diversity and knowledge production. It is argued that musical knowledge may be generated in useful ways by thinking beyond music as representation. Knowing music as operation may better benefit co-construction of diverse and inclusive music practices.  

The Well-Mannered Auditor

2018 ◽  
Author(s):  
James Deaville
Keyword(s):  
Nineteenth Century ◽  
English Language ◽  
The Self ◽  
Modern World ◽  
Music Making ◽  
Social Events ◽  
Drawing Room ◽  
The Way

The chapter explores the way English-language etiquette books from the nineteenth century prescribe accepted behavior for upwardly mobile members of the bourgeoisie. This advice extended to social events known today as “salons” that were conducted in the domestic drawing room or parlor, where guests would perform musical selections for the enjoyment of other guests. The audience for such informal music making was expected to listen attentively, in keeping with the (self-) disciplining of the bourgeois body that such regulations represented in the nineteenth century. Yet even as the modern world became noisier and aurally more confusing, so, too, did contemporary social events, which led authors to become stricter in their disciplining of the audience at these drawing room performances. Nevertheless, hosts and guests could not avoid the growing “crisis of attention” pervading this mode of entertainment, which would lead to the modern habit of inattentive listening.

scholarly journals Naturvidenskabernes kanonisering. Forskere, erkendelser eller kulturarv

1970 ◽  
pp. 27
Author(s):  
Kristian Hvidtfelt Nielsen
Keyword(s):  
Social Skills ◽  
Public Sphere ◽  
Knowledge Production ◽  
Science Museums ◽  
The Public ◽  
Science Centres ◽  
Scientific Expertise ◽  
The Public Sphere ◽  
The Way

This paper concerns recent official attempts to place science in Denmark within the context of a cultural canon. Based on differentiation between Mode 1 and 2 knowledge production, the paper points out that such attempts are highly contextualised and contingent on their different modes of application. Consequently, they entangle scientific expertise with other social skills and qualifications. Like science museums and science centres, they are a means of dealing with science in the public agora, i.e. the public sphere in which negotiations, mediations, consultations and contestations regarding science increasingly take place. Analysing the ambiguities and uncertainties associated with the recent official placing of science within an overall cultural canon for Denmark, this paper concludes that even though the agora embodies antagonistic forms of interaction, it might also lead the way to producing socially robust knowledge about science.

Introduction

2021 ◽  
pp. 1-30
Author(s):  
M.I. Franklin
Keyword(s):  
Case Studies ◽  
Academic Research ◽  
Interdisciplinary Approach ◽  
Analytical Framework ◽  
Advanced Level ◽  
Music Journalism ◽  
Music And Politics ◽  
Music Making ◽  
Musical Knowledge ◽  
Do So

This chapter presents the disciplinary debates and terms of reference informing this exploration of music making in which sampling practices play a fundamental role. It maps out the theoretical and methodological terrain that informs the “close listening” approach to analyzing these works in light of a burgeoning interest from across the spectrum of academic research and music journalism in the interrelationship between music and politics—however these two domains may be defined. Developing earlier work addressing debates about when, and how music and politics may mutually inform one another, this chapter presents the socio-musicological and interdisciplinary approach to examining how this relationship “sounds” in five case studies. The objective is to provide a more refined conceptual lexicon and analytical framework so that reader-listeners can listen to, and so “hear” the respective ‘musicking politics” at stake in each case, and do so in ways that go beyond focusing on lyrical content alone or requiring an advanced level of musical knowledge. This opening chapter and the conclusion (Chapter 7) work together in either direction.

The Biopolitical Logics of Settler Colonialism and Disruptive Relationality

2016 ◽  
Vol 17 (1) ◽  
pp. 67-77 ◽  
Author(s):  
René Dietrich
Keyword(s):  
Knowledge Production ◽  
Settler Colonialism ◽  
Political Knowledge ◽  
Life Forms ◽  
The Political ◽  
Colonial Rule ◽  
Western Thought ◽  
A Site ◽  
The Way

This essay argues that the biopolitical logics of settler colonialism function according to a naturalization in Western thought of politics as a project of hierarchically ordering life in relation to the sphere of politics. Significantly, such a mode of thinking discredits socio-political orders that operate on the basis of a non-hierarchical place-based relationality of all life forms including the land. Through a reading of Foucault and Agamben in their use of Aristotle, I want to show how hierarchy as a principle of the political is already implemented in the premise they draw upon for analyzing the biopolitical. In the same way it remains unrecognized in their analysis of biopolitics, this principle also becomes operative within settler colonial logics of life and land. Recently, however, Indigenous scholars and writers have mobilized relationality in its formative characteristic for Indigenous polities and politics as strategy to disrupt biopolitical logics and denaturalize settler colonial rule, which I want to show through engaging Daniel Heath Justice’s Indigenous fantasy trilogy The Way of Thorn and Thunder: The Kynship Chronicles as a site of disruptive relationality and political knowledge production.

Crowdsourcing the Corpus: Using Collective Intelligence as a Method for Composition

2011 ◽  
Vol 21 ◽  
pp. 25-28 ◽  
Author(s):  
David Plans Casal
Keyword(s):  
Public Participation ◽  
Spectral Decomposition ◽  
Collective Intelligence ◽  
Collaborative Practice ◽  
Public Access ◽  
Human Intelligence ◽  
Practical Application ◽  
Music Making ◽  
On Line ◽  
Collaborative Music

The author describes the practical application of crowdsourcing human intelligence as a form of collaborative music-making. Spectral decomposition of an original recording is used to derive components from original audio, and these are then offered as on-line tasks in which contributors are asked to record their own interpretations of each component. Components are then gathered in order to re-synthesize the original corpus, which is used to build an improvisation system. The author uses Bernard Stiegler's ecology of attention paradigm to situate crowdsourcing as an emerging form of public participation in music-making and Glenn Gould's ideas on performance and public access to position this participation as an act of composition. The work is offered as an illustration of the author's individual process as a composer for finding new notational pathways for collaborative practice.

scholarly journals (Re)claiming humanity, reclaiming hope: the role of higher education in the 21st century

2020 ◽  
Vol 11 (1) ◽  
Author(s):  
Paul Prinsloo
Keyword(s):  
Higher Education ◽  
21St Century ◽  
Knowledge Production ◽  
Role Players ◽  
The Way

This essay explores questions pertaining to who has had and has the power to define who is human and what it means to be human, and the way higher education is but one of the role-players that define humanity and what it means to be human. It also examines the potential of decoloniality as an alternative and critical onto-epistemology which is  essential for (re)claiming and (re)building humanity. Further pointers for consideration are addressed such as rethinking, epistemic disobedience, entrapment of knowledge production, among others.

scholarly journals Ecologies of evidence in a mysterious epidemic

2016 ◽  
Vol 3 (2) ◽  
Author(s):  
Charles L. Briggs
Keyword(s):  
Young Adults ◽  
Global Health ◽  
Clinical Diagnosis ◽  
Knowledge Production ◽  
Clinical Medicine ◽  
Children And Young Adults ◽  
Formed Part ◽  
The Way

An epidemic in a Venezuelan rainforest in 2007-2008 killed 38 children and young adults, puzzling clinicians, epidemiologists, and healers alike for over a year. This essay traces the way each contribution to knowledge production formed part of a larger ecology of evidence. Focusing on how the parents' knowledge was exploited and denigrated by clinicians, epidemiologists, and healers alike points to the health/communicative inequities—grossly unequal distributions of access to the production and circulation of evidence—that structured ecologies of evidence in ways that thwarted diagnosis. Recruiting a nurse, a healer, a physician, and an anthropologist, two indigenous leaders launched an investigation that juxtaposed parents' narratives, vernacular healing, epidemiology, and clinical medicine, resulting in a clinical diagnosis of bat-transmitted rabies. This case suggests that perspectives in global health will fail to become fully critical unless they attend to health/communicative inequities, how they structure ecologies of evidence, and strategies for transforming them.

scholarly journals Contemporary Knowledge and Musical Creation: Ethic and Paradigms

2016 ◽  
Vol 1 (1) ◽  
Author(s):  
Ilza Nogueira
Keyword(s):  
Knowledge Production ◽  
Gilles Deleuze ◽  
Music Analysis ◽  
Contemporary Philosophy ◽  
Artistic Creation ◽  
Time Period ◽  
Musical Knowledge ◽  
Musical Creation

In this essay, the author reflects upon musical knowledge of the last thirty five years under the light of contemporary philosophy (Gilles Deleuze, Félix Guatarri and Sílvio Gallo), demonstrating, through music analysis, how the evolution of compositional thought from 1980 to 2010 accompanies ethical and paradigmatic concepts which apply to the broad intellectual thought of the time-period. Works by three composers from Bahia – Ernst Widmer (1927-1990), Paulo Costa Lima (b. 1954) and Paulo Rios Filho (b. 1985) – serve the analytical demonstration, which leads to a conclusive reflection on the interdependence of artistic creation and contemporary strategies of knowledge production.

scholarly journals Musical Totem: A Collaborative Composition Methodology During the Covid-19 Pandemic

2021 ◽  
Keyword(s):  
Learning Community ◽  
Research Network ◽  
Collaborative Group ◽  
Shared Experiences ◽  
Music Making ◽  
Global Pandemic ◽  
Collaborative Working ◽  
Collaborative Music ◽  
The Rich ◽  
Exquisite Corpse

As part of the Action Research Network of the Americas, the Musical Learning Community is a collaborative group, founded during the COVID-19 global pandemic, that has brought together musicians, artists, and educators to generate shared experiences. As members of this community, we explore new ways for collaborative music-making. Through creative, cultural, and conceptual influences, the idea of the Musical Totem emerged as a collaborative music composition methodology to transcend geographical distancing. We sought interpretative freedom by adopting methods of the surrealist technique Cadavre Exquis (Exquisite Corpse) while relying on the rich concept of totems to find thematic material and set compositional parameters. The process was carried out using arts-based and autoethnographic research approaches, which provided insights into our creative musical responses and remote collaborative working processes. This endeavor showed us that symbolism can provide compositional and performative challenges and that, as a methodology, the Musical Totem can create freedom and constraints depending on the musician, the conceptual influences, and the instrumentation. We also learned that engaging in a collaborative music-making process led to increased community bonding through shared creative expression.

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