Describing Side Two

This chapter offers the first in-depth musical analysis of Big Science’s second half. Using the paradigms of chronos and kairos explained in chapter 1, it uncovers historical origins, intertextualities, structural characteristics, and the remarkable signs of the songs. Tracks discussed are “O Superman,” “Example #22,” “Let X = X,” and “It Tango.” Particularly noteworthy is the new historical research into the origins of “O Superman,” Laurie Anderson’s top-charting and most well-known song.

Describing Side One

This chapter offers the first in-depth musical analysis of Big Science’s first half. Using the paradigms of chronos and kairos explained earlier, it uncovers historical origins, intertextualities, structural characteristics, and the remarkable signs of the songs. Tracks discussed are “From the Air,” “Big Science,” “Sweaters,” “Walking and Falling,” and “Born, Never Asked.”

Pandemics, Delays, and Pure Data: on ‘afterlives’ (2020), for Flute and Live Electronics and Visuals

The essay addresses creative and technical aspects of the piece ‘afterlives’ (2020), for flute and live electronics and visuals. Composed and premiered in the context of the COVID-19 pandemic, the composition employs audiovisual processes based on different audiovisual techniques: phase-vocoders, buffer-based granulations, Ambisonics spatialization, and variable delay of video streams. The resulting sounds and images allude to typical situations of social interaction via video conferencing applications. ‘Afterlives’ relies on an interplay between current, almost-current, and past moments of the audiovisual streams, which dephase the performer’s images and sounds. I have avoided, in text, delving deeper into the Pure Data abstractions and or into the musical analysis of my composition. The main purpose of the text is rather to present compositional/technical elements of ‘afterlives’ and discuss how they enable new experiences of time.

Spectra as Theoretical and Practical Models in Gérard Grisey’s Creative Process

Combining sketch studies, musical analysis, and acoustic analysis, this article examines the impact of spectral models on Grisey’s creative process in the 1970s. First, it focuses on Grisey’s establishment of initial theoretical models in Dérives and Périodes, composed during his residence at the Villa Medici (1972–74), during which period he conducted his own study of acoustics. The article then looks at how, back in Paris, the composer started studying with the acoustician Émile Leipp and then worked with Michèle Castellengo, with whom in 1977 he undertook for the first time the spectral analysis of instrumental sounds. Finally the article examines in detail how some spectrograms, once transcribed, were used in Modulations (1976–77) to construct a complex spectral polyphony. If Grisey draws his inspiration from sound phenomena and the characteristics of auditory perception, he does not for all that neglect structuralism: spectral models serve both to simulate natural phenomena and to formalise his compositional processes.

CHALLENGING THE WORK CONCEPT: METAPHOR, EMBODIMENT AND STRUCTURE IN MUSIC ANALYSIS

<p>Metaphorical depictions, embodied experiences, and by extension structures within the music, are distinct between performances of both the same works and across works of different styles. Traditional forms of musical analysis focus on the score as a discrete, concrete “object”, replete with meaning and fully representative of the composer’s intentions. As a result, performance has been treated as inessential and not recognized for its significant role in the co-creation of music and its ability to generate meaning. This research examines performative differences through close listening in recent recordings of Bach’s Violin Sonata No. 1 in G Minor BWV 1001, Beethoven’s Violin Sonata No. 7 in C Minor Op. 30 No. 2, and the Sibelius Violin Concerto Op. 47 in D Minor. With regard for the effects of metaphor, embodiment and structure, it shows how interpretive decisions within performance have profound implications on our emotional experience and perception of the music, well beyond what is notated in the score.</p>

CHALLENGING THE WORK CONCEPT: METAPHOR, EMBODIMENT AND STRUCTURE IN MUSIC ANALYSIS

<p>Metaphorical depictions, embodied experiences, and by extension structures within the music, are distinct between performances of both the same works and across works of different styles. Traditional forms of musical analysis focus on the score as a discrete, concrete “object”, replete with meaning and fully representative of the composer’s intentions. As a result, performance has been treated as inessential and not recognized for its significant role in the co-creation of music and its ability to generate meaning. This research examines performative differences through close listening in recent recordings of Bach’s Violin Sonata No. 1 in G Minor BWV 1001, Beethoven’s Violin Sonata No. 7 in C Minor Op. 30 No. 2, and the Sibelius Violin Concerto Op. 47 in D Minor. With regard for the effects of metaphor, embodiment and structure, it shows how interpretive decisions within performance have profound implications on our emotional experience and perception of the music, well beyond what is notated in the score.</p>

“That is Why I am Telling this Story”: Musical Analysis as Insight into the Transmission of Knowledge and Performance Practice of a Wapurtarli Song by Warlpiri Women from Yuendumu, Central Australia

Insights into the knowledge, performance, and transmission of songs are pivotal in ensuring the survival of traditional Aboriginal songs. We present the first in-depth musical analysis of a Wapurtarli yawulyu song set sung by Warlpiri women from Yuendumu, Central Australia, recorded in December 2006 with a solo lead singer accompanied by a small group. Our musical analysis reveals that there are various interlocking parts of a song, and this can make it difficult for current generations to learn songs. The context of musical endangerment and the musical analyses presented in our study show that contemporary spaces for learning yawulyu must consider the complex components that come together for a song set to be properly performed.

Feasts of the Sanctorale

This chapter presents special cases of prosulas tied to Sanctoral feasts of special devotion in the Beneventan region. It places prosulas in connection with hagiographical literature and provides a combined textual and musical analysis of the pieces, occasionally displaying special rhythmic patterns. Subsections are dedicated to feasts of the Temporal, St. Bartholomew, St. Michael, SS. Agatha and Stephen, the Assumption, St. Nicholas, and others. It finally emphasizes that with few exceptions, the focus on universal saints of ancient lineage was meant to stress the links with the perceived cradles of Christianity, Africa and West Asia, and the center of papal power, Rome.

Forensic Translations of Music in Copyright Litigation

For nearly two centuries, musical expert witnesses and amicus curiae have played an essential role in federal copyright litigation, but one that is framed by cumulating legal regulations. This chapter takes an interdisciplinary approach to investigate the effect of such regulations on the available sources for forensic musical analysis and the contributions of contemporary experts to legal evaluations of alleged infringement. Because federal rules and judicial precedent have limited the questions to which experts may respond, their role in litigation might be understood as one of translation, rendering music as legal evidence. This situation has led to trends in both the techniques that experts apply and the issues they encounter. Although non-dispositive, these contributions have the potential to influence the outcome of each case and the development of public law surrounding music as intellectual property.

Stage Performance and Musical Analysis of Haacaaluu Hundeessaa Works by using Sentiment Analysis Techniques

This research is initiated to analysis the stage performance and musical analysis of Haacaaluu Hundeessaa works on Afaan oromoo reviews text collected from social Medias by applying the concept of sentiment analysis techniques. The data (reviews) were collected manually from social media on Haacaaluu Hundeessaa musical works. Haacaaluu Hundeessaa is Oromo singer, songwriter, civil rights activist and his being a voice his people. He is the most famous young singer, hero and icon of Oromo musician. From his musical works Sanyii Mootii(Race of the King), Waa'ee Keenyaa(Our Plight), Maalan Jira(What existence is mine), JIRTUU? are the most popular known in Oromo peoples as well as nation and nationality of Ethiopia. From Hacaaluu musical works, the researcher considered reviews (opinions) afaan oromoo text data on his single sang “JIRTUU?” to analysis stage performance of Haacaaluu Hundeessaa’s. The researcher inspires to use this single sang because; reviews (comments) are easier to access, available on you tube channel, extensive in size relatively from other his songs from social media. Additionally this song was broadcast live by Oromia Broadcasting Network and other Medias on different stage. Opinion lexicon approach with contextual valence shifter is used for analyzing opinions (comments) given on stage performance of Haacaaluu Hundeessaa works. Totally 18,687 reviews opinions or sentences were collected for experimentations to analysis stage performance and musical works of Haacaaluu Hundeessaa. Accordingly our result indicates around 99.52 percents peoples likes the stage performance and musical works of Hacaaluu Hundeessaa. From the results researcher observed Haacaaluu Hundeessaa has good performer with sing emotional and physically when he sing on the stages. In future works, further research needs to study others musical works of Hacaaluu Hundeessaa.