Listening to Los Angeles in the Theatre of Anna Deavere Smith and Gabriel Kahane

Postmodern theorists such as Jean Baudrillard, David Harvey, and Frederic Jameson have tended to approach cities through the eye rather than the ear, often citing Los Angeles as a prototypical example of an urban simulacrum. This article takes up two works of theatre that focus on listening to rather than looking at Los Angeles. Anna Deavere Smith’s Twilight: Los Angeles, 1992 (1993) and Gabriel Kahane’s The Ambassador (2014) use voice and music, respectively, to sound out neglected histories and experiences overlooked by theorists who apprehend Los Angeles primarily through vision. Through the close reading of dramatic texts, musical scores, and live and recorded performances of these two works, this article troubles the pervasive ocularcentrism in critical interpretations of Los Angeles, using theatre to theorize a more inclusive dramaturgy and geography of the city.

Digital Representations of Chinese Teahouse Music

Platforms such as YouTube feature materials titled “Teahouse in Ancient China - Historical Ambience XXABSTRACT Music” or “Tea Ceremony Music”. Prima facie, these have parallels with the modern Western concept of the “coffee shop playlist”, which has become quite commonplace as a study or work aid. However, the passive listening habits associated with these kinds of playlists contrast with the varied entertainment culture experienced in the functioning teahouses of modern China, where performative aspects are the focus, for example. In this paper, I explore how Chinese teahouse music is presented on YouTube, drawing comparisons between playlists accompanied by static images and samples of recorded performances found on the platform. Finally, I discuss the potential problems arising from such representations of the Chinese teahouse.

Effect of Bow Camber and Mass Distribution on Violinists' Preferences and Performance

Little is known about how bow mechanical characteristics objectively and quantitatively influence violinists' preferences and performance. Hypothesizing that the bow shape (i.e., camber) and mass distribution modifications would alter both violinists' appreciations of a bow and objective assessments of their performance, we recruited 10 professional violinists to play their own violin using 18 versions of a single bow, modified by combining three cambers and six mass distributions, in random order. A musical phrase, composed for this study, was played legato and spiccato at three octaves and two tempi. Each violinist scored all 18 bows. Then, experts assessed the recorded performances according to criteria inspired by basic musical analysis. Finally, 12 audio-descriptors were calculated on the same note from each trial, to objectivise potential acoustic differences. Statistical analysis (ANOVA) reveals that bow camber impacted the violinists' appreciations (p < 0.05), and that heavier bow tips gave lower scores for spiccato playing (p < 0.05). The expert evaluations reveal that playing with a lighter bow (tip or frog), or with a bow whose camber's maximum curvature is close to the frog, had a positive impact on some violinists' performance (NS to p < 0.001). The “camber-participant” interaction had significant effects on the violinists' appreciations (p < 0.01 to p < 0.001), on the expert's evaluation and on almost all the audio-descriptors (NS to p < 0.001). While trends were identified, multiple camber-participant interactions suggest that bow makers should provide a variety of cambers to satisfy different violinists.

Innovation and tradition in metal music production

Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often embodies innovative production methodologies. There are tensions caused by the anticipated use of technology and the participants highlight that commercial and artistic pressures have informed prescriptive and homogenous production methodologies under the guise of innovation.

Trainee translators’ research styles: A taxonomy based on an observation study at the University of Silesia, Poland

This paper presents a typology of information-seeking styles exhibited by 52 students of the MA translation and interpreting programme at the University of Silesia, Poland. The typology emerged during the large-scale investigation into trainee translators’ research behaviour occurring during translation of a legal text from English into Polish (Sycz-Opoń 2019). The method of investigation combined observation of students’ recorded performances with a think-aloud protocol (TAP). The case-study analysis brought to light significant variation in student’s information-seeking behaviour, which had gone unnoticed in the aggregate statistical data. Individual differences included students’ source preference, search intensity, level of criticism towards sources, diligence, risk-taking, self-confidence, and source reliance. As a result of the analysis the six research styles emerged: traditionalist, innovator, minimalist, true detective, procrastinator, and habitual doubter. They are presented in this paper with special attention to each style’s strengths, weaknesses and recommended teaching approaches. The results suggest the need for information-seeking training geared towards the diverse needs of individual students.

Singing Voice Detection in Opera Recordings: A Case Study on Robustness and Generalization

Automatically detecting the presence of singing in music audio recordings is a central task within music information retrieval. While modern machine-learning systems produce high-quality results on this task, the reported experiments are usually limited to popular music and the trained systems often overfit to confounding factors. In this paper, we aim to gain a deeper understanding of such machine-learning methods and investigate their robustness in a challenging opera scenario. To this end, we compare two state-of-the-art methods for singing voice detection based on supervised learning: A traditional approach relying on hand-crafted features with a random forest classifier, as well as a deep-learning approach relying on convolutional neural networks. To evaluate these algorithms, we make use of a cross-version dataset comprising 16 recorded performances (versions) of Richard Wagner’s four-opera cycle Der Ring des Nibelungen. This scenario allows us to systematically investigate generalization to unseen versions, musical works, or both. In particular, we study the trained systems’ robustness depending on the acoustic and musical variety, as well as the overall size of the training dataset. Our experiments show that both systems can robustly detect singing voice in opera recordings even when trained on relatively small datasets with little variety.

What Does a Pandemic Sound Like? The Emergence of COVID Verbal Art

In times of social upheaval, people create and engage with verbal art for entertainment and a feeling of connection. While millions of people were forced to stay home to reduce the spread of COVID‑19 from March to July 2020, verbal artists posted recorded performances online and viewers had more time than usual to watch and share them. COVID verbal art refers to songs, poems, and comedy skits that mention social and physical distancing, quarantine and isolation, hygiene and cleaning practices, everyday experiences during the pandemic, as well as social and political critiques of policies and practices that explicitly mention COVID‑19 or coronavirus. An examination of 227 verbal art performances posted on YouTube and TikTok provides an ethnographic record of how everyday life has changed over time during the COVID‑19 pandemic, and how the focus shifted from initial confusion to political critique.

Preparation and Characterization of a Novel Vinyl Polysiloxane Getter for Hydrogen Elimination

Hydrogen generation and accumulation in confined spaces poses safety concerns due to its reactivity with oxygen to form explosions and the ability to embrittle metals. Various organic getters have been developed to eliminate hydrogen and minimize these undesired effects; however, these getters are usually powders with low molecular weights and are difficult to apply in complex structures. Polymer getters exhibit the promising features required for confined space applications, where could be readily processed into various shapes and forms. Unfortunately, polymer getters are relatively unexplored and their recorded performances are far from satisfactory. In this work, we report the preparation and characterization of novel vinyl polysiloxane getters. Starting from a methyl vinyl silicone oil prepared by ring-opening polymerization, polysiloxane getters in versatile forms that are adaptable to various environments are prepared by adding Pd/C and then curing. Combined with the thermal and radiation stability of polysiloxane, not only will these new getters be applicable in future applications in the electronic and nuclear industries as hydrogen scavengers, they also serve as platform for further development of polymer getters with superior properties.

Moving Cloth

Clothes were the most important and expensive properties of an early modern theatre company. The first recorded performances of English professional actors on mainland Europe occurred in the context of a major crisis in the international cloth trade and efforts to form an international Protestant alliance. Known for their extravagant and luxurious clothing, the English Comedians took advantage of existing routes developed for the export and import of cloth. Extant dramatic adaptations of English plays associated with their tradition reflect the vital importance of textile stock to their performances and reception. Their reputation for sartorial extravagance involved the English Comedians in discourses of national loss: in the Holy Roman Empire, as in England, imported fine clothes were linked repeatedly to a diminishment of national treasure. Meanwhile, their comic tradition made extravagant use of the symbolic and physical properties of clothing. Although the formative importance of cloth economies to the early English professional theatre has been widely recognized, this chapter puts that dynamic into an international context for the first time.