Artistic and aesthetic characteristics of vocal and pop performance as a genre synthesis of arts

The purpose of the article is to study the artistic and aesthetic features of vocal and pop art as a genre synthesis of arts. The research methodology involves the use of system-structural, comparative methods of analysis and culturological and art approaches in the study of these issues. The scientific novelty of the work is to expand the theoretical boundaries of understanding vocal and pop performance as a synthetic genre that combines different arts, and its defining artistic and stylistic features that directly affect the structure and stylistic features of vocals, interpretation of the work, its perception by listeners and representation of values, ideas and impressions generated in the process of performance and its perception. Conclusions. Conclusions. Variety vocal performance as a kind of musical text involves special manifestations of intertextuality, so it is possible to find layers of artistic and species series, expressive forms and meanings, artistic and linguistic means and interpretive techniques. From the point of view of specific tasks of artistic communication, it appears as a generalized form of musical and artistic activity that can claim universality and has its stage and staging canons, determined by value concepts of culture, but in their new popular sense. There are also exemplary compositional and semantic models in this field, the imitation of which is a recognized way to join the pop vocal and performing professionalism. In the field of pop and vocal performance in its theatrical and staged form there is a specific mythologizing, which concerns the figure of the singer as the central actor of the concert program, which forms a certain image to achieve extreme artistic persuasiveness. Therefore, it is not an image of a fictional character, but of a person close in time and meaning to life, as she can and should be in virtual artistic reality - aesthetically sublime and morally balanced. The main components of the intertextual sphere, which is formed around the variety show and determines the special director's interest in it, are semantic positions on the singer as a semantic core of the whole moving picture of pop and stage action. It is these semantic factors that organize and lead to a holistic artistic result all the structural indicators of pop performance. Keywords: vocal and pop art, artistic and aesthetic characteristics, genre specifics, genre synthesis of arts.

Assimilation and Reassembling in Entertainment and Media Industry

Entertainment and Media industry has enriched human life and is indispensable in contemporary society, in which variety shows play an essential role. In terms of contents and types of variety shows, people are constantly exploring and innovating, creating entertaining programs dealing with topical references. Based on the status quo of Chinese variety-show market, this paper provides insight into successful cases of incorporating Chinese unique characteristics into prevailing shows via innovative modes, in pursuit of both commercial and social values. Mixed research methods, including comparative case study, Semi-structured interview and analysis of existing statistics, are employed to explore this topic. We have four interviewees from distinct fields, which helps us to conduct more comprehensive analysis on the innovation modes applied in both cases--- Sisters Who Make Waves and China Poetry Congress, in view of Schumpeter’s classical definition of innovation. We find that new reassembling of traditional components gives the variety shows a cutting edge, reflected in the application of new technology or the destruction of conventional modes. In fact, the essence of both cultural innovation and mode innovation relies on creative assimilation of original elements. Generally, Chinese variety shows are supposed to enhance the production quality and impacts of platforms through content innovation, mode diversification and giving full play to celebrity benefits.

Strategies and creativity used by fansubbers in subtitling 'Hot and Young Seoul Trip X NCT Life' to overcome language barriers

This research focuses on the subtitling strategies and creative subtitling used in translating the Korean variety show Hot and Young Seoul Trip X NCT LIFE (2018) into Indonesian and the impact of fan subtitles to overcome language barriers. In order to draw more understanding, qualitative content analysis was applied to describe the subtitling strategies and creative subtitling used by the fansubbers in producing Indonesian subtitles. An online survey was conducted to determine the impact of the subtitling from the fans' perspective. The research findings on subtitling strategies were obtained from 1599 data and showed that there were eight strategies applied in this research. Amid those strategies, transfer with 1434 data found is the most used strategy, followed by imitation, dislocation, expansion, paraphrase, transcription, condensation, and deletion. Then, the creative subtitling used in the work using different colors, fonts, and punctuation that is influenced by field (topic), tenor (relationship), and mode (circumstances). The online survey results prescribe that the subtitles of the fan help the audience overcome language barriers by producing translated audiovisual content into their language. Therefore, the fansubbers' decision to combine subtitling strategies and creative subtitling helps the foreign audiences overcome language barriers

Effects of automation trust in drivers’ visual distraction during automation

With ongoing improvements in vehicle automation, research on automation trust has attracted considerable attention. In order to explore effects of automation trust on drivers’ visual distraction, we designed a three-factor 2 (trust type: high trust group, low trust group) × 2 (video entertainment: variety-show videos, news videos) × 3 (measurement stage: 1–3) experiment. 48 drivers were recruited in Dalian, China for the experiment. With a driving simulator, we used detection-response tasks (DRT) to measure each driver’s performance. Their eye movements were recorded, and automation-trust scale was used to divide participants into high trust group and low trust group. The results show that: (1) drivers in the high trust group has lower mental workload and paid more attention to visual non-driving-related tasks; (2) video entertainment also has an impact on distraction behavior, variety-show videos catch more attention than news videos. The findings of the present study indicate that drivers with high automation trust are more likely to be involved in non-driving-related visual tasks.

Spectral properties of anterior sibilant fricatives in Northern Peninsular Spanish and sibilant-merging and non-merging varieties of Basque

This paper focuses on the spectral properties of anterior sibilant fricatives in Northern Peninsular Spanish, and sibilant-merging and non-merging varieties of Basque. Non-merging varieties of Basque have two voiceless anterior sibilant fricatives, characterized as apico-alveolar and lamino-alveolar. In other Basque varieties, however, these two phonemes have merged with varying results. Twenty-four participants divided into four different groups have been studied. One group is a set of monolingual Spanish speakers from north-central Spain, while the remaining three are Basque–Spanish bilingual groups with different sibilant fricative systems in Basque. The goal is to describe the spectral properties of anterior sibilant fricatives and examine the effect of the L1-Basque sibilant system upon L2-Spanish. The Basque varieties chosen are: (i) Azpeitia Basque, where merging in favor of the lamino-alveolar sibilant fricative has occurred; (ii) Lemoa Basque, where the merging in favor of the apico-alveolar sibilant fricative is widespread; and (iii) Goizueta Basque, where no merging has happened. Participants took part in an elicitation task where they produced sentences containing target words with an intervocalic anterior sibilant fricative in Basque and Spanish. Bayesian probability was used for inferential statistics. Speakers of the non-merging Basque variety show the narrowest acoustic dispersion of /s/ in Spanish, as opposed to broader diffusion in the other three groups. Regarding L1 transfer, while the Azpeitia group does not show transfer into Spanish, the Lemoa and Goizueta groups do. Results show that /s/ is more fronted for monolingual Spanish speakers from north-central Spain than the previous literature has reported.

Sisters Who Make Waves and Contemporary Female Identity

The online variety show Sisters Who Make Waves has rapidly become highly popular and is one of many online shows dominated by young idols creating a group portrait of many successful sister identities. Various film and television dramas such as Nothing But Thirty and To Dear Myself have also depicted middle-aged and adult women. From the feminist perspective, mature and independent female images are a new feature of these online film and television shows. We found that women who participate in literary and creative activities are increasingly speaking in their own voices, that the sisters’ independent images have important cultural symbolic significance, and that these new images form an imagined community among the audience. However, we must be vigilant about the impact of new media’s commercialization on new women’s images.

REPRESENTASI IMPERIALISME BUDAYA KOREA DALAM IKLAN NUTRISARI VERSI “JUNG MIN BUTUH VITAMIN”

Istilah K-Pop dan K-Wave saat ini tidak asing lagi didengar. Kedua istilah tersebut sangat erat dengan kebudayaan Korea Selatan yang sedang menjamur tidak hanya di Indonesia namun juga di seluruh dunia. Dapat dipastikan saat ini semua orang dapat dengan mudah mengakses segala hal yang berhubungan dengan kebudayaan Korea Selatan melalui media cetak, elektronik maupun online. Dari drama, film, variety show maupun konser online dapat dinikmati di mana saja dan kapan saja tanpa Batasan waktu dan tempat. Tak hanya kaum remaja, anak-anak sampai dewasa mulai “teracuni” dengan hal-hal yang berbau Korea. Menurut Shim (2006) koreanisasi, adalah bentuk baru dari imperialisme budaya. Secara perlahan tapi pasti masyarakat di dunia tak lagi menjadikan budaya barat sebagai pusat dari segala budaya. K-Wave merupakan efek yang diinginkan dari strategi negara yang dirancang khusus untuk mengekspor produk-produk hiburan Korea ke luar negeri. Euphoria ini mulai dimanfaatkan oleh para pengiklan untuk memasukan unsur “berbau” Korea Selatan untuk menarik audiens. Salah satunya adalah Iklan Nutrisari versi “Jung Min Butuh Vitamin!” yang menggaet talent asli orang Korea untuk menarik perhatian. Peneliti tertarik untuk “membedah” iklan ini untuk mengetahui representasi imperialism budaya Korea Selatan yang dimunculkan menggunakan Semiotika Roland Barthes.

India and the Translocal Modern Dance Scene, 1890s–1950s

At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.