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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Composition (Music)</h1><div class="u-tcGrayDark">20,933 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Composition (Music)</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Composition_Music_">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Composition_Music_/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Composition_Music_/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Composition_Music_/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Composition_Music_">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37544008" data-work_id="37544008" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37544008/Composing_at_the_Keyboard_Schoenbergs_Notenschreibmaschine_Kittlers_Typewriter">Composing at the Keyboard: Schoenberg's Notenschreibmaschine, Kittler's Typewriter</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37544008" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e0bce90773d30f978fba72911e6c5d99" rel="nofollow" data-download="{"attachment_id":57518864,"asset_id":37544008,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57518864/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="24888759" href="https://yale.academia.edu/DanielWalden">Daniel K . 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Sulla musica</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">tratto da "Karlheinz Stockhausen. Sulla musica" a cura di Robin Maconie, introduzione di Massimiliano Viel postmedia books 2014, isbn 9788874901142 Nel 1971 Stockhausen arrivò in Inghilterra per una serie di concerti pubblici e di... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30937951" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">tratto da<br />"Karlheinz Stockhausen. Sulla musica"<br />a cura di Robin Maconie, introduzione di Massimiliano Viel<br />postmedia books 2014, isbn 9788874901142<br /><br />Nel 1971 Stockhausen arrivò in Inghilterra per una serie di concerti pubblici e di conferenze. Era di umore allegro e comunicativo. Le sue conferenze furono un notevole successo poiché trattavano di fronte a un pubblico sostanzialmente di non specialisti argomenti della musica contemporanea che erano estremamente complessi e fino ad allora ritenuti esoterici, con un linguaggio da profani...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30937951" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5b1c82bd9cfd1e98eaa67c599dc0a256" rel="nofollow" data-download="{"attachment_id":51366350,"asset_id":30937951,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51366350/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="220610" href="https://independent.academia.edu/GianniRomano">Gianni Romano</a><script data-card-contents-for-user="220610" type="text/json">{"id":220610,"first_name":"Gianni","last_name":"Romano","domain_name":"independent","page_name":"GianniRomano","display_name":"Gianni Romano","profile_url":"https://independent.academia.edu/GianniRomano?f_ri=3796","photo":"https://0.academia-photos.com/220610/49906/15910521/s65_gianni.romano.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-30937951">+1</span><div class="hidden js-additional-users-30937951"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://consmilano.academia.edu/MassimilianoViel">Massimiliano Viel</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-30937951'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-30937951').html(); 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Le sue conferenze furono un notevole successo poiché trattavano di fronte a un pubblico sostanzialmente di non specialisti argomenti della musica contemporanea che erano estremamente complessi e fino ad allora ritenuti esoterici, con un linguaggio da profani...","downloadable_attachments":[{"id":51366350,"asset_id":30937951,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":220610,"first_name":"Gianni","last_name":"Romano","domain_name":"independent","page_name":"GianniRomano","display_name":"Gianni Romano","profile_url":"https://independent.academia.edu/GianniRomano?f_ri=3796","photo":"https://0.academia-photos.com/220610/49906/15910521/s65_gianni.romano.jpg"},{"id":719045,"first_name":"Massimiliano","last_name":"Viel","domain_name":"consmilano","page_name":"MassimilianoViel","display_name":"Massimiliano 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workId = 5611790; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_5611790"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5611790 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5611790"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5611790; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5611790]").text(description); $(".js-view-count-work_5611790").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5611790").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5611790"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">26</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="692" href="https://www.academia.edu/Documents/in/Piano">Piano</a>, <script data-card-contents-for-ri="692" type="text/json">{"id":692,"name":"Piano","url":"https://www.academia.edu/Documents/in/Piano?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a><script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5611790]'), work: {"id":5611790,"title":"Ronald Stevenson composer-pianist - an exegetical critique from a 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Piano Literature","url":"https://www.academia.edu/Documents/in/Pianists_and_Piano_Literature?f_ri=3796"},{"id":24490,"name":"Piano Pedagogy","url":"https://www.academia.edu/Documents/in/Piano_Pedagogy?f_ri=3796"},{"id":25166,"name":"20th Century","url":"https://www.academia.edu/Documents/in/20th_Century?f_ri=3796"},{"id":42132,"name":"Transcription","url":"https://www.academia.edu/Documents/in/Transcription?f_ri=3796"},{"id":51379,"name":"Piano performance and repertoire","url":"https://www.academia.edu/Documents/in/Piano_performance_and_repertoire?f_ri=3796"},{"id":59529,"name":"Political","url":"https://www.academia.edu/Documents/in/Political?f_ri=3796"},{"id":61866,"name":"South Africa","url":"https://www.academia.edu/Documents/in/South_Africa?f_ri=3796"},{"id":110420,"name":"Rewriting","url":"https://www.academia.edu/Documents/in/Rewriting?f_ri=3796"},{"id":133105,"name":"Classical piano music","url":"https://www.academia.edu/Documents/in/Classical_piano_music?f_ri=3796"},{"id":148102,"name":"Scottish","url":"https://www.academia.edu/Documents/in/Scottish?f_ri=3796"},{"id":185670,"name":"Reworking","url":"https://www.academia.edu/Documents/in/Reworking?f_ri=3796"},{"id":240680,"name":"Composer","url":"https://www.academia.edu/Documents/in/Composer?f_ri=3796"},{"id":312951,"name":"Miniature","url":"https://www.academia.edu/Documents/in/Miniature?f_ri=3796"},{"id":436385,"name":"SHOSTAKOVICH","url":"https://www.academia.edu/Documents/in/SHOSTAKOVICH?f_ri=3796"},{"id":497802,"name":"Busoni","url":"https://www.academia.edu/Documents/in/Busoni?f_ri=3796"},{"id":800142,"name":"Passacaglia","url":"https://www.academia.edu/Documents/in/Passacaglia?f_ri=3796"},{"id":897710,"name":"Composer-performer collaboration","url":"https://www.academia.edu/Documents/in/Composer-performer_collaboration?f_ri=3796"},{"id":1237385,"name":"DSCH","url":"https://www.academia.edu/Documents/in/DSCH?f_ri=3796"},{"id":1237388,"name":"Monumental","url":"https://www.academia.edu/Documents/in/Monumental?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_474551" data-work_id="474551" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/474551/Gesture_and_Emotion_in_Interactive_Music_Artistic_and_Technologial_Challenges">Gesture and Emotion in Interactive Music: Artistic and Technologial Challenges</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This dissertation presents a new and expanded context for interactive music based on Moore’s model for computer music (Moore 1990) and contextualises its findings using Lesaffre’s taxonomy for musical feature extraction and analysis... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_474551" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This dissertation presents a new and expanded context for interactive music based on Moore’s model for computer music (Moore 1990) and contextualises its findings using Lesaffre’s taxonomy for musical feature extraction and analysis (Lesaffre et al. 2003). In doing so, the dissertation examines music as an expressive art-form where musically significant data is present not only in the audio signal but also in human gestures and in physiological data. The dissertation shows the model’s foundation in human perception of music as a performed art, and points to the relevance and feasibility of including expression and emotion as a high-level signal processing means for bridging man and machine. The resulting model is multi-level (physical, sensorial, perceptual, formal, expressive) and multi-modal (sound, human gesture, physiological) which makes it applicable to purely musical contexts, as well as intermodal contexts where music is combined with visual and/or physiological data.<br /><br />The model implies evaluating an interactive music system as a musical instrument design. Several properties are examined during the course of the dissertation and models based on acoustic music instruments have been avoided due to the expanded feature set of interactive music system. A narrowing down of the properties is attempted in the dissertation’s conclusion together with a preliminary model circumscription. In particular it is pointed out that high-level features of real-time analysis, data storage and processing, and synthesis makes the system a musical instrument, and that the capability of real-time data storage and processing distinguishes the digital system as an unprecedented instrument, qualitatively different from all previous acoustic music instrument. It is considered that a digital system’s particular form of sound synthesis only qualifies it as being of a category parallel to the acoustic instruments categories.<br /><br />The model is the result of the author’s experiences with practical work with interactive systems developed 2001-06 for a body of commissioned works. The systems and their underlying procedures were conceived and developed addressing needs inherent to the artistic ambitions of each work, and have all been thoroughly tested in many performances. The papers forming part of the dissertation describe the artistic and technological problems and their solutions. The solutions are readily expandable to similar problems in other contexts, and they all relate to general issues of their particular applicative area.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/474551" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ee519c92eadfe4402734816fb42c36e7" rel="nofollow" data-download="{"attachment_id":2106873,"asset_id":474551,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/2106873/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="361541" href="https://independent.academia.edu/LarsGraugaad">Lars Graugaard</a><script data-card-contents-for-user="361541" type="text/json">{"id":361541,"first_name":"Lars","last_name":"Graugaard","domain_name":"independent","page_name":"LarsGraugaad","display_name":"Lars Graugaard","profile_url":"https://independent.academia.edu/LarsGraugaad?f_ri=3796","photo":"https://0.academia-photos.com/361541/95574/108316/s65_lars.graugaad.png"}</script></span></span></li><li class="js-paper-rank-work_474551 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="474551"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 474551, container: ".js-paper-rank-work_474551", }); });</script></li><li class="js-percentile-work_474551 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 474551; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_474551"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_474551 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="474551"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 474551; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=474551]").text(description); $(".js-view-count-work_474551").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_474551").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="474551"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="254" href="https://www.academia.edu/Documents/in/Emotion">Emotion</a>, <script data-card-contents-for-ri="254" type="text/json">{"id":254,"name":"Emotion","url":"https://www.academia.edu/Documents/in/Emotion?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="945" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1018" href="https://www.academia.edu/Documents/in/Music_Technology">Music Technology</a><script data-card-contents-for-ri="1018" type="text/json">{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=474551]'), work: {"id":474551,"title":"Gesture and Emotion in Interactive Music: Artistic and Technologial Challenges","created_at":"2011-03-14T05:38:15.314-07:00","url":"https://www.academia.edu/474551/Gesture_and_Emotion_in_Interactive_Music_Artistic_and_Technologial_Challenges?f_ri=3796","dom_id":"work_474551","summary":"This dissertation presents a new and expanded context for interactive music based on Moore’s model for computer music (Moore 1990) and contextualises its findings using Lesaffre’s taxonomy for musical feature extraction and analysis (Lesaffre et al. 2003). In doing so, the dissertation examines music as an expressive art-form where musically significant data is present not only in the audio signal but also in human gestures and in physiological data. The dissertation shows the model’s foundation in human perception of music as a performed art, and points to the relevance and feasibility of including expression and emotion as a high-level signal processing means for bridging man and machine. The resulting model is multi-level (physical, sensorial, perceptual, formal, expressive) and multi-modal (sound, human gesture, physiological) which makes it applicable to purely musical contexts, as well as intermodal contexts where music is combined with visual and/or physiological data.\n\nThe model implies evaluating an interactive music system as a musical instrument design. Several properties are examined during the course of the dissertation and models based on acoustic music instruments have been avoided due to the expanded feature set of interactive music system. A narrowing down of the properties is attempted in the dissertation’s conclusion together with a preliminary model circumscription. In particular it is pointed out that high-level features of real-time analysis, data storage and processing, and synthesis makes the system a musical instrument, and that the capability of real-time data storage and processing distinguishes the digital system as an unprecedented instrument, qualitatively different from all previous acoustic music instrument. It is considered that a digital system’s particular form of sound synthesis only qualifies it as being of a category parallel to the acoustic instruments categories.\n\nThe model is the result of the author’s experiences with practical work with interactive systems developed 2001-06 for a body of commissioned works. The systems and their underlying procedures were conceived and developed addressing needs inherent to the artistic ambitions of each work, and have all been thoroughly tested in many performances. The papers forming part of the dissertation describe the artistic and technological problems and their solutions. The solutions are readily expandable to similar problems in other contexts, and they all relate to general issues of their particular applicative area.","downloadable_attachments":[{"id":2106873,"asset_id":474551,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":361541,"first_name":"Lars","last_name":"Graugaard","domain_name":"independent","page_name":"LarsGraugaad","display_name":"Lars Graugaard","profile_url":"https://independent.academia.edu/LarsGraugaad?f_ri=3796","photo":"https://0.academia-photos.com/361541/95574/108316/s65_lars.graugaad.png"}],"research_interests":[{"id":254,"name":"Emotion","url":"https://www.academia.edu/Documents/in/Emotion?f_ri=3796","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=3796","nofollow":false},{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=3796","nofollow":false},{"id":2045,"name":"Computer Music","url":"https://www.academia.edu/Documents/in/Computer_Music?f_ri=3796"},{"id":3147,"name":"Gesture","url":"https://www.academia.edu/Documents/in/Gesture?f_ri=3796"},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796"},{"id":6559,"name":"Music and Media","url":"https://www.academia.edu/Documents/in/Music_and_Media?f_ri=3796"},{"id":21264,"name":"Embodied Music Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Music_Cognition?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_14596058 coauthored" data-work_id="14596058" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/14596058/Raz%C3%B5es_para_o_decl%C3%ADnio_da_ret%C3%B3rica_musical_no_s%C3%A9culo_XIX">Razões para o declínio da retórica musical no século XIX</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper discusses the events that led rhetoric, an essential device to the structuring of musical language, no more being used and studied inside the musical practice. The discussion aims to identify the reasons for this decline... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_14596058" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper discusses the events that led rhetoric, an essential device to the structuring of musical language, no more being used and studied inside the musical practice. The discussion aims to identify the reasons for this decline occurred primarily through changes in philosophical thought, which is reflected in the conception of music at all. After that, we will look for traces of rhetoric in music later.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/14596058" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f0b7febdab7b411b890a2272e31b9567" rel="nofollow" data-download="{"attachment_id":38363507,"asset_id":14596058,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38363507/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4520942" href="https://usp-br.academia.edu/silvioferraz">silvio ferraz</a><script data-card-contents-for-user="4520942" type="text/json">{"id":4520942,"first_name":"silvio","last_name":"ferraz","domain_name":"usp-br","page_name":"silvioferraz","display_name":"silvio ferraz","profile_url":"https://usp-br.academia.edu/silvioferraz?f_ri=3796","photo":"https://0.academia-photos.com/4520942/9858860/10988961/s65_silvio.ferraz.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-14596058">+1</span><div class="hidden js-additional-users-14596058"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ufms.academia.edu/WilliamTeixeira">William Teixeira</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-14596058'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-14596058').html(); 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The discussion aims to identify the reasons for this decline occurred primarily through changes in philosophical thought, which is reflected in the conception of music at all. After that, we will look for traces of rhetoric in music later. 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Drawing on my earlier work which emphasizes the "agency" of tropes (by reference to Peter Galison and Bruno Latour) I attempt to recuperate tropes from within a Deleuzean frame, through an analysis of of "terminological junctions" as "shocks of thought."</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/317293" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dd95ddb8bd51cc1240ed35c0902c4367" rel="nofollow" data-download="{"attachment_id":5643673,"asset_id":317293,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/5643673/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="181487" href="https://thenewcentre.academia.edu/MartinERosenberg">Martin E. Rosenberg</a><script data-card-contents-for-user="181487" type="text/json">{"id":181487,"first_name":"Martin E.","last_name":"Rosenberg","domain_name":"thenewcentre","page_name":"MartinERosenberg","display_name":"Martin E. 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Drawing on my earlier work which emphasizes the \"agency\" of tropes (by reference to Peter Galison and Bruno Latour) I attempt to recuperate tropes from within a Deleuzean frame, through an analysis of of \"terminological junctions\" as \"shocks of thought.\"","downloadable_attachments":[{"id":5643673,"asset_id":317293,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":181487,"first_name":"Martin E.","last_name":"Rosenberg","domain_name":"thenewcentre","page_name":"MartinERosenberg","display_name":"Martin E. 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(Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10320" href="https://www.academia.edu/Documents/in/Electroacoustic_Music">Electroacoustic Music</a>, <script data-card-contents-for-ri="10320" type="text/json">{"id":10320,"name":"Electroacoustic Music","url":"https://www.academia.edu/Documents/in/Electroacoustic_Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="43254" href="https://www.academia.edu/Documents/in/Composition">Composition</a><script data-card-contents-for-ri="43254" type="text/json">{"id":43254,"name":"Composition","url":"https://www.academia.edu/Documents/in/Composition?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8136434]'), work: {"id":8136434,"title":"Juan Blanco, el poeta electroacústico","created_at":"2014-08-30T09:00:47.864-07:00","url":"https://www.academia.edu/8136434/Juan_Blanco_el_poeta_electroac%C3%BAstico?f_ri=3796","dom_id":"work_8136434","summary":null,"downloadable_attachments":[{"id":34578087,"asset_id":8136434,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2427672,"first_name":"José Manuel","last_name":"Berenguer","domain_name":"independent","page_name":"JoséManuelBerenguer","display_name":"José Manuel Berenguer","profile_url":"https://independent.academia.edu/Jos%C3%A9ManuelBerenguer?f_ri=3796","photo":"https://0.academia-photos.com/2427672/763191/949619/s65_jos_manuel.berenguer.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition 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class="summarized">In the context of the Scelsi Revisited project, french composer Fabien L ́evy was assigned a fragment extracted from the tape NMGS0030-117 belonging to the legacy archive of the late Giacinto Scelsi. L ́evy’s work produced in turn a piece... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_18277815" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the context of the Scelsi Revisited project, french composer Fabien L ́evy was assigned a fragment extracted from the tape NMGS0030-117 belonging to the legacy archive of the late Giacinto Scelsi. L ́evy’s work produced in turn a piece for 9 wind instruments, a tue–tete, which was premiered in Darmstadt on the 9th of august 2014.<br /><br />This paper is an analysis of the piece and it is completed with a conversation between the author and the composer, held on  august 10 2015 during the Darmstadter Ferienkursen.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/18277815" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e763b5090711c8ac7d8467791fb94d67" rel="nofollow" data-download="{"attachment_id":39996858,"asset_id":18277815,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39996858/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22140" href="https://conslatina.academia.edu/NicolaBernardini">Nicola Bernardini</a><script data-card-contents-for-user="22140" type="text/json">{"id":22140,"first_name":"Nicola","last_name":"Bernardini","domain_name":"conslatina","page_name":"NicolaBernardini","display_name":"Nicola Bernardini","profile_url":"https://conslatina.academia.edu/NicolaBernardini?f_ri=3796","photo":"https://0.academia-photos.com/22140/7394/19303548/s65_nicola.bernardini.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-18277815">+1</span><div class="hidden js-additional-users-18277815"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/LevyF">F. 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L ́evy’s work produced in turn a piece for 9 wind instruments, a tue–tete, which was premiered in Darmstadt on the 9th of august 2014.\n\nThis paper is an analysis of the piece and it is completed with a conversation between the author and the composer, held on august 10 2015 during the Darmstadter Ferienkursen.","downloadable_attachments":[{"id":39996858,"asset_id":18277815,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22140,"first_name":"Nicola","last_name":"Bernardini","domain_name":"conslatina","page_name":"NicolaBernardini","display_name":"Nicola Bernardini","profile_url":"https://conslatina.academia.edu/NicolaBernardini?f_ri=3796","photo":"https://0.academia-photos.com/22140/7394/19303548/s65_nicola.bernardini.jpg"},{"id":38336734,"first_name":"F.","last_name":"Levy","domain_name":"independent","page_name":"LevyF","display_name":"F. Levy","profile_url":"https://independent.academia.edu/LevyF?f_ri=3796","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=3796","nofollow":false},{"id":387680,"name":"Giacinto Scelsi","url":"https://www.academia.edu/Documents/in/Giacinto_Scelsi?f_ri=3796","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37081566" data-work_id="37081566" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37081566/Canon_a13_from_the_Eton_Choirbook_Robert_Wylkynson_c_1450_c_1515_Jesus_autem_transiens_Credo_in_Deum_Source_Eton_College_Library_Eton_England_GB_WRec_MS_178_fol_126v_">Canon a13 from the Eton Choirbook (Robert Wylkynson, c. 1450 - c. 1515), "Jesus autem transiens, Credo in Deum" (Source: Eton College Library, Eton, England (GB-WRec), MS 178, fol. 126v.)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37081566" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully realized canon as well as a modern reconstruction of the original monophonic version of the canon, as found in the manuscripts. <br /> <br />For a recording with a score animation see the link below: <br /><a href="https://www.youtube.com/watch?v=TBu66rLAv7I" rel="nofollow">https://www.youtube.com/watch?v=TBu66rLAv7I</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37081566" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="43ac975327b2cc5e52f8f8e2a2697c28" rel="nofollow" data-download="{"attachment_id":57033591,"asset_id":37081566,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57033591/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=3796","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_37081566 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37081566"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37081566, container: ".js-paper-rank-work_37081566", }); 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Edward Britton","profile_url":"https://independent.academia.edu/JacobBritton4?f_ri=3796","photo":"/images/s65_no_pic.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-77615116">+1</span><div class="hidden js-additional-users-77615116"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/SanbornDonald">Donald Sanborn</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-77615116'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-77615116').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_77615116 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="77615116"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 77615116, container: ".js-paper-rank-work_77615116", }); });</script></li><li class="js-percentile-work_77615116 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 77615116; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_77615116"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_77615116 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="77615116"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 77615116; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=77615116]").text(description); $(".js-view-count-work_77615116").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_77615116").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="77615116"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11304" href="https://www.academia.edu/Documents/in/Musicals">Musicals</a><script data-card-contents-for-ri="11304" type="text/json">{"id":11304,"name":"Musicals","url":"https://www.academia.edu/Documents/in/Musicals?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=77615116]'), work: {"id":77615116,"title":"Houses Divided: Musicals Reflecting Schisms in American History—and an Art Form","created_at":"2022-04-25T19:33:08.101-07:00","url":"https://www.academia.edu/77615116/Houses_Divided_Musicals_Reflecting_Schisms_in_American_History_and_an_Art_Form?f_ri=3796","dom_id":"work_77615116","summary":null,"downloadable_attachments":[{"id":84934713,"asset_id":77615116,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":201983488,"first_name":"J. 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Nor should you long for a perfect doctrine.... Rather, you should... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36431789" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Performance: <a href="https://www.youtube.com/watch?v=Gt-7n6z9lQ8" rel="nofollow">https://www.youtube.com/watch?v=Gt-7n6z9lQ8</a> <br /> <br />The doctrine you desire, <br />absolute, perfect, <br />dogma that alone provides wisdom, <br />does not exist. <br /> <br />Nor should you long <br />for a perfect doctrine.... <br /> <br />Rather, you should long <br />for the perfection <br />of yourself. <br /> <br />Truth reveals itself <br />in enigma; <br />let us approach it <br />with wonder and awe <br />as diviners of its mystery. <br /> <br />(text adapted in part from Hermann Hesse's "Glass Bead Game" and Gene Roddenberry)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="692" href="https://www.academia.edu/Documents/in/Piano">Piano</a>, <script data-card-contents-for-ri="692" type="text/json">{"id":692,"name":"Piano","url":"https://www.academia.edu/Documents/in/Piano?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="693" href="https://www.academia.edu/Documents/in/Strings_Harp_And_Guitar">Strings, Harp, And Guitar</a>, <script data-card-contents-for-ri="693" type="text/json">{"id":693,"name":"Strings, Harp, And Guitar","url":"https://www.academia.edu/Documents/in/Strings_Harp_And_Guitar?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2956" href="https://www.academia.edu/Documents/in/Songwriting">Songwriting</a><script data-card-contents-for-ri="2956" type="text/json">{"id":2956,"name":"Songwriting","url":"https://www.academia.edu/Documents/in/Songwriting?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36431789]'), work: {"id":36431789,"title":"Art Song, \"The Doctrine You Desire\" for Bass Voice, Prepared Piano, Singing Bowls, \u0026 Microtonal Zither","created_at":"2018-04-17T19:17:11.858-07:00","url":"https://www.academia.edu/36431789/Art_Song_The_Doctrine_You_Desire_for_Bass_Voice_Prepared_Piano_Singing_Bowls_and_Microtonal_Zither?f_ri=3796","dom_id":"work_36431789","summary":"Performance: https://www.youtube.com/watch?v=Gt-7n6z9lQ8\r\n\r\nThe doctrine you desire, \r\nabsolute, perfect, \r\ndogma that alone provides wisdom, \r\ndoes not exist. \r\n\r\nNor should you long \r\nfor a perfect doctrine....\r\n\r\nRather, you should long \r\nfor the perfection \r\nof yourself. \r\n\r\nTruth reveals itself \r\nin enigma; \r\nlet us approach it \r\nwith wonder and awe \r\nas diviners of its mystery.\r\n\r\n(text adapted in part from Hermann Hesse's \"Glass Bead Game\" and Gene Roddenberry)","downloadable_attachments":[{"id":56345397,"asset_id":36431789,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander 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Bowls","url":"https://www.academia.edu/Documents/in/Tibetan_Singing_Bowls?f_ri=3796"},{"id":1433331,"name":"Piano Literature","url":"https://www.academia.edu/Documents/in/Piano_Literature?f_ri=3796"},{"id":1658884,"name":"Music for voice and piano","url":"https://www.academia.edu/Documents/in/Music_for_voice_and_piano?f_ri=3796"},{"id":1713498,"name":"20th and 21st Century Music","url":"https://www.academia.edu/Documents/in/20th_and_21st_Century_Music?f_ri=3796"},{"id":1771272,"name":"Crystal Singing Bowls","url":"https://www.academia.edu/Documents/in/Crystal_Singing_Bowls?f_ri=3796"},{"id":1805792,"name":"Music of the 21st Century","url":"https://www.academia.edu/Documents/in/Music_of_the_21st_Century?f_ri=3796"},{"id":2116815,"name":"Zithers","url":"https://www.academia.edu/Documents/in/Zithers?f_ri=3796"},{"id":2461648,"name":"American Art Song","url":"https://www.academia.edu/Documents/in/American_Art_Song?f_ri=3796"},{"id":2524415,"name":"Jordan Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=3796"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=3796"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=3796"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36989083" data-work_id="36989083" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36989083/Muzic%C4%83_interactiv%C4%83_de_scen%C4%83_pe_baza_EEG_EEG_based_Interactive_Stage_Music">Muzică interactivă de scenă pe baza EEG / EEG-based Interactive Stage Music</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">With the aid of a BCI conceived and developed by the research team, EEG parameters are streamed from the Emotiv EPOC headset to generate sound algorithmically. Parameter translation is performed by eegOSC, and the stage music is generated... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36989083" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">With the aid of a BCI conceived and developed by the<br />research team, EEG parameters are streamed from the<br />Emotiv EPOC headset to generate sound algorithmically.<br />Parameter translation is performed by eegOSC, and the<br />stage music is generated through EEGmus, two original<br />pieces of software developed within the project.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36989083" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36989083]'), work: {"id":36989083,"title":"Muzică interactivă de scenă pe baza EEG / EEG-based Interactive Stage Music","created_at":"2018-07-05T21:30:07.827-07:00","url":"https://www.academia.edu/36989083/Muzic%C4%83_interactiv%C4%83_de_scen%C4%83_pe_baza_EEG_EEG_based_Interactive_Stage_Music?f_ri=3796","dom_id":"work_36989083","summary":"With the aid of a BCI conceived and developed by the\nresearch team, EEG parameters are streamed from the\nEmotiv EPOC headset to generate sound algorithmically.\nParameter translation is performed by eegOSC, and the\nstage music is generated through EEGmus, two original\npieces of software developed within the project.","downloadable_attachments":[{"id":56938190,"asset_id":36989083,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3664216,"first_name":"Alexandru","last_name":"Berceanu","domain_name":"unatc","page_name":"AlexandruBerceanu","display_name":"Alexandru Berceanu","profile_url":"https://unatc.academia.edu/AlexandruBerceanu?f_ri=3796","photo":"https://0.academia-photos.com/3664216/1294898/37013736/s65_alexandru.berceanu.jpg"}],"research_interests":[{"id":428,"name":"Algorithms","url":"https://www.academia.edu/Documents/in/Algorithms?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":11882,"name":"Non-Invasive BCI","url":"https://www.academia.edu/Documents/in/Non-Invasive_BCI?f_ri=3796","nofollow":false},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=3796","nofollow":false},{"id":76071,"name":"EEG Signal Processing","url":"https://www.academia.edu/Documents/in/EEG_Signal_Processing?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1037513" data-work_id="1037513" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1037513/Barn_sin_medverknad_i_musikalsk_skaping">Barn sin medverknad i musikalsk skaping</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Eit forsøk på å komponere med førskuleborn</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1037513" 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class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="613809" href="https://usn-no.academia.edu/BjarneIsaksen">Bjarne Isaksen</a><script data-card-contents-for-user="613809" type="text/json">{"id":613809,"first_name":"Bjarne","last_name":"Isaksen","domain_name":"usn-no","page_name":"BjarneIsaksen","display_name":"Bjarne Isaksen","profile_url":"https://usn-no.academia.edu/BjarneIsaksen?f_ri=3796","photo":"https://0.academia-photos.com/613809/270937/19186870/s65_bjarne.isaksen.jpg"}</script></span></span></li><li class="js-paper-rank-work_1037513 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1037513"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1037513, container: ".js-paper-rank-work_1037513", }); 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function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1037513]").text(description); $(".js-view-count-work_1037513").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1037513").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1037513"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="683" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3753" href="https://www.academia.edu/Documents/in/Early_Childhood_Education">Early Childhood Education</a>, <script data-card-contents-for-ri="3753" type="text/json">{"id":3753,"name":"Early Childhood Education","url":"https://www.academia.edu/Documents/in/Early_Childhood_Education?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a><script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1037513]'), work: {"id":1037513,"title":"Barn sin medverknad i musikalsk skaping","created_at":"2011-10-23T23:04:39.953-07:00","url":"https://www.academia.edu/1037513/Barn_sin_medverknad_i_musikalsk_skaping?f_ri=3796","dom_id":"work_1037513","summary":"Eit forsøk på å komponere med førskuleborn","downloadable_attachments":[{"id":6334438,"asset_id":1037513,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":613809,"first_name":"Bjarne","last_name":"Isaksen","domain_name":"usn-no","page_name":"BjarneIsaksen","display_name":"Bjarne Isaksen","profile_url":"https://usn-no.academia.edu/BjarneIsaksen?f_ri=3796","photo":"https://0.academia-photos.com/613809/270937/19186870/s65_bjarne.isaksen.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false},{"id":3753,"name":"Early Childhood Education","url":"https://www.academia.edu/Documents/in/Early_Childhood_Education?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35958790" data-work_id="35958790" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35958790/Composing_for_Voice_Second_Edition">Composing for Voice, Second Edition</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35958790" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of the voice pedagogically, musicologically and dramatically. Composing for Voice examines the voice across a wide range of musical genres (including pop, jazz, folk, classical, opera and the musical) and explores the fusion of language and music that is unique to song. This second edition is enlarged to attract a wider readership amongst all music and theatre professionals and educators, whilst also engaging an international audience with the introduction of new co-author Maria Huesca.<br /><br />New to the second edition:<br /><br />A review of the history of singing<br />An overview of the development of melisma<br />A chapter designed to help performers understand each other, as singers and actors often receive disparate educations<br />Case studies and qualitative research around song, lyric and meaning<br />A discussion of the synthetic voice<br />An introduction to the concept of embodied composition<br />Interviews with composers and singers<br />Summaries of various vocal styles, including bel canto, the lyric voice, the belt voice, the rap voice, the dramatic voice, the virtuoso voice, the folk voice, the crooner, the live voice and the actor’s voice<br />A website with many of the links and performances of music discussed, as well as related workshops and seminars: <a href="http://www.composingforvoice.com" rel="nofollow">www.composingforvoice.com</a><br />Composing for Voice: Exploring Voice, Language and Music, Second Edition,articulates possibilities for the practical exploration of language, music and voice by composers, singers and actors.<br /><br />Table of Contents<br />Chapter 1. Words<br /><br />Chapter 2. Composers and Singers<br /><br />Chapter 3. Singing and Text<br /><br />Chapter 4. Voice/Music/Text I <br /><br />Chapter 5. Voice/Music/Text II<br /><br />Chapter 6. The Singer and Actor; and Beyond<br /><br />Chapter 7. Vocal Examples<br /><br />Chapter 8. Interviews with Singers<br /><br />Chapter 9. Conclusions and a Way Forward<br /><br />Chapter 10. Educational Activities</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35958790" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="279cf1843ebe6ebd46d65aa4147efa53" rel="nofollow" data-download="{"attachment_id":55848376,"asset_id":35958790,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55848376/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5115" href="https://independent.academia.edu/BarkerPaulAlan">Paul Alan Barker</a><script data-card-contents-for-user="5115" type="text/json">{"id":5115,"first_name":"Paul Alan","last_name":"Barker","domain_name":"independent","page_name":"BarkerPaulAlan","display_name":"Paul Alan Barker","profile_url":"https://independent.academia.edu/BarkerPaulAlan?f_ri=3796","photo":"https://0.academia-photos.com/5115/1980/29482835/s65_paul_alan.barker.jpeg"}</script></span></span></li><li class="js-paper-rank-work_35958790 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35958790"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35958790, container: ".js-paper-rank-work_35958790", }); 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$(".js-view-count[data-work-id=35958790]").text(description); $(".js-view-count-work_35958790").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35958790").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35958790"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">27</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="683" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="946" href="https://www.academia.edu/Documents/in/Musical_Theatre">Musical Theatre</a><script data-card-contents-for-ri="946" type="text/json">{"id":946,"name":"Musical Theatre","url":"https://www.academia.edu/Documents/in/Musical_Theatre?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35958790]'), work: {"id":35958790,"title":"Composing for Voice, Second Edition","created_at":"2018-02-19T06:40:34.610-08:00","url":"https://www.academia.edu/35958790/Composing_for_Voice_Second_Edition?f_ri=3796","dom_id":"work_35958790","summary":"Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of the voice pedagogically, musicologically and dramatically. Composing for Voice examines the voice across a wide range of musical genres (including pop, jazz, folk, classical, opera and the musical) and explores the fusion of language and music that is unique to song. This second edition is enlarged to attract a wider readership amongst all music and theatre professionals and educators, whilst also engaging an international audience with the introduction of new co-author Maria Huesca.\n\nNew to the second edition:\n\nA review of the history of singing\nAn overview of the development of melisma\nA chapter designed to help performers understand each other, as singers and actors often receive disparate educations\nCase studies and qualitative research around song, lyric and meaning\nA discussion of the synthetic voice\nAn introduction to the concept of embodied composition\nInterviews with composers and singers\nSummaries of various vocal styles, including bel canto, the lyric voice, the belt voice, the rap voice, the dramatic voice, the virtuoso voice, the folk voice, the crooner, the live voice and the actor’s voice\nA website with many of the links and performances of music discussed, as well as related workshops and seminars: www.composingforvoice.com\nComposing for Voice: Exploring Voice, Language and Music, Second Edition,articulates possibilities for the practical exploration of language, music and voice by composers, singers and actors.\n\nTable of Contents\nChapter 1. Words\n\nChapter 2. Composers and Singers\n\nChapter 3. Singing and Text\n\nChapter 4. Voice/Music/Text I \n\nChapter 5. Voice/Music/Text II\n\nChapter 6. The Singer and Actor; and Beyond\n\nChapter 7. Vocal Examples\n\nChapter 8. Interviews with Singers\n\nChapter 9. Conclusions and a Way Forward\n\nChapter 10. Educational Activities\n","downloadable_attachments":[{"id":55848376,"asset_id":35958790,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5115,"first_name":"Paul Alan","last_name":"Barker","domain_name":"independent","page_name":"BarkerPaulAlan","display_name":"Paul Alan Barker","profile_url":"https://independent.academia.edu/BarkerPaulAlan?f_ri=3796","photo":"https://0.academia-photos.com/5115/1980/29482835/s65_paul_alan.barker.jpeg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false},{"id":946,"name":"Musical Theatre","url":"https://www.academia.edu/Documents/in/Musical_Theatre?f_ri=3796","nofollow":false},{"id":2956,"name":"Songwriting","url":"https://www.academia.edu/Documents/in/Songwriting?f_ri=3796"},{"id":3295,"name":"Breath - Body - Voice","url":"https://www.academia.edu/Documents/in/Breath_-_Body_-_Voice?f_ri=3796"},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796"},{"id":9474,"name":"Children's Voices","url":"https://www.academia.edu/Documents/in/Childrens_Voices?f_ri=3796"},{"id":10145,"name":"Voice (Music)","url":"https://www.academia.edu/Documents/in/Voice_Music_?f_ri=3796"},{"id":17917,"name":"Lyric poetry","url":"https://www.academia.edu/Documents/in/Lyric_poetry?f_ri=3796"},{"id":32412,"name":"Art Song","url":"https://www.academia.edu/Documents/in/Art_Song?f_ri=3796"},{"id":39989,"name":"Hearing Voices","url":"https://www.academia.edu/Documents/in/Hearing_Voices?f_ri=3796"},{"id":54495,"name":"Voice","url":"https://www.academia.edu/Documents/in/Voice?f_ri=3796"},{"id":67549,"name":"Representation of Women in Music Lyrics and Videos","url":"https://www.academia.edu/Documents/in/Representation_of_Women_in_Music_Lyrics_and_Videos?f_ri=3796"},{"id":85319,"name":"Broadway Musical Theatre","url":"https://www.academia.edu/Documents/in/Broadway_Musical_Theatre?f_ri=3796"},{"id":150569,"name":"Voice Recognition","url":"https://www.academia.edu/Documents/in/Voice_Recognition?f_ri=3796"},{"id":178719,"name":"Songs","url":"https://www.academia.edu/Documents/in/Songs?f_ri=3796"},{"id":372370,"name":"Educacion musical","url":"https://www.academia.edu/Documents/in/Educacion_musical?f_ri=3796"},{"id":503081,"name":"Songwriting study","url":"https://www.academia.edu/Documents/in/Songwriting_study?f_ri=3796"},{"id":613158,"name":"Song Lyrics","url":"https://www.academia.edu/Documents/in/Song_Lyrics?f_ri=3796"},{"id":630046,"name":"Folk songs","url":"https://www.academia.edu/Documents/in/Folk_songs?f_ri=3796"},{"id":788921,"name":"Singer-Songwriters","url":"https://www.academia.edu/Documents/in/Singer-Songwriters?f_ri=3796"},{"id":897709,"name":"Musical perfromance","url":"https://www.academia.edu/Documents/in/Musical_perfromance?f_ri=3796"},{"id":931493,"name":"ópera","url":"https://www.academia.edu/Documents/in/%C3%B3pera?f_ri=3796"},{"id":1019494,"name":"Movement With Voice (Sung and Spoken)","url":"https://www.academia.edu/Documents/in/Movement_With_Voice_Sung_and_Spoken_?f_ri=3796"},{"id":1252713,"name":"Lyric Theatre","url":"https://www.academia.edu/Documents/in/Lyric_Theatre?f_ri=3796"},{"id":1367819,"name":"Operatic Performance","url":"https://www.academia.edu/Documents/in/Operatic_Performance?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27638068" data-work_id="27638068" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27638068/More_than_Neo_Classical_Hermann_Schroeder_as_a_Modernist_in_the_20th_Century">More than Neo-Classical: Hermann Schroeder as a Modernist in the 20th Century</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">For Hermann Schroeder (1904 - 1984) – German composer, conductor, organist, and pedagogue – music was a "practical" commitment to the "mandatory inheritance" from Bach. When asked what composers he considered “modern leading figures”, his... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27638068" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">For Hermann Schroeder (1904 - 1984) – German composer, conductor, organist, and pedagogue – music was a "practical" commitment to the "mandatory inheritance" from Bach. When asked what composers he considered “modern leading figures”, his list would hardly be considered “modern” by contemporary standards, citing predominantly Paul Hindemith and Max Reger. Seeming unquestionably old-fashioned, his music is typically characterized as Neoclassical, especially when compared to his prominent avant-garde peers and modernist predecessors. However, rather than merely attempting to mimic or return to aesthetic precepts associated with Classicism, Schroeder saw himself in a continuing lineage, able to look both forward and backward while interacting with and reacting to his contemporaries to create an eclectic yet internally cohesive modern musical language. In what ways has Schroeder synthesized old and new styles in his music? What particularly in his music is “modern” in mid-20th century Germany and even today? Schroeder’s concert and chamber oeuvre composed during the 1950s and thereafter form a repertoire of music that demonstrates his commitment to recasting sounds, styles, and forms of the past. Through examination of some of the pieces from this artistically productive and mature period in Schroeder’s life, not only will it become apparent that he is worthy of the further scrutiny of American scholars, but also the label “modern”.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27638068" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1aec05be8c110a44849bac1b6c7888db" rel="nofollow" data-download="{"attachment_id":47904695,"asset_id":27638068,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47904695/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=3796","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_27638068 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27638068"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27638068, container: ".js-paper-rank-work_27638068", }); 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When asked what composers he considered “modern leading figures”, his list would hardly be considered “modern” by contemporary standards, citing predominantly Paul Hindemith and Max Reger. Seeming unquestionably old-fashioned, his music is typically characterized as Neoclassical, especially when compared to his prominent avant-garde peers and modernist predecessors. However, rather than merely attempting to mimic or return to aesthetic precepts associated with Classicism, Schroeder saw himself in a continuing lineage, able to look both forward and backward while interacting with and reacting to his contemporaries to create an eclectic yet internally cohesive modern musical language. In what ways has Schroeder synthesized old and new styles in his music? What particularly in his music is “modern” in mid-20th century Germany and even today? Schroeder’s concert and chamber oeuvre composed during the 1950s and thereafter form a repertoire of music that demonstrates his commitment to recasting sounds, styles, and forms of the past. Through examination of some of the pieces from this artistically productive and mature period in Schroeder’s life, not only will it become apparent that he is worthy of the further scrutiny of American scholars, but also the label “modern”.","downloadable_attachments":[{"id":47904695,"asset_id":27638068,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=3796","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":8325,"name":"History of Musical Composition","url":"https://www.academia.edu/Documents/in/History_of_Musical_Composition?f_ri=3796","nofollow":false},{"id":17479,"name":"Music Composition","url":"https://www.academia.edu/Documents/in/Music_Composition?f_ri=3796","nofollow":false},{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=3796","nofollow":false},{"id":17551,"name":"Organ (pipe)","url":"https://www.academia.edu/Documents/in/Organ_pipe_?f_ri=3796"},{"id":24300,"name":"Music in the German Democratic Republic","url":"https://www.academia.edu/Documents/in/Music_in_the_German_Democratic_Republic?f_ri=3796"},{"id":43620,"name":"Musical Modernism","url":"https://www.academia.edu/Documents/in/Musical_Modernism?f_ri=3796"},{"id":76432,"name":"Early modern music and religious studies","url":"https://www.academia.edu/Documents/in/Early_modern_music_and_religious_studies?f_ri=3796"},{"id":85892,"name":"20th Century Music","url":"https://www.academia.edu/Documents/in/20th_Century_Music?f_ri=3796"},{"id":140474,"name":"Contemporary Classical Music","url":"https://www.academia.edu/Documents/in/Contemporary_Classical_Music?f_ri=3796"},{"id":165562,"name":"Modern Music","url":"https://www.academia.edu/Documents/in/Modern_Music-1?f_ri=3796"},{"id":186411,"name":"Music Pipe Organ","url":"https://www.academia.edu/Documents/in/Music_Pipe_Organ?f_ri=3796"},{"id":255389,"name":"20th and 21st-Century Music","url":"https://www.academia.edu/Documents/in/20th_and_21st-Century_Music?f_ri=3796"},{"id":369044,"name":"Contemporary Music and Composition","url":"https://www.academia.edu/Documents/in/Contemporary_Music_and_Composition?f_ri=3796"},{"id":422439,"name":"GDR cultural policy and music history, 20th century German culture","url":"https://www.academia.edu/Documents/in/GDR_cultural_policy_and_music_history_20th_century_German_culture?f_ri=3796"},{"id":439112,"name":"20th Century Choral Music","url":"https://www.academia.edu/Documents/in/20th_Century_Choral_Music?f_ri=3796"},{"id":526076,"name":"Avant-garde and modernist music","url":"https://www.academia.edu/Documents/in/Avant-garde_and_modernist_music?f_ri=3796"},{"id":576990,"name":"Music Literature for the Pipe Organ","url":"https://www.academia.edu/Documents/in/Music_Literature_for_the_Pipe_Organ?f_ri=3796"},{"id":648088,"name":"Music in postwar Germany","url":"https://www.academia.edu/Documents/in/Music_in_postwar_Germany?f_ri=3796"},{"id":659880,"name":"Music in Nazi Germany","url":"https://www.academia.edu/Documents/in/Music_in_Nazi_Germany?f_ri=3796"},{"id":696848,"name":"Pipe Organ Music","url":"https://www.academia.edu/Documents/in/Pipe_Organ_Music?f_ri=3796"},{"id":742970,"name":"Mid-20th Century Music","url":"https://www.academia.edu/Documents/in/Mid-20th_Century_Music?f_ri=3796"},{"id":750279,"name":"Pipe Organ","url":"https://www.academia.edu/Documents/in/Pipe_Organ?f_ri=3796"},{"id":793909,"name":"Concert Organists and Repertoire","url":"https://www.academia.edu/Documents/in/Concert_Organists_and_Repertoire?f_ri=3796"},{"id":1290063,"name":"Pipe Organ Performance - Particularly Contemporary Music Performance Practice and Pedagogy.","url":"https://www.academia.edu/Documents/in/Pipe_Organ_Performance_-_Particularly_Contemporary_Music_Performance_Practice_and_Pedagogy?f_ri=3796"},{"id":1349076,"name":"German Music","url":"https://www.academia.edu/Documents/in/German_Music?f_ri=3796"},{"id":2450661,"name":"Modernism in Music","url":"https://www.academia.edu/Documents/in/Modernism_in_Music?f_ri=3796"},{"id":2524415,"name":"Jordan Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=3796"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=3796"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=3796"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25091516" data-work_id="25091516" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25091516/Who_the_Hell_is_J_K_Randall">Who the Hell is J. K. Randall?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The text pursues and investigation into the music, work, and life of composer J. K. Randall. As an expression of intellectual anxiety, the text is concerned with the process of identifying and engaging salient, though subtle, dimensions... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25091516" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The text pursues and investigation into the music, work, and life of composer J. K. Randall. As an expression of intellectual anxiety, the text is concerned with the process of identifying and engaging salient, though subtle, dimensions of Randall's works. Towards the last section of the text, details of the Csound programming environment are discussed, as are aspects of contemporary music composition.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25091516" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6fe2b7605d4ba92acf28b37c2c357bc5" rel="nofollow" data-download="{"attachment_id":45413054,"asset_id":25091516,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45413054/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1097539" href="https://uccs.academia.edu/JonForshee">Jon Forshee</a><script data-card-contents-for-user="1097539" type="text/json">{"id":1097539,"first_name":"Jon","last_name":"Forshee","domain_name":"uccs","page_name":"JonForshee","display_name":"Jon Forshee","profile_url":"https://uccs.academia.edu/JonForshee?f_ri=3796","photo":"https://0.academia-photos.com/1097539/4064309/38860675/s65_jon.forshee.jpg"}</script></span></span></li><li class="js-paper-rank-work_25091516 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25091516"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25091516, container: ".js-paper-rank-work_25091516", }); 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$(".js-view-count[data-work-id=25091516]").text(description); $(".js-view-count-work_25091516").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_25091516").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="25091516"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="976" href="https://www.academia.edu/Documents/in/Composition_and_Rhetoric">Composition and Rhetoric</a><script data-card-contents-for-ri="976" type="text/json">{"id":976,"name":"Composition and Rhetoric","url":"https://www.academia.edu/Documents/in/Composition_and_Rhetoric?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25091516]'), work: {"id":25091516,"title":"Who the Hell is J. K. Randall?","created_at":"2016-05-06T11:45:24.580-07:00","url":"https://www.academia.edu/25091516/Who_the_Hell_is_J_K_Randall?f_ri=3796","dom_id":"work_25091516","summary":"The text pursues and investigation into the music, work, and life of composer J. K. Randall. As an expression of intellectual anxiety, the text is concerned with the process of identifying and engaging salient, though subtle, dimensions of Randall's works. Towards the last section of the text, details of the Csound programming environment are discussed, as are aspects of contemporary music composition.","downloadable_attachments":[{"id":45413054,"asset_id":25091516,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1097539,"first_name":"Jon","last_name":"Forshee","domain_name":"uccs","page_name":"JonForshee","display_name":"Jon Forshee","profile_url":"https://uccs.academia.edu/JonForshee?f_ri=3796","photo":"https://0.academia-photos.com/1097539/4064309/38860675/s65_jon.forshee.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=3796","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=3796","nofollow":false},{"id":976,"name":"Composition and Rhetoric","url":"https://www.academia.edu/Documents/in/Composition_and_Rhetoric?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796"},{"id":9721,"name":"Music Aesthetics","url":"https://www.academia.edu/Documents/in/Music_Aesthetics?f_ri=3796"},{"id":20622,"name":"Avant-Garde","url":"https://www.academia.edu/Documents/in/Avant-Garde?f_ri=3796"},{"id":25772,"name":"Musical Form","url":"https://www.academia.edu/Documents/in/Musical_Form?f_ri=3796"},{"id":32242,"name":"Form (Music Theory)","url":"https://www.academia.edu/Documents/in/Form_Music_Theory_?f_ri=3796"},{"id":43620,"name":"Musical Modernism","url":"https://www.academia.edu/Documents/in/Musical_Modernism?f_ri=3796"},{"id":165562,"name":"Modern Music","url":"https://www.academia.edu/Documents/in/Modern_Music-1?f_ri=3796"},{"id":231306,"name":"Musical aesthetics","url":"https://www.academia.edu/Documents/in/Musical_aesthetics?f_ri=3796"},{"id":467243,"name":"Princeton University","url":"https://www.academia.edu/Documents/in/Princeton_University?f_ri=3796"},{"id":506558,"name":"Avant Garde Music","url":"https://www.academia.edu/Documents/in/Avant_Garde_Music?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9066719" data-work_id="9066719" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9066719/Australian_Made_The_Creation_of_New_Australian_Classical_Saxophone_Music">Australian Made: The Creation of New Australian Classical Saxophone Music</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Australian classical saxophonists advise that an Australian ‘language’ is emerging in the saxophone repertoire. This is a vital issue to practitioners yet little scholarly research has been conducted in the field. This article begins to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9066719" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Australian classical saxophonists advise that an Australian ‘language’ is emerging in the saxophone repertoire. This is a vital issue to practitioners yet little scholarly research has been conducted in the field. This article begins to fill this lacuna by bringing together the ideas and opinions of leading Australian classical saxophonists with regard to Australian music and live performance repertoire. Drawing on data collected from interviews, it has been revealed that the creation of new Australian music forms an essential part of the ethos of those interviewed. As practicing musicians, they actively strive to create, promote and engage with new Australian music. The resulting relationships with composers provides a sense of purpose and satisfaction to these musicians. Further, in networking within the global classical saxophone community, Australian saxophonists disseminate the compositions of Australian composers, facilitating the works’ inclusion in the global canon of classical saxophone music (CSM). The music becomes a vehicle for collaboration and self-expression that fosters and promotes a sense of national Australian identity. Through the ongoing partnerships between composer and performer Australian saxophone music is constantly evolving, resulting in innovative and distinctive contributions to the global CSM repertoire.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9066719" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="64228ccc4d5036247e5157c8c53622d8" rel="nofollow" data-download="{"attachment_id":35608874,"asset_id":9066719,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35608874/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5672415" href="https://uq.academia.edu/EmmaDiMarco">Emma Di Marco</a><script data-card-contents-for-user="5672415" type="text/json">{"id":5672415,"first_name":"Emma","last_name":"Di Marco","domain_name":"uq","page_name":"EmmaDiMarco","display_name":"Emma Di Marco","profile_url":"https://uq.academia.edu/EmmaDiMarco?f_ri=3796","photo":"https://0.academia-photos.com/5672415/2465367/139879933/s65_emma.di_marco.jpg"}</script></span></span></li><li class="js-paper-rank-work_9066719 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9066719"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9066719, container: ".js-paper-rank-work_9066719", }); 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$(".js-view-count[data-work-id=9066719]").text(description); $(".js-view-count-work_9066719").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9066719").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9066719"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="683" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2337" href="https://www.academia.edu/Documents/in/Performance_Studies">Performance Studies</a><script data-card-contents-for-ri="2337" type="text/json">{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9066719]'), work: {"id":9066719,"title":"Australian Made: The Creation of New Australian Classical Saxophone Music","created_at":"2014-11-01T14:11:00.860-07:00","url":"https://www.academia.edu/9066719/Australian_Made_The_Creation_of_New_Australian_Classical_Saxophone_Music?f_ri=3796","dom_id":"work_9066719","summary":"Australian classical saxophonists advise that an Australian ‘language’ is emerging in the saxophone repertoire. This is a vital issue to practitioners yet little scholarly research has been conducted in the field. This article begins to fill this lacuna by bringing together the ideas and opinions of leading Australian classical saxophonists with regard to Australian music and live performance repertoire. Drawing on data collected from interviews, it has been revealed that the creation of new Australian music forms an essential part of the ethos of those interviewed. As practicing musicians, they actively strive to create, promote and engage with new Australian music. The resulting relationships with composers provides a sense of purpose and satisfaction to these musicians. Further, in networking within the global classical saxophone community, Australian saxophonists disseminate the compositions of Australian composers, facilitating the works’ inclusion in the global canon of classical saxophone music (CSM). The music becomes a vehicle for collaboration and self-expression that fosters and promotes a sense of national Australian identity. Through the ongoing partnerships between composer and performer Australian saxophone music is constantly evolving, resulting in innovative and distinctive contributions to the global CSM repertoire.","downloadable_attachments":[{"id":35608874,"asset_id":9066719,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5672415,"first_name":"Emma","last_name":"Di Marco","domain_name":"uq","page_name":"EmmaDiMarco","display_name":"Emma Di Marco","profile_url":"https://uq.academia.edu/EmmaDiMarco?f_ri=3796","photo":"https://0.academia-photos.com/5672415/2465367/139879933/s65_emma.di_marco.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796"},{"id":4848,"name":"Woodwinds","url":"https://www.academia.edu/Documents/in/Woodwinds?f_ri=3796"},{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=3796"},{"id":29478,"name":"Performance Research","url":"https://www.academia.edu/Documents/in/Performance_Research?f_ri=3796"},{"id":40754,"name":"Classical Music","url":"https://www.academia.edu/Documents/in/Classical_Music?f_ri=3796"},{"id":46288,"name":"Live Performance","url":"https://www.academia.edu/Documents/in/Live_Performance?f_ri=3796"},{"id":182929,"name":"Classical saxophone","url":"https://www.academia.edu/Documents/in/Classical_saxophone?f_ri=3796"},{"id":277647,"name":"Saxophone","url":"https://www.academia.edu/Documents/in/Saxophone?f_ri=3796"},{"id":479610,"name":"Live Music Performance Research","url":"https://www.academia.edu/Documents/in/Live_Music_Performance_Research?f_ri=3796"},{"id":1197890,"name":"Australian Classical Saxophone Music","url":"https://www.academia.edu/Documents/in/Australian_Classical_Saxophone_Music?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27535729" data-work_id="27535729" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27535729/Cheap_Thrills_Sia_Partitura_Com_Legenda_Educa%C3%A7%C3%A3o_Musical">Cheap Thrills - Sia - Partitura Com Legenda - Educação Musical</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Cheap Thrills" é uma canção da cantora australiana Sia, o tema foi composto pela própria intérprete em parceria com Greg Kurstin. Inicialmente a música foi escrita para a cantora Rihanna mas como esta acabou por não gravar Sia decidiu... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27535729" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Cheap Thrills" é uma canção da cantora australiana Sia, o tema foi composto pela própria intérprete em parceria com Greg Kurstin. Inicialmente a música foi escrita para a cantora Rihanna mas como esta acabou por não gravar Sia decidiu colocar o tema no seu disco (This is acting, 7º álbum). O tema conta ainda com a participação do artista jamaicano Sean Paul.<br />Este álbum reflete uma faceta importante da carreira de Sia, que nem todos conhecem, é que na verdade, além de cantora, SIA é também uma compositora muito requisitada por grandes artistas do mundo pop. Entre muitos outros destaco nomes como os das cantoras Beyoncé, Adele e Rihanna. Na verdade todo o álbum é constituído por canções que a cantora já havia escrito para outros artistas.<br />Musicalmente falando, o tema original está em fá#. Como é normal mudei a tonalidade para facilitar a execução: este instrumental está em sol menor. Apesar dos dois bemóis na armação de clave (sib e mib) a melodia não utiliza NUNCA o mib. <br />A parte A é um pouco difícil de executar por causa das notas graves e rápidas, mas o resto do tema é fácil.<br />Hamonicamente a música foi composta sobre 4 acordes apenas (sol menor, mib maior, sib maior e fá maior). É um tema fantástico para utilizar com os instrumentos Orff.<br /><br />Letra / Lyrics<br />on, come on, turn the radio on<br />It's Friday night and I won't be long<br />Gotta do my hair, I put my make up on<br />It's Friday night and I won't be long<br /><br />'Til I hit the dance floor<br />Hit the dance floor<br />I got all I need<br />No I ain't got cash<br />I ain't got cash<br />But I got you baby<br /><br />Baby I don't need dollar bills to have fun tonight<br />(I love cheap thrills!)<br />Baby I don't need dollar bills to have fun tonight<br />(I love cheap thrills!)<br />But I don't need no money<br />As long as I can feel the beat<br />I don't need no money<br />As long as I keep dancing<br /><br />Come on, come on, turn the radio on<br />It's Saturday and I won't be long<br />Gotta paint my nails, put my high heels on<br />It's Saturday and I won't be long<br /><br />'Til I hit the dance floor<br />Hit the dance floor<br />I got all I need<br />No I ain't got cash<br />I ain't got cash<br />But I got you baby<br /><br />Baby I don't need dollar bills to have fun tonight<br />(I love cheap thrills!)<br />Baby I don't need dollar bills to have fun tonight<br />(I love cheap thrills!)<br />I don't need no money<br />As long as I can feel the beat<br />I don't need no money<br />As long as I keep dancing<br /><br />(I love cheap thrills!)<br />(I love cheap thrills!)<br />I don't need no money<br />As long as I can feel the beat<br />I don't need no money<br />As long as I keep dancing<br />Oh, oh<br /><br />Baby I don't need dollar bills to have fun tonight<br />(I love cheap thrills!)<br />Baby I don't need dollar bills to have fun tonight<br />(I love cheap thrills!)<br />I don't need no money<br />As long as I can feel the beat<br />I don't need no money<br />As long as I keep dancing<br /><br />La, la, la, la, la, la, la<br />(I love cheap thrills!)<br />La, la, la, la, la, la, la<br />(I love cheap thrills!)<br />La, la, la, la, la, la, la<br />(I love cheap thrills!)<br />La, la, la, la, la, la<br />(I love cheap thrills!)<br /><br />Cifra melódica<br />dó ré dó ré<br />ré dó ré sol sol sol<br />sol fá fá fá<br />fá fá sol fá fá<br /><br />dó ré dó ré<br />ré dó ré sol sol sol<br />sol fá fá fá<br />fá fá sol fá fá<br /><br />sib sib DÓ lá sib<br />sib sib DÓ lá sib<br />sib sib sib fá fá<br />sib sib DÓ lá<br />sib sib DÓ lá<br />sib sib sib sib fá fá<br /><br />sol lá sib sol<br />sol sol sol sol<br />fá sol sol fá fá<br /><br />sol lá sib sol<br />sol sol sol sol<br />fá sol sol fá fá<br /><br />ré sol lá sib<br />lá sol ré dó<br />ré sol lá sib<br />lá sol ré...<br /><br />ré sol lá sib<br />lá sol ré dó<br />ré sol lá sib<br />lá sol ré.<br /><br />dó ré dó ré<br />ré dó ré sol sol sol<br />sol fá fá fá<br />fá fá sol fá fá<br /><br />dó ré dó ré<br />ré dó ré sol sol sol<br />sol fá fá fá<br />fá fá sol fá fá<br /><br />sib sib DÓ lá sib<br />sib sib DÓ lá sib<br />sib sib sib fá fá<br />sib sib DÓ lá<br />sib sib DÓ lá<br />sib sib sib sib fá fá<br /><br />sol lá sib sol<br />sol sol sol sol<br />fá sol sol fá fá<br /><br />sol lá sib sol<br />sol sol sol sol<br />fá sol sol fá fá<br /><br />ré sol lá sib<br />lá sol ré dó<br />ré sol lá sib<br />lá sol ré...<br /><br />ré sol lá sib<br />lá sol ré dó<br />ré sol lá sib<br />lá sol ré...<br /><br />sib lá sib DÓ DÓ<br />sib, lá,<br />sib lá sib DÓ DÓ<br />sib...<br /><br />sib lá sib DÓ DÓ<br />sib, lá,<br />sib lá sib DÓ DÓ<br />sib...<br /><br />Educação Musical<br />José Galvão<br /><br />Partitura e outros recursos em: <a href="http://josegalvao.wix.com/educacaomusical" rel="nofollow">http://josegalvao.wix.com/educacaomusical</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27535729" data-share-source="work_strip" 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itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="379855" href="https://escolasuperiordeeducaodesetbal.academia.edu/JoseGalvao">Jose Galvao</a><script data-card-contents-for-user="379855" type="text/json">{"id":379855,"first_name":"Jose","last_name":"Galvao","domain_name":"escolasuperiordeeducaodesetbal","page_name":"JoseGalvao","display_name":"Jose Galvao","profile_url":"https://escolasuperiordeeducaodesetbal.academia.edu/JoseGalvao?f_ri=3796","photo":"https://0.academia-photos.com/379855/117817/24961193/s65_jose.galvao.jpg"}</script></span></span></li><li class="js-paper-rank-work_27535729 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27535729"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27535729, container: 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type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="683" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a><script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27535729]'), work: {"id":27535729,"title":"Cheap Thrills - Sia - Partitura Com Legenda - Educação Musical","created_at":"2016-08-04T08:37:36.145-07:00","url":"https://www.academia.edu/27535729/Cheap_Thrills_Sia_Partitura_Com_Legenda_Educa%C3%A7%C3%A3o_Musical?f_ri=3796","dom_id":"work_27535729","summary":"\"Cheap Thrills\" é uma canção da cantora australiana Sia, o tema foi composto pela própria intérprete em parceria com Greg Kurstin. Inicialmente a música foi escrita para a cantora Rihanna mas como esta acabou por não gravar Sia decidiu colocar o tema no seu disco (This is acting, 7º álbum). O tema conta ainda com a participação do artista jamaicano Sean Paul.\nEste álbum reflete uma faceta importante da carreira de Sia, que nem todos conhecem, é que na verdade, além de cantora, SIA é também uma compositora muito requisitada por grandes artistas do mundo pop. Entre muitos outros destaco nomes como os das cantoras Beyoncé, Adele e Rihanna. Na verdade todo o álbum é constituído por canções que a cantora já havia escrito para outros artistas.\nMusicalmente falando, o tema original está em fá#. Como é normal mudei a tonalidade para facilitar a execução: este instrumental está em sol menor. Apesar dos dois bemóis na armação de clave (sib e mib) a melodia não utiliza NUNCA o mib. \nA parte A é um pouco difícil de executar por causa das notas graves e rápidas, mas o resto do tema é fácil.\nHamonicamente a música foi composta sobre 4 acordes apenas (sol menor, mib maior, sib maior e fá maior). É um tema fantástico para utilizar com os instrumentos Orff.\n\nLetra / Lyrics\non, come on, turn the radio on\nIt's Friday night and I won't be long\nGotta do my hair, I put my make up on\nIt's Friday night and I won't be long\n\n'Til I hit the dance floor\nHit the dance floor\nI got all I need\nNo I ain't got cash\nI ain't got cash\nBut I got you baby\n\nBaby I don't need dollar bills to have fun tonight\n(I love cheap thrills!)\nBaby I don't need dollar bills to have fun tonight\n(I love cheap thrills!)\nBut I don't need no money\nAs long as I can feel the beat\nI don't need no money\nAs long as I keep dancing\n\nCome on, come on, turn the radio on\nIt's Saturday and I won't be long\nGotta paint my nails, put my high heels on\nIt's Saturday and I won't be long\n\n'Til I hit the dance floor\nHit the dance floor\nI got all I need\nNo I ain't got cash\nI ain't got cash\nBut I got you baby\n\nBaby I don't need dollar bills to have fun tonight\n(I love cheap thrills!)\nBaby I don't need dollar bills to have fun tonight\n(I love cheap thrills!)\nI don't need no money\nAs long as I can feel the beat\nI don't need no money\nAs long as I keep dancing\n\n(I love cheap thrills!)\n(I love cheap thrills!)\nI don't need no money\nAs long as I can feel the beat\nI don't need no money\nAs long as I keep dancing\nOh, oh\n\nBaby I don't need dollar bills to have fun tonight\n(I love cheap thrills!)\nBaby I don't need dollar bills to have fun tonight\n(I love cheap thrills!)\nI don't need no money\nAs long as I can feel the beat\nI don't need no money\nAs long as I keep dancing\n\nLa, la, la, la, la, la, la\n(I love cheap thrills!)\nLa, la, la, la, la, la, la\n(I love cheap thrills!)\nLa, la, la, la, la, la, la\n(I love cheap thrills!)\nLa, la, la, la, la, la\n(I love cheap thrills!)\n\nCifra melódica\ndó ré dó ré\nré dó ré sol sol sol\nsol fá fá fá\nfá fá sol fá fá\n\ndó ré dó ré\nré dó ré sol sol sol\nsol fá fá fá\nfá fá sol fá fá\n\nsib sib DÓ lá sib\nsib sib DÓ lá sib\nsib sib sib fá fá\nsib sib DÓ lá\nsib sib DÓ lá\nsib sib sib sib fá fá\n\nsol lá sib sol\nsol sol sol sol\nfá sol sol fá fá\n\nsol lá sib sol\nsol sol sol sol\nfá sol sol fá fá\n\nré sol lá sib\nlá sol ré dó\nré sol lá sib\nlá sol ré...\n\nré sol lá sib\nlá sol ré dó\nré sol lá sib\nlá sol ré.\n\ndó ré dó ré\nré dó ré sol sol sol\nsol fá fá fá\nfá fá sol fá fá\n\ndó ré dó ré\nré dó ré sol sol sol\nsol fá fá fá\nfá fá sol fá fá\n\nsib sib DÓ lá sib\nsib sib DÓ lá sib\nsib sib sib fá fá\nsib sib DÓ lá\nsib sib DÓ lá\nsib sib sib sib fá fá\n\nsol lá sib sol\nsol sol sol sol\nfá sol sol fá fá\n\nsol lá sib sol\nsol sol sol sol\nfá sol sol fá fá\n\nré sol lá sib\nlá sol ré dó\nré sol lá sib\nlá sol ré...\n\nré sol lá sib\nlá sol ré dó\nré sol lá sib\nlá sol ré...\n\nsib lá sib DÓ DÓ\nsib, lá,\nsib lá sib DÓ DÓ\nsib...\n\nsib lá sib DÓ DÓ\nsib, lá,\nsib lá sib DÓ DÓ\nsib...\n\nEducação Musical\nJosé Galvão\n\nPartitura e outros recursos em: http://josegalvao.wix.com/educacaomusical\n","downloadable_attachments":[{"id":47789930,"asset_id":27535729,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":379855,"first_name":"Jose","last_name":"Galvao","domain_name":"escolasuperiordeeducaodesetbal","page_name":"JoseGalvao","display_name":"Jose Galvao","profile_url":"https://escolasuperiordeeducaodesetbal.academia.edu/JoseGalvao?f_ri=3796","photo":"https://0.academia-photos.com/379855/117817/24961193/s65_jose.galvao.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false},{"id":685,"name":"Music 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19536549/On_the_Transmigration_of_Souls_An_Unconventional_Musical_Memorial_Space">On the Transmigration of Souls: An Unconventional, Musical, Memorial Space</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">On the Transmigration of Souls, an orchestral work written and published by Adams in 2002, facilitates human recovery from a different angle than composers have previously taken in pre-September 11th memorial music. Instead of merely... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_19536549" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">On the Transmigration of Souls, an orchestral work written and published by Adams in 2002, facilitates human recovery from a different angle than composers have previously taken in pre-September 11th memorial music. Instead of merely commemorating the tragic events of that day, Adams sought to take the audience through a complete process of grieving, and then go even farther. He hoped to help them remember what happened, acknowledge their hurt, and then begin to move beyond it, or “transmigrate” in a unique and highly individualized way. Instead of composing with the intent that each audience member will feel a specific emotion, Adams leaves space for each person to be alone with his or her thoughts. His primary goal was that the emotions felt by each individual should be genuinely his or her own. He successfully creates this new form of expression through the use of various modern compositional techniques, the manipulation of time and text, the creation of musical space, and the allowance for an individual experience full of meditation and introspection.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19536549" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="91a21485d95632748e854459fb773e37" rel="nofollow" data-download="{"attachment_id":40681011,"asset_id":19536549,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40681011/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="39853926" href="https://duq.academia.edu/ShelbiTimmons">Shelbi Timmons</a><script data-card-contents-for-user="39853926" type="text/json">{"id":39853926,"first_name":"Shelbi","last_name":"Timmons","domain_name":"duq","page_name":"ShelbiTimmons","display_name":"Shelbi Timmons","profile_url":"https://duq.academia.edu/ShelbiTimmons?f_ri=3796","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_19536549 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19536549"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19536549, container: ".js-paper-rank-work_19536549", }); 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","downloadable_attachments":[{"id":40681011,"asset_id":19536549,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":39853926,"first_name":"Shelbi","last_name":"Timmons","domain_name":"duq","page_name":"ShelbiTimmons","display_name":"Shelbi Timmons","profile_url":"https://duq.academia.edu/ShelbiTimmons?f_ri=3796","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":41509,"name":"John Adams","url":"https://www.academia.edu/Documents/in/John_Adams?f_ri=3796","nofollow":false},{"id":49366,"name":"Memorials and the Memorial Art-Work in the Public Arena","url":"https://www.academia.edu/Documents/in/Memorials_and_the_Memorial_Art-Work_in_the_Public_Arena?f_ri=3796"},{"id":123619,"name":"11 September Attacks","url":"https://www.academia.edu/Documents/in/11_September_Attacks?f_ri=3796"},{"id":190640,"name":"Memorialisation","url":"https://www.academia.edu/Documents/in/Memorialisation?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_16436662" data-work_id="16436662" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/16436662/Notas_sobre_Sonatas_e_Interludio_para_piano_preparado_de_John_Cage">Notas sobre Sonatas e Interludio para piano preparado de John Cage</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Sonatas e Interludios es una obra maestra que finaliza su primer periodo, de gran complejidad; pero también es un paso al uso de las probabilidades y de la indeterminación en sus procesos y objetivos compositivos. Un nuevo concepto de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_16436662" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Sonatas e Interludios es una obra maestra que finaliza su primer periodo, de gran complejidad; pero también es un paso al uso de las probabilidades y de la indeterminación en sus procesos y objetivos compositivos. Un nuevo concepto de sonoridad desarrollado a través del piano preparado, y la profundización de los pensamientos filosóficos orientales, que dan lugar a posiciones críticas, búsqueda de un propio lenguaje y al desarrollo de un genio creativo como lo fue John Cage.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16436662" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="341448b03e2f8376bf5e7c56243b461c" rel="nofollow" data-download="{"attachment_id":38992745,"asset_id":16436662,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38992745/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8443710" href="https://independent.academia.edu/MiguelCrozzoli">Miguel Crozzoli</a><script data-card-contents-for-user="8443710" type="text/json">{"id":8443710,"first_name":"Miguel","last_name":"Crozzoli","domain_name":"independent","page_name":"MiguelCrozzoli","display_name":"Miguel Crozzoli","profile_url":"https://independent.academia.edu/MiguelCrozzoli?f_ri=3796","photo":"https://0.academia-photos.com/8443710/2861487/11487409/s65_miguel.crozzoli.jpg"}</script></span></span></li><li class="js-paper-rank-work_16436662 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16436662"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16436662, container: ".js-paper-rank-work_16436662", }); 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$(".js-view-count[data-work-id=16436662]").text(description); $(".js-view-count-work_16436662").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_16436662").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="16436662"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="43729" href="https://www.academia.edu/Documents/in/John_Cage">John Cage</a><script data-card-contents-for-ri="43729" type="text/json">{"id":43729,"name":"John Cage","url":"https://www.academia.edu/Documents/in/John_Cage?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=16436662]'), work: {"id":16436662,"title":"Notas sobre Sonatas e Interludio para piano preparado de John Cage","created_at":"2015-10-03T15:52:54.876-07:00","url":"https://www.academia.edu/16436662/Notas_sobre_Sonatas_e_Interludio_para_piano_preparado_de_John_Cage?f_ri=3796","dom_id":"work_16436662","summary":"Sonatas e Interludios es una obra maestra que finaliza su primer periodo, de gran complejidad; pero también es un paso al uso de las probabilidades y de la indeterminación en sus procesos y objetivos compositivos. Un nuevo concepto de sonoridad desarrollado a través del piano preparado, y la profundización de los pensamientos filosóficos orientales, que dan lugar a posiciones críticas, búsqueda de un propio lenguaje y al desarrollo de un genio creativo como lo fue John Cage.","downloadable_attachments":[{"id":38992745,"asset_id":16436662,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8443710,"first_name":"Miguel","last_name":"Crozzoli","domain_name":"independent","page_name":"MiguelCrozzoli","display_name":"Miguel Crozzoli","profile_url":"https://independent.academia.edu/MiguelCrozzoli?f_ri=3796","photo":"https://0.academia-photos.com/8443710/2861487/11487409/s65_miguel.crozzoli.jpg"}],"research_interests":[{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":43729,"name":"John Cage","url":"https://www.academia.edu/Documents/in/John_Cage?f_ri=3796","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44562708" data-work_id="44562708" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44562708/Certain_Dark_Things_CD_">Certain Dark Things (CD)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A recording of original piano work, including the title track (a song without words), the three Slow Movements, and the nine Whole Tone Studies.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44562708" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0922306d0bbb6911288140fc2ba20e28" rel="nofollow" data-download="{"attachment_id":65016381,"asset_id":44562708,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65016381/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33304" href="https://tcnj.academia.edu/CarltonWilkinson">Carlton Wilkinson</a><script data-card-contents-for-user="33304" type="text/json">{"id":33304,"first_name":"Carlton","last_name":"Wilkinson","domain_name":"tcnj","page_name":"CarltonWilkinson","display_name":"Carlton Wilkinson","profile_url":"https://tcnj.academia.edu/CarltonWilkinson?f_ri=3796","photo":"https://0.academia-photos.com/33304/10825/9241078/s65_carlton.wilkinson.gif"}</script></span></span></li><li class="js-paper-rank-work_44562708 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44562708"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44562708, container: ".js-paper-rank-work_44562708", }); });</script></li><li class="js-percentile-work_44562708 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44562708; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44562708"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44562708 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44562708"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44562708; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44562708]").text(description); $(".js-view-count-work_44562708").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44562708").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44562708"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="22130" href="https://www.academia.edu/Documents/in/Piano_Music">Piano Music</a>, <script data-card-contents-for-ri="22130" type="text/json">{"id":22130,"name":"Piano Music","url":"https://www.academia.edu/Documents/in/Piano_Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="24490" href="https://www.academia.edu/Documents/in/Piano_Pedagogy">Piano Pedagogy</a>, <script data-card-contents-for-ri="24490" type="text/json">{"id":24490,"name":"Piano Pedagogy","url":"https://www.academia.edu/Documents/in/Piano_Pedagogy?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="120991" href="https://www.academia.edu/Documents/in/New_Music">New Music</a><script data-card-contents-for-ri="120991" type="text/json">{"id":120991,"name":"New Music","url":"https://www.academia.edu/Documents/in/New_Music?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44562708]'), work: {"id":44562708,"title":"Certain Dark Things (CD)","created_at":"2020-11-23T18:59:13.607-08:00","url":"https://www.academia.edu/44562708/Certain_Dark_Things_CD_?f_ri=3796","dom_id":"work_44562708","summary":"A recording of original piano work, including the title track (a song without words), the three Slow Movements, and the nine Whole Tone Studies.","downloadable_attachments":[{"id":65016381,"asset_id":44562708,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33304,"first_name":"Carlton","last_name":"Wilkinson","domain_name":"tcnj","page_name":"CarltonWilkinson","display_name":"Carlton Wilkinson","profile_url":"https://tcnj.academia.edu/CarltonWilkinson?f_ri=3796","photo":"https://0.academia-photos.com/33304/10825/9241078/s65_carlton.wilkinson.gif"}],"research_interests":[{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":22130,"name":"Piano Music","url":"https://www.academia.edu/Documents/in/Piano_Music?f_ri=3796","nofollow":false},{"id":24490,"name":"Piano Pedagogy","url":"https://www.academia.edu/Documents/in/Piano_Pedagogy?f_ri=3796","nofollow":false},{"id":120991,"name":"New Music","url":"https://www.academia.edu/Documents/in/New_Music?f_ri=3796","nofollow":false},{"id":133105,"name":"Classical piano music","url":"https://www.academia.edu/Documents/in/Classical_piano_music?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39956939" data-work_id="39956939" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39956939/L_Syst%C3%A8mes_et_formes_musicales_quelles_perspectives_pour_la_musique_g%C3%A9n%C3%A9rative">L-Systèmes et formes musicales : quelles perspectives pour la musique générative</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Les L-systèmes constituent un outil original de représentation des formes musicales à disposition des compositeurs, notamment dans le domaine de la musique générative. Peu normatifs, ils permettent de stimuler la créativité en pensant la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39956939" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Les L-systèmes constituent un outil original de représentation des formes musicales à disposition<br />des compositeurs, notamment dans le domaine de la musique générative. Peu normatifs, ils<br />permettent de stimuler la créativité en pensant la forme par croissance organique, une approche<br />compatible aussi bien avec la tradition ancienne du développement continu qu'avec celle plus<br />récente des organisations par processus.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39956939" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4f6791fc15ce51efbcfee6ba2c77c3f3" rel="nofollow" data-download="{"attachment_id":60145159,"asset_id":39956939,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60145159/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34531263" href="https://univ-paris8.academia.edu/JeanFrancoisDucher">Jean-Francois Ducher</a><script data-card-contents-for-user="34531263" type="text/json">{"id":34531263,"first_name":"Jean-Francois","last_name":"Ducher","domain_name":"univ-paris8","page_name":"JeanFrancoisDucher","display_name":"Jean-Francois Ducher","profile_url":"https://univ-paris8.academia.edu/JeanFrancoisDucher?f_ri=3796","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_39956939 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39956939"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39956939, container: ".js-paper-rank-work_39956939", }); });</script></li><li class="js-percentile-work_39956939 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39956939; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39956939"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39956939 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39956939"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39956939; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39956939]").text(description); $(".js-view-count-work_39956939").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39956939").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39956939"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2045" href="https://www.academia.edu/Documents/in/Computer_Music">Computer Music</a>, <script data-card-contents-for-ri="2045" type="text/json">{"id":2045,"name":"Computer Music","url":"https://www.academia.edu/Documents/in/Computer_Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="154278" href="https://www.academia.edu/Documents/in/Lindenmayer_systems">Lindenmayer systems</a><script data-card-contents-for-ri="154278" type="text/json">{"id":154278,"name":"Lindenmayer systems","url":"https://www.academia.edu/Documents/in/Lindenmayer_systems?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39956939]'), work: {"id":39956939,"title":"L-Systèmes et formes musicales : quelles perspectives pour la musique générative","created_at":"2019-07-28T23:52:20.602-07:00","url":"https://www.academia.edu/39956939/L_Syst%C3%A8mes_et_formes_musicales_quelles_perspectives_pour_la_musique_g%C3%A9n%C3%A9rative?f_ri=3796","dom_id":"work_39956939","summary":"Les L-systèmes constituent un outil original de représentation des formes musicales à disposition\ndes compositeurs, notamment dans le domaine de la musique générative. Peu normatifs, ils\npermettent de stimuler la créativité en pensant la forme par croissance organique, une approche\ncompatible aussi bien avec la tradition ancienne du développement continu qu'avec celle plus\nrécente des organisations par processus.","downloadable_attachments":[{"id":60145159,"asset_id":39956939,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34531263,"first_name":"Jean-Francois","last_name":"Ducher","domain_name":"univ-paris8","page_name":"JeanFrancoisDucher","display_name":"Jean-Francois Ducher","profile_url":"https://univ-paris8.academia.edu/JeanFrancoisDucher?f_ri=3796","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false},{"id":2045,"name":"Computer Music","url":"https://www.academia.edu/Documents/in/Computer_Music?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":154278,"name":"Lindenmayer systems","url":"https://www.academia.edu/Documents/in/Lindenmayer_systems?f_ri=3796","nofollow":false},{"id":565986,"name":"Algorithmic Music","url":"https://www.academia.edu/Documents/in/Algorithmic_Music?f_ri=3796"},{"id":632313,"name":"Creative music technology","url":"https://www.academia.edu/Documents/in/Creative_music_technology?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15483138" data-work_id="15483138" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/15483138/The_21st_Century_Voice_Contemporary_and_Traditional_Extra_Normal_Voice_2nd_Edition_Rowman_and_Littlefield_2015_">The 21st-Century Voice Contemporary and Traditional Extra-Normal Voice, 2nd Edition. Rowman & Littlefield (2015)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In The 21st-Century Voice: Contemporary and Traditional Extra-Normal Voice, Michael Edward Edgerton considers contemporary vocal techniques within an acoustic and anatomical framework. Throughout, he proposes new directions for vocal... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15483138" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In The 21st-Century Voice: Contemporary and Traditional Extra-Normal Voice, Michael Edward Edgerton considers contemporary vocal techniques within an acoustic and anatomical framework. Throughout, he proposes new directions for vocal exploration. Much more than a historical treatise on 20th-century masterworks or vocal science, The 21st-Century Voice explores experimental methods of sound production, offering a systematic series of approaches and methods for assessing, engaging, and, in some instances, overcoming the assumed limits of vocal singing. <br /> <br />Appearing a decade after the publication of the first edition, this second edition draws on and advances our current understandings of voice production. Divided into four parts—air flow, source, resonance/articulation, and heightened potentials—Edgerton considers crucial matters affecting vocal production, such as <br /> <br />    Registral challenges <br />    Filtering <br />    Airflow modification <br />    Combinatorial, multiphonic principles <br />    Extreme voice possibilities <br />    Multidimensional vocal issues <br /> <br /> <br />With more than 250 illustrations, 150 associated audio tracks, an extended appendix on voice science, a glossary of key terms, and lists of representative compositions, The 21st-Century Voice will appeal to composers and performers interested in exploring the ever-broadening range of vocal possibilities. Its engagement with the complexities of vocal production should also be relevant to students and scholars of voice science, acoustics, linguistics, computer modeling, and more. </div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/15483138" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fb522ce2ea2d262661f1da5a74c0d6cd" rel="nofollow" data-download="{"attachment_id":38693589,"asset_id":15483138,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38693589/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="118012" href="https://lu.academia.edu/MichaelEdgerton">Michael Edgerton</a><script data-card-contents-for-user="118012" type="text/json">{"id":118012,"first_name":"Michael","last_name":"Edgerton","domain_name":"lu","page_name":"MichaelEdgerton","display_name":"Michael Edgerton","profile_url":"https://lu.academia.edu/MichaelEdgerton?f_ri=3796","photo":"https://0.academia-photos.com/118012/31704/2295543/s65_michael.edgerton.jpg"}</script></span></span></li><li class="js-paper-rank-work_15483138 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15483138"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15483138, container: ".js-paper-rank-work_15483138", }); });</script></li><li class="js-percentile-work_15483138 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 15483138; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_15483138"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_15483138 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="15483138"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 15483138; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=15483138]").text(description); $(".js-view-count-work_15483138").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15483138").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="15483138"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="499" href="https://www.academia.edu/Documents/in/Acoustics">Acoustics</a>, <script data-card-contents-for-ri="499" type="text/json">{"id":499,"name":"Acoustics","url":"https://www.academia.edu/Documents/in/Acoustics?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="945" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a><script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15483138]'), work: {"id":15483138,"title":"The 21st-Century Voice Contemporary and Traditional Extra-Normal Voice, 2nd Edition. Rowman \u0026 Littlefield (2015)","created_at":"2015-09-07T08:33:40.539-07:00","url":"https://www.academia.edu/15483138/The_21st_Century_Voice_Contemporary_and_Traditional_Extra_Normal_Voice_2nd_Edition_Rowman_and_Littlefield_2015_?f_ri=3796","dom_id":"work_15483138","summary":"In The 21st-Century Voice: Contemporary and Traditional Extra-Normal Voice, Michael Edward Edgerton considers contemporary vocal techniques within an acoustic and anatomical framework. Throughout, he proposes new directions for vocal exploration. Much more than a historical treatise on 20th-century masterworks or vocal science, The 21st-Century Voice explores experimental methods of sound production, offering a systematic series of approaches and methods for assessing, engaging, and, in some instances, overcoming the assumed limits of vocal singing.\r\n\r\nAppearing a decade after the publication of the first edition, this second edition draws on and advances our current understandings of voice production. Divided into four parts—air flow, source, resonance/articulation, and heightened potentials—Edgerton considers crucial matters affecting vocal production, such as\r\n\r\n Registral challenges\r\n Filtering\r\n Airflow modification\r\n Combinatorial, multiphonic principles\r\n Extreme voice possibilities\r\n Multidimensional vocal issues\r\n\r\n\r\nWith more than 250 illustrations, 150 associated audio tracks, an extended appendix on voice science, a glossary of key terms, and lists of representative compositions, The 21st-Century Voice will appeal to composers and performers interested in exploring the ever-broadening range of vocal possibilities. Its engagement with the complexities of vocal production should also be relevant to students and scholars of voice science, acoustics, linguistics, computer modeling, and more. ","downloadable_attachments":[{"id":38693589,"asset_id":15483138,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":118012,"first_name":"Michael","last_name":"Edgerton","domain_name":"lu","page_name":"MichaelEdgerton","display_name":"Michael Edgerton","profile_url":"https://lu.academia.edu/MichaelEdgerton?f_ri=3796","photo":"https://0.academia-photos.com/118012/31704/2295543/s65_michael.edgerton.jpg"}],"research_interests":[{"id":499,"name":"Acoustics","url":"https://www.academia.edu/Documents/in/Acoustics?f_ri=3796","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":8967,"name":"Musical acoustics","url":"https://www.academia.edu/Documents/in/Musical_acoustics?f_ri=3796"},{"id":10145,"name":"Voice (Music)","url":"https://www.academia.edu/Documents/in/Voice_Music_?f_ri=3796"},{"id":20860,"name":"20th/21st Century Vocal music","url":"https://www.academia.edu/Documents/in/20th_21st_Century_Vocal_music?f_ri=3796"},{"id":21025,"name":"Acoustic Phonetics","url":"https://www.academia.edu/Documents/in/Acoustic_Phonetics?f_ri=3796"},{"id":25165,"name":"Vocal Pedagogy","url":"https://www.academia.edu/Documents/in/Vocal_Pedagogy?f_ri=3796"},{"id":31319,"name":"20th century Avant-Garde","url":"https://www.academia.edu/Documents/in/20th_century_Avant-Garde?f_ri=3796"},{"id":54495,"name":"Voice","url":"https://www.academia.edu/Documents/in/Voice?f_ri=3796"},{"id":70733,"name":"Vocal performance","url":"https://www.academia.edu/Documents/in/Vocal_performance?f_ri=3796"},{"id":147416,"name":"Acoustics and Vibration","url":"https://www.academia.edu/Documents/in/Acoustics_and_Vibration?f_ri=3796"},{"id":255389,"name":"20th and 21st-Century Music","url":"https://www.academia.edu/Documents/in/20th_and_21st-Century_Music?f_ri=3796"},{"id":486925,"name":"Singing, Vocal Techniques","url":"https://www.academia.edu/Documents/in/Singing_Vocal_Techniques?f_ri=3796"},{"id":570629,"name":"Voice Science","url":"https://www.academia.edu/Documents/in/Voice_Science?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5331242" data-work_id="5331242" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5331242/Vivat_for_Brass_Band">'Vivat!' for Brass Band</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Vivat! (2012) Brass Band Duration c. 12m 'Vivat!' was commissioned by Kapitol Promotions for the 2012 National Brass Band Championships of Great Britain, first section final, as a celebration of the Queen’s Diamond Jubilee, and later... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5331242" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Vivat! (2012) <br />Brass Band <br />Duration c. 12m <br /> <br />'Vivat!' was commissioned by Kapitol Promotions for the 2012 National Brass Band Championships of Great Britain, first section final, as a celebration of the Queen’s Diamond Jubilee, and later selected as the test piece for the World Music Contest second division in Kerkrade, Holland. <br /> <br />Though continuous the work is divided into three contrasting sections, each recalling a particular snapshot from the reign of HRH Elizabeth II. Musical material, and indeed the name of the piece, is derived from elements of Hubert Parry’s setting of 'I Was Glad'; an anthem set to the text of Psalm 122 which is traditionally sung at coronations and weddings within the British royal family. <br /> <br />A quasi epitaph, the opening section recalls the moment of HRH Elizabeth II’s succession to the throne, on the death of her father George VI. An unaccompanied solo scored for the plaintive tone of the baritone horn immediately establishes the Parry motif upon which the entire first section is musically based; his setting of the second verse of the psalm, ‘Our feet shall stand in thy gates’. This material is extended through lyrical solo, soli and duet lines spread throughout the band, voiced against flowing accompaniments in muted brass and tuned percussion. The nobility of royalty but gentle and demure character of George VI is kept stylistically in mind throughout this section. <br /> <br />A build in intensity and final, ‘the King is dead, long live the Queen’, statement from the solo horn lead to the second section of the work; a coronation fanfare and theme built on quasi antiphonal effects, peeling bells in tuned percussion and the first recognisable moment of Parry in a transposed quotation from the anthem’s arresting organ introduction, scored for full band. <br /> <br />The final section again steps up in terms of tempo and intensity. Following a colossal, ‘all the stops,’ organ chord an abrupt gear change to music based on irregular riff motifs depicts the street-party atmosphere that is sure to accompany the Jubilee celebrations. As the section progresses key motifs from earlier in the piece are recounted, until the most familiar phrase from Parry’s anthem, the setting of the first verse, ‘ I was glad when they said unto me : We will go into the house of the Lord.’ is finally voiced; initially as a jaunty dance figure and later as a sweeping melodic conclusion. <br />"</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5331242" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="80714a841a992a1b2918dd16cc6679fc" rel="nofollow" data-download="{"attachment_id":32489341,"asset_id":5331242,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32489341/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="379927" href="https://cardiff.academia.edu/TomDavoren">Tom Davoren</a><script data-card-contents-for-user="379927" type="text/json">{"id":379927,"first_name":"Tom","last_name":"Davoren","domain_name":"cardiff","page_name":"TomDavoren","display_name":"Tom Davoren","profile_url":"https://cardiff.academia.edu/TomDavoren?f_ri=3796","photo":"https://0.academia-photos.com/379927/97366/3160107/s65_tom.davoren.jpg"}</script></span></span></li><li class="js-paper-rank-work_5331242 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5331242"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5331242, container: ".js-paper-rank-work_5331242", }); });</script></li><li class="js-percentile-work_5331242 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 5331242; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_5331242"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5331242 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5331242"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5331242; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5331242]").text(description); $(".js-view-count-work_5331242").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5331242").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5331242"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a><script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5331242]'), work: {"id":5331242,"title":"'Vivat!' for Brass Band","created_at":"2013-12-05T07:56:18.073-08:00","url":"https://www.academia.edu/5331242/Vivat_for_Brass_Band?f_ri=3796","dom_id":"work_5331242","summary":"Vivat! (2012)\r\nBrass Band\r\nDuration c. 12m\r\n\r\n'Vivat!' was commissioned by Kapitol Promotions for the 2012 National Brass Band Championships of Great Britain, first section final, as a celebration of the Queen’s Diamond Jubilee, and later selected as the test piece for the World Music Contest second division in Kerkrade, Holland. \r\n\r\nThough continuous the work is divided into three contrasting sections, each recalling a particular snapshot from the reign of HRH Elizabeth II. Musical material, and indeed the name of the piece, is derived from elements of Hubert Parry’s setting of 'I Was Glad'; an anthem set to the text of Psalm 122 which is traditionally sung at coronations and weddings within the British royal family.\r\n\r\nA quasi epitaph, the opening section recalls the moment of HRH Elizabeth II’s succession to the throne, on the death of her father George VI. An unaccompanied solo scored for the plaintive tone of the baritone horn immediately establishes the Parry motif upon which the entire first section is musically based; his setting of the second verse of the psalm, ‘Our feet shall stand in thy gates’. This material is extended through lyrical solo, soli and duet lines spread throughout the band, voiced against flowing accompaniments in muted brass and tuned percussion. The nobility of royalty but gentle and demure character of George VI is kept stylistically in mind throughout this section.\r\n\r\nA build in intensity and final, ‘the King is dead, long live the Queen’, statement from the solo horn lead to the second section of the work; a coronation fanfare and theme built on quasi antiphonal effects, peeling bells in tuned percussion and the first recognisable moment of Parry in a transposed quotation from the anthem’s arresting organ introduction, scored for full band.\r\n\r\nThe final section again steps up in terms of tempo and intensity. Following a colossal, ‘all the stops,’ organ chord an abrupt gear change to music based on irregular riff motifs depicts the street-party atmosphere that is sure to accompany the Jubilee celebrations. As the section progresses key motifs from earlier in the piece are recounted, until the most familiar phrase from Parry’s anthem, the setting of the first verse, ‘ I was glad when they said unto me : We will go into the house of the Lord.’ is finally voiced; initially as a jaunty dance figure and later as a sweeping melodic conclusion.\r\n\"","downloadable_attachments":[{"id":32489341,"asset_id":5331242,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":379927,"first_name":"Tom","last_name":"Davoren","domain_name":"cardiff","page_name":"TomDavoren","display_name":"Tom Davoren","profile_url":"https://cardiff.academia.edu/TomDavoren?f_ri=3796","photo":"https://0.academia-photos.com/379927/97366/3160107/s65_tom.davoren.jpg"}],"research_interests":[{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_547567" data-work_id="547567" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/547567/An_Imagined_Drama_of_Competitive_Opposition_in_Carters_Scrivo_in_Vento_with_Notes_on_Narrative_Symmetry_Quantitative_Flux_and_Heraclitus">An Imagined Drama of Competitive Opposition in Carter's Scrivo in Vento, with Notes on Narrative, Symmetry, Quantitative Flux and Heraclitus</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_547567" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other. <br /> <br />The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/547567" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="051019e48b394004b6b681d24fef9b5d" rel="nofollow" data-download="{"attachment_id":3668232,"asset_id":547567,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/3668232/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="279897" href="https://columbia.academia.edu/JoshuaMailman">Joshua B Mailman</a><script data-card-contents-for-user="279897" type="text/json">{"id":279897,"first_name":"Joshua","last_name":"Mailman","domain_name":"columbia","page_name":"JoshuaMailman","display_name":"Joshua B Mailman","profile_url":"https://columbia.academia.edu/JoshuaMailman?f_ri=3796","photo":"https://0.academia-photos.com/279897/54429/50176/s65_joshua_b..mailman.jpg"}</script></span></span></li><li class="js-paper-rank-work_547567 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="547567"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 547567, container: ".js-paper-rank-work_547567", }); 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His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.\r\n\r\nThe analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting 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Music</a><script data-card-contents-for-ri="13313" type="text/json">{"id":13313,"name":"Twentieth-century Music","url":"https://www.academia.edu/Documents/in/Twentieth-century_Music?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6157886]'), work: {"id":6157886,"title":"Fantasia Breve for organ (Score \u0026 mp3)","created_at":"2014-02-21T01:28:27.959-08:00","url":"https://www.academia.edu/6157886/Fantasia_Breve_for_organ_Score_and_mp3_?f_ri=3796","dom_id":"work_6157886","summary":null,"downloadable_attachments":[{"id":119762118,"asset_id":6157886,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1342403,"first_name":"Miriam","last_name":"Carpinetti","domain_name":"unicamp","page_name":"MiriamCarpinetti","display_name":"Miriam 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_365232" data-work_id="365232" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/365232/Music_Space_and_Theatre_Site_specific_approaches_to_multichannel_spatialisation">Music, Space & Theatre: Site-specific approaches to multichannel spatialisation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Approaches to the multichannel spatialisation of electroacoustic music are described here with reference to musical case studies which focus upon the expressive functions of space and the theatricality of sound diffusion in an acousmatic... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_365232" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Approaches to the multichannel spatialisation of electroacoustic music are described here with reference to musical case studies which focus upon the expressive functions of space and the theatricality of sound diffusion in an acousmatic context. A site-specific approach to spatialisation is proposed to enhance theatrical aspects of musical performance. Case studies include proposals for novel layouts of the diffusion system within the performance space and compositional techniques that are designed to re-evaluate our understanding of individual listening spaces.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/365232" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ac771c81fd1fada385e69f9d2355fad7" rel="nofollow" data-download="{"attachment_id":31445970,"asset_id":365232,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31445970/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="215375" href="https://independent.academia.edu/KarenLauke">Dr Karen Lauke</a><script data-card-contents-for-user="215375" type="text/json">{"id":215375,"first_name":"Dr Karen","last_name":"Lauke","domain_name":"independent","page_name":"KarenLauke","display_name":"Dr Karen Lauke","profile_url":"https://independent.academia.edu/KarenLauke?f_ri=3796","photo":"https://0.academia-photos.com/215375/49225/45319/s65_dr_karen.lauke.jpg"}</script></span></span></li><li class="js-paper-rank-work_365232 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="365232"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 365232, container: ".js-paper-rank-work_365232", }); 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4406135/A_Cognitive_Approach_to_Electronic_Music_Theoretical_and_Experiment_based_Perspectives">A Cognitive Approach to Electronic Music: Theoretical and Experiment-based Perspectives</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4406135" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="18c753e4ff639abfb949ce02430bda59" rel="nofollow" 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(Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4212" href="https://www.academia.edu/Documents/in/Cognition">Cognition</a>, <script data-card-contents-for-ri="4212" type="text/json">{"id":4212,"name":"Cognition","url":"https://www.academia.edu/Documents/in/Cognition?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12672" href="https://www.academia.edu/Documents/in/Electronic_Music">Electronic Music</a><script data-card-contents-for-ri="12672" type="text/json">{"id":12672,"name":"Electronic Music","url":"https://www.academia.edu/Documents/in/Electronic_Music?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4406135]'), work: {"id":4406135,"title":"A Cognitive Approach to Electronic Music: Theoretical and Experiment-based 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(Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":4212,"name":"Cognition","url":"https://www.academia.edu/Documents/in/Cognition?f_ri=3796","nofollow":false},{"id":12672,"name":"Electronic Music","url":"https://www.academia.edu/Documents/in/Electronic_Music?f_ri=3796","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12074854" data-work_id="12074854" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12074854/An_Absolutely_Ordinary_Rainbow_for_SATB">An Absolutely Ordinary Rainbow for SATB</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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class="js-view-count view-count u-mr2x" data-work-id="12074854"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12074854; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12074854]").text(description); $(".js-view-count-work_12074854").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12074854").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12074854"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="112699" href="https://www.academia.edu/Documents/in/Choir">Choir</a>, <script data-card-contents-for-ri="112699" type="text/json">{"id":112699,"name":"Choir","url":"https://www.academia.edu/Documents/in/Choir?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="140474" href="https://www.academia.edu/Documents/in/Contemporary_Classical_Music">Contemporary Classical Music</a>, <script data-card-contents-for-ri="140474" type="text/json">{"id":140474,"name":"Contemporary Classical Music","url":"https://www.academia.edu/Documents/in/Contemporary_Classical_Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="329110" href="https://www.academia.edu/Documents/in/Contemporary_Australian_Poetry">Contemporary Australian Poetry</a><script data-card-contents-for-ri="329110" type="text/json">{"id":329110,"name":"Contemporary Australian Poetry","url":"https://www.academia.edu/Documents/in/Contemporary_Australian_Poetry?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12074854]'), work: {"id":12074854,"title":"An Absolutely Ordinary Rainbow for 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href="https://www.academia.edu/10988446/Benny_Blanco_Presentation_on_His_Songwriting_and_Production_Techniques">Benny Blanco Presentation on His Songwriting and Production Techniques</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">With more than a dozen number one singles, multiple Grammy wins and nominations, and Songwriter of the Year Award from BMI, the 26-year-old producer and songwriter Benny Blanco has ensured his place in the history of popular music. Some... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10988446" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">With more than a dozen number one singles, multiple Grammy wins and nominations, and Songwriter of the Year Award from BMI, the 26-year-old producer and songwriter Benny Blanco has ensured his place in the history of popular music. Some of his hits include Katy Perry’s “Teenage Dream,” and “California Gurls”, Maroon 5’s "Moves Like Jagger,” and “Payphone," Britney Spears’ “Circus,” Taio Cruz’s "Dynamite," Ke$ha’s “TiK ToK,” and Gym Class Heroes’ "Stereo Hearts." Blanco’s remarkable success at such a young age is matched only by his humility and the maturity of his understanding of the post millennial songwriting and production process in the contemporary popular music milieu in which he occupies a central position. <br /> <br />The following is an edited transcription of a presentation given by Blanco in which he delved into his songwriting and production techniques using examples from stems of his hit recordings and by answering audience questions. The presentation was given at the Sheffield Institute for the Recording Arts, Phoenix, MD., USA, November 10, 2012. It was arranged and (very lightly) moderated by Richard James Burgess for the Washington DC chapter of the Recording Academy’s Producer and Engineer Wing for which he was, contemporaneously, its co-chair.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10988446" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9e87360097237d2de19d9f8b4511a847" rel="nofollow" data-download="{"attachment_id":36727704,"asset_id":10988446,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36727704/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="684359" href="https://si.academia.edu/RichardBurgess">Richard James Burgess</a><script data-card-contents-for-user="684359" type="text/json">{"id":684359,"first_name":"Richard James","last_name":"Burgess","domain_name":"si","page_name":"RichardBurgess","display_name":"Richard James Burgess","profile_url":"https://si.academia.edu/RichardBurgess?f_ri=3796","photo":"https://0.academia-photos.com/684359/917581/17585676/s65_richard_james.burgess.jpg"}</script></span></span></li><li class="js-paper-rank-work_10988446 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10988446"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10988446, container: ".js-paper-rank-work_10988446", }); 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$(".js-view-count[data-work-id=10988446]").text(description); $(".js-view-count-work_10988446").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10988446").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10988446"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">38</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1018" href="https://www.academia.edu/Documents/in/Music_Technology">Music Technology</a><script data-card-contents-for-ri="1018" type="text/json">{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10988446]'), work: {"id":10988446,"title":"Benny Blanco Presentation on His Songwriting and Production Techniques","created_at":"2015-02-22T07:42:36.810-08:00","url":"https://www.academia.edu/10988446/Benny_Blanco_Presentation_on_His_Songwriting_and_Production_Techniques?f_ri=3796","dom_id":"work_10988446","summary":"With more than a dozen number one singles, multiple Grammy wins and nominations, and Songwriter of the Year Award from BMI, the 26-year-old producer and songwriter Benny Blanco has ensured his place in the history of popular music. Some of his hits include Katy Perry’s “Teenage Dream,” and “California Gurls”, Maroon 5’s \"Moves Like Jagger,” and “Payphone,\" Britney Spears’ “Circus,” Taio Cruz’s \"Dynamite,\" Ke$ha’s “TiK ToK,” and Gym Class Heroes’ \"Stereo Hearts.\" Blanco’s remarkable success at such a young age is matched only by his humility and the maturity of his understanding of the post millennial songwriting and production process in the contemporary popular music milieu in which he occupies a central position. \r\n\r\nThe following is an edited transcription of a presentation given by Blanco in which he delved into his songwriting and production techniques using examples from stems of his hit recordings and by answering audience questions. The presentation was given at the Sheffield Institute for the Recording Arts, Phoenix, MD., USA, November 10, 2012. It was arranged and (very lightly) moderated by Richard James Burgess for the Washington DC chapter of the Recording Academy’s Producer and Engineer Wing for which he was, contemporaneously, its co-chair. \r\n","downloadable_attachments":[{"id":36727704,"asset_id":10988446,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":684359,"first_name":"Richard James","last_name":"Burgess","domain_name":"si","page_name":"RichardBurgess","display_name":"Richard James Burgess","profile_url":"https://si.academia.edu/RichardBurgess?f_ri=3796","photo":"https://0.academia-photos.com/684359/917581/17585676/s65_richard_james.burgess.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":685,"name":"Music 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Music","url":"https://www.academia.edu/Documents/in/History_of_Music_Ethnomusicology_Popular_Music?f_ri=3796"},{"id":503081,"name":"Songwriting study","url":"https://www.academia.edu/Documents/in/Songwriting_study?f_ri=3796"},{"id":640247,"name":"Record Producer","url":"https://www.academia.edu/Documents/in/Record_Producer?f_ri=3796"},{"id":684511,"name":"Sociology of Electronic Dance Music","url":"https://www.academia.edu/Documents/in/Sociology_of_Electronic_Dance_Music?f_ri=3796"},{"id":910746,"name":"Music Composition and Songwriting","url":"https://www.academia.edu/Documents/in/Music_Composition_and_Songwriting?f_ri=3796"},{"id":1033975,"name":"Sociology of Recorded Music","url":"https://www.academia.edu/Documents/in/Sociology_of_Recorded_Music?f_ri=3796"},{"id":1132550,"name":"Recording Production","url":"https://www.academia.edu/Documents/in/Recording_Production?f_ri=3796"},{"id":1186674,"name":"Digital Music Business Models","url":"https://www.academia.edu/Documents/in/Digital_Music_Business_Models?f_ri=3796"},{"id":1256010,"name":"Electronic Music Production","url":"https://www.academia.edu/Documents/in/Electronic_Music_Production?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38665679" data-work_id="38665679" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38665679/P%C4%B0YANO_M%C3%9CZ%C4%B0%C4%9E%C4%B0N%C4%B0N_YAYLI_%C3%87ALGILAR_ORKESTRASINA_TRANSKR%C4%B0PS%C4%B0YONUNDA_KAR%C5%9EILA%C5%9EILAN_G%C3%9C%C3%87L%C3%9CKLER_VE_BUNLARA_Y%C3%96NEL%C4%B0K_%C3%87%C3%96Z%C3%9CM_%C3%96NER%C4%B0LER%C4%B0">PİYANO MÜZİĞİNİN YAYLI ÇALGILAR ORKESTRASINA TRANSKRİPSİYONUNDA KARŞILAŞILAN GÜÇLÜKLER VE BUNLARA YÖNELİK ÇÖZÜM ÖNERİLERİ</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Tarihsel süreç içerisinde transkripsiyon, birçok bestecinin çeşitli uygulamalarıyla tanınmış bir tekniktir. Piyanoya özgü özelliklerden dolayı, piyano müziğinin orkestra için transkripsiyonunda karşılaşabilecek bazı güçlükler olduğu... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38665679" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tarihsel süreç içerisinde transkripsiyon, birçok bestecinin çeşitli uygulamalarıyla tanınmış bir tekniktir. Piyanoya özgü özelliklerden dolayı, piyano müziğinin orkestra için transkripsiyonunda karşılaşabilecek bazı güçlükler olduğu bilinmektedir. Piyano notasının doğrudan doğruya orkestra partilerine aktarımı teknik açıdan olumsuz ya da başarısız sonuçlar getirebilir. Bu çeşit problemleri çözmek için birçok teorisyen ve bestecinin deneyim ve bilgilerinden yararlanıp ardından bazı çalışmalar yapılmalıdır. Böylece daha sonraki transkripsiyonların ve beraberinde orkestrasyonların daha başarılı olması sağlanacaktır.Bu çalışmada öncelikle senfonik orkestranın belkemiğini oluşturan yaylı çalgıların teknik özellikleri ve transkripsiyon kurallarının incelenmesi yapılacaktır. Ardından tipik bir öğrenci orkestrasının çalabileceği düzeyde bir piyano parçasının teması, yaylı çalgılar için transkripsiyon yapılarak bu kural ve kalıpların uygulanması gösterilecektir.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38665679" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="418af453236dfa2707f6474adab2a83a" rel="nofollow" data-download="{"attachment_id":58745604,"asset_id":38665679,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58745604/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26789245" href="https://comu.academia.edu/Bahad%C4%B1r%C3%87okamay">Bahadır Çokamay</a><script data-card-contents-for-user="26789245" type="text/json">{"id":26789245,"first_name":"Bahadır","last_name":"Çokamay","domain_name":"comu","page_name":"BahadırÇokamay","display_name":"Bahadır Çokamay","profile_url":"https://comu.academia.edu/Bahad%C4%B1r%C3%87okamay?f_ri=3796","photo":"https://0.academia-photos.com/26789245/7480663/34363708/s65_bahad_r._okamay.jpeg"}</script></span></span></li><li class="js-paper-rank-work_38665679 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38665679"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38665679, container: ".js-paper-rank-work_38665679", }); 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$(".js-view-count[data-work-id=38665679]").text(description); $(".js-view-count-work_38665679").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38665679").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38665679"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="679" href="https://www.academia.edu/Documents/in/Orchestral_Conducting">Orchestral Conducting</a>, <script data-card-contents-for-ri="679" type="text/json">{"id":679,"name":"Orchestral Conducting","url":"https://www.academia.edu/Documents/in/Orchestral_Conducting?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10604" href="https://www.academia.edu/Documents/in/History_of_Music_Theory">History of Music Theory</a><script data-card-contents-for-ri="10604" type="text/json">{"id":10604,"name":"History of Music Theory","url":"https://www.academia.edu/Documents/in/History_of_Music_Theory?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38665679]'), work: {"id":38665679,"title":"PİYANO MÜZİĞİNİN YAYLI ÇALGILAR ORKESTRASINA TRANSKRİPSİYONUNDA KARŞILAŞILAN GÜÇLÜKLER VE BUNLARA YÖNELİK ÇÖZÜM ÖNERİLERİ","created_at":"2019-03-29T21:07:01.004-07:00","url":"https://www.academia.edu/38665679/P%C4%B0YANO_M%C3%9CZ%C4%B0%C4%9E%C4%B0N%C4%B0N_YAYLI_%C3%87ALGILAR_ORKESTRASINA_TRANSKR%C4%B0PS%C4%B0YONUNDA_KAR%C5%9EILA%C5%9EILAN_G%C3%9C%C3%87L%C3%9CKLER_VE_BUNLARA_Y%C3%96NEL%C4%B0K_%C3%87%C3%96Z%C3%9CM_%C3%96NER%C4%B0LER%C4%B0?f_ri=3796","dom_id":"work_38665679","summary":"Tarihsel süreç içerisinde transkripsiyon, birçok bestecinin çeşitli uygulamalarıyla tanınmış bir tekniktir. Piyanoya özgü özelliklerden dolayı, piyano müziğinin orkestra için transkripsiyonunda karşılaşabilecek bazı güçlükler olduğu bilinmektedir. Piyano notasının doğrudan doğruya orkestra partilerine aktarımı teknik açıdan olumsuz ya da başarısız sonuçlar getirebilir. Bu çeşit problemleri çözmek için birçok teorisyen ve bestecinin deneyim ve bilgilerinden yararlanıp ardından bazı çalışmalar yapılmalıdır. Böylece daha sonraki transkripsiyonların ve beraberinde orkestrasyonların daha başarılı olması sağlanacaktır.Bu çalışmada öncelikle senfonik orkestranın belkemiğini oluşturan yaylı çalgıların teknik özellikleri ve transkripsiyon kurallarının incelenmesi yapılacaktır. Ardından tipik bir öğrenci orkestrasının çalabileceği düzeyde bir piyano parçasının teması, yaylı çalgılar için transkripsiyon yapılarak bu kural ve kalıpların uygulanması gösterilecektir.","downloadable_attachments":[{"id":58745604,"asset_id":38665679,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26789245,"first_name":"Bahadır","last_name":"Çokamay","domain_name":"comu","page_name":"BahadırÇokamay","display_name":"Bahadır Çokamay","profile_url":"https://comu.academia.edu/Bahad%C4%B1r%C3%87okamay?f_ri=3796","photo":"https://0.academia-photos.com/26789245/7480663/34363708/s65_bahad_r._okamay.jpeg"}],"research_interests":[{"id":679,"name":"Orchestral Conducting","url":"https://www.academia.edu/Documents/in/Orchestral_Conducting?f_ri=3796","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":10604,"name":"History of Music Theory","url":"https://www.academia.edu/Documents/in/History_of_Music_Theory?f_ri=3796","nofollow":false},{"id":32320,"name":"Transcriptions and orchestrations","url":"https://www.academia.edu/Documents/in/Transcriptions_and_orchestrations?f_ri=3796"},{"id":144423,"name":"Orchestration","url":"https://www.academia.edu/Documents/in/Orchestration?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44520283" data-work_id="44520283" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44520283/_Oficio_de_difuntos_y_Misa_de_r%C3%A9quiem_1912_de_Arnulfo_Miramontes_la_personalizaci%C3%B3n_de_un_g%C3%A9nero_religioso_en_el_contexto_revolucionario_mexicano_de_principios_del_siglo_XX">"Oficio de difuntos y Misa de réquiem" (1912) de Arnulfo Miramontes: la personalización de un género religioso en el contexto revolucionario mexicano de principios del siglo XX</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">E l estudio de Oficio de difuntos y Misa de réquiem (1912) de Arnulfo Miramontes muestra la pervivencia del género de difuntos en un contexto social caracterizado por la inestabilidad de los movimientos revolucionarios mexicanos de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44520283" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">E l estudio de Oficio de difuntos y Misa de réquiem (1912) de Arnulfo Miramontes muestra la pervivencia del género de difuntos en un contexto social caracterizado por la inestabilidad de los movimientos revolucionarios mexicanos de principios del siglo XX y por el carácter refor-mista de la composición religiosa. Planteado sobre una finalidad ritual, este modelo religioso participa de la tradición funeraria de precedentes como los réquiems de Cenobio Paniagua y Vásquez (1882) o Julián Carrillo Trujillo (1900) y concreta una búsqueda identitaria destinada a favorecer el desarrollo de un género planteado como nacional. A partir de estas premisas contextuales, este trabajo pretende determinar las particularidades que Miramontes aplica en la realización de su réquiem. Para ello, la metodología combina la investigación documental con el análisis musical y trata de dirigir el estudio de la obra hacia una finalidad patrimonial centrada en la necesidad de recuperar el legado del compo-sitor como modelo representativo de uno de los músicos más influyentes de la sociedad mexicana de principios del siglo XX. Miramontes fue un creador versátil y prolífico que compatibilizó su actividad compositiva con la interpretación como organista y pianista, la dirección de orquesta, la crítica musical y la pedagogía. Su patrimonio musical es amplio y diversificado, pero adolece de una pasividad cientí-fica que genera una peligrosa actitud de "abandono" histórico justificado por el "conservadurismo" de su lenguaje y la rápida evolución de las vanguardias musicales de la segunda mitad del siglo XX. El 27 de febrero de 2015, el reestreno de su Oficio de difuntos y Misa de réquiem en el Palacio de Bellas Artes de México, con Rodrigo Elorduy como director y el Coro de Madrigalistas, permitió recuperar la realidad creativa de esta obra funeraria después de más de medio siglo de "olvido". La amplia aceptación y las críticas favorables de su interpretación motivaron la realización de este trabajo y plantearon la necesidad de ofrecer su modelo funeral como elemento representativo de una estética que forma parte de la historia musical de México. La concreción de sus peculiaridades y el estudio de la pervivencia del género materializa el apartado conclusivo final y trata de revitalizar el interés científico por el estudio de la producción del compositor, un conjunto de más de 150 obras que permanecen casi en su totalidad inéditas en el archivo de su heredero Héctor Ruiz-Esparza Miramontes  .</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44520283" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6bbb988ee4a3dd69e9566613b5616d16" rel="nofollow" data-download="{"attachment_id":64963313,"asset_id":44520283,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64963313/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12377472" href="https://consev.academia.edu/SRamosContioso">Sara Ramos Contioso</a><script data-card-contents-for-user="12377472" type="text/json">{"id":12377472,"first_name":"Sara","last_name":"Ramos Contioso","domain_name":"consev","page_name":"SRamosContioso","display_name":"Sara Ramos Contioso","profile_url":"https://consev.academia.edu/SRamosContioso?f_ri=3796","photo":"https://0.academia-photos.com/12377472/10141441/143261861/s65_sara.ramos_contioso.jpeg"}</script></span></span></li><li class="js-paper-rank-work_44520283 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44520283"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44520283, container: ".js-paper-rank-work_44520283", }); 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$(".js-view-count[data-work-id=44520283]").text(description); $(".js-view-count-work_44520283").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44520283").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44520283"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16958" href="https://www.academia.edu/Documents/in/Latin_American_Music">Latin American Music</a><script data-card-contents-for-ri="16958" type="text/json">{"id":16958,"name":"Latin American Music","url":"https://www.academia.edu/Documents/in/Latin_American_Music?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44520283]'), work: {"id":44520283,"title":"\"Oficio de difuntos y Misa de réquiem\" (1912) de Arnulfo Miramontes: la personalización de un género religioso en el contexto revolucionario mexicano de principios del siglo XX","created_at":"2020-11-17T10:55:23.528-08:00","url":"https://www.academia.edu/44520283/_Oficio_de_difuntos_y_Misa_de_r%C3%A9quiem_1912_de_Arnulfo_Miramontes_la_personalizaci%C3%B3n_de_un_g%C3%A9nero_religioso_en_el_contexto_revolucionario_mexicano_de_principios_del_siglo_XX?f_ri=3796","dom_id":"work_44520283","summary":"E l estudio de Oficio de difuntos y Misa de réquiem (1912) de Arnulfo Miramontes muestra la pervivencia del género de difuntos en un contexto social caracterizado por la inestabilidad de los movimientos revolucionarios mexicanos de principios del siglo XX y por el carácter refor-mista de la composición religiosa. Planteado sobre una finalidad ritual, este modelo religioso participa de la tradición funeraria de precedentes como los réquiems de Cenobio Paniagua y Vásquez (1882) o Julián Carrillo Trujillo (1900) y concreta una búsqueda identitaria destinada a favorecer el desarrollo de un género planteado como nacional. A partir de estas premisas contextuales, este trabajo pretende determinar las particularidades que Miramontes aplica en la realización de su réquiem. Para ello, la metodología combina la investigación documental con el análisis musical y trata de dirigir el estudio de la obra hacia una finalidad patrimonial centrada en la necesidad de recuperar el legado del compo-sitor como modelo representativo de uno de los músicos más influyentes de la sociedad mexicana de principios del siglo XX. Miramontes fue un creador versátil y prolífico que compatibilizó su actividad compositiva con la interpretación como organista y pianista, la dirección de orquesta, la crítica musical y la pedagogía. Su patrimonio musical es amplio y diversificado, pero adolece de una pasividad cientí-fica que genera una peligrosa actitud de \"abandono\" histórico justificado por el \"conservadurismo\" de su lenguaje y la rápida evolución de las vanguardias musicales de la segunda mitad del siglo XX. El 27 de febrero de 2015, el reestreno de su Oficio de difuntos y Misa de réquiem en el Palacio de Bellas Artes de México, con Rodrigo Elorduy como director y el Coro de Madrigalistas, permitió recuperar la realidad creativa de esta obra funeraria después de más de medio siglo de \"olvido\". La amplia aceptación y las críticas favorables de su interpretación motivaron la realización de este trabajo y plantearon la necesidad de ofrecer su modelo funeral como elemento representativo de una estética que forma parte de la historia musical de México. La concreción de sus peculiaridades y el estudio de la pervivencia del género materializa el apartado conclusivo final y trata de revitalizar el interés científico por el estudio de la producción del compositor, un conjunto de más de 150 obras que permanecen casi en su totalidad inéditas en el archivo de su heredero Héctor Ruiz-Esparza Miramontes .","downloadable_attachments":[{"id":64963313,"asset_id":44520283,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12377472,"first_name":"Sara","last_name":"Ramos Contioso","domain_name":"consev","page_name":"SRamosContioso","display_name":"Sara Ramos Contioso","profile_url":"https://consev.academia.edu/SRamosContioso?f_ri=3796","photo":"https://0.academia-photos.com/12377472/10141441/143261861/s65_sara.ramos_contioso.jpeg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":16958,"name":"Latin American Music","url":"https://www.academia.edu/Documents/in/Latin_American_Music?f_ri=3796","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40230389 coauthored" data-work_id="40230389" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40230389/ELECTRONIC_MUSIC_AND_SOUND_DESIGN_Max_8_volume_1_demo_copy">ELECTRONIC MUSIC AND SOUND DESIGN Max 8 -volume 1-demo copy</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Fourth Edition updated for MAX 8 – More than 500 pages, interactive examples, hundreds of patches, online support, theory and Max/MSP glossary, test, reverse engineering exercises, analyses, completion and correction of patches, etc.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40230389" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Fourth Edition updated for MAX 8 – More than 500 pages, interactive examples, hundreds of patches, online support, theory and Max/MSP glossary, test, reverse engineering exercises, analyses, completion and correction of patches, etc.<br /><br />Chapter I – Introduction to Sound Synthesis and Signal Processing<br />Chapter II – Additive Synthesis<br />Chapter III – Subtractive Synthesis<br />Chapter IV – Controls and LFO<br /><br />Structured for use in university courses, the book is an overview of the theory and practice of Max/MSP, with a glossary of terms and suggested tests that allow students to evaluate their progress. Comprehensive online support, running parallel to the explanations in the book, includes hundreds of sample patches, analyses, interactive sound-building exercises, and reverse engineering exercises. This book will provide a reader with skill and understanding in using Max/MSP for sound design and musical composition.<br /><br />Vol. 2 and Vol. 3 will include digital audio and sampled sounds, delay lines (echo, loops, flangers, chorus effects, phasers, pitch shifting, reverse, comb filters, allpass filters, Karplus-Strong algorithm), MIDI and realtime control, dynamics processors (compressors, expanders, gates, limiters), reverb and spatialization, Max for Live, non-linear synthesis (AM, RM, FM, PM, PD and non-linear distortion), granular synthesis and other topics.<br /><br />ISBN-10: 8899212104<br />ISBN-13: 978-8899212100<br />Paperback: 592 pages + online<br />Language: English<br />also available for iBooks at the Apple Store</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40230389" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="28d5e58edada1fd5d6ed94ba60e8f93b" rel="nofollow" data-download="{"attachment_id":60460764,"asset_id":40230389,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60460764/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="257153" href="https://conservatorio-frosinone.academia.edu/AlessandroCipriani">Alessandro Cipriani</a><script data-card-contents-for-user="257153" type="text/json">{"id":257153,"first_name":"Alessandro","last_name":"Cipriani","domain_name":"conservatorio-frosinone","page_name":"AlessandroCipriani","display_name":"Alessandro Cipriani","profile_url":"https://conservatorio-frosinone.academia.edu/AlessandroCipriani?f_ri=3796","photo":"https://0.academia-photos.com/257153/74267425/62761285/s65_alessandro.cipriani.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-40230389">+1</span><div class="hidden js-additional-users-40230389"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://conslatina.academia.edu/MaurizioGiri">Maurizio Giri</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-40230389'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-40230389').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_40230389 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40230389"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40230389, container: ".js-paper-rank-work_40230389", }); });</script></li><li class="js-percentile-work_40230389 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40230389; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40230389"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40230389 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40230389"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40230389; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40230389]").text(description); $(".js-view-count-work_40230389").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40230389").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40230389"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1169" href="https://www.academia.edu/Documents/in/Sound_and_Image">Sound and Image</a>, <script data-card-contents-for-ri="1169" type="text/json">{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2045" href="https://www.academia.edu/Documents/in/Computer_Music">Computer Music</a>, <script data-card-contents-for-ri="2045" type="text/json">{"id":2045,"name":"Computer Music","url":"https://www.academia.edu/Documents/in/Computer_Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2080" href="https://www.academia.edu/Documents/in/Installation_Art">Installation Art</a>, <script data-card-contents-for-ri="2080" type="text/json">{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a><script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40230389]'), work: {"id":40230389,"title":"ELECTRONIC MUSIC AND SOUND DESIGN Max 8 -volume 1-demo copy","created_at":"2019-09-02T01:11:43.604-07:00","url":"https://www.academia.edu/40230389/ELECTRONIC_MUSIC_AND_SOUND_DESIGN_Max_8_volume_1_demo_copy?f_ri=3796","dom_id":"work_40230389","summary":"Fourth Edition updated for MAX 8 – More than 500 pages, interactive examples, hundreds of patches, online support, theory and Max/MSP glossary, test, reverse engineering exercises, analyses, completion and correction of patches, etc.\n\nChapter I – Introduction to Sound Synthesis and Signal Processing\nChapter II – Additive Synthesis\nChapter III – Subtractive Synthesis\nChapter IV – Controls and LFO\n\nStructured for use in university courses, the book is an overview of the theory and practice of Max/MSP, with a glossary of terms and suggested tests that allow students to evaluate their progress. Comprehensive online support, running parallel to the explanations in the book, includes hundreds of sample patches, analyses, interactive sound-building exercises, and reverse engineering exercises. This book will provide a reader with skill and understanding in using Max/MSP for sound design and musical composition.\n\nVol. 2 and Vol. 3 will include digital audio and sampled sounds, delay lines (echo, loops, flangers, chorus effects, phasers, pitch shifting, reverse, comb filters, allpass filters, Karplus-Strong algorithm), MIDI and realtime control, dynamics processors (compressors, expanders, gates, limiters), reverb and spatialization, Max for Live, non-linear synthesis (AM, RM, FM, PM, PD and non-linear distortion), granular synthesis and other topics.\n\nISBN-10: 8899212104\nISBN-13: 978-8899212100\nPaperback: 592 pages + online\nLanguage: English\nalso available for iBooks at the Apple Store","downloadable_attachments":[{"id":60460764,"asset_id":40230389,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":257153,"first_name":"Alessandro","last_name":"Cipriani","domain_name":"conservatorio-frosinone","page_name":"AlessandroCipriani","display_name":"Alessandro Cipriani","profile_url":"https://conservatorio-frosinone.academia.edu/AlessandroCipriani?f_ri=3796","photo":"https://0.academia-photos.com/257153/74267425/62761285/s65_alessandro.cipriani.jpg"},{"id":60703847,"first_name":"Maurizio","last_name":"Giri","domain_name":"conslatina","page_name":"MaurizioGiri","display_name":"Maurizio Giri","profile_url":"https://conslatina.academia.edu/MaurizioGiri?f_ri=3796","photo":"https://0.academia-photos.com/60703847/48414901/36766517/s65_maurizio.giri.jpg"}],"research_interests":[{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=3796","nofollow":false},{"id":2045,"name":"Computer Music","url":"https://www.academia.edu/Documents/in/Computer_Music?f_ri=3796","nofollow":false},{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=3796","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796"},{"id":4930,"name":"Sound and Music Computing","url":"https://www.academia.edu/Documents/in/Sound_and_Music_Computing?f_ri=3796"},{"id":7212,"name":"Sound studies","url":"https://www.academia.edu/Documents/in/Sound_studies?f_ri=3796"},{"id":8088,"name":"Sound","url":"https://www.academia.edu/Documents/in/Sound?f_ri=3796"},{"id":10320,"name":"Electroacoustic Music","url":"https://www.academia.edu/Documents/in/Electroacoustic_Music?f_ri=3796"},{"id":12672,"name":"Electronic Music","url":"https://www.academia.edu/Documents/in/Electronic_Music?f_ri=3796"},{"id":13265,"name":"History Of Electroacoustic Music","url":"https://www.academia.edu/Documents/in/History_Of_Electroacoustic_Music?f_ri=3796"},{"id":16987,"name":"Sound Design","url":"https://www.academia.edu/Documents/in/Sound_Design?f_ri=3796"},{"id":31793,"name":"Sound Art","url":"https://www.academia.edu/Documents/in/Sound_Art?f_ri=3796"},{"id":143582,"name":"Live Electronics","url":"https://www.academia.edu/Documents/in/Live_Electronics?f_ri=3796"},{"id":1256010,"name":"Electronic Music Production","url":"https://www.academia.edu/Documents/in/Electronic_Music_Production?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32565334" data-work_id="32565334" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32565334/La_recepci%C3%B3n_de_la_Teor%C3%ADa_de_la_Informaci%C3%B3n_en_Stockhausen">La recepción de la Teoría de la Información en Stockhausen.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La música es un proceso temporal. Tiempo y cambio conforman una unidad indisoluble. A priori es impensable una experiencia del tiempo que no implique cambio; y viceversa: el cambio sólo es posible en el tiempo. 1 Al escuchar una obra... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32565334" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La música es un proceso temporal. Tiempo y cambio conforman una unidad indisoluble. A priori es impensable una experiencia del tiempo que no implique cambio; y viceversa: el cambio sólo es posible en el tiempo. 1 Al escuchar una obra musical los distintos momentos 2 que la componen se suceden en el tiempo. El sonido irrumpe, se hace presencia viva y se borra; en definitiva, cambia. Aún sería necesario precisar más y afirmar que el sonido se modifica interiormente. Las variaciones y microvariaciones en el sonido (la curva dinámica y las sutiles gradaciones en el timbre) constituyen lo que Winckel denomina su " atmósfera ". 3 La génesis de un sonido complejo, su " devenir " posee significación estética; el producto final del sonido ya generado es de menor interés. Al escuchar los sonidos de campanas encontramos mucho más que simples relaciones correspondientes a los sonidos percutidos de un acorde. En primer lugar está el ataque de cada sonido individual; a continuación, se da el efecto de interferencia de los sonidos actuando unos sobre otros y produciendo nuevas cualidades sonoras; finalmente, el sonido decae, produciéndose una disolución de la brillantez tímbrica en los componentes más simples. Este proceso tiene lugar en la generación de todo sonido musical. Ello nos lleva a observar que, al emitir una nota musical, se generan componentes sonoros adicionales no intencionados, los cuales pueden ser incluso inarmónicos respecto a los componentes sonoros originales. Investigaciones más detalladas nos muestran que la pureza absoluta de afinación se logra muy raramente en la práctica musical, y que incluso no es deseable necesariamente a fin de lograr una experiencia satisfactoria. Es la leve desviación de la " armonía eternamente pura " , la que constituye el condimento del plato, y no debe darse de lado. Por lo tanto, no es el valor rígido de un sonido estático, sino su vida profusamente moviente lo que genera una atmósfera y despierta en nosotros asociaciones con experiencias previas, que pueden hacer surgir sentimientos religiosos (campana y gong) y estimular la imaginación y el espíritu. Especialmente en esto último consiste la misión del compositor. 4 La modificación gradual, el cambio interior a nivel micro 5 , que caracteriza al objeto sonoro es, pues, de suma importancia en nuestra percepción musical al contribuir decisivamente a determinar su aura peculiar. Pasemos ahora a analizar la temporalidad en el nivel de las estructuras intermedias y de las macroestructuras. 6 En la percepción musical los momentos sonoros se suceden unas veces más lenta y otras más rápidamente. ¿De qué depende esta velocidad con que experimentamos los cambios?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32565334" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="aa8ea4d441d89d6d28a7848630b5fb47" rel="nofollow" data-download="{"attachment_id":52744334,"asset_id":32565334,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52744334/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9355349" href="https://independent.academia.edu/F%C2%BAJavierGonz%C3%A1lezVelandiaG%C3%B3mez">Fº. Javier González-Velandia Gómez</a><script data-card-contents-for-user="9355349" type="text/json">{"id":9355349,"first_name":"Fº. Javier","last_name":"González-Velandia Gómez","domain_name":"independent","page_name":"FºJavierGonzálezVelandiaGómez","display_name":"Fº. Javier González-Velandia Gómez","profile_url":"https://independent.academia.edu/F%C2%BAJavierGonz%C3%A1lezVelandiaG%C3%B3mez?f_ri=3796","photo":"https://0.academia-photos.com/9355349/3881146/4539126/s65_f_._javier.gonz_lez-velandia_g_mez.jpg"}</script></span></span></li><li class="js-paper-rank-work_32565334 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32565334"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32565334, container: ".js-paper-rank-work_32565334", }); });</script></li><li class="js-percentile-work_32565334 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32565334; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_32565334"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_32565334 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="32565334"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32565334; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32565334]").text(description); $(".js-view-count-work_32565334").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32565334").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32565334"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a><script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32565334]'), work: {"id":32565334,"title":"La recepción de la Teoría de la Información en Stockhausen.","created_at":"2017-04-21T08:43:45.852-07:00","url":"https://www.academia.edu/32565334/La_recepci%C3%B3n_de_la_Teor%C3%ADa_de_la_Informaci%C3%B3n_en_Stockhausen?f_ri=3796","dom_id":"work_32565334","summary":"La música es un proceso temporal. Tiempo y cambio conforman una unidad indisoluble. A priori es impensable una experiencia del tiempo que no implique cambio; y viceversa: el cambio sólo es posible en el tiempo. 1 Al escuchar una obra musical los distintos momentos 2 que la componen se suceden en el tiempo. El sonido irrumpe, se hace presencia viva y se borra; en definitiva, cambia. Aún sería necesario precisar más y afirmar que el sonido se modifica interiormente. Las variaciones y microvariaciones en el sonido (la curva dinámica y las sutiles gradaciones en el timbre) constituyen lo que Winckel denomina su \" atmósfera \". 3 La génesis de un sonido complejo, su \" devenir \" posee significación estética; el producto final del sonido ya generado es de menor interés. Al escuchar los sonidos de campanas encontramos mucho más que simples relaciones correspondientes a los sonidos percutidos de un acorde. En primer lugar está el ataque de cada sonido individual; a continuación, se da el efecto de interferencia de los sonidos actuando unos sobre otros y produciendo nuevas cualidades sonoras; finalmente, el sonido decae, produciéndose una disolución de la brillantez tímbrica en los componentes más simples. Este proceso tiene lugar en la generación de todo sonido musical. Ello nos lleva a observar que, al emitir una nota musical, se generan componentes sonoros adicionales no intencionados, los cuales pueden ser incluso inarmónicos respecto a los componentes sonoros originales. Investigaciones más detalladas nos muestran que la pureza absoluta de afinación se logra muy raramente en la práctica musical, y que incluso no es deseable necesariamente a fin de lograr una experiencia satisfactoria. Es la leve desviación de la \" armonía eternamente pura \" , la que constituye el condimento del plato, y no debe darse de lado. Por lo tanto, no es el valor rígido de un sonido estático, sino su vida profusamente moviente lo que genera una atmósfera y despierta en nosotros asociaciones con experiencias previas, que pueden hacer surgir sentimientos religiosos (campana y gong) y estimular la imaginación y el espíritu. Especialmente en esto último consiste la misión del compositor. 4 La modificación gradual, el cambio interior a nivel micro 5 , que caracteriza al objeto sonoro es, pues, de suma importancia en nuestra percepción musical al contribuir decisivamente a determinar su aura peculiar. Pasemos ahora a analizar la temporalidad en el nivel de las estructuras intermedias y de las macroestructuras. 6 En la percepción musical los momentos sonoros se suceden unas veces más lenta y otras más rápidamente. ¿De qué depende esta velocidad con que experimentamos los cambios?","downloadable_attachments":[{"id":52744334,"asset_id":32565334,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9355349,"first_name":"Fº. Javier","last_name":"González-Velandia Gómez","domain_name":"independent","page_name":"FºJavierGonzálezVelandiaGómez","display_name":"Fº. Javier González-Velandia Gómez","profile_url":"https://independent.academia.edu/F%C2%BAJavierGonz%C3%A1lezVelandiaG%C3%B3mez?f_ri=3796","photo":"https://0.academia-photos.com/9355349/3881146/4539126/s65_f_._javier.gonz_lez-velandia_g_mez.jpg"}],"research_interests":[{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3283886" data-work_id="3283886" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3283886/Philosophical_and_Cultural_Theories_of_Music">Philosophical and Cultural Theories of Music</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Music is a powerful cultural medium. The volume explores the varied roles that music plays in human culture and society, and its unique symbolic and communicative properties. Contributors discuss Richard Wagner, Bob Dylan, John Cage, Eric... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3283886" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Music is a powerful cultural medium. The volume explores the varied roles that music plays in human culture and society, and its unique symbolic and communicative properties. Contributors discuss Richard Wagner, Bob Dylan, John Cage, Eric Burdon, and Igor Stravinsky. From electronic and inner-city DIY to world music and rock concerts, the book looks at music’s part in creating the human sense of place, space, transcendence and identity. Philosophers, cultural thinkers, and sociologists collaborate to explain the exhilaration and fascination that human beings experience when they listen to music. <br /> <br />Table of Contents <br /> <br />Volume Foreword vii <br />Chapter One Introduction: Philosophical and Cultural Theories <br />of Music <br />Eduardo De La Fuente and Peter Murphy <br /> <br />Chapter Two Modern Hermeneutics and the Presentation <br />of Opera <br />Agnes Heller <br /> <br />Chapter Three Algo-Rhythm and Mello-dy: A Consideration of <br />the Relationship Between Technology and the Embodied <br />Performance of Music <br />Daniel Black <br /> <br />Chapter Four Bob Dylan Ain’t Talking: One Man’s Vast Comic <br />Adventure in American Music, Dramaturgy, and Mysticism <br />Peter Murphy <br /> <br />Chapter Five Music and Religion: Reflections on Cultural <br />Secularization <br />David Roberts <br /> <br />Chapter Six Prophet and Priest, Ascetic and Mystic: Towards <br />a Cultural Sociology of the Twentieth Century Composer <br />Eduardo De La Fuente <br /> <br />Chapter Seven Collective Effervescence, Numinous Experience or <br />Proto-Religious Phenomena? Moshing with Durkheim, <br />Schleiermacher and Otto <br />Mark Jennings <br /> <br />Chapter Eight Music as a Space of Possibilities 129 <br />John Rundell <br /> <br />Chapter Nine Some Suggestions for a Phenomenology <br />of Rhythm <br />Stuart Grant <br /> <br />Chapter Ten The Paradox of “Do-it-Yourself” in <br />Unpopular Music <br />Joseph Borlagdan <br /> <br />Chapter Eleven Musical Culturespeak and Cosmopolitan <br />Identities in Australian Multiculturalism <br />Graeme Smith <br /> <br />Chapter Twelve The Piano and Cultural Modernity in <br />East Asia <br />Alison Tokita <br /> <br />Chapter Thirteen Popular Music, Cultural Memory and <br />Everyday Aesthetics <br />Andy Bennett <br /> <br />Chapter Fourteen Everything is Dirt: Reevaluating the Place <br />of Cultural Status in Producing Aesthetic Attachment <br />Claudio E. Benzecry <br /> <br />Chapter Fifteen Musical Listening and Boundary-Work <br />Michael Walsh</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3283886" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="13e8f0a2be4e838d07e250f1f29f1a77" rel="nofollow" data-download="{"attachment_id":34402490,"asset_id":3283886,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34402490/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3783901" href="https://latrobe.academia.edu/PeterMurphy">Peter Murphy</a><script data-card-contents-for-user="3783901" type="text/json">{"id":3783901,"first_name":"Peter","last_name":"Murphy","domain_name":"latrobe","page_name":"PeterMurphy","display_name":"Peter Murphy","profile_url":"https://latrobe.academia.edu/PeterMurphy?f_ri=3796","photo":"https://0.academia-photos.com/3783901/1371698/17418861/s65_peter.murphy.jpg"}</script></span></span></li><li class="js-paper-rank-work_3283886 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3283886"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3283886, container: ".js-paper-rank-work_3283886", }); 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$(".js-view-count[data-work-id=3283886]").text(description); $(".js-view-count-work_3283886").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3283886").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3283886"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">31</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="692" href="https://www.academia.edu/Documents/in/Piano">Piano</a>, <script data-card-contents-for-ri="692" type="text/json">{"id":692,"name":"Piano","url":"https://www.academia.edu/Documents/in/Piano?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a><script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3283886]'), work: {"id":3283886,"title":"Philosophical and Cultural Theories of Music","created_at":"2013-04-13T18:18:42.121-07:00","url":"https://www.academia.edu/3283886/Philosophical_and_Cultural_Theories_of_Music?f_ri=3796","dom_id":"work_3283886","summary":"Music is a powerful cultural medium. The volume explores the varied roles that music plays in human culture and society, and its unique symbolic and communicative properties. Contributors discuss Richard Wagner, Bob Dylan, John Cage, Eric Burdon, and Igor Stravinsky. From electronic and inner-city DIY to world music and rock concerts, the book looks at music’s part in creating the human sense of place, space, transcendence and identity. Philosophers, cultural thinkers, and sociologists collaborate to explain the exhilaration and fascination that human beings experience when they listen to music. \r\n\r\nTable of Contents\r\n\r\nVolume Foreword vii\r\nChapter One Introduction: Philosophical and Cultural Theories\r\nof Music \r\nEduardo De La Fuente and Peter Murphy\r\n\r\nChapter Two Modern Hermeneutics and the Presentation\r\nof Opera \r\nAgnes Heller\r\n\r\nChapter Three Algo-Rhythm and Mello-dy: A Consideration of\r\nthe Relationship Between Technology and the Embodied\r\nPerformance of Music \r\nDaniel Black\r\n\r\nChapter Four Bob Dylan Ain’t Talking: One Man’s Vast Comic\r\nAdventure in American Music, Dramaturgy, and Mysticism \r\nPeter Murphy\r\n\r\nChapter Five Music and Religion: Reflections on Cultural\r\nSecularization \r\nDavid Roberts\r\n\r\nChapter Six Prophet and Priest, Ascetic and Mystic: Towards\r\na Cultural Sociology of the Twentieth Century Composer \r\nEduardo De La Fuente\r\n\r\nChapter Seven Collective Effervescence, Numinous Experience or\r\nProto-Religious Phenomena? Moshing with Durkheim,\r\nSchleiermacher and Otto \r\nMark Jennings\r\n\r\nChapter Eight Music as a Space of Possibilities 129\r\nJohn Rundell\r\n\r\nChapter Nine Some Suggestions for a Phenomenology\r\nof Rhythm \r\nStuart Grant\r\n\r\nChapter Ten The Paradox of “Do-it-Yourself” in\r\nUnpopular Music \r\nJoseph Borlagdan\r\n\r\nChapter Eleven Musical Culturespeak and Cosmopolitan\r\nIdentities in Australian Multiculturalism \r\nGraeme Smith\r\n\r\nChapter Twelve The Piano and Cultural Modernity in\r\nEast Asia \r\nAlison Tokita\r\n\r\nChapter Thirteen Popular Music, Cultural Memory and\r\nEveryday Aesthetics \r\nAndy Bennett\r\n\r\nChapter Fourteen Everything is Dirt: Reevaluating the Place\r\nof Cultural Status in Producing Aesthetic Attachment \r\nClaudio E. Benzecry\r\n\r\nChapter Fifteen Musical Listening and Boundary-Work \r\nMichael Walsh","downloadable_attachments":[{"id":34402490,"asset_id":3283886,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3783901,"first_name":"Peter","last_name":"Murphy","domain_name":"latrobe","page_name":"PeterMurphy","display_name":"Peter Murphy","profile_url":"https://latrobe.academia.edu/PeterMurphy?f_ri=3796","photo":"https://0.academia-photos.com/3783901/1371698/17418861/s65_peter.murphy.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":692,"name":"Piano","url":"https://www.academia.edu/Documents/in/Piano?f_ri=3796","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":3886,"name":"Rhythm","url":"https://www.academia.edu/Documents/in/Rhythm?f_ri=3796"},{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=3796"},{"id":7773,"name":"Everyday Aesthetics","url":"https://www.academia.edu/Documents/in/Everyday_Aesthetics?f_ri=3796"},{"id":9720,"name":"Philosophy of Music","url":"https://www.academia.edu/Documents/in/Philosophy_of_Music?f_ri=3796"},{"id":10758,"name":"Modernity","url":"https://www.academia.edu/Documents/in/Modernity?f_ri=3796"},{"id":12541,"name":"Music And Religion","url":"https://www.academia.edu/Documents/in/Music_And_Religion?f_ri=3796"},{"id":12672,"name":"Electronic Music","url":"https://www.academia.edu/Documents/in/Electronic_Music?f_ri=3796"},{"id":16128,"name":"Bob Dylan","url":"https://www.academia.edu/Documents/in/Bob_Dylan?f_ri=3796"},{"id":16902,"name":"Listening (Music)","url":"https://www.academia.edu/Documents/in/Listening_Music_?f_ri=3796"},{"id":17018,"name":"Music and identity","url":"https://www.academia.edu/Documents/in/Music_and_identity?f_ri=3796"},{"id":17479,"name":"Music Composition","url":"https://www.academia.edu/Documents/in/Music_Composition?f_ri=3796"},{"id":17784,"name":"Socio-cultural theory","url":"https://www.academia.edu/Documents/in/Socio-cultural_theory?f_ri=3796"},{"id":24366,"name":"American music","url":"https://www.academia.edu/Documents/in/American_music?f_ri=3796"},{"id":26365,"name":"Socio-cultural","url":"https://www.academia.edu/Documents/in/Socio-cultural?f_ri=3796"},{"id":28061,"name":"World music","url":"https://www.academia.edu/Documents/in/World_music?f_ri=3796"},{"id":34477,"name":"Music Performance","url":"https://www.academia.edu/Documents/in/Music_Performance?f_ri=3796"},{"id":36683,"name":"Religion and Music","url":"https://www.academia.edu/Documents/in/Religion_and_Music?f_ri=3796"},{"id":40754,"name":"Classical Music","url":"https://www.academia.edu/Documents/in/Classical_Music?f_ri=3796"},{"id":42172,"name":"Richard Wagner","url":"https://www.academia.edu/Documents/in/Richard_Wagner?f_ri=3796"},{"id":87872,"name":"Music listening","url":"https://www.academia.edu/Documents/in/Music_listening?f_ri=3796"},{"id":101492,"name":"Art and Music","url":"https://www.academia.edu/Documents/in/Art_and_Music?f_ri=3796"},{"id":174941,"name":"Rock Music","url":"https://www.academia.edu/Documents/in/Rock_Music?f_ri=3796"},{"id":202916,"name":"Music and Place","url":"https://www.academia.edu/Documents/in/Music_and_Place?f_ri=3796"},{"id":284442,"name":"Music and Art","url":"https://www.academia.edu/Documents/in/Music_and_Art?f_ri=3796"},{"id":315354,"name":"Japanese Music","url":"https://www.academia.edu/Documents/in/Japanese_Music?f_ri=3796"},{"id":384090,"name":"Musical space","url":"https://www.academia.edu/Documents/in/Musical_space?f_ri=3796"},{"id":444238,"name":"Music and philosophy","url":"https://www.academia.edu/Documents/in/Music_and_philosophy?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29008480" data-work_id="29008480" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29008480/Claudio_Santoro_e_o_Zhadanovismo">Claudio Santoro e o Zhadanovismo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">RESUMO A presente comunicação trata da política soviética cultural Stalinista conhecida como Zhdanovismo e suas influências na fase Nacionalista do compositor brasileiro Cláudio Santoro. Visto que as posições políticas do compositor... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29008480" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">RESUMO A presente comunicação trata da política soviética cultural Stalinista conhecida como Zhdanovismo e suas influências na fase Nacionalista do compositor brasileiro Cláudio Santoro. Visto que as posições políticas do compositor Cláudio Santoro estão intimamente relacionadas a sua postura estética procura-se estabelecer um panorama do que era o Zhdanovismo e como seria a sua aplicação na música e seu reflexo na produção nos compositores progressistas.alinhados com o sistema. <br /><br />ABSTRACT This essay discusses the soviet cultural policy in the government of Joseph Stalin and its influences in the nacionalist period of the brazilian composer Claudio Santoro. Since the political positions of the brazilian composer Claudio Santoro are linked to his aesthetics, this comunication aims to establish an overwiew of what meant Zhdanovism, and how would be its application on music and on the work of socialist composers.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29008480" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c55dcbb72a39351ff1972e356dbd8b78" rel="nofollow" data-download="{"attachment_id":49457626,"asset_id":29008480,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49457626/download_file?st=MTczMjk4MDAzMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="44330825" href="https://ufes.academia.edu/Hartmann">Ernesto Hartmann</a><script data-card-contents-for-user="44330825" type="text/json">{"id":44330825,"first_name":"Ernesto","last_name":"Hartmann","domain_name":"ufes","page_name":"Hartmann","display_name":"Ernesto Hartmann","profile_url":"https://ufes.academia.edu/Hartmann?f_ri=3796","photo":"https://0.academia-photos.com/44330825/22589192/21908573/s65_ernesto.hartmann.jpg"}</script></span></span></li><li class="js-paper-rank-work_29008480 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29008480"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29008480, container: ".js-paper-rank-work_29008480", }); 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Since the political positions of the brazilian composer Claudio Santoro are linked to his aesthetics, this comunication aims to establish an overwiew of what meant Zhdanovism, and how would be its application on music and on the work of socialist composers.","downloadable_attachments":[{"id":49457626,"asset_id":29008480,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":44330825,"first_name":"Ernesto","last_name":"Hartmann","domain_name":"ufes","page_name":"Hartmann","display_name":"Ernesto Hartmann","profile_url":"https://ufes.academia.edu/Hartmann?f_ri=3796","photo":"https://0.academia-photos.com/44330825/22589192/21908573/s65_ernesto.hartmann.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":28879,"name":"Music 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u-mb0x js-work-card work_35548797" data-work_id="35548797" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35548797/Leonin_Organum_Purum_Viderunt_Omnes_comparative_manuscript_and_transcription_critical_edition_Sources_Florence_Firenze_Italy_I_Fl_MS_Pluteus_29_1_ff_99v_r_and_Wolfenbu_ttel_Germany_D_W_Cod_Guelf_628_Helmst_Magnus_Liber_Organi_W1_ff_25r_v_">Leonin: Organum Purum, "Viderunt Omnes" (comparative manuscript and transcription critical edition) (Sources: Florence (Firenze), Italy [I-Fl] MS Pluteus 29.1. ff. 99v-r & Wolfenbüttel, Germany (D-W), Cod. Guelf. 628 Helmst. “Magnus Liber Organi; W1”. ff. 25r-v)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription. For a recording and score-video see the link below:... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35548797" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription. <br /> <br />For a recording and score-video see the link below: <br /><a href="https://www.youtube.com/watch?v=_p9WQlyVPrA" rel="nofollow">https://www.youtube.com/watch?v=_p9WQlyVPrA</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35548797" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1efbcb13f6a677a6392aad6fde6ce5c3" rel="nofollow" data-download="{"attachment_id":55414194,"asset_id":35548797,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55414194/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=3796","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_35548797 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35548797"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35548797, container: ".js-paper-rank-work_35548797", }); 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=3796"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=3796"},{"id":2680348,"name":"neumes","url":"https://www.academia.edu/Documents/in/neumes?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28232100" data-work_id="28232100" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28232100/Johannes_Ciconia_Prolation_Canon_Le_ray_au_soleyl_Mancini_Codex_Lucca_Codex_I_PEc_MS_3065_no_9_fol_LXXXIIIr_">Johannes Ciconia - Prolation Canon, "Le ray au soleyl" (Mancini Codex/Lucca Codex, I-PEc MS 3065 no. 9 fol. LXXXIIIr)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28232100" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing effect between the triplum and the cantus (top two voices) nearly 600  years before the 20th century composer Steve Reich popularized such musical textures. Check out the score in motion at <a href="https://www.youtube.com/watch?v=YrOEOuwYy3M" rel="nofollow">https://www.youtube.com/watch?v=YrOEOuwYy3M</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28232100" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="644bd3f12633cd7a574d2ccdcd5157e4" rel="nofollow" data-download="{"attachment_id":48553387,"asset_id":28232100,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48553387/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=3796","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_28232100 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28232100"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28232100, container: ".js-paper-rank-work_28232100", }); 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Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=3796"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=3796"},{"id":2536656,"name":"Mensuration Canon","url":"https://www.academia.edu/Documents/in/Mensuration_Canon?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_600220" data-work_id="600220" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/600220/The_Queering_of_the_Opera">The Queering of the Opera</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The ability to create original music is perhaps the most challenging paradigm to articulate, given that music is inherently emotional, non-verbal and ‘semiotic’, making it assessable in primarily subjective terms. My composition... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_600220" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The ability to create original music is perhaps the most challenging paradigm to articulate, given that music is inherently emotional, non-verbal and ‘semiotic’, making it assessable in primarily subjective terms.  My composition portfolio includes two operas, one based on my interpretation of “The Strange Tale Of Dr Jekyll and Mr Hyde” by the Scottish author, Robert Louis Stevenson, and the other on my own libretto relating the scandalous downfall of the Irish playwright, Oscar Wilde. <br /><br />The emotional engagement of an audience with particular inclusion of a focus on three dimensional stage representations of complex same gender relationships are primary emphases of my doctoral study in music composition. Very few such depictions are to be found in the grand opera repertoire, by contrast with television and cinema where, over the years, this has gradually changed, notwithstanding the simplistically tragic portrayals that still abound.<br /><br />When it comes to the question of ‘style’ for my proposed operatic work, this has presented a major problem for me when trying to reconcile the emotional ‘accessibility’ of my commercial work with the intellectual imperatives of acadaemia, despite the fact that some stylistic features of ‘Contemporary Classical’ as exemplified by Serialism, Minimalism, Aleatory and the Avant Garde have already on occasion trickled into the ‘Contemporary Popular’ arena, especially through the medium of film, and more rarely in the reverse direction - "Art Imitating Life".<br /><br />Emotional engagement does not necessarily have to stand in opposition to intellectual rigour, and thus a work can be ‘accessible’ to an audience without ipso facto lacking substance and thus longevity.  Moreover, the inherent complexity and detail of a great work may take time to appreciate through repeated exposure, and these attributes alone may of themselves generate emotional engagement.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/600220" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b5bac947bda1fd5c48b0f51986a1943d" rel="nofollow" data-download="{"attachment_id":3166653,"asset_id":600220,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/3166653/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="439267" href="https://edinburgh.academia.edu/DerekWilliams">Derek L Williams</a><script data-card-contents-for-user="439267" type="text/json">{"id":439267,"first_name":"Derek","last_name":"Williams","domain_name":"edinburgh","page_name":"DerekWilliams","display_name":"Derek L Williams","profile_url":"https://edinburgh.academia.edu/DerekWilliams?f_ri=3796","photo":"https://0.academia-photos.com/439267/22090427/107180486/s65_derek.williams.jpg"}</script></span></span></li><li class="js-paper-rank-work_600220 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="600220"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 600220, container: ".js-paper-rank-work_600220", }); 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$(".js-view-count[data-work-id=600220]").text(description); $(".js-view-count-work_600220").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_600220").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="600220"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="946" href="https://www.academia.edu/Documents/in/Musical_Theatre">Musical Theatre</a>, <script data-card-contents-for-ri="946" type="text/json">{"id":946,"name":"Musical Theatre","url":"https://www.academia.edu/Documents/in/Musical_Theatre?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4039" href="https://www.academia.edu/Documents/in/Opera">Opera</a><script data-card-contents-for-ri="4039" type="text/json">{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=600220]'), work: {"id":600220,"title":"The Queering of the Opera","created_at":"2011-05-19T21:46:56.744-07:00","url":"https://www.academia.edu/600220/The_Queering_of_the_Opera?f_ri=3796","dom_id":"work_600220","summary":"The ability to create original music is perhaps the most challenging paradigm to articulate, given that music is inherently emotional, non-verbal and ‘semiotic’, making it assessable in primarily subjective terms. 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Very few such depictions are to be found in the grand opera repertoire, by contrast with television and cinema where, over the years, this has gradually changed, notwithstanding the simplistically tragic portrayals that still abound.\n\nWhen it comes to the question of ‘style’ for my proposed operatic work, this has presented a major problem for me when trying to reconcile the emotional ‘accessibility’ of my commercial work with the intellectual imperatives of acadaemia, despite the fact that some stylistic features of ‘Contemporary Classical’ as exemplified by Serialism, Minimalism, Aleatory and the Avant Garde have already on occasion trickled into the ‘Contemporary Popular’ arena, especially through the medium of film, and more rarely in the reverse direction - \"Art Imitating Life\".\n\nEmotional engagement does not necessarily have to stand in opposition to intellectual rigour, and thus a work can be ‘accessible’ to an audience without ipso facto lacking substance and thus longevity. 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The current trend of music-making within the curriculum focuses on elements such as timbre, rhythm, tempo, melody, dynamics, and beat. These... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_76757589" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Music-making activities in elementary schools in Japan follow the Japanese national curriculum. The current trend of music-making within the curriculum focuses on elements such as timbre, rhythm, tempo, melody, dynamics, and beat. These activities are expected to help children learn the characteristics of the various elements of music and their functions. However, children may not be able to exercise their creativity freely in such activities due to restrictions based on learning content; in some cases, the music they create may all be similar. Recent studies have reported cases in which teachers deliberately set fewer musical elements when children's improvisation activity, thereby reducing restrictions for the children and eliciting a variety of expressions from them. The idea behind this is to create multi-stylistic collage-style music by first focusing on each child's intentionwhat they want to attempt and what they are good atand encouraging them to try these expressions. One of the authors of this paper developed a brand-new learning material, based on the idea of "composition based on children's interests and strengths," in 2017. This study aims to illustrate the activities carried out using the learning material, taught by the authors of this paper, in two classes of the fifth grade (age range of 10-11 years) in Nara, Japan. It focuses on creative music-making practices and the pedagogical possibilities of the idea, through discussing their music-making and creative process. As a result, children could make music with a mixture of diverse expressions. Students mobilized everything for their performances, including a variety of instruments, use of rhythmic patterns, singular sounds that had an impact, and quotations from their music repertoire. Furthermore, based on the characteristics of the children in each class, the content of the music for class 1 and class 2 differed. The pedagogical possibilities of the idea of "composition based on children's interests and strengths" are threefold: first, as we could illustrate from the classes, this idea contributes in eliciting a variety of expressions from the children; second, it facilitates children's realization that they can incorporate these various expressions into their music; and third, it allows children to think of each member's interests and strengths as a starting point of creative activity. Although this is a different approach from the aforementioned current trend in Japan, this need not be limited to music and can be generalized to many other creative projects.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/76757589" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c92614fd0416bcc90ac6578e952dc196" rel="nofollow" data-download="{"attachment_id":84354887,"asset_id":76757589,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84354887/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1721066" href="https://hiroshima-u.academia.edu/DaisukeTerauchi">Daisuke Terauchi</a><script data-card-contents-for-user="1721066" type="text/json">{"id":1721066,"first_name":"Daisuke","last_name":"Terauchi","domain_name":"hiroshima-u","page_name":"DaisukeTerauchi","display_name":"Daisuke Terauchi","profile_url":"https://hiroshima-u.academia.edu/DaisukeTerauchi?f_ri=3796","photo":"https://0.academia-photos.com/1721066/593213/59552250/s65_daisuke.terauchi.jpg"}</script></span></span></li><li class="js-paper-rank-work_76757589 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="76757589"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 76757589, container: ".js-paper-rank-work_76757589", }); });</script></li><li class="js-percentile-work_76757589 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76757589; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_76757589"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_76757589 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="76757589"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76757589; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76757589]").text(description); $(".js-view-count-work_76757589").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_76757589").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="76757589"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="922" href="https://www.academia.edu/Documents/in/Education">Education</a>, <script data-card-contents-for-ri="922" type="text/json">{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="112879" href="https://www.academia.edu/Documents/in/Elementary_School">Elementary School</a><script data-card-contents-for-ri="112879" type="text/json">{"id":112879,"name":"Elementary School","url":"https://www.academia.edu/Documents/in/Elementary_School?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=76757589]'), work: {"id":76757589,"title":"Exploring the Pedagogical Possibilities of the Idea of Composition Based on Children's Interests and Strengths","created_at":"2022-04-17T18:03:07.344-07:00","url":"https://www.academia.edu/76757589/Exploring_the_Pedagogical_Possibilities_of_the_Idea_of_Composition_Based_on_Childrens_Interests_and_Strengths?f_ri=3796","dom_id":"work_76757589","summary":"Music-making activities in elementary schools in Japan follow the Japanese national curriculum. The current trend of music-making within the curriculum focuses on elements such as timbre, rhythm, tempo, melody, dynamics, and beat. These activities are expected to help children learn the characteristics of the various elements of music and their functions. However, children may not be able to exercise their creativity freely in such activities due to restrictions based on learning content; in some cases, the music they create may all be similar. Recent studies have reported cases in which teachers deliberately set fewer musical elements when children's improvisation activity, thereby reducing restrictions for the children and eliciting a variety of expressions from them. The idea behind this is to create multi-stylistic collage-style music by first focusing on each child's intentionwhat they want to attempt and what they are good atand encouraging them to try these expressions. One of the authors of this paper developed a brand-new learning material, based on the idea of \"composition based on children's interests and strengths,\" in 2017. This study aims to illustrate the activities carried out using the learning material, taught by the authors of this paper, in two classes of the fifth grade (age range of 10-11 years) in Nara, Japan. It focuses on creative music-making practices and the pedagogical possibilities of the idea, through discussing their music-making and creative process. As a result, children could make music with a mixture of diverse expressions. Students mobilized everything for their performances, including a variety of instruments, use of rhythmic patterns, singular sounds that had an impact, and quotations from their music repertoire. Furthermore, based on the characteristics of the children in each class, the content of the music for class 1 and class 2 differed. The pedagogical possibilities of the idea of \"composition based on children's interests and strengths\" are threefold: first, as we could illustrate from the classes, this idea contributes in eliciting a variety of expressions from the children; second, it facilitates children's realization that they can incorporate these various expressions into their music; and third, it allows children to think of each member's interests and strengths as a starting point of creative activity. Although this is a different approach from the aforementioned current trend in Japan, this need not be limited to music and can be generalized to many other creative projects.","downloadable_attachments":[{"id":84354887,"asset_id":76757589,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1721066,"first_name":"Daisuke","last_name":"Terauchi","domain_name":"hiroshima-u","page_name":"DaisukeTerauchi","display_name":"Daisuke Terauchi","profile_url":"https://hiroshima-u.academia.edu/DaisukeTerauchi?f_ri=3796","photo":"https://0.academia-photos.com/1721066/593213/59552250/s65_daisuke.terauchi.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":112879,"name":"Elementary School","url":"https://www.academia.edu/Documents/in/Elementary_School?f_ri=3796","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38414320" data-work_id="38414320" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38414320/The_Role_of_Technology_in_Primary_School_Classroom_Music_with_a_Specific_Focus_on_Composition">The Role of Technology in Primary School Classroom Music with a Specific Focus on Composition</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article offers a look into how technological advances have changed music in the industry, in society, and in education and seeks to find a solution to the misaligned between the two. People experience music in a dramatically... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38414320" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article offers a look into how technological advances have changed music in the industry, in society, and in education and seeks to find a solution to the misaligned between the two. People experience music in a dramatically different way than previous generations and the education must evolve alongside this to avoid becoming irrelevant. Barriers to composition are being broken down with new technologies and the development of a participatory culture has changed the way people interact with music and musicians. This article discusses ways that technology is being brought into the classroom and offers solutions to assist music educators and classroom teachers with integrating technology into the music classroom in a way that reflects students out-of-school experiences in order to make music education at primary school more engaging and relevant to the students’ lives.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38414320" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1443a4a957246a27ca59e8f87c39e678" rel="nofollow" data-download="{"attachment_id":58472654,"asset_id":38414320,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58472654/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31814839" href="https://nzsm.academia.edu/PietaHextall">Pieta Hextall</a><script data-card-contents-for-user="31814839" type="text/json">{"id":31814839,"first_name":"Pieta","last_name":"Hextall","domain_name":"nzsm","page_name":"PietaHextall","display_name":"Pieta Hextall","profile_url":"https://nzsm.academia.edu/PietaHextall?f_ri=3796","photo":"https://0.academia-photos.com/31814839/9450098/10530346/s65_pieta.hextall.jpg"}</script></span></span></li><li class="js-paper-rank-work_38414320 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38414320"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38414320, container: ".js-paper-rank-work_38414320", }); });</script></li><li class="js-percentile-work_38414320 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38414320; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38414320"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38414320 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38414320"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38414320; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38414320]").text(description); $(".js-view-count-work_38414320").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38414320").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38414320"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="683" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="922" href="https://www.academia.edu/Documents/in/Education">Education</a>, <script data-card-contents-for-ri="922" type="text/json">{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1018" href="https://www.academia.edu/Documents/in/Music_Technology">Music Technology</a><script data-card-contents-for-ri="1018" type="text/json">{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38414320]'), work: {"id":38414320,"title":"The Role of Technology in Primary School Classroom Music with a Specific Focus on Composition","created_at":"2019-02-22T01:52:08.051-08:00","url":"https://www.academia.edu/38414320/The_Role_of_Technology_in_Primary_School_Classroom_Music_with_a_Specific_Focus_on_Composition?f_ri=3796","dom_id":"work_38414320","summary":"This article offers a look into how technological advances have changed music in the industry, in society, and in education and seeks to find a solution to the misaligned between the two. People experience music in a dramatically different way than previous generations and the education must evolve alongside this to avoid becoming irrelevant. Barriers to composition are being broken down with new technologies and the development of a participatory culture has changed the way people interact with music and musicians. This article discusses ways that technology is being brought into the classroom and offers solutions to assist music educators and classroom teachers with integrating technology into the music classroom in a way that reflects students out-of-school experiences in order to make music education at primary school more engaging and relevant to the students’ lives.","downloadable_attachments":[{"id":58472654,"asset_id":38414320,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31814839,"first_name":"Pieta","last_name":"Hextall","domain_name":"nzsm","page_name":"PietaHextall","display_name":"Pieta Hextall","profile_url":"https://nzsm.academia.edu/PietaHextall?f_ri=3796","photo":"https://0.academia-photos.com/31814839/9450098/10530346/s65_pieta.hextall.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=3796","nofollow":false},{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=3796","nofollow":false},{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796"},{"id":15038,"name":"Music Technology in Music Education","url":"https://www.academia.edu/Documents/in/Music_Technology_in_Music_Education?f_ri=3796"},{"id":17479,"name":"Music Composition","url":"https://www.academia.edu/Documents/in/Music_Composition?f_ri=3796"},{"id":88382,"name":"Primary Education","url":"https://www.academia.edu/Documents/in/Primary_Education?f_ri=3796"},{"id":124094,"name":"Music and Technology","url":"https://www.academia.edu/Documents/in/Music_and_Technology?f_ri=3796"},{"id":321758,"name":"Primary School Music Education","url":"https://www.academia.edu/Documents/in/Primary_School_Music_Education?f_ri=3796"},{"id":386037,"name":"Primary School Education","url":"https://www.academia.edu/Documents/in/Primary_School_Education?f_ri=3796"},{"id":459912,"name":"Teaching Music Creatively and Music Technology","url":"https://www.academia.edu/Documents/in/Teaching_Music_Creatively_and_Music_Technology?f_ri=3796"},{"id":485228,"name":"Integration of Technology in Music Education","url":"https://www.academia.edu/Documents/in/Integration_of_Technology_in_Music_Education?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27422320" data-work_id="27422320" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27422320/Guillaume_de_Machaut_c_1300_1377_Rondeau_14_Ma_fin_est_mon_commencement_">Guillaume de Machaut (c. 1300 - 1377) - Rondeau 14, "Ma fin est mon commencement"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A transcription of Machaut's Rondeau 14, "Ma fin est ma commencement" ("my end is my beginning"). The score is rendered to be read both forwards and backwards as necessitated by the music. For an animated video of the score with a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27422320" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A transcription of Machaut's Rondeau 14, "Ma fin est ma commencement" ("my end is my beginning"). The score is rendered to be read both forwards and backwards as necessitated by the music. For an animated video of the score with a performance visit <a href="https://www.youtube.com/watch?v=dcfPr4IN2MM" rel="nofollow">https://www.youtube.com/watch?v=dcfPr4IN2MM</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27422320" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0bdc88624dc8101c8fbeddf1e0fbdab9" rel="nofollow" data-download="{"attachment_id":47679063,"asset_id":27422320,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47679063/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=3796","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_27422320 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27422320"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27422320, container: ".js-paper-rank-work_27422320", }); 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The score is rendered to be read both forwards and backwards as necessitated by the music. 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33449060" data-work_id="33449060" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33449060/Alexander_Agricola_Chanson_De_tous_biens_plaine_a3_Florence_Biblioteca_del_Conservatorio_Luigi_Cherubini_MS_2439_fol_LXVIIv_LXVIIIr_">Alexander Agricola: Chanson "De tous biens plaine" a3 (Florence, Biblioteca del Conservatorio Luigi Cherubini, MS 2439 fol. LXVIIv-LXVIIIr)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A critical and performance edition of Alexander Agricola's chanson "De tous biens plaine" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson. The text of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33449060" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A critical and performance edition of Alexander Agricola's chanson "De tous biens plaine" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson.<br /><br />The text of the first verse is underlaid in this edition, though only the first few words actually appear in the manuscript. The complete text as found in a number of Ghizeghem's sources with a complete translation is given at the end.<br /><br />It seems unlikely that the outer voices should be sung, given their continual motion, frequent awkward leaps, and extreme ambitus.  However, the inner voice certainly could be sung.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33449060" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="26a688168debdc5e79e1b99ad8f8028a" rel="nofollow" data-download="{"attachment_id":53497583,"asset_id":33449060,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53497583/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=3796","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_33449060 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33449060"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33449060, container: ".js-paper-rank-work_33449060", }); 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Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=3796"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=3796"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=3796"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=3796"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43655824" data-work_id="43655824" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43655824/La_didattica_del_partimento_Studi_di_storia_delle_teorie_musicali">La didattica del partimento. Studi di storia delle teorie musicali</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Questo volume nasce da un’esigenza: fare il punto della situazione dello stato degli studi musicologici sulla didattica del partimento (la cui pratica discorsiva è oggi assodata e consolidata) e più in generale della composizione in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43655824" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Questo volume nasce da un’esigenza: fare il punto della situazione dello stato degli studi musicologici sulla didattica del partimento (la cui pratica discorsiva è oggi assodata e consolidata) e più in generale della composizione in Italia e in Francia fra Settecento e Ottocento e riproporre alcune indagini concepite a partire dagli anni ’80 del secolo scorso a tutt’oggi con l’obiettivo di verificare quanto tali studi siano ancora attuali e quanto necessitino di aggiornamento, rimodulazione e nuovo inquadramento, tenendo conto del fatto che tali indagini hanno preso l’avvio nell’era predigitale.<br />Il titolo del volume, La didattica del partimento, ricalca quello di un saggio pubblicato nel 1993 che ha proposto all’attenzione della comunità degli studiosi un concetto, un modello, una tipologia di insegnamento, uno stile di apprendimento invalso nei conservatori napoletani a partire dal XVII secolo. Da Napoli le indagini si sono estese gradualmente, proficuamente e senza soluzione di continuità ad altre ‘piazze’ d’Italia e d’Europa. Le tappe della disseminazione progressiva dell’attenzione e dell’interesse possono essere descritte in sintesi seguendo un filo costante. Il volume ripropone nove saggi (pubblicati nella loro veste originaria fra il 1993 e il 2013) rivisti, corretti e aggiornati alla luce di nuove acquisizioni documentarie, di approfondimenti d’indagine e della più significativa bibliografia recente.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43655824" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e4672a0dc7e5d763fcd2eec8f78c4461" rel="nofollow" data-download="{"attachment_id":63956263,"asset_id":43655824,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63956263/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="39277178" href="https://unicatt.academia.edu/RosaCafiero">Rosa Cafiero</a><script data-card-contents-for-user="39277178" type="text/json">{"id":39277178,"first_name":"Rosa","last_name":"Cafiero","domain_name":"unicatt","page_name":"RosaCafiero","display_name":"Rosa Cafiero","profile_url":"https://unicatt.academia.edu/RosaCafiero?f_ri=3796","photo":"https://0.academia-photos.com/39277178/10838797/12096758/s65_rosa.cafiero.jpg"}</script></span></span></li><li class="js-paper-rank-work_43655824 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43655824"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43655824, container: ".js-paper-rank-work_43655824", }); });</script></li><li class="js-percentile-work_43655824 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43655824; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43655824"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43655824 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43655824"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43655824; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43655824]").text(description); $(".js-view-count-work_43655824").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43655824").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43655824"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="94890" href="https://www.academia.edu/Documents/in/Partimento">Partimento</a>, <script data-card-contents-for-ri="94890" type="text/json">{"id":94890,"name":"Partimento","url":"https://www.academia.edu/Documents/in/Partimento?f_ri=3796","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="180515" href="https://www.academia.edu/Documents/in/Counterpoint">Counterpoint</a><script data-card-contents-for-ri="180515" type="text/json">{"id":180515,"name":"Counterpoint","url":"https://www.academia.edu/Documents/in/Counterpoint?f_ri=3796","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43655824]'), work: {"id":43655824,"title":"La didattica del partimento. Studi di storia delle teorie musicali","created_at":"2020-07-18T08:58:25.535-07:00","url":"https://www.academia.edu/43655824/La_didattica_del_partimento_Studi_di_storia_delle_teorie_musicali?f_ri=3796","dom_id":"work_43655824","summary":"Questo volume nasce da un’esigenza: fare il punto della situazione dello stato degli studi musicologici sulla didattica del partimento (la cui pratica discorsiva è oggi assodata e consolidata) e più in generale della composizione in Italia e in Francia fra Settecento e Ottocento e riproporre alcune indagini concepite a partire dagli anni ’80 del secolo scorso a tutt’oggi con l’obiettivo di verificare quanto tali studi siano ancora attuali e quanto necessitino di aggiornamento, rimodulazione e nuovo inquadramento, tenendo conto del fatto che tali indagini hanno preso l’avvio nell’era predigitale.\nIl titolo del volume, La didattica del partimento, ricalca quello di un saggio pubblicato nel 1993 che ha proposto all’attenzione della comunità degli studiosi un concetto, un modello, una tipologia di insegnamento, uno stile di apprendimento invalso nei conservatori napoletani a partire dal XVII secolo. Da Napoli le indagini si sono estese gradualmente, proficuamente e senza soluzione di continuità ad altre ‘piazze’ d’Italia e d’Europa. Le tappe della disseminazione progressiva dell’attenzione e dell’interesse possono essere descritte in sintesi seguendo un filo costante. Il volume ripropone nove saggi (pubblicati nella loro veste originaria fra il 1993 e il 2013) rivisti, corretti e aggiornati alla luce di nuove acquisizioni documentarie, di approfondimenti d’indagine e della più significativa bibliografia recente.\n","downloadable_attachments":[{"id":63956263,"asset_id":43655824,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":39277178,"first_name":"Rosa","last_name":"Cafiero","domain_name":"unicatt","page_name":"RosaCafiero","display_name":"Rosa Cafiero","profile_url":"https://unicatt.academia.edu/RosaCafiero?f_ri=3796","photo":"https://0.academia-photos.com/39277178/10838797/12096758/s65_rosa.cafiero.jpg"}],"research_interests":[{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":94890,"name":"Partimento","url":"https://www.academia.edu/Documents/in/Partimento?f_ri=3796","nofollow":false},{"id":180515,"name":"Counterpoint","url":"https://www.academia.edu/Documents/in/Counterpoint?f_ri=3796","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12465860" data-work_id="12465860" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12465860/_Synchronisms_10_for_Guitar_and_Electronics_Sounds_and_Festino_Seminal_works_for_guitar_by_Mario_Davidovsky">"Synchronisms #10 for Guitar and Electronics Sounds" and "Festino": Seminal works for guitar by Mario Davidovsky</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In fulfillment of the requirements for the Doctor of Musical Arts degree at the Manhattan School of Music, this dissertation is an analysis of aspects of Mario Davidovsky's style and how they manifest themselves in two of his important... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12465860" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In fulfillment of the requirements for the Doctor of Musical Arts degree at the Manhattan School of Music, this dissertation is an analysis of aspects of Mario Davidovsky's style and how they manifest themselves in two of his important works featuring guitar, "Synchronisms #10" and "Festino." Completed in May 2006.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12465860" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1fb8161d4a47da89bec2a30de5981de6" rel="nofollow" data-download="{"attachment_id":37679653,"asset_id":12465860,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37679653/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3974636" href="https://msmnyc.academia.edu/DanLippel">Dan Lippel</a><script data-card-contents-for-user="3974636" type="text/json">{"id":3974636,"first_name":"Dan","last_name":"Lippel","domain_name":"msmnyc","page_name":"DanLippel","display_name":"Dan Lippel","profile_url":"https://msmnyc.academia.edu/DanLippel?f_ri=3796","photo":"https://0.academia-photos.com/3974636/9215271/10274689/s65_dan.lippel.jpg"}</script></span></span></li><li class="js-paper-rank-work_12465860 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12465860"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12465860, container: ".js-paper-rank-work_12465860", }); 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Betrachtungen von Voraussetzungen und Kompositionsweise des Werkes</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2259449" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ef578c4a4e8a16d1ea5a2f1794d3340c" rel="nofollow" data-download="{"attachment_id":30312225,"asset_id":2259449,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30312225/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2858345" href="https://mdw.academia.edu/AndreasWildner">Andreas Wildner</a><script data-card-contents-for-user="2858345" type="text/json">{"id":2858345,"first_name":"Andreas","last_name":"Wildner","domain_name":"mdw","page_name":"AndreasWildner","display_name":"Andreas Wildner","profile_url":"https://mdw.academia.edu/AndreasWildner?f_ri=3796","photo":"https://0.academia-photos.com/2858345/941223/7618796/s65_andreas.wildner.jpg"}</script></span></span></li><li class="js-paper-rank-work_2259449 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2259449"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2259449, container: ".js-paper-rank-work_2259449", }); 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Betrachtungen von Voraussetzungen und Kompositionsweise des Werkes","created_at":"2012-12-08T06:31:23.787-08:00","url":"https://www.academia.edu/2259449/John_Cages_Music_of_Changes_Betrachtungen_von_Voraussetzungen_und_Kompositionsweise_des_Werkes?f_ri=3796","dom_id":"work_2259449","summary":null,"downloadable_attachments":[{"id":30312225,"asset_id":2259449,"asset_type":"Work","always_allow_download":false},{"id":30312232,"asset_id":2259449,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2858345,"first_name":"Andreas","last_name":"Wildner","domain_name":"mdw","page_name":"AndreasWildner","display_name":"Andreas Wildner","profile_url":"https://mdw.academia.edu/AndreasWildner?f_ri=3796","photo":"https://0.academia-photos.com/2858345/941223/7618796/s65_andreas.wildner.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=3796","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=3796","nofollow":false},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=3796","nofollow":false},{"id":20622,"name":"Avant-Garde","url":"https://www.academia.edu/Documents/in/Avant-Garde?f_ri=3796","nofollow":false},{"id":31793,"name":"Sound Art","url":"https://www.academia.edu/Documents/in/Sound_Art?f_ri=3796"},{"id":43729,"name":"John Cage","url":"https://www.academia.edu/Documents/in/John_Cage?f_ri=3796"},{"id":655769,"name":"Indeterminacy of Composition","url":"https://www.academia.edu/Documents/in/Indeterminacy_of_Composition?f_ri=3796"},{"id":967313,"name":"Enlightenment Period","url":"https://www.academia.edu/Documents/in/Enlightenment_Period?f_ri=3796"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9948317" data-work_id="9948317" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9948317/David_Langs_The_Anvil_Chorus_A_Performers_Analysis">David Lang's "The Anvil Chorus": A Performer's Analysis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Analysis of The Anvil Chorus by David Lang</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9948317" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fe67b19a124d096aaef4ca95a2f4c62c" rel="nofollow" data-download="{"attachment_id":36097906,"asset_id":9948317,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36097906/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="15093193" href="https://unomaha.academia.edu/TommRoland">Tomm Roland</a><script data-card-contents-for-user="15093193" type="text/json">{"id":15093193,"first_name":"Tomm","last_name":"Roland","domain_name":"unomaha","page_name":"TommRoland","display_name":"Tomm Roland","profile_url":"https://unomaha.academia.edu/TommRoland?f_ri=3796","photo":"https://0.academia-photos.com/15093193/4072230/4749245/s65_tomm.roland.jpg"}</script></span></span></li><li class="js-paper-rank-work_9948317 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9948317"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9948317, container: ".js-paper-rank-work_9948317", }); 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Zur Ästhetik digitaler Musik und zum diskreten Charme der Neuen Medien, ca. 900 Seiten)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Von der musikpädagogischen Fragestellung aus, welche Bedeutung die neuen Musiktechnologien für den Musikunterricht haben, wird eine groß an gelegte Diskussion über das Schicksal unserer Kunst und Kultur im Zeitalter der digitalen Medien... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2170176" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Von der musikpädagogischen Fragestellung aus, welche Bedeutung die neuen Musiktechnologien für den Musikunterricht haben, wird eine groß an gelegte Diskussion über das Schicksal unserer Kunst und Kultur im Zeitalter der digitalen Medien entwickelt. Die konkrete Ausgangsfrage sichert der Analyse eine große Materialhaltigkeit, die mit einer sehr klar artikulierten Begrifflichkeit, die Theorieansätze aus den Bereichen Systemtheorie, Kybernetik zweiter Ordnung und Radikalem Konstruktivismus sinnvoll miteinander verknüpft, bewältigt wird. Die Bedeutung neuer Kulturtechnologie - so die zentrale These des Buches - kann nur verstehen, wer nicht allein das mehr oder minder nützliche Werkzeug in ihr sieht, sondern zeigt, wie menschliche Wahrnehmung von ihr abhängt und wie sie als Medium Bewusstsein prägt. [...] So gelingt es, eine ebenso lehrreiche wie spanndende Geschichte der Digitalisierung der Musik und der Emanzipation der Musik vom Musizieren zu schreiben, [...] Das Buch 'Der diskrete Charme der Neuen Medien' liefert so insgesamt einen gewichtigen Beitrag zur medientheoretischen sowie musikpädagogischen Diskussion unserer Tage und ist - nicht zuletzt aufgrund seiner stilistischen Brillanz, mit der es geschrieben ist - ein Lesevergnügen." (Norbert Bolz)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2170176" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4be30d2841be7826617317befdab3414" rel="nofollow" data-download="{"attachment_id":48950323,"asset_id":2170176,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48950323/download_file?st=MTczMjk4MDAzMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2791981" href="https://uni-muenster.academia.edu/NorbertSchl%C3%A4bitz">Norbert Schläbitz</a><script data-card-contents-for-user="2791981" type="text/json">{"id":2791981,"first_name":"Norbert","last_name":"Schläbitz","domain_name":"uni-muenster","page_name":"NorbertSchläbitz","display_name":"Norbert Schläbitz","profile_url":"https://uni-muenster.academia.edu/NorbertSchl%C3%A4bitz?f_ri=3796","photo":"https://0.academia-photos.com/2791981/1197489/14403119/s65_norbert.schl_bitz.jpg"}</script></span></span></li><li class="js-paper-rank-work_2170176 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2170176"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2170176, container: ".js-paper-rank-work_2170176", }); 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Die konkrete Ausgangsfrage sichert der Analyse eine große Materialhaltigkeit, die mit einer sehr klar artikulierten Begrifflichkeit, die Theorieansätze aus den Bereichen Systemtheorie, Kybernetik zweiter Ordnung und Radikalem Konstruktivismus sinnvoll miteinander verknüpft, bewältigt wird. Die Bedeutung neuer Kulturtechnologie - so die zentrale These des Buches - kann nur verstehen, wer nicht allein das mehr oder minder nützliche Werkzeug in ihr sieht, sondern zeigt, wie menschliche Wahrnehmung von ihr abhängt und wie sie als Medium Bewusstsein prägt. [...] So gelingt es, eine ebenso lehrreiche wie spanndende Geschichte der Digitalisierung der Musik und der Emanzipation der Musik vom Musizieren zu schreiben, [...] Das Buch 'Der diskrete Charme der Neuen Medien' liefert so insgesamt einen gewichtigen Beitrag zur medientheoretischen sowie musikpädagogischen Diskussion unserer Tage und ist - nicht zuletzt aufgrund seiner stilistischen Brillanz, mit der es geschrieben ist - ein Lesevergnügen.\" (Norbert Bolz) ","downloadable_attachments":[{"id":48950323,"asset_id":2170176,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2791981,"first_name":"Norbert","last_name":"Schläbitz","domain_name":"uni-muenster","page_name":"NorbertSchläbitz","display_name":"Norbert Schläbitz","profile_url":"https://uni-muenster.academia.edu/NorbertSchl%C3%A4bitz?f_ri=3796","photo":"https://0.academia-photos.com/2791981/1197489/14403119/s65_norbert.schl_bitz.jpg"}],"research_interests":[{"id":199,"name":"Media 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