The Oud Across Arabic Culture

This study is a compilation and compendium of information on the oud, the most important instrument in Arabic classical music. It has grown out of my own long-time involvement in studying and playing the oud, and in particular out of my interest in the lack of sources and knowledge available to the vast majority of oud players and researchers, as well as for the readers. My own path started from an intensive study of the oud, which included exposure to several treaties; some housed in museums around the globe, and some only available in the Arabic language. The study combines archival research (including Arabic poetry and pre-Islamic Era and medieval treaties), symbolism, new archaeological discoveries, field interviews, and analysis of existing scholarship, and draws on my professional performance experience for detailed stylistic analysis of the oud's performance practice and its historical development. The study consists of participant observation, personal performance, and interviews conducted in person, via telephone, and/or via e-mail, according to the choice of the performers. The performers have been selected from networks of musicians who perform regularly at lounges, concert halls, and private events. These performers have been chosen according to their musical knowledge, technical skill, experience, and activity in Arabic music and oud performance. Chapter one deals with the purpose of this study and the methods of investigation, as well as giving a brief overview of the history of the oud. In addition, there will be an introduction to the Arabic musical system (mâqâm), which is primarily based on the mechanics and sound production of the oud. Chapter two deals with the oud in Arabic sources: the first source is Arabic poetry in the pre-Islamic Era. The second source is Arabic poetry in the medieval era, in which I found a significant number of poets who allude to the oud, providing accurate descriptions of the player, singers, and the scenes within the contexts of oud performance. The third source is the Arab scholars' intensive treatises with meticulous accounts of the instrument's apparatii, including descriptions and measurements of the parts, strings, and tuning. While chapter three deals with the classification, the development of the oud, chapter four deals with topics such as: the symbolism of the oud and its relation to cosmology, astronomy, mathematics and anatomy. In most of the pertinent Arabic writings, philosophers mention a significant correlation between the oud and the other sciences. Chapter five deals with recreating the performance practice of the oud. A case study of the oud performers focuses on their style, technique, training, and personal experiences. Topics such as improvisation and ornamentation, the oud in the Arabic musical ensemble, the social uses and functions, and gender in musical performance practices will be included in detailed analysis. Other important topics will be analyzed such as traditional vs. modern technique, and the repertoire of the oud. Specifically, in regard to technique, the study outline the style of the music, the role of the oud in Arabic ensembles, the function of the oud in music composition, and the form of the ensembles in Arabic performance and practice.

THE COMPLETE PRELUDES OF ALEXANDER SCRIABIN: THE EVOLUTION OF HIS REVOLUTIONARY COMPOSITIONAL STYLE

During the second half of the nineteenth century, a series of remarkable advances in musical composition emerged in the works of such innovative spirits as Franz Liszt, Hector Berlioz and Richard Wagner. Their pioneering works exerted an extraordinary impact on the music of the subsequent generation of composers--of disparate nationalities-who were active at the dawn of the 20th century: Including most notably Claude-Achille Debussy, Gustav Mahler, Richard Strauss, and Alexander Nikolayevich Scriabin. These important musical figures, each one leaving an indelible and formative imprint on late-nineteenth century Romantic style, together launched the modern era in music. Scriabin stands alone as a transcendental visionary: His music, initiated in the fashion of Chopin and Liszt, wanders through the realms of Debussy and Wagner, and, ultimately abandoning late Romantic tradition, unlocks the heretofore unforeseen power of atonality, bitonality, polyrhythms and key-signature free compositions. Arguably, Scriabin's compositions count among the most innovative, idiosyncratic and bewitching of all time. The development of Scriabin's groundbreaking compositional style is best understood by means of his piano works, which comprise the majority of his oeuvre. Beyond the larger works-his twelve sonatas, a concerto and a fantasy-Scriabin's piano explorations are also represented by miniature gems: The mazurkas, impromptus, waltzes, poems, a polonaise, etudes, nocturnes, morceaux and, in particular, the preludes. Scriabin's 90 preludes for piano, arranged in several opus numbers, richly exemplify the striking evolution of his ingenious music, his idiosyncratic philosophy and his provocative personality.

"Dann bin ich ja überflüssig, richtig?" Vorstellungen von Lehrpersonen über Lernerautonomie im Musikunterricht

Das im Folgenden skizzierte Projekt befasst sich mit Lernerautonomie als Konzept in der Musikdidaktik aus der Perspektive von Lehrenden. Es ist eingebettet in ein Forschungsprojekt an der Carl von Ossietzky Universität Oldenburg mit dem Titel „Lernerautonomie in der Musikdidaktik – eine empirische Studie“ unter der Leitung von Anja Rosenbrock. Etwa 20 Studierende haben im Jahr 2011 die Fähigkeit zum bzw. die Selbstevaluation des autonomen Lernens von Schülern im Musikunterricht an Gymnasien untersucht. [Das] Forschungsvorhaben stützt sich zwar auf die Untersuchung Rosenbrocks, fügt sich jedoch nicht vollkommen darin ein. Nicht Schüler, sondern Lehrer bilden hier die Untersuchungsgruppe. Sie fanden in der Autonomieforschung bisher nur wenig Beachtung. Dabei weisen jüngere Untersuchungen auf die große Bedeutung der Lehrer für die Entfaltung autonomen Handelns seitens der Schüler hin. In einem leitfadengestützten Interview wurden die theoretischen Kenntnisse von Lehrern über Lernerautonomie, ihre unterrichtspraktischen Erfahrungen mit dessen Förderung im eigenen Musikunterricht sowie die persönliche Einstellung gegenüber dem Ansatz erhoben. Zwei zentrale Fragestellungen bestimmten die Auseinandersetzung: 1. „Über welche Vorstellungen von Lernerautonomie verfügen die Lehrer?“ 2. „Wie positionieren sich die Lehrer gegenüber Lernerautonomie und womit begründen sie die jeweiligen Haltungen?“ Damit werden einerseits die Lehrpersonen, die in ihrem Unterricht Lernerautonomie anbahnen, in den Fokus der Betrachtung gerückt, andererseits aber auch die Lernenden, als innerhalb einer solchen Unterrichts‐ bzw. Lernform Agierende, erfasst. (DIPF/Orig.)

El uso de la musicoterapia para la mejora de la comunicación de niños con Trastorno del Espectro Autista en Aulas Abiertas Especializadas

Los beneficios que aporta la musicoterapia en alumnos con Trastorno del Espectro Autista, han sido demostrados profusamente por los distintos autores, si bien carecemos de literatura suficiente sobre su utilización en las Aulas Abiertas Especializadas en colegios ordinarios (Aulas TEA). En este sentido, el objetivo del trabajo, ha consistido en analizar qué mejoras aporta la musicoterapia al desarrollo de la comunicación en los alumnos con Trastorno del Espectro Autista dentro de las Aulas Abiertas de los CEIPs de Castilla-La Mancha y la Comunidad Autónoma de Madrid. Para ello, se ha realizado una amplia revisión documental de fuentes de referencia y se ha entrevistado a los docentes responsables de las Aulas Abiertas Especializadas que utilizan actividades de musicoterapia como recurso en el aula. Se concluye el artículo manifestando, en primer lugar, la escasa integración de la musicoterapia en las aulas TEA (menos del 20% de los centros). En aquellas aulas que sí se programa con actividades de musicoterapia, los beneficios que ésta aporta se ven reflejados en un incremento claro de la intención comunicativa en los alumnos. Además, a la hora de planificar las actividades se tiene muy en cuenta conocer las preferencias y la historia musical del niño. No obstante, existen factores que impiden el aprovechamiento total de las posibilidades terapéuticas de la musicoterapia debido, especialmente a: a) una escasa formación del profesorado y b) un espacio inadecuado para poner en práctica una sesión de musicoterapia.

Medium as message: Making an 'emancipating' film on mental health and distress

This article will be a reflective report, made by participants, facilitators and tutors on the first stage of a project entitled ‘Mentalentity’ which, had as it brief, the promotion of positive attitudes to mental health among men in rural areas. The arts ‘product’ is a 25 minute film made by a group of men in South Armagh using an action learning and action research approach.. The project is a paradigm of ‘action research’ using arts based methods also in that none of the men had ever been involved in filmmaking and had to learn a wide range of skills to convert the knowledge they were reflecting on into an arts product; avoiding the sensationalising of a very complex subject and, equally, the earnestness sometimes associated with ‘awareness raising’ projects. The project is funded by a statutory agency, the Southern Investing for Health Partnership, and is being implemented by two voluntary groups, Men Aware (South Armagh) and a pan-disability group, Out and About, working with Queen’s University, School of Education, Open Learning Programme, which facilitated and accredited the project and the Nerve Centre, an internationally renowned independent arts organisation which specialises in music, multimedia, and the moving image. The article will relate the project to a range of arts based projects undertaken by the contributors and will contextualize this work within the research in such fields as inclusive participative and emancipatory research, qualitative research methodologies, active learning pedagogy, arts based pedagogy, Social/ Relational model disability and cutting edge ‘psychosocial’ models in mental health.

Creativity for Feist

This paper develops an understanding of creativity to meet the requirements of the decision of the Supreme Court of the United States in Feist v. Rural (1991). The inclusion of creativity in originality, in a minimal degree of creativity, and in a creative spark below the level required for originality, is first established. Conditions for creativity are simultaneously derived. Clauses negatively implying creativity are then identified and considered.

The clauses which imply creativity can be extensively correlated with conceptions of computability. The negative of creativity is then understood as an automatic mechanical or computational procedure or a so routine process which results in a highly routine product. Conversely, creativity invariantly involves a not mechanical procedure. The not mechanical is then populated by meaning, in accord with accepted distinctions, drawing on a range of discourses. Meaning is understood as a different level of analysis to the syntactic or mechanical and also as involving direct human engagement with meaning. As direct engagement with meaning, it can be connected to classic concepts of creativity, through the association of dissimilars. Creativity is finally understood as not mechanical human activity above a certain level of routinicity.

Creativity is then integrated with a minimal degree of creativity and with originality. The level of creativity required for a minimal degree is identified as intellectual. The combination of an intellectual level with a sufficient amount of creativity can be read from the exchange values connected with the product of creative activity. Humanly created bibliographic records and indexes are then possible correlates to or constituents of a minimal degree of creativity. A four stage discriminatory process for determining originality is then specified. Finally, the strength and value of the argument are considered.

Finally, the strength and value of the argument are considered.

Merula

Merula is a thirty-minute work for bass flute and electronics, commissioned by Icelandic flautist Kolbeinn Bjarnason. The premiere took place in the Belfast Festival at Queen’s in November 2012. A recording will be made in 2014. Further performances in Iceland, Norway and Poland are anticipated in 2014-15. I have given a research seminar on this work at Queen’s and will deliver it again at the University of Oxford during 2013-14.

Research Goals
1) To develop an effective means of notating live electronics in a manner that would sustain the work's performance history beyond the current generation of software
2) To apply the techniques of transcription and spectralism used in my composition, Perseid, using birdsongs as source material
3) To explore the problem of sustaining large-scale form in music that is primarily fast
4) To facilitate the emergence of the solo bass flute as an important solo instrument through the completion of a new large-scale work

Methodology
• Methodologies employed in this project included sound recording, sound analysis and transcription, extensive precompositional sketching, electroacoustic techniques of sound manipulation, designing complex live processes of sound transformation and spatialisation
• A considerable part of this work was collaboration with the flautist, both in SARC and Iceland. Mr. Bjarnason was involved all stages of the work, frequently recording source materials and helping to ensure the idiomatic nature of the flute writing.
• Developing a means of notating the live electronics. Building on a model suggested by Pierre Boulez in Anthemes 2 (1998), the score of this work includes a technical manual that describes electronic processes in a manner that can be reprogrammed in subsequent generations of software. Combined with a system of notations employed in the full score, the technical manual will enable this composition to be performed by a wide range of performers and technical teams, with appropriately identical results.

The Musical Body: Devising a choreo-musical interpretation for the work Tierkreis (1974-75) by Karlheinz Stockhausen

In this chapter the authors explore a practice-led approach to understanding the role of the body in music performance.

Many writers have discussed the body in music performance, in improvised music, as well as in electronic music. In this chapter the authors offer new modalities of reflection on the musical body in the interpretation of existing contemporary repertoire. Specifically, the authors discuss a re-interpretation of German composer Karlheinz Stockhausen's musical work 'Tierkreis'. Through the development of a specifically physical approach to the performance, the authors investigate the intrinsic relationship between the body and the music and point to an under-explored modality, which is not a musical choreography, but a choreography that is shaped through the musical body itself. It is a modality in which music itself propels forward choreographic ideas, the body becoming the driving force behind musical interpretation. The authors' thinking is influenced by Susan Kozel’s understanding of performance as an ecosystem (Kozel 2007) and framed within a subjective account of musical embodiment.

By merging theory with praxis the authors offer a deeper understanding of the role of the body in music performance and consider how such contributions might lead to new and exciting interpretive frameworks for existing musical repertoires.

Strudel: A corpus-based semantic model based on properties and types

Computational models of meaning trained on naturally occurring text successfully model human performance on tasks involving simple similarity measures, but they characterize meaning in terms of undifferentiated bags of words or topical dimensions. This has led some to question their psychological plausibility (Murphy, 2002; Schunn, 1999). We present here a fully automatic method for extracting a structured and comprehensive set of concept descriptions directly from an English part-of-speech-tagged corpus. Concepts are characterized by weighted properties, enriched with concept-property types that approximate classical relations such as hypernymy and function. Our model outperforms comparable algorithms in cognitive tasks pertaining not only to concept-internal structures (discovering properties of concepts, grouping properties by property type) but also to inter-concept relations (clustering into superordinates), suggesting the empirical validity of the property-based approach. Copyright © 2009 Cognitive Science Society, Inc. All rights reserved.

A Hamiltonian approach to simulation of acoustic systems involving nonlinear interactions

Nonlinear interactions take place in most systems that arise in music acoustics, usually as a result of player-instrument coupling. Several time-stepping methods exist for the numerical simulation of such systems. These methods generally involve the discretization of the Newtonian description of the system. However, it is not always possible to prove the stability of the resulting algorithms, especially when dealing with systems where the underlying force is a non-analytic function of the phase space variables. On the other hand, if the discretization is carried out on the Hamiltonian description of the system, it is possible to prove the stability of the derived numerical schemes. This Hamiltonian approach is applied to a series of test models of single or multiple nonlinear collisions and the energetic properties of the derived schemes are discussed. After establishing that the schemes respect the principle of conservation of energy, a nonlinear single-reed model is formulated and coupled to a digital bore, in order to synthesize clarinet-like sounds.

Germany and the New Global History of Secularism: Questioning the Postcolonial Genealogy

Secularism has emerged as a central category of twenty-first century political thought that in many ways has replaced the theory of secularization. According to postcolonial scholars, neither the theory nor the practice of secularization was politically neutral. They define secularism as the set of discourses, policies, and constitutional arrangements whereby modern states and liberal elites have sought to unify nations and divide colonial populations. This definition is quite different from the original meaning of secularism, as an immanent scientific worldview linked to anticlericalism. Anthropologist Talal Asad has connected nineteenth-century worldview secularism to twenty-first century political secularism through a genealogical account that stresses continuities of liberal hegemony. This essay challenges this account. It argues that liberal elites did not merely subsume worldview secularism in their drive for state secularization. Using the tools of conceptual history, the essay shows that one reason that “secularization” only achieved its contemporary meaning in Germany after 1945 was that radical freethinkers and other anticlerical secularists had previously resisted liberal hegemony. The essay concludes by offering an agenda for research into the discontinuous history of these two types of secularism.

The anticipatory space of the bunker, modernity’s dark mirror

The buried and semi-buried bunker, bulwark since the early eighteenth century against increasingly sophisticated forms of ordnance, emerged in increasing number in Europe throughout the twentieth century across a series of scales from the household Anderson shelter to the vast infrastructural works of the Maginot and Siegfried lines, or the Atlantic Wall. Its latest proliferation took place during the Cold War. From these perspectives, it is as emblematic of modernity as the department store, the great exhibition, the skyscraper or the machine-inspired domestic space advocated by Le Corbusier. It also represents the obverse, or perhaps a parodic iteration, of the preoccupations of early architectural modernism: a vast underground international style, cast in millions of tons of thick, reinforced concrete retaining walls, whose spatial relationship to the landscape above was strictly mediated through the periscope, the loop-hole, the range finder and the strategic necessity to both resist and facilitate the technologies and scopic regimes of weaponry. Embarking from Bunker Archaeology, this paper critically uncoils Paul Virillo’s observation, that once physically eclipsed in its topographical and technical settings, the bunker’s efficacy would mutate to other domains, retaining and remaking its meaning in another topology during the Cold War. ‘The essence of the new fortress’ he writes ‘is elsewhere, underfoot, invisible from here on in’. Shaped by this impulse, this paper seeks to render visible the bunker’s significance in a wider milieu and, in doing so, excavate some of the relationships between the physical artefact, its implications and its enduring metaphorical and perceptual ghosts.

‘Reading Aran knitting: stitches, text andinterpretation’

The densely textured surfaces of Aran knitting seem to invite interpretation. They have been ‘read’ as identity documents, family trees, references to natural and spiritual phenomena, or even maps. This paper traces the search for meaning in Aran knitting, examining how these stitch patterns have been ‘read’ in the contexts of tourism, fine art and fashion. As Jo Turney (2013:55) argues, the idea of knitted textiles as communicative media in non-literate societies ‘consigns the garments to a preindustrial era of more rural and simple times’, situating them in an imagined state of ‘stasis’. Thus the ways in which Aran stitches are ‘read’ sometimes obscure the processes through which they are ‘written’, whether in terms of individual authorship and creativity, or in terms of their manufacture. Regardless of the historical veracity of claims that particular Aran stitch patterns index features of the social, natural or spiritual worlds, analysing the ways they have been ‘read’ in the context of comparable textile traditions, other crafts which have taken on ‘heritage’ souvenir status, and Irish national identity, reveals how Aran knitting has performed broader communicative functions (see Sonja Andrew 2008), which continue to be subverted and elaborated by fine artists, and translated into couture and mass market fashion products.

Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on “spatial sound” privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an “ontopological” model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place.

Educação sexual em contexto escolar: uma intervenção contra a vulnerabilidade na vivência da sexualidade adolescente

A sexualidade estando presente desde o nascimento, na adolescência assume novo significado. Descobre-se o primeiro amor através de uma relação de intimidade e partilha de afectos, o corpo adquire um novo sentido, o grupo torna-se importante enquanto fonte de suporte, partilha de angústias e confiança, contribuindo para o desenvolvimento do adolescente. Na adolescência, perscrutam alguns factores de risco, nomeadamente a vivência da sexualidade de forma não informada e responsável, com repercussões para a saúde física e psicológica, pelo que é imperioso intervir através de programas formativos no âmbito da sexualidade que promovam vivência desta de forma responsável. São objectivos do estudo: Promover um modelo de intervenção formativa baseado no debate e reflexão crítica sobre sexualidade em contexto de sala de aula; Construir e validar instrumentos que permitam avaliar as atitudes face à sexualidade e ainda os conhecimentos dos adolescentes sobre reprodução, planeamento familiar e infecções de transmissão sexual; Testar a eficácia de um programa de intervenção formativo a nível dos conhecimentos sobre planeamento familiar, infecções de transmissão sexual, reprodução e atitudes face à sexualidade; Testar a efectividade do programa de intervenção formativo numa amostra alargada de adolescentes, analisando também o papel das variáveis sociodemográficas, sociopsicológicas e sexuais. O trabalho de campo desenvolveu-se em três estudos distintos, no primeiro e terceiro participaram 840 adolescentes e no segundo 90. No primeiro estudo construímos e validamos os instrumentos para colheita de dados, no segundo, experimental de campo, validamos o modelo da intervenção formativa no âmbito da sexualidade e no terceiro, descritivo e correlacional, testamos a efectividade de um programa de intervenção numa amostra mais alargada. O protocolo de recolha de informação incluiu quatro escalas construídas para o efeito com o intuito de avaliar as atitudes face à sexualidade, os conhecimentos sobre planeamento familiar, infecções de transmissão sexual e reprodução e ainda a escala de insatisfação com a imagem corporal em adolescentes e a escala de satisfação com o suporte social. As raparigas e residentes na zona urbana são as que têm mais conhecimentos sobre planeamento familiar e possuem atitudes face à sexualidade mais favoráveis. Os interlocutores preferenciais sobre sexualidade são os amigos, seguidos da mãe. São os adolescentes com pouca ou moderada prática religiosa que já iniciaram a actividade sexual. São as raparigas que têm maior satisfação com o suporte social nas dimensões, satisfação com as amizades, intimidade, actividades sociais e suporte social total. Os adolescentes que já iniciaram a actividade sexual, revelam maior percepção de suporte social na dimensão satisfação com a amizade. O modelo de formação construído e aplicado influenciou as atitudes face à sexualidade, conhecimentos sobre reprodução, sobre infecções de transmissão sexual e sobre planeamento familiar. Do nosso ponto de vista, pensamos ser urgente a aplicação de programas de intervenção formativos em contexto escolar, ou outro, que integrem de uma forma harmoniosa as várias facetas da sexualidade humana, promovendo a aquisição de uma postura responsável, flexível e gratificante nos adolescentes enquanto seres sexuados.