La música a la ciutat de Girona (1888-1985)

La tesi és una investigació histórica que presenta el fet musical a la ciutat de Girona, i inclou una paronòmica general de la història musical de les principals poblacions de les seves comarques: Olot, Figueres, Banyoles. ripoll, La Bisbal d'Empordà, Sant Feliu de Guíxols, etc. Està organitzada metodològicament en un marc cronològic i una metodologia positivista, intentant reflexar la verdadera història de la música a la ciutat de Girona amb tots i cadascun dels seus personatges i les seves institucions. La recerca s'emmarca al voltant de les corrents artístiques i polítiques de cada moment: Modernisme, Noucentisme, República, Guerra Civil, Franquisme i Democràcia. De cadascuna d'ella s'ha investigat sobre les orquestres, les cobles i les sardanes, els grups de música de cambra, la música en els cafès, la música en la intimitat de les cases particulars, el desenvolupament laboral de la professió musical a travès de la història del Sindicat i la Mútua de Músics, les sales de ball, els cinemes amb música en directe, els crítics musicals, etc. La recerca porta a la conclusió final de què l'època de millor esplendor, de més qualitat i també quantitat de música a la ciutat i comarques, i que ha viscut un millor ambient musical en tota la història, és el període que va des de principis del segle XX fins a l'esclat de la Guerra Civil (1900-1936)

Agency of Noise

Agency of Noise is a network of artists, musicians and academics from across the UK whose work is concerned with noise. The website offers a site for the development of online profiles for its members, the publication of works by members and the promotion and documentation of events hosted by the network. It also provides related links and references. The platform has developed from participation at national network events and conferences including Noise Vs Culture, University of Kent (2012); Liveness, University of Bournemouth (2012); Noise, Affect Politics, University of Salford (2010); and a research residency at The Banff Centre, Banff, Canada (2009).

Concrete gown for immaterial flows

Concrete Gown for Immaterial Flows was a sculptural installation and performance commissioned by the Hayward Gallery as part of the Mirrorcity exhibition (14 October 2014 - 4 January 2015). In an age of increasingly abstract power, ideology is disavowed as a twentieth century relic. We are instead told we are governed by pragmatic decisions based on charts and figures. Responding to this notion, Concrete Gown for Immaterial Flows is comprised of a concrete materialisation of abstract financial charts. It forms a stage upon which a series of live music performances take place. Musicians were commissioned to produce new interpretations of Nathan Alterman's "Morning Song", an old Zionist love song to the state, promising to clothe it in concrete and cement. Thus, the immateriality of financial transactions is made physical and given the monumental language it lacks in a patriotic offering for our times.

Panorering för musik i 5.1 surround : En jämförelse av panoreringsteknikerna direkt/ambient och direkt-överallt

Uppsatsen undersöker hur de olika panoreringsteknikerna, direkt/ambient och direkt-överallt, för 5.1 surround uppfattas utav lyssnare. Enligt direkt/ambient ska alla direkta källor panoreras till frontkanalerna (L, C, R) och endast ambiens finnas i surroundkanalerna (Ls, Rs). Enligt direkt-överallt kan direkta källor panoreras till alla kanaler. Ljudstimuli i tre genrer har utav undertecknad framställts, rock/hårdrock, jazz/fusion och hip hop. Ett exempel enligt direkt/ambient och ett enligt direkt-överallt framställdes i varje genre. Vidare har två lyssningsundersökningar ägt rum, en med ”vana” lyssnare i ett kontrollrum samt en med ”vanliga” lyssnare i hemmiljö. Undersökningarna visade att de flesta föredrog direkt-överallt-produktionerna och dessa uppfattades även som mest omslutande vilket har visat sig vara en viktig egenskap för en musikproduktion i surround.

Oljudens musik : En revolution i kompositionsteknik?

Noise music is created around sounds not often welcome in a musical context. Since the birth of electronic music in the 1950s a new perspective on composing has emerged. In electronic music, sounds and their timbre are as much important as melody, harmony and rhythm. This composing perspective is not often observed. Therefore I have examined a musical genre that stretches the boundaries of what we consider music, sound, noise, beautiful and terrible. The aim of this thesis is to investigate what aesthetic ideals noise musicians have when they create music. I examine the composing processes of three noise musicians, by asking the following questions: Do you compose in advance or do you improvise, how do your control of sound look like, how do you use the human voice and how do you categorize sound? The thesis is constructed around interviews I have made with the musicians and an extensive historical background concentrated on the alternative composing techniques that has led to the development of noise music. Among the results I found that these noise musicians always improvise with material, but the real essence of noise music is the character of the sounds, not their origins or material. Composing in advance for sound is a lot more difficult than traditional composing. Another result is that these noise musicians have extensive control of their instruments and can produce the sounds they wanted. They point out the importance of instruments that produce sound not directly controlled by themselves, something that create a musical quality that they aspire.

Hur ska jag få tryck i basen? : Skillnader att mixa bas, bastrumma och andra basinstrument i danceliknande musik i jämförelse med övrig populärmusik

Uppsatsen går ut på att undersöka om det finns skillnader på tekniker som används vid mixning av basinstrument i musik avsedd att spelas på dansgolv som t.ex. house, trance, hip hop, R n´B, osv. och annan musik som vanligen spelas på radio, TV, Mp3-spelare, bärbara datorer osv. som rock, metal, jazz, pop, osv. Musik som är dansinriktad och spelas på dansgolv upplevs oftast som starkare i basen, då den också har basinstrumenten som den viktigaste för att skapa ett ”groove”. I uppsatsen undersöks om det finns någon speciell teknik som vid mixning av sådan musik leder till denna basbetoning.Resultatet visar att teknikerna som används är oftast de samma, men anpassade till uppspelningssystemens möjligheter. Balansen i nivåer mellan de olika basinstrumenten och de övriga instrumenten och deras frekvensinnehåll är det som leder till upplevelsen att basinstrumenten låter starkare. Alltså ska basinstrumenten mixas mycket starkare i förhållande med de andra instrumenten. Detta för att skapa trycket. Basbetoningen sker däremot oftast automatiskt av ljudsystemet nattklubbarna, då det i förväg är inställt för att lyfta basen.Uppsatsens målgrupp är personer som är nybörjare på mixning av musik, speciellt dancemusik, samt för dem som har problem i mixningen av bas samt de som vill kunna ge sina mixar ett extra tryck i basen.

Folkmusikundervisningen på fiol och gitarr och dess historiska rötter

How folk musicians of today learn to play their instruments is an over-all question in this article. One violin lesson and one guitar lesson have been observed at Framnäs folk high school. Three research questions were formulated. What do the two lessons have in common? What are the differences? How could the folk music education of today be related to the Swedish fiddler movement in the 1920s and other folk music traditions? Theoretically, the interpretation of the results was based on the mimesis theory of Ricoeur. Two teachers and three students participated in the study. The results showed that the lessons were structured in a similar way and dominated by master apprenticeship teaching. The violin teacher showed a more respectful attitude towards the tradition compared to the guitar teacher. Great parts of the manifest ideology of the fiddler movement seems to have become concealed into a latent or frozen ideology in the formal folk music education of today. There seems to be no big differences between learning the music by way of visiting an older fiddler hundred years ago compared to the study of music today at a formal institution.

Audiovisuella loopar och kollektiv live-looping

 Loop-teknik i solistiska sammanhang är en idag väletablerad musicerande form dock är möjligheterna att använda tekniken i ensembleform ett mer eller mindre oprövat fält. I projektet “Audiovisuella loopar” som genomförts vid Högskolan Dalarna presenteras ett system för kollektiv livelooping där upp till fyra personer loop-musicerar tillsammans och där loopandet samtidigt kan spelas in och spelas upp som videoklipp. Tekniken har visat sig ha en stark kreativ potential. Med enbart en kort instruktion så startar en kollektiv process där den omedelbara feedbacken ger ett “fl ow” som lockar fram skaparglädjen hos musikanterna. Dessa erfarenheter pekar på spännande möjligheter att använda tekniken i musikundervisning och musikterapi.

Beethoven’s Influence on Modern Musical Thought

Ludwig van Beethoven is undoubtedly one of the most important and influential composers of Western art music. From a young age, he exhibited considerable talent, independence, and willful nonconformity. Over the course of his life, these themes came through both in his compositions, and in his attitude towards social norms regarding music. Composing symphonies, sonatas, string quartets, concertos, and one opera, Beethoven shattered musical boundaries and set the stage for how musicians and listeners would think about music for the next 200 years, up to modern day. This afternoon I will explore various ways in which Beethoven’s conception of music continues to influence our thinking about music, even rock, through analysis of The Beatles’ “A Day in the Life,” off their 1967 album Sgt. Pepper’s Lonely Hearts Club Band.

Edu Lobo: o terceiro vértice

Este trabalho pretende situar a trajetória de Edu Lobo no cenárioda música popular brasileira. Partindo de uma possívelgenealogia que se inicia com Heitor Villa-Lobos, passa por TomJobim e alcança Edu Lobo, estabelecemos uma tríade seguindo aatitude modernista de cultivo e resgate de tradições,universalizando-as e recriando-as, no que veio a ser a modernamúsica popular brasileira do século XX. Por meio dametodologia de história oral, colhendo depoimentos decompositores, músicos, críticos, cantores, em sua maioriaindicados pelo próprio Edu Lobo, tecemos o cenário em que sedesenvolveu sua obra.

Prazer no trabalho: um estudo comparativo entre músicos profissionais e policiais militares

Working, for some people, may mean being stressed, tired or hurt. For others, though, it may mean life. The fact is that, positively or negatively, since its beginning, work has played an important role in everyone¿s life. The history of men is the story of the evolution of their work. It was through their work, that men constituted themselves. Therefore, it seems relevant to look further into this subject. The aim of this study is to find out what causes pleasure at work. In order to achieve this answer, two kinds of workers were chosen: musicians and policemen. Using bibliographic and field research, the method of content analysis and the making of drawings, it was proved both of them have pleasure while working, which is felt by realizing the nature of the work. We found five ways that make it possible to have pleasure working. The first is looking at work as providing a feeling of accomplishment; the second, as survival; the third, as a contribution to society; the fourth, as a hobby or leisure; and the last, as a personal challenging.

Improvisação na música contemporânea de concerto : parâmetros para execução da cadenza da peça "The days fly by" de Frederic Rzewski

A presente pesquisa apresenta uma proposta de treinamento para a improvisação de uma cadenza na peça “The Days Fly By” de Frederick Rzewski. A improvisação é um aspecto que se manifesta de várias maneiras no trabalho e na trajetória deste compositor, sendo ele próprio pianista reconhecido por seus improvisos de cadenzas em concertos tradicionais. Seu processo de composição está intimamente relacionado ao da improvisação. É comum em suas composições a inclusão de uma seção em aberto para ser improvisada pelo intérprete. Utilizo os conceitos de referente, base de conhecimento de Jeff Pressing e ponto de partida de Bruno Nettl associados a um modelo de aprendizagem da improvisação proposto por Barry J. Kenny & Martin Gellrich. Esta pesquisa apresenta proposta de exercícios de improvisação fundamentados nos elementos detectados em uma análise da peça.

Direito, cultura POP e cultura clássica

A série Cadernos FGV DIREITO RIO está publicando simultaneamente dois volumes sobre a relação entre o fenômeno jurídico e a manifestação artística, seja popular ou clássica. Este volume 12 cuida da relação entre Direito, Cultura Pop e Cultura Clássica, ao passo que o volume 11 discorreu sobre experiências inovadoras de Ensino Jurídico, Cultura Pop e Cultura Clássica. Assim, estamos celebrando o pioneirismo dos professores Gabriel Lacerda e José Garcez Ghirardi, que lecionam cursos respectivamente sobre ‘Direito e Cinema’ no Rio de Janeiro e sobre ‘Direito e Artes’, em São Paulo. Se o volume anterior apresentou experiências pedagógicas inovadoras, o presente título traz ensaios com reflexões profundas sobre a relação entre o direito e mídias, fotografia, videogames, rock, jazz, poesia, literatura, ópera, teatro, séries de televisão e cinema. Esta coleção de ensaios apresenta uma série de trabalhos de professores renomados do Brasil e do exterior com reflexões sobre a reflexividade entre o fenômeno jurídico e a expressão artística.

Processing of hierarchical syntactic strusture in music

Hierarchical structure with nested nonlocal dependencies is a key feature of human language and can be identified theoretically in most pieces of tonal music. However, previous studies have argued against the perception of such structures in music. Here, we show processing of nonlocal dependencies in music. We presented chorales by J. S. Bach and modified versions inwhich the hierarchical structure was rendered irregular whereas the local structure was kept intact. Brain electric responses differed between regular and irregular hierarchical structures, in both musicians and nonmusicians. This finding indicates that, when listening to music, humans apply cognitive processes that are capable of dealing with longdistance dependencies resulting from hierarchically organized syntactic structures. Our results reveal that a brain mechanism fundamental for syntactic processing is engaged during the perception of music, indicating that processing of hierarchical structure with nested nonlocal dependencies is not just a key component of human language, but a multidomain capacity of human cognition.