Book Review: "Metal Rules the Globe: Heavy Metal Music around the World". Durham, NC: Duke University Press.

It is rare to find an anthology that realizes the possibilities of the form. We tend to regard our edited collections as lesser siblings, and forget their special value. But at times, a subject seems to require an edited collection much more than it does a classic monograph. So it is with the subject showcased here, which concerns the global circulation, performance and consumption of heavy metal. This is a relatively new and emerging body of work, hitherto scattered disparately in the broader popular music studies, but quickly gaining status as a “studies” with the establishment of a global conference, a journal, and publication of this anthology, all in recent years. Metal Rules the Globe took the editors’ a decade to compile. That they have thought deeply about how they want the collection to speak shows through in the book’s thoughtful arrangement and design, and in the way in which they draw on the contributions herein to develop for the field a research agenda that will take it forward...

FOLK ELEMENTS IN TWENTIETH-CENTURY HUNGARIAN MUSIC

At the beginning of the twentieth century, composers Béla Bartók and Zoltán Kodály collected thousands of folksongs from the rural regions of Hungary. In an effort to preserve a part of their culture that they feared would be lost, they not only transcribed and catalogued these folksongs, but also incorporated the folk traditions they encountered into their own compositional style. This dissertation deals with violin music written by Bartók, Kodály and their Hungarian contemporaries that have in common the use of rhythms, modes, melodies, figurations and playing techniques sourced in folk traditions. The use of the Hungarian folk idiom in classical music was not exclusive to the twentieth century. From the late eighteenth century until the first decades of the twentieth century, composers utilized aspects of a popular eighteenth-century form of Hungarian folk music called verbunkos. What makes the use of folk music unique in the twentieth century is that, thanks to the work of Bartók and Kodály, composers found inspiration in the more authentic “peasant music.” Unlike the popular, urban verbunkos music, peasant music was the product of the more secluded village-music tradition, largely untouched by the influences of city life. In addition to stimulating a new focus on peasant music, Bartók and Kodály fully assimilated the folk idiom into their compositional toolkits, creating a new style of folk-inspired art music that influenced a generation of Hungarian composers. The new style included characteristic elements of both peasant music and the verbunkos tradition, such as ancient modes and scales, accompanimental and melodic rhythmic patterns, ornamentation, and phrase structures sourced in folk song. To demonstrate the implementation of the folk idiom by twentieth-century Hungarian composers, three recital programs were given at the University of Maryland that included works by Béla Bartók, Sándor Veress, Leo Weiner, Zoltán Kodály, Ernő Dohnányi, Zoltán Székely and György Kurtág. The works can be divided into two main categories: settings or transcriptions of folk material (e.g. Bartók’s Hungarian Folksongs) and compositions using classical forms that include the Hungarian folk idiom (e.g. Bartók’s Contrasts). Recital collaborators include Li-Tan Hsu, Evelyn Elsing, Elizabeth Brown, Shelby Sender and Samantha Angelo.

A que(m) serve a música na reforma psiquiátrica brasileira?: Linhas de audibilidade nas práticas musicais da saúde mental coletiva

Pós-graduação em Psicologia - FCLAS

Cardiac autonomic responses induced by auditory stimulation with music is influenced by affinity

INTRODUCTION: We aimed to evaluate the effects of musical auditory stimulation on cardiac autonomic regulation in subjects who enjoy and who do not enjoy the music. METHOD: The study was performed in young women (18-27 years old) divided in two groups (1) volunteers who enjoyed the music and (2) volunteers who did not enjoy the music. Linear indices of heart rate variability were analyzed in the time domain. The subjects were exposed to a musical piece (Pachelbel: Canon in D Major) during 10 minutes. Heart rate variability was analyzed at rest with no music and during musical auditory stimulation. RESULTS: In the group that enjoyed the music the standard deviation of normal-to-normal R-R intervals (SDNN) was significantly reduced during exposure to musical auditory stimulation. We found no significant changes for the other linear indices. The group composed of women who did not enjoy the music did not present significant cardiac autonomic responses during exposure to musical auditory stimulation. CONCLUSION: Women who enjoyed the music presented a significant cardiac autonomic response consisting of a reduction in heart rate variability induced by the musical auditory stimulation. Those who did not enjoy the musical piece presented no such response.

The utilitarian and hedonic outcomes of music information seeking in everyday life

This qualitative study focuses on what contributes to making a music information-seeking experience satisfying in the context of everyday life. Data were collected through in-depth interviews conducted with 15 younger adults (18 to 29 years old). The analysis revealed that satisfaction could depend on both hedonic (i.e., experiencing pleasure) and utilitarian outcomes. It was found that two types of utilitarian outcomes contributed to satisfaction: (1) the acquisition of music, and (2) the acquisition of information about music. Information about music was gathered to (1) enrich the listening experience, (2) increase one's music knowledge, and/or (3) optimize future acquisition. This study contributes to a better understanding of music information-seeking behavior in recreational contexts. It also has implications for music information retrieval systems design: results suggest that these systems should be engaging, include a wealth of extra-musical information, allow users to navigate among music items, and encourage serendipitous encountering of music.

The utilitarian and hedonic outcomes of music information seeking in everyday life

This qualitative study focuses on what contributes to making a music information-seeking experience satisfying in the context of everyday life. Data were collected through in-depth interviews conducted with 15 younger adults (18 to 29 years old). The analysis revealed that satisfaction could depend on both hedonic (i.e., experiencing pleasure) and utilitarian outcomes. It was found that two types of utilitarian outcomes contributed to satisfaction: (1) the acquisition of music, and (2) the acquisition of information about music. Information about music was gathered to (1) enrich the listening experience, (2) increase one's music knowledge, and/or (3) optimize future acquisition. This study contributes to a better understanding of music information-seeking behavior in recreational contexts. It also has implications for music information retrieval systems design: results suggest that these systems should be engaging, include a wealth of extra-musical information, allow users to navigate among music items, and encourage serendipitous encountering of music.

Brautlied, Serenade und Tanz : aus der Symphonie Ländliche Hochzeit /

Selections from Opus 26.

Troisième sextuor (ut) pour deux violons, deux altos et violoncelles. Op. 11.

Pl. no. 2639.

Serenade, in E dur, für Streich-Orchester; praeludium, air, intermezzo, romanze, gavotte ... Op. 25.

Mode of access: Internet.

Divertimento Nr. 15, B dur.

For 2 violins, viola, violoncello and 2 horns.

Six duets for two flutes. [music] /

Book I. nos. 1-3 -- Book II. nos. 4-6.

Aus Italien : sinfonische Fantasie, G dur, für grosses Orchester, op. 16 /

Originally for orchestra; arr. for 2 pianos, 4 hands.

Tod und Verklärung : Tondichtung für grosses Orchester : op. 24 /

Mode of access: Internet.

Nocturnes /

Printed from Froment plates, no. E. 3003-3004 F.

Mannheimer Kammermusik des 18. Jahrhunderts /

II. Verzeichnis der Druckausgaben und thematischer Katalog der Mannheimer Kammermusik des 18. Jahrhunderts. Musiktext (II. Teil: Trios und Duos (ohne Klavier und mit obligatem Klavier)) Richter, F. X. Klaviertrio nr. 6, G moll. Stamitz, Johann. Triosonate, Es dur. Sonata da camera op. 6 IV, A dur. Toeschi, Joseph. Klaviertrio nr. 4, G dur. Filtz, Anton. Streichtrio op. 3 II. A dur. Klaviertrio op. 4 III. C dur. Eichner, Ernst. Klaviertrio op. 1 III, C moll; op. 2 nr. I, A dur. Sterkel, F. X. Violinsonate op. 18 II, G dur. Cramer, Wilhelm. Streichtrio op. 3 II, B dur. Stamitz, Karl. Streichtrio op. 2 I, B dur. Sonata par la viola d'amore e basso. Edelmann, J. F. Klavier-Violin-Sonate op. 2 I, C moll; op. 4 III, F moll. Stamitz, Anton. Streichtrio op. 4 I, Es dur. Stamitz, Karl. Orchesterquartett op. 4 I, C dur.