999 resultados para Austerlitz, Paul: Jazz consciousness
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<p>Into the Bends of Time is a 40-minute work in seven movements for a large chamber orchestra with electronics, utilizing real-time computer-assisted processing of music performed by live musicians. The piece explores various combinations of interactive relationships between players and electronics, ranging from relatively basic processing effects to musical gestures achieved through stages of computer analysis, in which resulting sounds are crafted according to parameters of the incoming musical material. Additionally, some elements of interaction are multi-dimensional, in that they rely on the participation of two or more performers fulfilling distinct roles in the interactive process with the computer in order to generate musical material. Through processes of controlled randomness, several electronic effects induce elements of chance into their realization so that no two performances of this work are exactly alike. The piece gets its name from the notion that real-time computer-assisted processing, in which sound pressure waves are transduced into electrical energy, converted to digital data, artfully modified, converted back into electrical energy and transduced into sound waves, represents a bending of time.</p><p>The Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian is widely regarded as one of the most important and influential piano trios in the history of jazz, lauded for its unparalleled level of group interaction. Most analyses of Bill Evans recordings, however, focus on his playing alone and fail to take group interaction into account. This paper examines one performance in particular, of Victor Youngs My Foolish Heart as recorded in a live performance by the Bill Evans Trio in 1961. In Part One, I discuss Steve Larsons theory of musical forces (expanded by Robert S. Hatten) and its applicability to jazz performance. I examine other recordings of ballads by this same trio in order to draw observations about normative ballad performance practice. I discuss meter and phrase structure and show how the relationship between the two is fixed in a formal structure of repeated choruses. I then develop a model of perpetual motion based on the musical forces inherent in this structure. In Part Two, I offer a full transcription and close analysis of My Foolish Heart, showing how elements of group interaction work with and against the musical forces inherent in the model of perpetual motion to achieve an unconventional, dynamic use of double-time. I explore the concept of a unified agential persona and discuss its role in imparting the songs inherent rhetorical tension to the instrumental musical discourse.</p>
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Concert Program
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Pro gradu -tutkielmassani tarkastelen niit merkityksi, joita afrikkalaisamerikkalainen musiikillinen esitystraditio saa Nobel-kirjailija Toni Morrisonin romaanissa <i>Jazz</i> (1992).Morrison on toistuvasti lytnyt vertailukohdan omalle kirjoittamiselleen mustasta musiikkitraditiosta. Kuvaillessaan <i>Jazz</i>-romaanin luomisprosessia hn on kertonut pyrkineens rakentamaan teoksen improvisatorisen jazz-performanssin muotoon. Tutkielmassa kysyn, mill tavalla tm jazz-improvisatorinen kerrontamuoto ilmenee <i>Jazz</i>-romaanissa ja miksi musiikki ja kerronnan musiikillisuus on saanut niin merkittvn roolin afrikkalaisamerikkalaisen kirjallisuuden traditiossa. Keskeiselle sijalle tutkielmassani nousee ajatus improvisatorisesta jazz-performanssista sek romaania ohjaavana kerronnallisena periaatteena ett mustan diasporisen kulttuurin ja identiteetin rakentamisen vlineen. Tukeutumalla muun muassa Ralph Ellisonin, James Baldwinin, Albert Murrayn, Henry Louis Gates Jr:n, Houston A. Baker Jr:n, Paul Gilroyn, Kimberly W. Benstonin ja Nathaniel Mackeyn kirjoituksiin mustasta esitystraditiosta tarkastelen, mit eri merkityksi jazz- ja blues-musiikille on annettu afrikkalaisamerikkalaisessa kirjallisuudessa. <i>Jazzissa</i> musiikki toimii ensisijaisesti keinona tyst menneisyytt: musiikillinen improvisaatio avaa tien ihmisen henkilkohtaisten muistojen ja menneisyyden konfliktien tarkastelulle. Kyse on identiteettiprosessista, joka ohjaa toistuvasti mrittelemn uudelleen ne rakenteet, joissa ihmisen minuus kehittyy. Samalla musiikillisuuden taustalta voidaan lyt pyrkimys vapauttaa teos kertovuudesta ja kohdistaa lukijan huomio tekstin tuottamaan liikkeeseen, romaaniin performanssina. Tm ohjaa kirjallisuuden kohti rituaalista: musiikillisuuden funktiona on tuoda tarina voimakkaammin osaksi lukijan kokemuksellista nykyhetke. Morrisonin romaanikirjoittamista ohjaa halu kehitt jatkuvasti uusia mahdollisuuksia ymmrt ja lhesty menneisyytt sek rakentaa kriittinen suhde afrikkalaisamerikkalaista kulttuuria mrittneisiin historiallisiin narratiiveihin. <i>Jazz</i>romaanin tapahtumat sijoittuvat keskelle afrikkalaisamerikkalaisen urbaanin kulttuurin ja amerikkalaisen modernismin kehityksen keskeisint vuosikymment, 1920-lukua. Romaanin sislln analyysissa tarkastelen muun muassa romaanin kaupunkitilan kuvausta ja sen kiinnittymist urbaanin kulutuskulttuurin tuottamaan visuaaliseen spektaakkeliin. <i>Jazzissa</i> Morrisonin voidaan nhd tystvn suhdetta tiettyyn historialliseen aikakauteen, joka on merkittvll tavalla muokannut sek afrikkalaisamerikkalaista kulttuurista yhteisllisyytt ett tiettyj mustan tai mustuuden representaatioita osana amerikkalaista urbaania ymprist.
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Rdigs de manire non linaire, "Monsieur Teste" (1946) de Paul Valry et "Palomar" (1983) dItalo Calvino posent les limites de lintellection pure et les possibilits du texte littraire rendre compte dune conscience, celle des sujets Teste et Palomar , comme les tmoins rflchis des phnomnes de lunivers. Bien quissus dpoques et de mouvements littraires diffrents (posie moderne franaise de lentre-deux guerre chez Valry, le noralisme italien chez Calvino) les deux auteurs parviennent nanmoins une criture comparable, qui valorise lclatement formel des catgories romanesques conventionnelles (intrigue, espace, temps, personnage) vers un nouveau ralisme, plus libre et moins contraignant. Que ce soit par le rcit composites "Monsieur Teste" o Valry met en scne Teste, un homme taciturne et solitaire vivant de lintrieur, ou encore "Palomar" dont le protagoniste dcide, un beau jour, darpenter du regard la moindre parcelle de lunivers, un lment demeure constant : le fragment, comme manire dapprhender et de comprendre le monde et, par ricochet, de se saisir soir-mme. Lanalyse des incidences littraires du fragment nous permettra dinterroger et de mettre en lumire, en les comparant, lcriture fragmentaire de "Monsieur Teste" et "Palomar" comme la cration dune structure textuelle, mais aussi comme une forme donnant vie un contenu : la pense prenant conscience de ses actes.
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This dissertation aims to address the concept of freedom from the perspective of the French philosopher Jean-Paul Sartre with reference to the main work Being and Nothingness. After presenting the concept of freedom we will try to show that it is related to the notion of responsibility, which will lead, ultimately, to define the Sartrean philosophy as a philosophy of action. In the first chapter we will present in passing the phenomenology of Edmund Husserl, philosopher from which Sartre will develop his concept of freedom. The Husserlian notion of consciousness (intentionality) is the way to develop his analysis of Sartre phenomenon of being. From this analysis Sartre submits their concepts of being in-itself and being for-itself. Being initself is defined as the things of the world devoid of consciousness, are the things that surround us. The In-itself has as its main brand positivity: it is what it is, is all that can be said about him. In turn being For-itself is the very being of man, which differs radically from the In-itself. The For-itself has as its main intentionality, ie, its ability to project outside itself in existence. That's when Sartre shows that this type of being realizes its existence on the basis of a constant nihilation. Here comes the notion of anything. Among the relations of the For-itself with the surrounding world stands a very special: relationship between consciousnesses. It is when we discuss the issue of another. Intersubjectivity, through sartrean analysis of look, show that the For-itself assumes a new existential dimension: the being-for others. That's when Sartre will emphasize his notion of conflict. The conflict in intersubjectivity would come from the fact that you want to take another- For-itself as an object. Given this we will analyze what Sartre called the concrete relations with others. The philosopher submit such relations in the form of ducts and conduits assimilation of ownership. In the first my-self to try to "get lost" in the consciousness of another, ownership of my conduct in-itself tries to "take ownership" of the subjectivity of the other and try to treat others as things, as objects. In this sense Sartre examines the experiences of love, masochism, indifference, desire and sadism. Following this route we will enter the land of freedom itself, which is the major theme of our work. Since Sartre defines the For-itself as a being that is projected to create your way of being, it can only define it as freedom. The freedom of the For-itself is taken in terms of autonomy of choice. Once the For-itself has no way of being a thing as being in-itself, it just may be picking up, that is, making your being. Here Sartre speaks of the anguish that would be the symptom of freedom itself. The fact that the For-itself have to choose on whether the call as one being distressed. However, in most cases the For-itself tries to escape from the anguish of freedom and takes refuge in bad faith. After setting the man (For-itself) as freedom Sartre defends that he is totally responsible for what he does of himself. Once the philosopher holds that man is not predetermined, ie, does not have an a priori essence, his philosophy has as its basic assumption the action. If Sartre argues that the For-itself must constantly choose your way of being, the action is the basis on which man will exercise his own freedom. In this sense we conclude the work with an approach to work Existentialism is a Humanism, which represent the entry of the philosopher on the practical aspects of life
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Errata slip bound in at end.
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The neural bases of altered consciousness in patients with epilepsy during seizures and at rest have raised significant interest in the last decade. This exponential growth has been supported by the parallel development of techniques and methods to investigate brain function noninvasively with unprecedented spatial and temporal resolution. In this article, we review the contribution of magnetoencephalography to deconvolve the bioelectrical changes associated with impaired consciousness during seizures. We use data collected from a patient with refractory absence seizures to discuss how spike-wave discharges are associated with perturbations in optimal connectivity within and between brain regions and discuss indirect evidence to suggest that this phenomenon might explain the cognitive deficits experienced during prolonged 3/s spike-wave discharges. 2013 Elsevier Inc.
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Donna Soto-Morettini is one of the top performance coaches in the industry and has worked as casting director and performance coach for the hit BBC reality casting shows, I'd Do Anything, Any Dream Will Do, and How Do You Solve a Problem Like Maria. She was the founding senior vocal coach at Paul McCartney's Liverpool Institute for Performing Arts. Based on her years of teaching experience in a multitude of styles, this unique book is a practical guide to exploring the singing voice and will help to enhance vocal confidence in a range of styles including Pop, Jazz, Blues, Rock, Country and Gospel. Both singers and voice teachers will benefit from the clear analysis of these styles and advice on how to improve performance. Popular Singing provides effective alternatives to traditional voice training methods and demonstrates how these methods can be used to create a flexible and unique sound. A free CD of voice demonstrations is also included.
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Ao longo de todo o sc. XX, o jazz construiu um espao alternativo s dicotomias heursticas tradicionais, como por ex. tradio/inovao, erudito/popular, composio/improvisao, entre outras. Por entre discursos polarizados, o jazz afirmou-se como domnio musical conciliador de diferenas culturais e sociais, configurando um espao novo de mediao, um jazz art world como definido pelo socilogo Paul Lopes. Nesse espao, a individualidade sempre assumiu enorme centralidade, em virtude do papel particularmente criativo do performer e tambm da sua relao elstica com os modelos referenciais para a performance. Assim, o jazz afigura-se um domnio privilegiado para a expresso da individualidade e, por conseguinte, para a construo e identificao de uma identidade musical, tal como a expresso proposta nesta tese. Para a discusso destes problemas conceptuais, esta tese recorre, como estudos de caso, a um conjunto de pianistas portugueses: Antnio Pinho Vargas (1951-), Mrio Laginha (1960-), Joo Paulo Esteves da Silva (1961-) e Bernardo Sassetti (1970-2012). traada a sua trajectria pessoal e formativa, e apresentada uma anlise da sua produo musical, com recurso teoria das tpicas enquanto modelo particularmente orientado para a anlise da msica popular. No sentido de compreender os processos de construo das identidades musicais destes pianistas, so ainda abordadas outras temticas, como a prpria definio de jazz, o jazz enquanto msica dialgica, ou os fluxos diaspricos do jazz (incluindo as respectivas implicaes e variantes terminolgicas, como jazz diaspora, musical cosmopolitanism e glocalization). Recorrendo a pesquisa bibliogrfica, trabalho de campo (mormente a entrevista) e tcnicas de anlise musical, esta tese realiza uma explorao aprofundada destes tpicos e do trabalho dos msicos em particular. Desta forma, pretende oferecer um contributo para uma reflexo conceptual sobre o jazz em geral no mbito dos jazz studies, e tambm para um mapeamento estilstico e identitrio do jazz em Portugal.
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Universidade Estadual de Campinas. Faculdade de Educao Fsica
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Attitudes to the fundamental economic institutions of capitalism, private ownership of productive property, markets as arenas for securing economic outcomes, and working class rights to associate and to strike, are key dimensions of class consciousness. This paper investigates how class location shapes these attitudes in combination with other factors like employment sector and trade union membership. Using data from the 1995 National Social Science Survey, the paper finds systematic class variation on attitudes to economic institutions that is consistent with respondents endorsing or rejecting class-specific strategies of interest realisation according to their own class circumstances. On some attitudes, class structural effects are additionally moderated by organisational norms associated with public sector employment and mediated by the impact of trade union membership.
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Thirst was induced by rapid i.v. infusion of hypertonic saline (0.51 M at 13.4 ml/min). Ten humans were neuroimaged by positron-emission tomography (PET) and four by functional MRI (fMRI). PET images were made 25 min after beginning infusion, when the sensation of thirst began to enter the stream of consciousness. The fMRI images were made when the maximum rate of increase of thirst occurred. The PET results showed regional cerebral blood flow changes similar to those delineated when thirst was maximal. These loci involved the phylogenetically ancient areas of the brain. fMRI showed activation in the anterior wall of the third ventricle, an area that is key in the genesis of thirst but is not an area revealed by PET imaging. Thus, this region plays as major a role in thirst for humans as for animals. Strong activations in the brain with fMRI included the anterior cingulate, parahippocampal gyrus, inferior and middle frontal gyri, insula, and cerebellum. When the subjects drank water to satiation, thirst declined immediately to baseline. A precipitate decline in intensity of activation signal occurred in the anterior cingulate area (Brodmann area 32) putatively related to consciousness of thirst. The intensity of activation in the anterior wall of the third ventricle was essentially unchanged, which is consistent with the fact that a significant time (15-20 min) would be needed before plasma Na concentration changed as a result of water absorption from the gut.
