Media and Music Studies

Top PDF Media and Music Studies:

Distinguishing the 'Vanguard' from the 'Insipid': Exploring the Valorization of Mainstream Popular Music in Online Indie Music Criticism

Distinguishing the 'Vanguard' from the 'Insipid': Exploring the Valorization of Mainstream Popular Music in Online Indie Music Criticism

American underground rock achieved mass popularity in North America, which later became known as alternative rock (Bannister 2006a, 79). A new crop of indie music artists emerged, whose musical styles stood in opposition to mainstream alternative rock (Abebe 2010). This movement coincided with Pitchfork’s online inauguration. During the site’s early years, artistic integrity often corresponded to artists’ indie label status (see Pitchfork Media 2001), bringing to the fore once again a softer reiteration of DIY ethics and the value of institutional autonomy. As oppositional values rise and fall, it is important to examine historical accounts of indie music culture to gain insight into recent changes that underscore evaluative practices in online indie music contexts. Furthermore, these aforementioned studies address issues pertaining to the mainstream co-option of indie artists. Pitchfork’s selective valorization of mainstream performers (a process of “reverse co-option”) stands in stark contrast to the practices and values of past indie music cultures. Lastly, there is a corresponding need in media and popular music studies to explore the differences between indie and mainstream musical taste in the digital landscape, as musical boundaries overlap and value discourses evolve at an accelerated pace.
Show more

140 Read more

Cosmopolitan expertise : music, media and cultural identities in Italy

Cosmopolitan expertise : music, media and cultural identities in Italy

This work has been informed by a longstanding interest in culture as a means of both exclusion and inclusion, and by a fascination for the ways in which music shapes the dynamics of cultural membership. As I will discuss in Chapters 1 and 2, these are barely new questions for sociology and cultural studies. However, such questions have been explored mostly in relation to cultural consumption and production, while as regards music studies, they have been explored mostly in relation to American and British popular music cultures. This thesis addresses a different field of practice, one that is relatively young from a historical point of view (Lopes 2002, Lindberg et al. 2005): popular music criticism. Further, the thesis focuses on criticism as a national cultural field that is shaped by the practices and asymmetries of power of a global cultural industry. On the one hand, it explores how such a position shapes critics' views and the way they make sense of their work. On the other hand, it analyses the reception of ‘non-national’ (e.g. American and British) musical traditions, the meanings they have acquired in the Italian context, and the practices of social distinction (Bourdieu 1984) they have enabled. Such issues, and more generally the impact of globalisation on both cultural production and consumption, have been addressed only recently by sociologists (e.g. Regev 2007, Dowd and Janssen 2011, Purhonen and Wright 2013). 1 Although these questions can be explored by studying music consumers and fans as well, critics open up further possibilities for researching cultural membership, social distinction and the way national differences shape such processes. As I will discuss in Chapter 1, critics deal with the making of symbolic
Show more

315 Read more

Twenty First Century Popular Music Studies

Twenty First Century Popular Music Studies

Clearly, in some countries epistemic inertia has been overcome more than in others. Martin Pfleiderer gave an example in the same IASPM Journal issue as both Collins and Tagg. In 2011, “almost 200 courses concerning popular music were offered by university programs in Germany, Austria and Switzerland, mostly provided by musicology and music pedagogy departments” (Pfleiderer 2011: 45). In particular, Musikhochschulen (specialist music universities) in Germany have provided practical jazz classes since the 1970s or 1980s. In many cases, these have diversified into other areasof popular music and there is now little demarcation between jazz and popular music (Pfleiderer 2013: personal communication). However it is still the case that “the academic scene is changing more slowly in musicology departments, while in sociology and media studies the exploration of popular culture is welcomed” (Pfleiderer 2011: 47). It seems that more traditional musicology departments at German universities still have more conservative approaches to music and art music still dominates strongly (Pfleiderer 2013: personal communication). In addition, Pfleiderer (2011) shows that German-language popular music academics read English language publications but rarely publish in established popular music journals such as Popular Music, and seem to rarely present their work at international conferences. This means that, although PMS in German-language countries is in touch with international developments in the field, and is sophisticated and well developed, the strong contribution it could potentially make to the international field is not fully realised (ibid: 49). German speaking countries seem again to show that there has been substantial opening up of academia to PMS, but that art music is still dominant in higher education. 4
Show more

14 Read more

Game Scoring: Towards a Broader Theory

Game Scoring: Towards a Broader Theory

occasionally even use the mode to set a score’s melody. NES game scorers simply prefer the NGC’s “white noise” mode for setting percussive elements because it has less pitched content and, thus, sounds more like acoustic percussion instruments. This said, braver NES game scorers have occasionally experimented with using the NGC’s “periodic” mode to produce unprecedented effects. A good example can be heard in the “Quick Man” theme from Mega Man II. In this case, the NGC switches rapidly back and forth between “white noise” and “periodic noise” modes, to produce a complex rhythmic pattern. The music thus underscores and heightens the intensity of the gameplay, even as Tateishi incrementally increases the tempo all the while.
Show more

120 Read more

Introduction: magazines and/as media : periodical studies and the question of disciplinarity

Introduction: magazines and/as media : periodical studies and the question of disciplinarity

Periodical studies—as a field that insists on the value of reading across full issues and multi-year runs of serial texts rather than cherry-picking individual items—has indeed benefitted from the increase in large-scale digitization projects that make rare periodical titles widely available. The twenty-year-old Modernist Journals Project (MJP) is responsible for a variety of important initiatives, such as the digitization of full magazine runs that include advertising as well as covers—paratextual material often stripped away during the process of archivization and thus difficult to locate, but central to our understanding of magazines as a medium. The MJP has been joined by a variety of other digitization initiatives. Even the briefest survey of these projects demonstrates their historical and aesthetic range. The UK-based Modernist Magazines Project arrived in 2006, followed in 2011 by The Pulp Magazines Project. Starting in 2009, the Chinese Women’s Magazines project has been developing a database of popular women’s magazines published between 1904 and 1937. In 2012 The Yellow Nineties launched, offering open-access digital facsimiles of the “avant-garde aesthetic periodicals that flourished in Great Britain at the fin-de-siècle.” Between 2011 and 2013 Magazines, Travel and Middlebrow Culture in Canada 1925-1960 created a searchable catalogue derived from the tables of contents of selected Canadian middlebrow magazines; 2 in 2014 Modern Magazines Project Canada continued the
Show more

8 Read more

Recording, Representation & Responsibility: questions of authorship and agency when field recording for electroacoustic composition

Recording, Representation & Responsibility: questions of authorship and agency when field recording for electroacoustic composition

A recent issue of Organised Sound (2014, 19-2) was dedicated entirely to a discussion of ethical issues in electroacoustic composition and the potential of cultural appropriation in electroacoustic music. Within the success of bringing that debate forward, in some senses the discourse is a post-mortem. Composers (I speak not least for myself) are perhaps more often attempting to justify their choices after recording, and perhaps indeed, after composing. It might be argued that whilst composers working with ‘outsider’ cultures have to answer difficult questions about their own agency, the ‘insider’ composers appropriating sounds common to them escape the call to be more rigorous in understanding why they are recording particular sounds. Perhaps composers should consider the implications of using any field- recorded sounds, and particularly for the significance it has for themselves. What does the authorial voice say about the self when employing field recordings either from close to or far from home? Who is really represented in the piece? How might different audiences hear that in different contexts? Andean suggests that
Show more

8 Read more

Computer vision syndrome: prevalence and predictors among students

Computer vision syndrome: prevalence and predictors among students

Exposure to music stimulates brain areas, but the process occurs differently among males and females which are attributed to various genetic, hormonal and environmental factors. However, both genders are equal in intelligence, but tend to work in a different manner. This is because both male and female use different parts of their brain to recognize faces, sense emotions, encode memories, make decisions and solve certain problems. According to our results, reaction time was much faster among females as compared to males in the control group as well as experimental group (Table 1).
Show more

8 Read more

J. P. E. Harper-Scott & Jim Samson (eds), An Introduction to Music Studies (2009)

J. P. E. Harper-Scott & Jim Samson (eds), An Introduction to Music Studies (2009)

The structure of An Introduction to Music Studies is clearly not intended to follow a logically consistent path: not all possible subdisciplines of music are covered in the first part (music history is much more than a subdiscipline anyway while aesthetics and critical theory might be regarded as subdisciplines of the philosophy of music), whereas the repertoire in the second part leaves much room for overlap (some operas are early music as well, concert works are used as film music, pieces of world music become popular). The third part is the least consistent as three of its chapters could have featured in the first part as well (poietic, performative and economic aspects are surely part of historical, analytical, sociological and philosophical approaches to music). Only music technology is presented in a way that suggests that the chapter is intended to prepare the reader for an actual engagement with the matter itself, rather than inviting the student to reflect on its general relevance within a larger picture. The structure of the book follows a more pragmatic approach: broadly speaking, its chap- ters reflect the programmes, courses and modules as they might be encountered in music departments in the English-speaking world. A more systematic approach can be seen in a German introduction to musicology published in 1998, Helmut Rösing and Herbert Bruhn’s Musikwissenschaft. Ein Grundkurs (Reinbek: Rowohlt, 1998). It is in six parts entitled ‘What is music?’ (a question touched on only in passing by An Intro- duction), ‘The uses of music’, ‘Making music’, ‘Teaching and disseminating music’, ‘Describing music’ and ‘Discovering music’. However, an approach like this may be less suitable for first-year students, many of whom are only beginning to discover and train their critical and reflective faculties. This is where the strength of the Royal Hol- loway volume lies: not only does it provide broad introductory surveys into different aspects of (mainly) musicological studies, it targets particularly the development of critical thinking and the application of what has been learned in other areas. To this extent, it succeeds very well indeed and I intend to use it to good effect in my teaching.
Show more

7 Read more

12-11-2013 12:00 AM The Orpheus Figure: The Voice in Writing, Music and Media

12-11-2013 12:00 AM The Orpheus Figure: The Voice in Writing, Music and Media

Before a performance of Claudio Monteverdi and Alessandro Striggio’s L’Orfeo even begins, the personification of Music appears at the curtain to deliver the opera’s prologue. Although L’Orfeo is often considered as the founding moment of opera, Ottavio Rinuccini and Jacopo Peri’s Euridice precedes it by seven years and thereby holds the official title of “first opera.” Euridice’s prologue is, contrastingly, placed under the aegis of Tragedy. The personification of Tragedy relates how horror and pity fell upon the faces of her spectators in the amphitheatres of old, but reassures her audience that she will tone down her pathetic effects—a travesty, which requires her to change garments—as to be more suitable to the festive occasion that has called for her return. La Musica, on the other hand, since she is not singing at a wedding, does not need to compromise her poetics, especially since her invisible artistic persuasions run the gamut of affects. The differences in poetic outlook are further underlined in terms of variation and repetition. While Peri’s tragicomic prologue relies on strophic repetition (the same music for each stanza), Monteverdi uses strophic variation, “retaining the strophic nature of the setting, while also adhering to the principle of following the dictates of the individual lines of text.” (McGee 1982: 175) Monteverdi thereby takes care of the prosodic shortfalls Peri had left to the improvisation of La Tragedia and her musicians. His written music is not merely in the service of the text, nor is the text a simple pretext for word painting or figuralismes—note, for example, the abrupt vocal and
Show more

330 Read more

Digital Media Player Controls Supporting Music Education

Digital Media Player Controls Supporting Music Education

After completing the first questionnaire, participants were trained to use the different YAP Media Player controls and were presented with an example of a think-aloud protocol. Participants were then given 25 minutes to view their coaching session using the YAP Media Player while thinking aloud. They were reminded to think aloud after every 5 minutes of silence. A digital camera was used to capture participants’ comments and their mouse movements while the YAP Media Player’s data logging capabilities tracked control usage.
Show more

5 Read more

Screencasts in Media Studies

Screencasts in Media Studies

Much  of  the  above  evidence  has  been  drawn  from  the  ‘physical  sciences’  of  Chemistry  and  Physics,   where  the  combination  of  visual  information  and  narration  provided  by  the  lecturer  has  been  said  to   produce  deeper  forms  of  student  learning  (Lancaster  and  Read,  2013;  Williams  &  Davies,  2012).  Thus   far,   there   has   been   relatively   little   research   focusing   on   how   such   resources   might   facilitate   new   forms   of   student   engagement   within   media   education.   Despite   the   emergence   of   social   media   as   both   an   object   of   study   and   a   potential   vehicle   for   disseminating   the   findings   of   such   research,   media   lecturers   have   appeared   reluctant   to   experiment   with   this   form   of   ‘digital’   scholarship   (Procter  et  al,  2010;  Weller,  2011).  This  paper  sets  out  to  provide  empirical  data  on  the  potential  role   of   screencasts   in   media   education   through   a   focus   group   study   of   lecturers   and   students   based   within  the  Department  of  Media  and  Communication,  which  was  conducted  between  July  2012  and   July  2013.  It  examines  student  perspectives  on  how  their  engaged  with  this  content  while  preparing   for  assignments,  with  a  specific  focus  on  whether  it  enhanced  their  learning  experiences  during  the   classes.    Lecturers  were  asked  to  reflect  on  the  process  of  creating  screencasts  and  if  they  felt  it  had   enhanced  the  learning  experiences  of  their  students.  They  were  also  asked  to  consider  the  impact  of   using  screencasts  upon  their  own  teaching  practice.  Results  indicate  that  screencasts
Show more

15 Read more

How Music and Mathematics Relate - Free Computer, Programming, Mathematics, Technical Books, Lecture Notes and Tutorials

How Music and Mathematics Relate - Free Computer, Programming, Mathematics, Technical Books, Lecture Notes and Tutorials

mathematical ideas from probability and other fields, musicians back to the Baroque period employed mathematical principles when manipulating melodies and harmonies. Understanding the probability and group theory behind their methods—many details of which were not written down by mathematicians until long after they were used in music—will help us understand the mathematical structures hidden in the music we hear every day. After a composer completes a piece and an ensemble performs it, the final product is most often delivered to our ears digitally, via an MP3 file or a CD. In either case, mathematics plays a crucial role behind the scenes to make the listening experience an enjoyable one. In the case of MP3 (and similar technologies), the harmonic analysis of overtones helps in the compression of files that would otherwise require more lengthy downloads or larger drives. In the case of CDs and DVDs, error-correcting codes and other mathematical techniques are used not only to detect the errors that are unavoidable in the disc-writing process but actually to correct those errors! Incredibly, these mathematical algorithms ensure that the more than 50,000 errors that occur on a typical audio CD will be corrected before sound comes out of your stereo system! In fact, the digitization of music (and musical scores) allows us to accomplish tasks hardly imaginable a generation ago, including fixing out-of- tune notes on the fly and finding a composition knowing only a short melody. In the final stop on our tour of the musical experience, we will delve into the available evidence for how the brain processes both mathematics and music. By examining similarities between the two subjects on many different levels, from infant development, to how the brain works with patterns, to the level of abstraction, to creativity and beauty, we will arrive at the ultimate connection between the subjects: that similar patterns of thought underlie both mathematics and music.
Show more

118 Read more

Implementing Multimedia Content Aggregation for News and Music Media

Implementing Multimedia Content Aggregation for News and Music Media

ABSTRACT: Now a days, there is tremendous growth in the volume of multimedia content along with the use and growth of internet. In this paper, we are mainly dealing with News and Music Media contents that leads to the generation of large variety of content choices and each consumer has diverse preferences for content. As with the growing use of internet it will lead to the challenges for dealing with large amount of content and for the system to accurately predict what type of content to show to consumers depending on their profile. For that we propose an online multimedia content aggregation CA framework, which gathers content generated by multiple producers to fulfil its consumers demand for different types of content. Till now, most of the time multimedia content characteristics and the consumers’ preferences and contexts are unknown. Therefore, there is a need to propose a self-learning algorithm for content aggregation. Our proposed algorithm is able to learn online what content to gather and how to match content and users by determining similarities between consumer types. The proposed learning algorithm guarantees both the accuracy of the predictions as well as the learning speed and efficiency of computation performed. Importantly, our system operates efficiently as the feedback from consumers and rating for the user interest is taken properly over time that is useful for support to make decisions in DSS. The preferences of consumer often depend on the consumer profile and data that helps to generate recommendation according to the categories generated for content aggregation and.
Show more

6 Read more

Innovative Dance Music Productions: Social Media Marketing Campaign

Innovative Dance Music Productions: Social Media Marketing Campaign

“Savannah Smith and Julia Melmon did a wonderful job managing IDM Productions’ marketing for the last several months. When they began their marketing campaign for IDM Productions our social media reach and content was very limited. They brought so much insight to the table and had so many great approaches to improving IDM’s marketing. I gave them a lot of creative control over their various campaigns for upcoming events and building up our fan base. The wording they used on IDM’s posts were spot on, not overly pushing or cheesy as many event companies tend to be. They utilized unique forms of promotion to build excitement around upcoming events and get people to engage with our various social media platforms. One of their great ideas was to implement social media competitions. This was great for several reasons, it built excitement for the upcoming event, Bass Waves, as well as supplied us with more fan generated media which we desperately needed for future marketing materials. Julia and
Show more

45 Read more

A sound connection with the past: recordings of early music in screen media

A sound connection with the past: recordings of early music in screen media

validity of this claim is questionable, the significance that Savall’s recording had is undeniable. Throughout Versailles, period music is provided by Fuoco E Cenere, led by Jay Bernfeld, whose recordings will be widely known among readers of this journal. All period music provided by Fuoco E Cenere was recorded especially for the series. Indeed, something of a partnership has developed between this ensemble and the television series, with the musicians being featured both in the soundtrack and on screen, an interesting proposition for a high-budget mainstream television series that does not make pretence at historical fidelity. Indeed, when period music can be heard in court scenes, the audience is treated to a glimpse of Fuoco E Cenere, clad in period costume, bringing this into the diegesis. Although period music features in a number of episodes across the two seasons, especially in court entertainment scenes, the second season sees its most frequent and dramatically prominent use as more than a musical backdrop. The majority of the soundtrack consists mostly of ambient soundscapes, produced principally through synthesized drones, marking out any period music by its contrast against this atmospheric sound design. xiii The long-form nature of this television series
Show more

9 Read more

Music Content Ranking using Affective Information on Social Media

Music Content Ranking using Affective Information on Social Media

Abstract: It is easy to determine a person's emotion state from their social network presence online. But it is only easy for us humans to correlate these emotions. But in the field of music information retrieval and recommendation, emotion is considered contextual information that is hard to capture, albeit highly influential. In this study, we exploit the user's online presence in twitter to determine his/her state of mind and ultimately provide music suggestions. Particularly, we perform a large-scale study based on data sets containing now playing tweets. We extract affective contextual information from hashtags that are present in social media posts by applying an unsupervised sentiment dictionary approach. Subsequently, we utilize a state-of-the-art network embedding method to learn latent feature representations of users, tracks and hashtags. We find that the suitable ranking method helps in discerning the music preference of the user. For capturing context-specific preferences which is a more complex and personal task, we find that affective information and leveraging hashtags as context information are the best ranking strategies that outperform the other ranking strategies.
Show more

6 Read more

A Preliminary Investigation into the Mediating Role of Positive Affect in the Development of Posttraumatic Stress Disorder among African American Female Sexual Assault Survivors

A Preliminary Investigation into the Mediating Role of Positive Affect in the Development of Posttraumatic Stress Disorder among African American Female Sexual Assault Survivors

Recently, the practice of policing gender boundaries and female sexuality through “slut- shaming” has generated a great deal of public debate (Tanenbaum 2000; 2015a; 2015b). As discussed above (and as we shall see in relation to Kim Kardashian in Chapter Four), post- feminist ideologies present a stark double standard: women should be sexy, but not too sexual. The “lady in the streets, freak in the sheets” rhetoric has long been promoted in popular culture representations of women. Women are frequently criticized for not conforming to the accepted (impossible) standards of beauty, but also demonized if they are perceived as being too sexually available (read: sluts). Tanenbaum (2015b) coined the term in the mid-1990s and defines “slut- shaming” as “a method of policing a girl or woman for being inappropriately sexual and deviating from normative femininity” (n.p.). Miley Cyrus’s now-notorious performance at the 2013 MTV Video Music Awards brought slut-shaming to the forefront in public discourse about female sexuality. Singer Sinead O’Connor even wrote an open letter to Cyrus and cautioned her against allowing the music industry to exploit her or convince her that it is okay or necessary to exploit herself; Cyrus responded via Twitter by mocking O’Connor for her past mental health problems, and the back-and-forth continued for three more open letters (Smith 2013a; Smith 2013b; Strecker 2013; Chung 2013). However, there has been a push-back against this sort of slut-shaming and Sinead O’Connor’s “open letter” specifically, with many claiming that O’Connor was actually contributing to the public shaming of Cyrus (Penny 2013).
Show more

262 Read more

James Joyce, Chamber music : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University

James Joyce, Chamber music : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University

of this thesis, such ns studies of J oyce with no specific reference to Chamber Music, and possible sources for, or influences on, Chamber Music such a s o.ntholo 6ies of Elizabethan lyr[r]

273 Read more

USE OF MUSIC, DANCE, DRAMA AND ARTS IN EDUCATION

USE OF MUSIC, DANCE, DRAMA AND ARTS IN EDUCATION

Where have the arts in education gone? Over the past several years we‟ve all seen the trend of schools cutting the arts from their curriculum. Music, art, theater—gone for so many. Some parents, teachers and students look down on arts education as something unimportant, especially when compared to academic subjects such as language, math and science. However, the value of arts education should not be underestimated because it can actually provide several benefits for the students.

8 Read more

INTEGRATION OF ART, MUSIC AND DRAMA IN EDUCATION

INTEGRATION OF ART, MUSIC AND DRAMA IN EDUCATION

The need of the integration of performing art in teacher education curriculum is a new focused toward learning without burden. The Kothari Commission Report of 1964- 66 emphasized that “in an age which values discovery and invention education for creative expression acquires added significance. Adequate facilities for the training of teachers in music and the visual arts do not exist. The neglect of the arts in education impoverishes the educational process and leads to a decline of aesthetic tastes and values”. The National Policy of Education 1986 emphasized that the important school education is to foster understanding of cultural and social system of different parts of the country. Follow up taken in 1986 and program of action prepared in 1992 and mentioned cultural perspective interlinking education promotes personality development and helps to enhance potentialities of the child. It is also supported in the three previous National Curriculum Framework(NCFs)of 1975,1988 And 2000 that to encourage and arouse students curiosity it is important to the principle of the teaching is focused on drama, music and drawing etc. Paradigm shift toward the art education integrate in school curriculum.
Show more

5 Read more

Show all 10000 documents...