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Classical Music (classical + music)
Selected AbstractsGender and the Politics of Voice: Colonial Modernity and Classical Music in South IndiaCULTURAL ANTHROPOLOGY, Issue 2 2003Amanda Weidman First page of article [source] Weaponizing Classical Music: Crime Prevention and Symbolic Power in the Age of RepetitionJOURNAL OF POPULAR MUSIC STUDIES, Issue 4 2007Lily E. Hirsch [source] Effects of audio stimulation on gastric myoelectrical activity and sympathovagal balance in healthy adolescents and adultsJOURNAL OF GASTROENTEROLOGY AND HEPATOLOGY, Issue 1 2008Dennis D Chen Abstract Aim:, The primary aim of this study was to investigate the effects of different audio stimulations on gastric myoelectrical activity and sympathovagal balance in adolescents compared with adults. Methods:, The study was performed in 11 adults and 12 adolescents. Each subject underwent two sessions, one for classical music, and the other for noise. Each session consisted of 30 min of baseline, 30 min of fasting audio stimulation, a test meal, 30 min of fed audio stimulation, and 30 min of recovery. Electrocardiogram and electrogastrogram were both recorded throughout each session. Results:, (i) In the fasting state, both classical music and noise impaired gastric slow wave activity in adolescents. In adults, noise had no effects while classical music moderately improved slow wave rhythmicity. (ii) In the fed state, neither noise nor music had any effects on gastric slow waves. (iii) In the fasting state, both noise and music increased the sympathovagal balance in adolescents; in adults only noise had such an effect. (iv) The test meal increased the sympathovagal balance in all groups. Conclusions:, Gastric slow waves and the sympathovagal balance are more strongly affected by audio stimulation in adolescents than in adults. The test meal normalizes the audio stimulation-induced differences between the groups. [source] Appreciating music: An active approachNEW DIRECTIONS FOR TEACHING & LEARNING, Issue 101 2005Andrew R. Levin A particularly innovative use of laptops is to enhance the music appreciation experience. Group listening and discussion, in combination with a new Web-based application, lead to deeper understanding of classical music. [source] Works and Performances in the Performing ArtsPHILOSOPHY COMPASS (ELECTRONIC), Issue 5 2009David Davies The primary purpose of the performing arts is to prepare and present ,artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed ,performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed ,performance-works', as, for example, in free improvisations. Where we have performances of performed works, a number of distinctive philosophical questions arise: What kind of thing is a performed work? How is it appreciated through its performances? Is ,authenticity' an artistically relevant quality of performances of performed works, and, if so, why? How much of what goes on in the performing arts is rightly viewed as the performance of performed works? Artistic performances, whether or not they are of performed works, raise philosophical questions of their own. Can a performance itself be rightly viewed as a work of art? How do improvisation and rehearsal enter into the performing arts, and how do they bear on the appreciation of artistic performances? What role does the audience play in such performances? Does the performer's use of her own body as an artistic medium, as for example in dance performance, generate special constraints on appreciation? How, finally, does what is usually classified as ,performance art' relate to activities in the performing arts more generally construed? I critically survey the ways in which these questions have been addressed by principal theorists in the field. [source] FICTIONAL FORM AND SYMPHONIC STRUCTURE: AN ESSAY IN COMPARATIVE AESTHETICSRATIO, Issue 4 2009Peter Kivy It is agreed on all hands that both fictional narratives and the familiar genres of classical music possess an inner structure that both can be perceived and be appreciated aesthetically. It is my argument here that this inner structure plays a crucially different role in fictional narrative than it does in classical music, confining myself here to ,absolute music' (which is to say, pure instrumental music without text, programme, dramatic setting, or other ,extra-musical' content). The argument, basically, is that whereas the sophisticated listener to the absolute music repertory is keenly, consciously aware of the inner structure, the sophisticated reader of fictional narrative, the principal exemplar being the novel, is not so aware. Therefore, whereas musical structure directly contributes to aesthetic satisfaction, narrative structure contributes only indirectly (which is not to deny that, at times, the reader is consciously aware of narrative structure, and that, at such times, it does contribute directly to aesthetic satisfaction). [source] | ||||||||||