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Musical Work (musical + work)
Selected AbstractsMusical work in a university town: The shifting spaces and practices of DJs in DunedinASIA PACIFIC VIEWPOINT, Issue 3 2009Andrew McGregor Abstract Increasing attention is being paid to how workers in the creative industries negotiate transitions from amateur to professional status and seek opportunities for work and spaces for expression that suit artistic desires. The settings have usually been large cities with populations that can support diverse and specialised audiences and subcultural scenes. In this paper, we discuss research where we participated in a music scene, and talked to dance music disc jockeys and venue owners in a small, regional university city , Dunedin. In Dunedin opportunities for musical work are comparatively plentiful but are constrained in a number of ways. Disc jockeys negotiate audience demands, distances from key musical centres and associated infrastructure, and the shifting venues available for performance. We emphasise the importance of an ethnographic perspective to the study of musical work that remains attuned to the manner in which urban spaces are created, transformed, challenged and remade in the musical nightlife economy. [source] The Musical Object RevisitedMUSIC ANALYSIS, Issue 3 2002MATTHEW BUTTERFIELD A piece of music presupposes, even before the attempt to create a shape in time, a step back, away from the stuff, so that its substance is clearly distinguished from my own mood, phantasy, feeling, activity. The ultimate problem of the musical work of art lies toward the negative side of autonomy, toward distance and isolation. It is not so much to free music from words, representation, or function, as to free it from ourselves, to externalize it. The musical object must not only be made whole, but also given body, located at a distance and kept there. It must be ,spatialized', so to speak. The problem of musical form conceived as a piece is the making of the musical thing. (Patricia Carpenter, ,The Musical Object', 1967) [source] Musical work in a university town: The shifting spaces and practices of DJs in DunedinASIA PACIFIC VIEWPOINT, Issue 3 2009Andrew McGregor Abstract Increasing attention is being paid to how workers in the creative industries negotiate transitions from amateur to professional status and seek opportunities for work and spaces for expression that suit artistic desires. The settings have usually been large cities with populations that can support diverse and specialised audiences and subcultural scenes. In this paper, we discuss research where we participated in a music scene, and talked to dance music disc jockeys and venue owners in a small, regional university city , Dunedin. In Dunedin opportunities for musical work are comparatively plentiful but are constrained in a number of ways. Disc jockeys negotiate audience demands, distances from key musical centres and associated infrastructure, and the shifting venues available for performance. We emphasise the importance of an ethnographic perspective to the study of musical work that remains attuned to the manner in which urban spaces are created, transformed, challenged and remade in the musical nightlife economy. [source] Maurice Ravel and right-hemisphere musical creativity: influence of disease on his last musical works?EUROPEAN JOURNAL OF NEUROLOGY, Issue 1 2002L. Amaducci The problem of finding correspondence between a particular neuronal organization and a specific function of the human brain remains a central question of neuroscience. It is sometimes thought that language and music are two sides of the same intellectual coin, but research on brain-damaged patients has shown that the loss of verbal functions (aphasia) is not necessarily accompanied by a loss of musical abilities (amusia). Amusia without aphasia has also been described. This double dissociation indicates functional autonomy in these mental processes. Yet verbal and musical impairments often occur together. The global picture that emerges from studies of music and its neural substrate is by no means clear and much depends on which subjects and which aspect of musical abilities are investigated. An illustration of these concepts is provided by the case of the French composer Maurice Ravel, who suffered from a progressive cerebral disease of uncertain aetiology, with prominent involvement of the left hemisphere. As a result, Ravel experienced aphasia and apraxia and became unable to compose. The available facts favour a clinical diagnosis of primary progressive aphasia (PPA), with the possibility of an overlap with corticobasal degeneration (CBD). In view of Ravel's clinical history, we propose that two of his final compositions, the Bolero and the Concerto for the Left Hand, include certain patterns characteristic of right-hemisphere musical abilities and may show the influence of disease on the creative process. [source] Annotations on musical scores by performing musicians: Collaborative models, interactive methods, and music digital library tool developmentJOURNAL OF THE AMERICAN SOCIETY FOR INFORMATION SCIENCE AND TECHNOLOGY, Issue 12 2008Megan A. Winget Although there have been a number of fairly recent studies in which researchers have explored the information-seeking and management behaviors of people interacting with musical retrieval systems, there have been very few published studies of the interaction and use behaviors of musicians interacting with their primary information object, the musical score. The ethnographic research reported here seeks to correct this deficiency in the literature. In addition to observing rehearsals and conducting 22 in-depth musician interviews, this research provides in-depth analysis of 25,000 annotations representing 250 parts from 13 complete musical works, made by musicians of all skill levels and performance modes. In addition to producing specific and practical recommendations for digital-library development, this research also provides an augmented annotation framework that will enable more specific study of human-information interaction, both with musical scores, and with more general notational/instructional information objects. [source] | ||||||||||