DOCSLIB.ORG

Fma2013 Proceedings.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fma2013 Proceedings.Pdf Proceedings of the Third International Workshop on Folk Music Analysis (FMA2013) 6 and 7 June, 2013 Amsterdam, Netherlands Editors: Peter van Kranenburg Christina Anagnostopoulou Anja Volk Amsterdam: Meertens Institute Utrecht: Department of Information and Computing Sciences, Utrecht University Title Proceedings of the Third International Workshop on Folk Music Analysis (FMA2013) Editors P. van Kranenburg, C. Anagnostopoulou, A. Volk Publishers Meertens Institute; Department of Information and Computing Sciences, Utrecht University ISBN 978-90-70389-78-9 Copyright © 2013 The authors ii Program Committee Chairs • Christina Anagnostopoulou (University of Athens) • Anja Volk (Utrecht University, Netherlands) Members • Aggelos Pikrakis (University of Piraeus) • Andre Holzapfel (Universitat Pompeu Fabra) • Aline Honingh (University of Amsterdam) • Ashley Burgoyne (University of Amsterdam) • Bas de Haas (Utrecht University) • Damien Sagrillo (University of Luxembourg) • Darrell Conklin (Universidad del País Vasco UPV/EHU) • Emilios Cambouropoulos (Aristotle University of Thessaloniki) • Ewa Dahlig (The Institute of Art of the Polish Academy of Sciences) • Joren Six (University College Ghent, Belgium) • Matija Marolt (University of Ljubljana) • Olivier Lartillot (University of Geneva) • Olmo Cornelis (University College Ghent, Belgium) • Paco Gomez (Technical University of Madrid) • Polina Proutskova (Goldsmiths, London) Organizing Committee • Peter van Kranenburg (Meertens Institute, Amsterdam) • Berit Janssen (Meertens Institute, Amsterdam) • Anja Volk (Utrecht University) • Frans Wiering (Utrecht University) • Dániel P. Biró (University of Victoria) iii Preface The present volume contains the proceedings of the Third International Workshop on Folk Music Analysis. As the third in a series, this workshop offers an excellent opportunity to present and discuss ongoing research in the area of computational ethnomusicology. There are two important motivations. Firstly, recent advances in computer science, artificial intelligence, etc. have great potential to be employed for (ethno)musicology. This implies an empirical approach to music studies. The current research in this area is only in its beginnings. Therefore, much attention should be paid to explore these methods and their relation to the research traditions of musicology. Secondly, most of the current research in music information retrieval is exclusively aimed at western music. With this workshop we want to stimulate a broader focus that also includes non-western musics. Computational study of music is inherently interdisciplinary. Musicologists, computer scientists, engineers and programmers need to collaborate. Therefore, we are exited that this workshop will bring together researchers from different backgrounds. We are grateful to everybody who made this event possible, including The Meertens Institute, for hosting the workshop and for practical support (in particular Hetty Garcia and Marianne van Zuijlen); The members of the program committee; The members of discussion panel; The e-Humanities Group of the Royal Netherlands Academy of Arts and Sciences for sponsoring the keynote talk; the Study Group on Digital Musicology of the International Musicological Society; and of course the authors and participants. Amsterdam, June 2013 The organizers iv Contents Full papers Tempo and prosody in Turkish taksim improvisation André Holzapfel 1 Quantifying timbral variations in traditional Irish flute playing Islah Ali-Maclachlan, Münevver Köküer, Peter Jancovi˘ c,˘ Ian Williams and Cham Athwal 7 Idiom-independent harmonic pattern recognition based on a novel chord transition representation Emilios Cambouropoulos, Andreas Katsiavalos and Costas Tsougras 14 Variability as a key concept: when different is the same (and vice versa) Stéphanie Weisser and Didier Demolin 21 Traditional asymmetric rhythms: a refined model of meter induction based on asymmetric meter templates Thanos Fouloulis, Aggelos Pikrakis and Emilios Cambouropoulos 28 Investigating non-western musical timbre: a need for joint approaches Stéphanie Weisser and Olivier Lartillot 33 Melodic contour representations in the analysis of children’s songs Christina Anagnostopoulou, Mathieu Giraud and Nick Poulakis 40 An original optical-based retrieval system applied to automatic music transcription of the marovany zither Dorian Cazau, Marc Chemillier and Olivier Adam 44 Traces of equidistant scale in Lithuanian traditional songs Rytis Ambrazevicius˘ and Robertas Budrys 51 Wavelet-filtering of symbolic music representations for folk tune segmentation and classification Gissel Velarde, Tillman Weyde and David Meredith 56 A more informative segmentation model, empirically compared with state of the art on tra- ditional Turkish music Olivier Lartillot, Z. Funda Yazıcı and Esra Mungan 63 v Extended Abstracts Computer-assisted transcription of ethnic music Joren Six and Olmo Cornelis 71 An content-based emotion categorisation analysis of Chinese cultural revolution songs Mi Tian, Dawn A.A. Black, György Fazekas and Mark Sandler 73 Introducing the Jazzomat project and the MeloPy library Klaus Frieler, Martin Pfleiderer, Jakob Abesser and Wolf-Georg Zaddach 76 A probabilistic study of culture-dependent note association paradigms in folk music Zoltán Juhász 78 The churches’ tuning Enric Guaus and Jaume Ayats 81 Descriptive rule mining of Basque folk music Kerstin Neubarth, Colin G. Johnson and Darrell Conklin 83 On finding repeated stanzas in folk song recordings Ciril Bohak and Matija Marolt 86 A computational study of choruses in early Dutch popular music Jan Van Balen, Frans Wiering and Remco Veltkamp 88 Comparative description of pitch distribution in Cypriot melodies by analysing polyphonic music recordings Maria Panteli and Hendrik Purwins 90 MIR model of vocal timbre in world’s cultures – where do we start Polina Proutskova 93 Timbre and tonal similarities between the Turkish, Western and Cypriot monophonic songs using machine learning techniques Andreas Neocleous, Maria Panteli, Nicolai Petkov and Christos N. Schizas 95 Towards a comprehensive and modular framework for music transcription and analysis Olivier Lartillot and Mondher Ayari 97 Folk tune classification with multiple viewpoints Darrell Conklin 99 Some quantitative indexes in the study of traditional musical scales and their genesis Rytis Ambrazevicius˘ 100 On computational modeling in ethnomusicological research: beyond the tool Peter Van Kranenburg 102 Analysis of “Polish rhythms” Ewa Dahlig-Turek 104 vi Proceedings of the Third International Workshop on Folk Music Analysis, June 6-7, 2013. Amsterdam, Netherlands. P. van Kranenburg, C. Anagnostopoulou, and A. Volk (Eds.). Amsterdam: Meertens Institute, Utrecht: Department of Information and Computing Sciences, Utrecht University. TEMPO AND PROSODY IN TURKISH TAKSIM IMPROVISATION Andre´ Holzapfel Bogazic¸i˘ University, Istanbul, Turkey xyzapfel @gmail.com { } ABSTRACT the style predominating the recording period. The creation of a tempo in taksim is discussed, and relations to speech Instrumental improvisation in Turkish makam music, the taksim, is considered to be free-rhythm, that is its rhythm develops with- utterances are pointed out. out the underlying template of a meter or continuous organized pulsation. In this paper, we want to examine how in this set- ting, rhythmic idioms are formed and maintained throughout a 2. PROCESSING APPROACH: DESCRIPTION, performance. For this, we will apply a simple signal processing MOTIVATION AND EXAMPLES approach. We show differences that can be observed between performers, and raise the question if a tempo could be evoked by First, we need to emphasize signal transients which are certain regularities in the occurring rhythmic elaborations. positioned at the time instances where the player hits a string. For this, we convert our original audio signal to an 1. INTRODUCTION onset function by examining positive changes in its spec- tral magnitude (Holzapfel et al., 2010). Then autocorrela- In Makam music of Turkey, we can distinguish between tions of this onset function are computed in small shifting metered pieces and free-rhythm improvisation. In our pa- windows of 3s length and a hop size from one window to per, we focus on the latter in the form of instrumental im- the next of 0.5s, similar to Holzapfel & Stylianou (2011). provisation, which is called taksim in Turkish art music. The obtained autocorrelation vectors are stringed together While rhythm in metered pieces of Turkish music was an- in a two-dimensional representation, referred to as pulsa- alyzed previously by Holzapfel & Bozkurt (2012), a de- tion matrix hereafter. This matrix has the time of the initial tailed study of rhythm in Turkish improvisation still re- recording on its x-axis, and the lags of the autocorrelations mains to be approached. Until now studies on taksim con- (in seconds) on the y-axis. centrated on aspects of melodic development (Stubbs, 1994), and scale aspects (Bozkurt, 2008). A study on rhythm is timely because improvisation in Turkish music is widely considered as free-rhythm (Clayton, 2009), which means 0.6s 100bpm that its surface rhythm is not related to an organized and continuous pulsation. Instead, it has been mentioned that 1.2s 50bpm taksim is characterized by pulsations in non-metrical flow- ing rhythm (Feldman, 1993). To the best of my knowledge it has not been investigated how such a pulsation is formed; Lag (s) / Frequency (bpm) 1.8s 33.3bpm 1 10 19 28 37 i.e. how it appears throughout
Load more

Recommended publications
  • Cilt 6, Sayı 1, Nisan 2019 E-Kafkas Journal of Educational Research Volume 6, Number 1, April 2019
    KAFKAS ÜNİVERSİTESİ E-Kafkas Eğitim Araştırmaları Dergisi Cilt 6, Sayı 1, Nisan 2019 E-Kafkas Journal of Educational Research Volume 6, Number 1, April 2019 e – ISSN : 2148 – 8940 Sahibi Prof. Dr. Murat TAŞDAN Editör Dr. Öğr. Üyesi. Ali İbrahim Can Gözüm Editör Yardımcıları Doç. Dr. Özgür AKTAŞ Yazı İşleri Müdürü Turgut URTANUR Dizgi – Düzenleme Arş. Gör. Hüseyin YILMAZ Arş. Gör. Sevda KILIÇ İnternet adresi : http://dergipark.gov.tr/kafkasegt E – posta adresi : [email protected] Yazışma adresi : Kafkas Üniversitesi Dede Korkut Eğitim Fakültesi Merkez Kampüs 36100-KARS İÇİNDEKİLER Konservatuvar Müzik Bölümü Öğrencilerinin Nota Yazım Programlarını Kullanım Durumunun İncelenmesi (Kars Kafkas Üniversitesi Örneği). Examination of the Usage Status of the Notes of the Conservatory Music Department Students (The Case of Kars Kafkas University) Hüseyin YILMAZ ............................................................................................................................................... 1-10 Konservatuvar Müzik Bölümü Öğrencilerinin Mesleki Açıdan Akıllı Telefon Kullanımları Üzerine Bir İnceleme. The use of smart phones in the professional sense of Conservatory Music Department Students. Şerif GAYRETLİ ............................................................................................................................................... 11-23 Annelerin Çocuk Kitaplarının İç ve Dış Yapı Özellikleri ile İlgili Görüşleri View of Mothers on Internal and External Structures of Storybooks Vedat BAYRAKTAR .........................................................................................................................................
    [Show full text]
  • PANAYOTIS F. LEAGUE Curriculum Vitae Harvard University Music
    PANAYOTIS F. LEAGUE Curriculum Vitae Harvard University Music Department 3 Oxford Street Cambridge, Massachusetts 02138 617.999.6364 [email protected] EDUCATION 2017 PhD, Music Department (Ethnomusicology), Harvard University Dissertation: “Echoes of the Great Catastrophe: Re-Sounding Anatolian Greekness in Diaspora” Advisors: Kay Shelemay and Richard Wolf 2012 M.A., Department of Musicology and Ethnomusicology (Ethnomusicology), Boston University 2008 B.A. (with Highest Distinction), Classics and Modern Greek Studies, Hellenic College PROFESSIONAL APPOINTMENTS 2019 Florida State University, Assistant Professor of Ethnomusicology 2019 Milman Parry Collection of Oral Literature, Harvard University Associate for the James A. Notopoulos Collection 2019 (Summer) Paraíba State University, João Pessoa, Brazil Visiting Assistant Professor of Ethnomusicology (via Fulbright U.S. Scholar Award) 2019 (Spring) Harvard University, Lecturer in Music 2018-2019 Massachusetts Institute of Technology, Lecturer in Music 2018 Milman Parry Collection of Oral Literature, Harvard University Milman Parry Collection Fellow 2018 Managing Editor, Oral Tradition 2017 Milman Parry Collection of Oral Literature, Harvard University James A. Notopoulos Fellow League, 2 2017 Harvard University, Departmental Teaching Fellow in Music LANGUAGES Fluent: English, Greek, Portuguese Reading proficiency: Spanish, French, Italian, Ancient Greek, Latin, Turkish, Irish Gaelic Learning: Yoruba, Tupi-Guarani HONORS AND AWARDS 2018 Traditional Artist Fellowship, Massachusetts Cultural Council 2016 Professor of the Year Award, Hellenic College 2015 Harvard University Derek Bok Center for Teaching and Learning Certificate of Distinction in Teaching for “Introduction to Tonal Music I” 2015 Victor Papacosma Best Graduate Student Essay Prize, Modern Greek Studies Association, for “The Poetics of Meráki: Dialogue and Speech Genre in Kalymnian Song” 2015 James T.
    [Show full text]
  • Ijtase V1i1.Pdf
    INTERNATIONAL JOURNAL OF NEW TRENDS IN ARTS, SPORTS & SCIENCE EDUCATION JANUARY 2012 Volume 1 - Issue 1 Prof. Dr. Teoman Kesercioğlu EditorEditor----inininin----ChiefChief Prof. Dr. Salih Çepni Prof. Dr. Bedri Karayağmurlar Prof. Dr. Rana Varol Assoc. Prof. Dr. Oğuz Serin Editor Assoc. Prof. Dr. Fatoş Silman Assoc. Prof. Dr. Nergüz Bulut Serin Ms. Umut Tekgüç Associate Editor Editor in Cheif PhD. Teoman Kesercioğlu (Dokuz Eylül University, Turkey) Editor PhD. Bedri Karayağmurlar (Dokuz Eylül University, Turkey) PhD. Oğuz Serin (Cyprus International University, North Cyprus) PhD. Rana Varol (Ege University, Turkey) PhD. Salih Çepni (Karadeniz Teknik University, Turkey) Associate Editor PhD. Fatoş Silman (Cyprus International University, North Cyprus) PhD. Nergüz Bulut Serin (Cyprus International University, North Cyprus) Ms. Umut Tekgüç (Cyprus International University, North Cyprus) Linguistic Editor PhD. İzzettin Kök (İzmir University, Turkey) PhD. Mehmet Ali Yavuz (Cyprus International University, North Cyprus) PhD. Nazife Aydınoğlu (İzmir University, Turkey) PhD. Uğur Altunay (Dokuz Eylül University, Turkey) Editorial Board PhD. Abdulkadir Yıldız (Kilis 7 Aralık University, Turkey) PhD. Ahmet Adalıer (Cyprus International University, North Cyprus) PhD. Ahmet Pehlivan (Cyprus International University, North Cyprus) PhD. Alev Önder (Marmara University, Turkey) PhD. Ali Doğan Bozdağ (Adnan Menderes University, Turkey) PhD. Alim Kaya (İnönü University, Turkey) PhD. Andreas Papapavlou (Cyprus University, South Cyprus) PhD. Antoinette J. Muntjewerff (Amsterdam University, Holland) PhD. Asuman Seda Saracaloğlu (Adnan Menderes University, Turkey) PhD. Aytekin İşman (Sakarya University) PhD. Banu Yücel Toy (Gazi University, Turkey) PhD. Baştürk Kaya (Selcuk University, Turkey) PhD. Bedri Karayağmurlar (Dokuz Eylül University, Turkey) PhD. Behbood Mohammadzadeh (Cyprus International University, North Cyprus) PhD. Benan Çokokumuş (Ondokuz Mayıs University, Turkey) PhD.
    [Show full text]
  • Christians and Pagans in Roman Nea Paphos: Contextualizing the ‘House of Aion’ Mosaic
    UCLA UCLA Historical Journal Title Christians and Pagans in Roman Nea Paphos: Contextualizing the ‘House of Aion’ Mosaic Permalink https://escholarship.org/uc/item/4hb1v94d Journal UCLA Historical Journal, 29(1) ISSN 0276-864X Author Ladouceur, John Publication Date 2018 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Christians and Pagans in Roman Nea Paphos: Contextualizing the ‘House of Aion’ Mosaic John Ladouceur Notre Dame University “Rather than retreats from public life, however, these residences were the forum made private.” —Peter Brown, on the late Roman villa1 Since its chance discovery in 1983 at the site of ancient Nea Paphos, the “House of Aion” floor mosaic has both fascinated and perplexed scholars. Located in the dining room (triclinium) of a wealthy Roman villa, the pavement, which contains five remarkably preserved panels depicting famous scenes from Greco-Roman mythology, is simply stunning in its artistic quality and scope. Constructed during the fourth century CE, the floor is a reflection of the considerable pros- perity of late Roman Cyprus and a window into the private world of a confident Mediterranean elite.2 Yet if the magnificence of the mosaic program has been conceded by all, its interpretation has proven more controversial. Although the scenes themselves are easily identifiable, being explicitly labeled by the artist, their meaning has been vigorously debated.3 Indeed, several prominent scholars, including the head exca- vator of the villa, W. A. Daszewski, have noticed an unsettling pattern in the layout of the panels.4 When read as part of a continuous sequence, the thematic content of these pagan scenes seems to mirror, in exact order, key scenes from the life of Jesus as depicted in the canonical Christian Gospels.
    [Show full text]
  • DOCTORAL THESIS the Development of Musical
    DOCTORAL THESIS The development of musical preferences in Greek Cypriot students Rousha, Yianna Award date: 2014 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 The development of musical preferences in Greek Cypriot students by Yianna Rousha A thesis submitted in partial fulfilment of the requirement for the degree of PhD School of Education University of Surrey 2013 To my godfather CONTENTS List of tables vii List of figures x Acknowledgements xii PART I: Review of the literature Chapter 1: Greek Cypriot folk music 1 1.1 Introduction 1 1.2 Folk music: concept and definition 3 1.3 Greek Cypriot folk music 17 1.3.1 Cyprus: a brief observation 17 1.3.2 Overview on ethnomusicological research in Cyprus 19 1.3.3 Greek Cypriot folk collectors: Kallinikos 24 1.3.4 An overview
    [Show full text]
  • Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music
    Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music Sertan Şentürk TESI DOCTORAL UPF / 2016 Director de la tesi Dr. Xavier Serra Casals Music Technology Group Department of Information and Communication Technologies Copyright © 2016 by Sertan Şentürk http://compmusic.upf.edu/senturk2016thesis http://www.sertansenturk.com/phd-thesis Dissertation submitted to the Department of Information and Com- munication Technologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Licensed under Creative Commons Attribution - NonCommercial - NoDerivatives 4.0 You are free to share – to copy and redistribute the material in any medium or format under the following conditions: • Attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • Non-commercial – You may not use the material for com- mercial purposes. • No Derivative Works – If you remix, transform, or build upon the material, you may not distribute the modified ma- terial. Music Technology Group (http://mtg.upf.edu/), Department of Informa- tion and Communication Technologies (http://www.upf.edu/etic), Univer- sitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain The doctoral defense was held on .................. 2017 at Universitat Pompeu Fabra and scored as ........................................................... Dr. Xavier Serra Casals Thesis Supervisor Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Gerhard Widmer Thesis Committee Member Johannes Kepler University, Linz, Austria Dr.
    [Show full text]
  • Charles University of Prague Pedagogical Faculty Department of Music Education Cypriot Folk Music in Historical Context Bachelor
    CHARLES UNIVERSITY OF PRAGUE PEDAGOGICAL FACULTY DEPARTMENT OF MUSIC EDUCATION CYPRIOT FOLK MUSIC IN HISTORICAL CONTEXT BACHELOR THESIS Michaelidou Joanna Music Education – Choir Conducting Supervisor : PhDr. Olga Kittnarová 2010/2011 Prague 1 KARLOVA UNIVERZITA V PRAZE PEDAGOGICKÁ FAKULTA KATEDRA HUDEBNÍ VÝCHOVY KYPERSKÁ LIDOVÁ HUDBA V HISTORICKÉM KONTEXTU BAKALÁŘSKÁ PRÁCE MICHAELIDOU JOANNA Hudební výchová – sbormistrovství Vedoucí práce: PhDr Olga Kittnarová 2010/2011 Praha 2 DECLARATION I confirm that this is my own work and the use of all materials from other sources has been properly and fully acknowledged. I agree with storing my work in the library of Faculty of Education, Charles University in order to be available for educational purpose. Prague Michaelidou Joanna 3 Contents Introduction ..............………….………….………….………….……….…………p.4 1. History of Cyprus …………………………………………………………………..p.5 1.1 Period from 7000 to 58 B.C….……………………………………………p.5 1.2 Roman Period from 58 B.C to 395 A.C……………………………….p.6 1.3 Byzantine Era from 395 to 1191 A.C………………………………….p.6 1.4 French and Venetian Period from 1191 to 1571 A.C………….p.6 1.5 Turkish Occupation from 1571 to 1878 A.C……………………….p.7 1.6 British Occupation from 1878 to 1960 A.C………………………..p.7 1.7 Formation of the Independent Republic of Cyprus in 1960.p.8 2. Music in Cyprus………………………………….…………………………………..p.9 3. The Musical Instruments………………………………………………………..p.13 4. Rembetiko………………………………………………………………………………p.16 5. A specific Musical Customs held at Cyprus………………………………p.18 5.1 Christmas, New Year, Epiphany and Easter Songs……………..p.18 5.2 Family songs concerning birth, weeding and funeral………….p.20 6.
    [Show full text]
  • A Machine Learning Approach for Clustering Western and Non-Western Folk Music Using Low-Level and Mid-Level Features
    A machine learning approach for clustering western and non-western folk music using low-level and mid-level features Neocleous Andreas1, Panteli Maria1, Rafaela Ioannou1, Nicolai Petkov2, Christos N. Schizas1 1University of Cyprus, Nicosia, Cyprus [email protected], [email protected], [email protected], [email protected] 2University of Groningen, Groningen, The Netherlands [email protected] Abstract. This work describes an unsupervised method for clustering folk music from four non-European eastern countries, western music and folk music of Cyprus. The folk music of Cyprus is consisted by Greek- Cypriot folk music and Turkish-Cypriot folk music. We used low-level and mid-level features for our investigations and we applied two unsupervised methods, the so-called k- means and the self organizing maps for creating cluster maps. From the results we observed that the Greek-Cypriot songs, the Turkish Cypriot songs and the Turkish makams are being clustered from the system in different clusters. Arabic and music from Iran are clustered in the same cluster and music from Syria is clustered together with music of Turkey. Western music is clustered in to two different clusters. Keywords. Computational ethnomusicology, signal processing, timbre, tonality 1 INTRODUCTION The aim of this work is to explore timbre and tonal similarities between folk music of Cyprus, western music and non-western music from, especially, East Mediterranean countries, using a computational approach. Models with K-means and self organizing maps (SOM) were created for clusters 1,2,..,10. in order to inspect the robustness of the results. We used the elbow method [5] for the identification of the optimal number of clusters for the particular problem.
    [Show full text]
  • WOMEN's MUSIC • FEMINIST MUSIC Cris Williamson: Circle of Friends (P
    LADYSLIPPER _•_[ HP__ /7 _^__. n j MJf_L_T_#. Winter 1991-1992 ECORDINGS • BY • WOMEN Table of Contents Our Holiday Gift to You 3 Reggae * Calypso 47 Ordering Information 4 Country 48 Order Blank 5 Folk * Traditional 49 More Free Gifts 6 Rock 55 Ladyslipper's Top 40 6 R&B * Rap * Dance 59 Gift Order Blank 7 Gospel 60 Gift Certificates 7 Blues 61 Donor Discount Club 8 Jazz 62 Musical Month Club 8 Classical 63 Especially Recommended New Titles 9 Spoken 65 Women's Spirituality * New Age 10 Babyslipper Catalog 66 Recovery 22 "Mehn's Music" 70 Women's Music * Feminist Music 23 Videos 72 Comedy 35 Kids'Videos 76 Holiday 35 Songbooks, Posters, Grab-Bag 77 International: African 38 Jewelry, Books 78 Arabic * Middle Eastern 39 Resources 80 Asian 39 Calendars, T-Shirts, Cards 81 Celtic * British Isles 40 Ladyslipper Mailing List 84 European 43 Be A Slipper Supporter 84 Latin American 43 Extra Order Blank 85 Native American 44 Artist Index 86 Jewish 46 About Ladyslipper Ladyslipper is a North Carolina non-profit, tax- We also distribute recordings on a wide variety of Donations are tax-deductible, and we do need the exempt organization which has been involved in many labels to book and record stores in the eastern sea­ help of friends to continue to grow. We have instituted facets of women's music since 1976. Our basic pur­ board states, from eastern Pennsylvania down two clubs to add some pizzazz to fund-raising, the pose has consistently been to heighten public aware­ through Florida.
    [Show full text]
  • Müzik Öğretmeni Adaylarinin Nota Yazim Programlari Kullanimina Yönelik Bir Araştirma (Necmettin Erbakan Üniversitesi Örneği)*
    Delen, H. , Öz, C. (2019). Müzik öğretmeni adaylarının nota yazım programları kullanımına yönelik bir araştırma (Necmettin Erbakan Üniversitesi örneği). ONLINE JOURNAL OF MUSIC SCIENCES, 4 (1), 86-103. DOI: http://dx.doi.org/10.31811/ojomus.559292 Geliş Tarihi: 30/04/2019 Kabul Tarihi: 07/06/2019 MÜZİK ÖĞRETMENİ ADAYLARININ NOTA YAZIM PROGRAMLARI KULLANIMINA YÖNELİK BİR ARAŞTIRMA (NECMETTİN ERBAKAN ÜNİVERSİTESİ ÖRNEĞİ)* Hasan DELEN** Ceyhan ÖZ *** ÖZET Gelişen teknolojik araç ve gereçler günlük yaşantımızın neredeyse her alanında yer ettiği gibi bu çağda yaşayan toplumların teknolojiden faydalanmalarını bir gereklilik haline getirdiği aşikardır. Bilgisayarlar artık evlerde, iş yerlerinde, hatta ceplerde bile vazgeçilmezliğini sürdürerek gitgide önemini kazanmaktadır. Hayatımızda önemli bir yer kaplayan müzik alanı da bu gelişim sürecinden etkilenmiştir. Yapılan çalışmalar incelendiğinde eğitim teknolojisi kapsamında müzik eğitiminin de teknoloji kullanım olanakları ihtiyacı ortadadır. Başta MIDI teknolojisi ve uygulama alanları, ses kayıt, düzenleme ve çalma programları, işitme eğitimi programları, çalgı eğitimi programları gibi nota yazım programlarının da müzik öğretmenlerinin değerlendirebileceği teknolojik olanakların başında geldiği bilinmektedir. Tüm olanaklar değerlendirildiğinde özellikle nota yazım programlarının müzik öğretmenlerinin ihtiyaç sıralamasının başında geldiği de tartışılmaktadır. Bu araştırma, müzik öğretmeni adaylarının nota yazım programları hakkında bilgilerini, ihtiyaçlarını, tutumlarını ve ne derece faydalandıklarını
    [Show full text]
  • Greek Cypriot Wedding Music and Customs: Revival and Identity
    Greek Cypriot Wedding Music and Customs: Revival and Identity Submitted by: EFI IOANNIDOU Supervisors: DR. ANDREW KILLICK, DR. SIMON KEEGAN-PHIPPS THE UNIVERSITY OF SHEFFIELD PhD in Music 21st March 2017 2 ABSTRACT In many cultures, weddings are the most important event in people’s lives. Greek Cypriots use weddings as a means of expressing their identity and linking themselves to their roots, with the conscious aim of preservation of their musical tradition and customs. As a result, weddings are especially important in their musical culture because of the threats to their identity posed by the island’s long history of foreign rule and colonisation. However, an upheaval has occurred in the folk music and customs of Greek Cypriot wedding ceremonies over the last ten years, creating an urgent need for a study of these customs in relation to social, historical and cultural developments in Cyprus. This study has revealed a movement towards music revival that links contemporary practice with the ‘living memory’ of the mid-twentieth century. The thesis is structured in two parts, progressing from the directly observable wedding practices of contemporary Greek Cypriots to the remembered and reconstructed forms of the Greek Cypriot wedding that is now regarded as ‘traditional’. Part One analyses contemporary wedding ceremonies and the choices that newlyweds make in the customs and music of their weddings. Part Two attempts to reconstruct in detail the music and customs of Greek Cypriot wedding ceremonies of the mid-twentieth century from the testimonies of veteran folk musicians and from documentary sources. Besides documenting a tradition that is little known and fast transforming, the study contributes to current discussions in ethnomusicology on themes such as ‘music revivals’ and ‘tradition and identity’.
    [Show full text]
  • Monsieur Doumani and Reinventing Cypriot Traditional Music
    ‘Our Land is the Whole World’: Monsieur Doumani and Reinventing Cypriot Traditional Music Nicoletta Demetriou Wolfson College, University of Oxford [email protected] The lights went out. A projector began showing old photos of the Cypriot countryside, modified with bright, sometimes neon, colours. A trombone began playing at the back of the room, only to be joined seconds later by a guitar and a tzouras, a plucked string instrument, like a smaller version of a bouzouki. The trio – with the somewhat cryptic name ‘Monsieur Doumani’ – began walking through the crowd, the tables and chairs, towards the stage, still playing, and with the slides and lights still flashing in the direction they were heading. The three men who made up the group, all of them in their early to mid-thirties, funkily dressed – one in a chequered shirt and cap, the second with bright red suspenders, the third one sporting a turban – took their places on stage. They were playing Cypriot traditional songs on instruments that were new for that music, with new arrangements and harmonies, and modified lyrics. ‘Don’t think this is any old kind of traditional music’, the owner of the venue had earlier informed me as he was showing me to my seat. ‘This is Cypriot music all jazzed up’. With this hard-to-define piece of information – a warning? a promise? a threat? – I settled into my seat, behind small tables where other attendees were already enjoying their beer or wine, waiting for the concert to begin. As I was soon to discover, in addition to variations on older songs, Monsieur Doumani were playing new compositions with lyrics that reflected life in present-day Cyprus; one of them, for instance, was about the current financial crisis.
    [Show full text]