Tag-Based Music Recommendation Systems Using Semantic Relations and Multi-Domain Information
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Sonisphere, Fantastic Four !
www.daily-rock.com UNE PUBLICATION No 39 DU COLLECTIF AVRIL 2010 MENSUEL Daily Rock GRATUIT TOUTE L’ACTUALITÉ BRÛLANTE DU ROCK EN ROMANDIE Sonisphere, Interview : Rod y Gab, Maison D’ailleurs, Mexico, Mexiiiicooo ! p. 6 music in space ! p. 11 fantastic Fourp. 3 ! © Joseph Carlucci Greenfield, les vertes années 11 juin 2010. Au milieu de l’après-midi. Quelque part entre Berne et Zürich. Ici commencera le meilleur weekend du mois de juin… Et c’est reparti comme en 14 ! Ou pas. Ou presque. Cela dépendra surtout de la clémence du temps si les tranchées boueuses seront de la partie pour ce sixième Greenfield Festival à Interlaken. En même temps, les vétérans greenfieldiens Edito ont acquis une certaine résistance au mauvais grain. Rappelez-vous celui Daily Rockeuses, Daily Rockeurs, de 2005 où les éléments s’étaient déchaînés sabordant carrément les Le maudit printemps est là et je prestations de Nine Inch Nails et des n'ai toujours pas acquis de disque Queens Of The Stone Age ! Et 2008 estampillé 2010 ! C'est bien moi qui donnait l’impression de vivre le ça, entre les rattrapages de l'année festival au mois de janvier. Le dernier écoulée, les tueries sorties tout à la en date, ce fut pour les deux derniers fin, les rééditions et les vieilleries, je live de la grande scène de l’édition n'arrive pas à décrocher ! 2009, à savoir KoRn & Slipknot. L’expression 'Se régaler comme une Ce n'est pas faute d'essayer mais à part des promos tornade dans un camping' n’aura (que je refile pour acheter les vrais avec pochette et jamais sonné aussi juste. -
Décryptage Des Musiques Actuelles : Fusions, Mariages Et Métissages”
1 - Présentation Dossier d’accompagnement de la conférence / concert du samedi 20 juin 2009 proposée dans le cadre du projet d’éducation artistique des Trans et des Champs Libres. “Décryptage des musiques actuelles : fusions, mariages et métissages” Conférence de Pascal Bussy Concert de Aïwa Depuis juin 2006, notre cycle de conférences concerts propose un état des Afin de compléter la lecture lieux des "musiques actuelles". Du blues aux musiques électroniques, du rock de ce dossier, n'hésitez pas aux musiques du monde, nous avons dégagé huit familles en faisant ressortir les nombreux liens et passerelles qui existent entre elles. à consulter les dossiers d’accompagnement des Aujourd'hui, au terme de ce décryptage, nous avons choisi de nous précédentes conférences-concerts concentrer sur les multiples mélanges qui sont autant de défis face à des ainsi que les “Bases étiquettes forcément réductrices. de données” consacrées Nous mettrons notamment l'accent sur le parcours de plusieurs artistes aux éditions 2005, 2006, 2007 inclassables, même s'ils sont tous à priori issus de l'une de ces familles de et 2008 des Trans, tous en base. Certains y restent ancrés tout en allant s'abreuver à d'autres sources, téléchargement gratuit, sur d'autres jonglent avec tellement d'éléments qu'ils créent leur propre esthétique, d'autres encore juxtaposent deux ou plusieurs styles qui forment un puzzle aux www.lestrans.com/jeu-de-l-ouie pièces identifiables ; ces typologies ne sont pas exclusives, elles peuvent se combiner et s'interpénétrer. En analysant quelques-uns de ces itinéraires, nous montrerons qu'ils contribuent tous à construire une nouvelle géographie musicale, et que l'ouverture artistique qui en est le socle engendre chez le public surprise et saveur de la découverte, et donc un plaisir de l'écoute renouvelé. -
Islam, Law, and the State
POLITICAL ISLAM PRESENT AND PAST 508:110 Spring 2018 Monday & Wednesday 2:50pm - 4:10pm Hardenbergh Hall A7 Instructor: Julia Stephens ([email protected]) Office Hours: TBA This course is an introduction to Islamic political thought and practice, which focuses on how history can inform our understanding of contemporary Political Islam. Since the attack on the Twin Towers on September 11, 2001, political debates about the role of Islam in the modern world have arguably been the single defining issue of the twenty-first century. The manifestations of Political Islam are diverse: they range from al-Qaeda and ISIS, to Muslim political parties who participate in electoral politics in Turkey and Indonesia. Nor is Political Islam limited to Muslim- majority countries. Debates about Islam have also emerged as key political questions in the United States and Europe, influencing policies in areas ranging from surveillance to immigration and education. The course traces the longer history of a range of flashpoints in these debates, including the relationship between sharia and the state, the role of new media technologies in shaping Muslim politics, veiling, and censorship of religiously offensive materials. In the process the course surveys the life of the Prophet, the early Caliphates, early-modern Muslim empires, European colonialism, and nationalist movements. But a focus on themes of contemporary relevance provides the guiding thread through this whirl-wind tour of Islamic history. The course assumes no prior knowledge of the subject. Lectures and discussions will guide students through the analysis of a variety of historical and contemporary sources, including Ottoman fatwas on drinking coffee, nineteenth-century debates about the compatibility of Islam and modern science, Sufi rock videos, and Twitter feeds. -
Popular Music As Entertainment Communication: How Perceived Semantic Expression Explains Liking Previously Unknown Music
This is a repository copy of Popular Music as Entertainment Communication: How Perceived Semantic Expression Explains Liking Previously Unknown Music. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/163797/ Version: Published Version Article: Lepa, Steffen, Steffens, Jochen, Herzog, Martin et al. (1 more author) (2020) Popular Music as Entertainment Communication: How Perceived Semantic Expression Explains Liking Previously Unknown Music. Media and Communication. ISSN 2183-2439 10.17645/mac.v8i3.3153 Reuse This article is distributed under the terms of the Creative Commons Attribution (CC BY) licence. This licence allows you to distribute, remix, tweak, and build upon the work, even commercially, as long as you credit the authors for the original work. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Media and Communication (ISSN: 2183–2439) 2020, Volume 8, Issue 3, Pages 191–204 DOI: 10.17645/mac.v8i3.3153 Article Popular Music as Entertainment Communication: How Perceived Semantic Expression Explains Liking of Previously Unknown Music Steffen Lepa 1,*, Jochen Steffens 2, Martin Herzog 1 and Hauke Egermann 3 1 Audio Communication Group, TU Berlin, 10587 Berlin, Germany; E-Mail: [email protected] (S.L.), [email protected] (M.H.) 2 Media Department, University of Applied Sciences Düsseldorf, 40476 Düsseldorf, Germany; E-Mail: [email protected] 3 York Music Psychology Group, University of York, York, YO10 5DD, UK; E-Mail: [email protected] * Corresponding author Submitted: 14 April 2020 | Accepted: 26 June 2020 | Published: 13 August 2020 Abstract Our contribution addresses popular music as essential part of media entertainment offerings. -
THE FLAMENCO BOX in the CLASSROOM History , Evolution and Didactic Autor: Carlos Crisol Maestro
THE FLAMENCO BOX IN THE CLASSROOM History , Evolution and Didactic Autor: Carlos Crisol Maestro Coordinación de Diseño y Maquetación: Nuria Crisol de la Fuente Colaboración de los alumnos del CFGM Preimpresión en Artes Gráficas IES Santo Reino: Juan Jesús Mesa Moraleda y Gema Moreno Serrano en diseño de interiores y portada - contraportada. Traducción inglés: Nuria Sánchez INDEX I. PRECEDENTS AND ANALOGIES OF THE BOX Introduction and state of the issue Pg. 2 Searching for a box history in the world Pg. 3 The box in Perú: Findings documented on the origin of the box Pg. 5 The box in Cuba Pg. 7 The box in Spain: origin and evolution Pg. 8 . II. CONSTRUCTION OF THE BOX Building materials Pg. 12 Sundbox. Cubic capacity and dimensions of the box Pg. 14 Sound output: box hole (back, side, bottom ...) Pg. 15 Front or struck cover Pg. 18 String tension and tuning system. Treatment of harmonics. String arrangements in the box. Pg. 26 III. THE FLAMENCO BOX IN THE CLASSROOM Introduction Pg. 39 Objectives concretion Pg. 41 Subjects and curriculum areas relation: Pg. 43 Music Plastic and Visual education (Art) Language Social sciences, Geography and History Maths Physical education Languages Techology and Informatics Contribution to the Basic Competences: Pg. 45 Linguistic communication competence Mathematical competence Knowledge and interaction with the physical environment competence Information management and digital competence Social and citizen competence Cultural and Artistic competence Learning to learn competence Autonomy and self-esteem competence. IV. FLAMENCO BOX TEACHING AND LEARNING METHODS Pg. 48 V. BIBLIOGRAPHY. Pg. 51 1 Introduction and state of the issue. -
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan By Zainub Beg A Thesis Submitted to Saint Mary’s University, K’jipuktuk/Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Theology and Religious Studies. December 2020, Halifax, Nova Scotia Copyright Zainub Beg, 2020 Approved: Dr. Syed Adnan Hussain Supervisor Approved: Dr. Reem Meshal Examiner Approved: Dr. Sailaja Krishnamurti Reader Date: December 21, 2020 1 Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan by Zainub Beg Abstract Abida Parveen, often referred to as the Queen of Sufi music, is one of the only female qawwals in a male-dominated genre. This thesis will explore her performances for Coke Studio Pakistan through the lens of gender theory. I seek to examine Parveen’s blurring of gender, Sufism’s disruptive nature, and how Coke Studio plays into the two. I think through the categories of Islam, Sufism, Pakistan, and their relationship to each other to lead into my analysis on Parveen’s disruption in each category. I argue that Parveen holds a unique position in Pakistan and Sufism that cannot be explained in binary terms. December 21, 2020 2 Table of Contents Abstract ................................................................................................................... 1 Acknowledgements ................................................................................................ 3 Chapter One: Introduction .................................................................................. -
States of Affect: Trauma in Partition/Post-Partition South Asia
STATES OF AFFECT: TRAUMA IN PARTITION/POST-PARTITION SOUTH ASIA By Rituparna Mitra A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of English – Doctor of Philosophy 2015 ABSTRACT STATES OF AFFECT: TRAUMA IN PARTITION/POST-PARTITION SOUTH ASIA By Rituparna Mitra The Partition of the Indian subcontinent – into India and Pakistan in 1947 – was one of the crucial moments marking the break between the colonial and postcolonial era. My project is invested in exploring the Partition not merely in terms of the events of August 1947, but as an ongoing process that continues to splinter political, cultural, emotional and sexual life-worlds in South Asia. My dissertation seeks to map analytical pathways to locate the Partition and the attendant formations of minoritization and sectarian violence as continuing, unfolding processes that constitute postcolonial nation-building. It examines the far-reaching presence of these formations in current configurations of politics, culture and subjectivity by mobilizing the interdisciplinary scope of affect-mediated Trauma and Memory Studies and Postcolonial Studies, in conjunction with literary analysis. My project draws on a wide range of cultural artifacts such as poetry, cantillatory performance, mourning rituals, testimonials, archaeological ruins, short stories and novels to develop a heuristic and affective re-organization of post-Partition South Asia. It seeks to illuminate through frameworks of memory, melancholia, trauma, affect and postcoloniality how the ongoing effects of the past shape the present, which in turn, offers us ways to reimagine the future. This dissertation reaches out to recent work developing a vernacular framework to analyze violence, trauma and loss in South Asia. -
Colocated with ACM Recsys 2011 Chicago, IL, USA October 23, 2011 Copyright C
Colocated with ACM RecSys 2011 Chicago, IL, USA October 23, 2011 Copyright c . These are an open-access workshop proceedings distributed under the terms of the Creative Com- mons Attribution License 3.0 Unported1, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. 1http://creativecommons.org/licenses/by/3.0/ Organizing Committee Amelie´ Anglade, SoundCloud Oscar` Celma, Gracenote Ben Fields, Musicmetric Paul Lamere, The Echo Nest Brian Mcfee, Computer Audition Laboratory, University of California, San Diego Program Committee Claudio Baccigalupo, RED Interactive Agency Dominikus Baur, LMU Munich Mathieu Barthet, Queen Mary, University of London Thierry Bertin-Mahieux, Columbia University Sally Jo Cunningham, the University of Waikato Zeno Gantner, University of Hildesheim Fabien Gouyon, INESC Porto Peter Knees, Johannes Kepler University Daniel Lemire, Universite´ du Quebec´ Mark Levy, Last.fm Markus Schedl, Johannes Kepler University Alan Said, Technische Universitat¨ Berlin Doug Turnbull, Ithaca College Preface Welcome to WOMRAD, the Workshop on Music Recommendation and Discovery being held in conjunction with ACM RecSys. WOMRAD 2011 is being held on October 23, 2011, exactly 10 years after Steve Jobs introduced the very first iPod. Since then there has been been an amazing transformation in the world of music. Portable listening devices have advanced from that original iPod that allowed you to carry a thousand songs in your pocket to the latest iPhone that can put millions of songs in your pocket via music subscription services such as Rdio, Spotify or Rhapsody. Ten years ago a typical personal music collection numbered around a thousand songs. -
La Construcción Del Canon Estético Del Pop-Rock Español Reis
Reis. Revista Española de Investigaciones Sociológicas ISSN: 0210-5233 [email protected] Centro de Investigaciones Sociológicas España del Val, Fernán; Noya, Javier; Pérez Colman, Martín ¿Autonomía, Sumisión o Hibridación Sonora? La Construcción del Canon Estético del Pop-Rock Español Reis. Revista Española de Investigaciones Sociológicas, núm. 145, enero-marzo, 2014, pp. 147-178 Centro de Investigaciones Sociológicas Madrid, España Disponible en: http://www.redalyc.org/articulo.oa?id=99734671007 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto doi:105477/cis/reis.145.147 ¿Autonomía, sumisión o hibridación sonora? La construcción del canon estético del pop-rock español Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock Fernán del Val, Javier Noya y C. Martín Pérez-Colman Palabras clave Resumen Cultura popular En este trabajo nos acercamos al análisis del canon estético del pop-rock • Estilos artísticos español, entendiendo por este a los músicos, grupos y obras que han • Música tenido más infl uencia en el género en España. Partiendo de la sociología del arte de Bourdieu, y de su aplicación en los estudios de música • Pierre Bourdieu popular, hemos analizado las encuestas realizadas entre la crítica musical • Sociología del arte española, pero también entre los músicos, planteándonos la hipótesis de si existe un canon estético autóctono, o si este está determinado por la infl uencia anglófona. -
As Ondas Musicais Do Pós-Manguebit
UNIVERSIDADE FEDERAL DO PERNAMBUCO CENTRO DE ARTES E COMUNICAÇÃO DEPARTAMENTO DE COMUNICAÇÃO SOCIAL PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO RICARDO CÉSAR CAMPOS MAIA JÚNIOR AS ONDAS MUSICAIS DO PÓS-MANGUEBIT RECIFE 2016 RICARDO CÉSAR CAMPOS MAIA JÚNIOR AS ONDAS MUSICAIS DO PÓS-MANGUEBIT Tese apresentada à Coordenação do Programa de Pós Graduação em Comunicação, da Universidade Federal de Pernambuco, como requisito para a obtenção do grau de Doutor em Comunicação, sob orientação do Prof. Dr. Jeder Silveira Janotti Junior. RECIFE 2016 Catalogação na fonte Bibliotecária Maria Valéria Baltar de Abreu Vasconcelos, CRB4-439 M217o Maia Júnior, Ricardo César Campos As ondas musicais do Pós - Manguebit / Ricardo César Campos Maia Júnior. – Recife, 2016. 231 f.: il. Orientador: Jeder Silveira Janotti Junior. Tese (Doutorado) – Universidade Federal de Pernambuco, CAC. Comunicação, 2016. Inclui referências e apêndices. 1. Comunicação. 2. Música - Pernambuco - Sec. XX. 3. Comunicação e cultura. 4. Música - Pernambuco - Movimento. 5. Músicos - Pernambuco. 6. Mangue (Música). I. Janotti Junior, Jeder Silveira (Orientador). II. Titulo. 302.23 CDD (22.ed.) UFPE (CAC 2016-191) AGRADECIMENTOS Obrigado aos que contribuíram para a realização intelectual desse texto: principalmente ao meu orientador, Jeder Silveira Janotti Junior por toda a dedicação, suporte e força nessa caminhada; aos membros da minha banca examinadora, além dos professores do Programa de Pós-Graduação em Comunicação da UFPE. Agradeço também por todo o suporte emocional dado nessa longa caminhada pela minha família, principalmente: minha avó, Mabel Morais, minha mãe, Eliane Pires de Morais Maia, minha esposa, Raquel Valentim e minha filha Nina Mabel. Para finalizar, dedico essa tese à memória do meu pai, Ricardo Maia. -
Contemporary Carioca: Technologies of Mixing in A
Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos -
Cultural Cosmopolitanism and Hybridity in the Practices of Contemporary Jazz Double Bass Players
Cultural Cosmopolitanism and Hybridity in the Practices of Contemporary Jazz Double Bass Players Benjamin Robert Phipps A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy in Music. School of Arts and Media Faculty of Arts and Social Sciences December 2017 COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Phipps First name: Benjamin Other name/s: Robert Abbreviation for degree as given in the University calendar: Ph.D.