Designing Interactions with Shared Systems
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Negotiating Musicianship Live Weider Ellefsen
Ellefsen Weider Live Live Weider Ellefsen In this ethnographic case-study of a Norwegian upper secondary music musicianship Negotiating programme – “Musikklinja” – Live Weider Ellefsen addresses questions of Negotiating musicianship subjectivity, musical learning and discursive power in music educational practices. Applying a conceptual framework based on Foucault’s discourse The constitution of student subjectivities theory and Butler’s theory of (gender) performativity, she examines how the young people of Musikklinja achieve legitimate positions of music student- in and through discursive practices of hood in and through Musikklinja practices of musicianship, across a range of sites and activities. In the analyses, Ellefsen shows how musical learn- musicianship in “Musikklinja” ers are constituted as they learn, subjecting themselves to and perform- ing themselves along relations of power and knowledge that also work as means of self-understanding and discursive mastery. The study’s findings suggest that dedication, entrepreneurship, compe- tence, specialization and connoisseurship are prominent discourses at play in Musikklinja. It is by these discourses that the students are socially and institutionally identified and addressed as music students, and it is by understanding themselves in relation to these discourses that they come to be music student subjects. The findings also propose that a main charac- teristic in the constitution of music student subjectivity in Musikklinja is the appropriation of discourse, even where resistance can be noted. However, within the overall strategy of accepting and appropriating discourses of mu- sicianship, students subtly negotiate – adapt, shift, subvert – the available discourses in ways that enable and empower their discursive legitimacy. Musikklinja constitutes an important educational stepping stone to higher music education and to professional musicianship in Norway. -
Parliamentary Debates (Hansard)
Thursday Volume 569 31 October 2013 No. 67 HOUSE OF COMMONS OFFICIAL REPORT PARLIAMENTARY DEBATES (HANSARD) Thursday 31 October 2013 £5·00 © Parliamentary Copyright House of Commons 2013 This publication may be reproduced under the terms of the Open Parliament licence, which is published at www.parliament.uk/site-information/copyright/. 1053 31 OCTOBER 2013 1054 John Glen: I thank the Minister for that answer, but House of Commons what do I say to the local authority and residents in villages such as Pitton who believe they are in the percentage that will not qualify for the imminent roll-out Thursday 31 October 2013 through the BT deal? They want to be free to develop new community-based solutions with alternative providers, The House met at half-past Nine o’clock as they anticipate they will not get anything from BT for a long time. PRAYERS Mr Vaizey: I am happy to meet my hon. Friend to discuss any issues. The rural community broadband fund is designed to support community broadband [MR SPEAKER in the Chair] projects that the programme is not reaching. Chris Bryant (Rhondda) (Lab): This is not just an Oral Answers to Questions issue for rural areas. Semi-rural areas often fall between two stools. It is difficult for people to get broadband to their home, either because they are too far from the final mile or because the bung that has been given to CULTURE, MEDIA AND SPORT BT, to roll this out across the country and make it almost impossible for anybody else to compete, has made it difficult for other operators to get into areas The Secretary of State for Culture Olympics, Media such as the Rhondda. -
Learning from the Jamaican Street Dance by Larisa K
Decolonizing Copyright: Learning from the Jamaican Street Dance By Larisa K. Mann A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Jurisprudence and Social Policy in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kristin Luker, Chair Professor Calvin Morrill Professor Pamela Samuelson Professor Coye Cheshire Fall 2012 This dissertation is licensed under a Creative Commons – Attribution license (CC-BY 3.0) Larisa Mann 2012 Abstract Decolonizing Copyright: Learning from the Jamaican Street Dance By Larisa Kingston Mann Doctor of Philosophy in Jurisprudence and Social Policy University of California, Berkeley Professor Kristin Luker, Chair In this ethnographic study I examine the significance of music-making in Jamaican society in the light of the increasing interpenetration of law and technology with cultural practices. I center the local institution of the “street dance” as the heart of Jamaicans’ musical practices. Grounded in a historical analysis of musicking – the active practice of engaging with music – in Jamaica and in the Jamaican diaspora, this study reveals how Jamaica’s colonial past and present shapes musicking’s cultural, political and economic significance in Jamaican life. Most specifically, Jamaican music-makers’ collaborative and repetitive practices, that draw on and reinforce shared cultural history, contradict current local and international copyright law. Copyright law relies on historically and culturally specific -
Organizing Music
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 5: Organizing Music §1 Evolution “Huh-ooohw,” hovers an unstable, low male voice, “huh-eeehw.” A sudden Mountain-Song-like movement lifts the melody to a high pitch: like a rubber band stretched and then released, the voice howls: “ee-oo.” It remains high, but the volume now wavers and decreases, into a nasal falsetto. “Ii- ih-i-i,” on the last bit of breath. Silence again, a loud sigh “whiiiy,” followed by high, barely audi- ble, “e-e-e” sounds. Low again: “whoo-oo-ee.” The melody now jumps back and forth between al- most painfully high and low registers, while simultaneously working the overtones through changes of the vowel. Silence, another sigh, followed by a glissando. The sixth phrase is relatively conven- tional – a few drawn-out high notes with only microtonal fluctuations, briefly interrupted by a sud- den dive into lower registers. Then the glockenspiel enters with a quiet tremolo. On Taoism 道极 (1985) begins with composer Tan Dun singing the germ cell of the composition. A bass clarinet and bass bassoon take turns developing the melodic line provided by the voice, render- ing the music almost monophonic: a single calligraphic-melodic line divided over the three solo in- struments employs a palette of tone-colors on a canvas of strings.1 The seven phrases of the open- ing, the seventh accompanied by the glockenspiel, also foreshadow the division of the thir- teen-minute composition into seven parts.