DOCSLIB.ORG

A Study of the Development of Musicality in the Junior High School and the Contribution of Musical Composition to This Development

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

R E P O R T RESUMES ED 01532 24 EA 000 938 A STUDY OF THE DEVELOPMENT OF MUSICALITY th THE JUNIOR HIGH )5 SCHOOL AND THE CONTRIBUTION OF MUSICAL COMPOSITION TO THIS DEVELOPMENT. FINAL REPORT. BY- KYME, GEORGE CALIFORNIA UNIV., BERKELEY REPORT NUMBER CO-H-254 PUB DATE JUL 67 REPORT NUMBER BR-5-0247 CONTRACT OEC-6-10-164 ECRS PRICE MF-$1.25 HC-$11.88 295P. DESCRIPTORS- *MUSIC EDUCATION, *JUNIOR HIGH SCHOOLS. *MUSIC READING, INSTRUCTIONAL MATERIALS, *CURRICULUM DEVELOPMENT, CREATIVE ACTIVITIES, EVALUATION, TESTS,*LISTENING SKILLS, FILMS, TAPE RECORDINGS, PERFORMANCE, TEACHING PROCEDURES, TEST CONSTRUCTION, TEST RELIABILITY, HUMANITIES, BIBLIOGRAPHIES, MUSIC ACTIVITIES, BERKELEY, DEFINING MUSICALITY AS THE ABILITY TO GRASP A MUSICAL IDEA IN ITS TOTALITY, THIS RESEARCH INVESTIGATED THE RELATIVE EFFECTIVENESS OF MUSICAL PERFORMANCE (BOTH ORCHESTRAL AND CHORAL), GUIDED LISTENING, MUSIC READING, AND MUSICAL COMPOSITION AS MEANS OF DEVELOPING SUCH MUSICALITY. THE INSTRUMENT OF EVALUATION WAS A TEST OF AESTHETIC JUDGMENTS IN MUSIC DERIVED FROM THE WING, HEVNER, GORDON, AND KYME TESTS OF MUSICALITY WHICH ARE EMPIRICALLY VALIDATED WITH TEACHER RATINGS OF PUPILS. NINE JUNIOR HIGH SCHOOLS COMPRISED THE SAMPLE. THE 3,083 STUDENTS PARTICIPATING INCLUDED A ZERO CONTROL SAMPLE OF 671 STUDENTS WHO TOOK NO MUSIC CLASSES DURING THE TIME OF EXPERIMENT, AN EXPERIMENTAL SAMPLE OF 555 WHO WERE TAUGHT COMPOSITION, 645 ORCHESTRA STUDENTS, 737 CHORAL STUDENTS, 405 WHO PARTICIPATED IN GUIDED LISTENING, AND 70 STUDENTS CLASSED AS A MUSIC READING CONTROL. THE STATISTICAL TREATMENT OF THE DATA (PRE- AND POST-INSTRUCTION TEST SCORES) UTILIZED AN ANALYSIS OF COVARIANCE. THE EXPERIMENTAL SAMPLE SHOWED SIGNIFICANT GAINS COMPARED TO THE ZERO CONTROL (F VALUE=54.47), THE CHORAL SAMPLE (F=29.42), . AND THE LISTENING CONTROL (F=11.78). THE GAINS OF THE ORCHESTRAL AND CHORIC READING SAMPLES WERE NOT SIGNIFICANTLY DIFFERENT FROM THOSE OF THE EXPERIMENTAL. ANALYSIS OF DATA. SCHOOL BY SCHOOL, REVEALED THAT MUSICAL COMPOSITION IS MOST , EFFECTIVE AT HIGHER SOCIOECONOMIC LEVELS, THOUGH INSTRUMENTAL PERFORMANCE IS THE MOST UNIVERSAL EFFECTOR. THE GUIDED LISTENING PROGRAM WAS NOT PRODUCTIVE FOR SCHOOLS CLASSED AS CULTURALLY DEPRIVED. MUSIC READING WAS THE MOST EFFECTIVE LEARNING TOOL FOR THE LOWER SOCIOECONOMIC SCHOOLS. (HM) A STUDY OF THE DEVELOPMENT OF MUSICALITY IN THE JUNIOR HIGH SCHOOL AND THE CONTRIBUTION OF MUSICAL COMPOSITION TO THIS DEVELOPMENT BY GEORGE ICYME UNIVERSITY OF CALIFORNIA BERKELEY, CALIFORNIA JULY 1.967 U.S. Department of Healithi Education, and Welfare Office of Education Bureau of Research Contract No. 0E.4-10-164 Project No. H-254 FINAL REPORT Project No.H-254 Contract No.0E-6-10-164 MUSICALITY IN TEE JUNIORHIGH SCHOOL A STUDY OF TIEDEVELOPMENT OF COMPOSITION TO THISDEVELOPMENT AND THE CONTRIBUTIONOF MUSICAL July 1967 U.S. DEPARTMENTOF HEALTH, EDUCATION,AND WELFARE Office of Education Bureau ofResearch U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION TH1' DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. A STUDY OF THE DEVELOPMENT OFMUSICALITY IN THE JUNIORHIGH SCHOOL AND THE CONTRIBUTION OF MUSICALCOMPOSITION TO THIS DEVELOPMENT Project No. H-254 Contract No. OE-6-10-164 George Kyme July 1967 The research reportedherein was performed pursuant to a contract with the Office ofEducation, U.S. Department of Health,Education,and Welfare. Contractors undertaking such projects under Governmentsponsorship are encouraged to express freely theirprofessional judgment in 'the con- duct of the project. Points of view oropinionsstated do not, therefore, necessarilyrepresent official Office of Education position, or policy. UniVersity of California Berkeley, California `." "noomMAMIli. VAIIIMBA CONTENTS Page INTRODUCTION 1 Statement of the Problem 3 Hypothesis Background 4 Proposed Instrument of Evaluation 8 Literature Related to the' Experiment 8 Literature Related to the Proposed Evaluation 13 METHOD 20 Time of the Experiment 20 Make-up of the Population 20 Brief Description of the Experimental Curriculum 21 Music Reading Curriculum 22 The Composition Curriculum 40 Description of the Listening Curriculum 41 Performance Curriculum 46 Developing the Instrument of Evaluation 47 Description of the Tests Used as a Preliminary Battery . 47 Item Statistics of the Test of Aesthetic Judgments inMusic 68 Difficulty of the Items and Their Variation 68 Reliability Indices of the Items 68 Validity Indices of the Items 69 Test Reliability and the Error of Measurement 69 An Empirical Analysis of Item Clusters 71 75 RESULTS _ DISCUSSION 86 CONCLUSIONS AND IMPLICATIONS 90 SUMMARY 92 REFERENCES APPENDIXES 103 A. Exemplary Lessons in Musical Composition . A-1 to A-80 B. The Music Reading Curriculum B-I to B-51 C. The Listening Program: Music as a Humanity'C-1 to C-53 Eric Document Resume iii ACKNCMLEDGMENTS This research project was conceived and carried out in the main by graduate students in Music Education at the University of California. These students, some working as teachers in the junior high schools while working toward the doctorate or master's degree, have generated an enthusiasm which has carried over into the public school music class- rooms in the San Francisco Bay Area to the betterment of themselves as well as music education in general. Without intentionally underestimating the contribution of the prac- tice teachers who assisted in carrying out the curriculum innovations, we should like to express our deepest appreciation to Mack Crooks and Richard Letts, two gifted young composers who have worked diligently in developing the compositional techniques, to Tom Haynes and Jewel Lord, who have given direction to the "Humanities" Listening Lessons, and to Seong Soo Lee, whose knowledge and skills in computer programming have been most helpful. Finally, we should like to express our appreciation to Nancy Coons, whose patience in preparing the various manuscripts has established her as the secretary par excellence for musical research projects. iv INTRODUCTION The purpose of this study has been to develop and redesign in- structional materials and methods in the field of elementary musical composition that would contribute to the development of musicality in students at the junior high school level. Concomitantly, it has been anticipated that this study would lead to the development ofa much- needed instrument of evaluation in musical growth, and that it might add to our knowledge of the underlying factors which contribute to musicality. The impetus for this study was provided by certain recom- mendations suggested by the Seminar on Music Education held at Yale University from June 17 to June 28, 1963. Since this research was based on the Palisca report of the Yale Seminar (46),a review of that report would suggest the underlying rationale of this study. The twelve-day seminar represented a new departure in, several re- spects. It was probably the first time in recent history that such a cross section of professional interests in music was achieved in an extended conference in music teaching. The participants did not come as representatives, but as individuals. In spite of their diversity, the participants had much in common. Each was concerned about music education, but few had participated before in curriculum development. Most, therefore, could view the problems set before them with inter- ested detachment. They could also appraise current practices in music education from a certain distance combined with an intimate knowledge of the musical issues. Most had grown up within the educational sys- tem that they wanted to revise. Some felt grateful to this system for providing them with what they considered to be a good foundation; others looked back and wondered if they had not acquired musical com- petence in spite of it. The following statements, taken verbatim from the report of that seminar, indicate the need for this study: Dissatisfaction with the condition of music in our schools is not a recent phenomenon. Various. organizations of music teach- ers have long been concerned with improvement of method and scope. The realization that elements of challenging intellectual and aes- thetic substance are too often lacking in the music curriculum led the Music Educators National Conference, for example, to focus at- tention in its national meeting in 1962 on "The Study of Music, An Academic Discipline." Two professional societies outside the immediate field of elementary and secondary education, The Ameri- can Musicological Society and the College Music Society, have also been actively exploring means for strengthening teaching at these levels through their committees on local music, both appointed in 1948. Musicality: Thn development of musicality is the primary aim of music ed- ucation from kindergarten through the twelfth grade. Musicality 1 is universally understood. by musicians, but it is a.quality diffi- cult to define. The analogous quality with respect to language would be verbal ability. Essentially it is the capacity, to express accurately through pitch and time the mental image of a musical idea. Conversely, it is the capacity to grasp in its completeness and detail a musical idea heard. It can be assumed that a degree of musicality is a natural attribute of everyone. For each pupil there is a way his particular share of it can be tapped and de- veloped. Curriculum Basis: Musicality
Recommended publications
  • The Pomegranate Cycle

    The Pomegranate Cycle

    The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory.
  • THE AUTOMATION ADVANTAGE How Australia Can Seize a $2 Trillion Opportunity from Automation and Create Millions of Safer, More Meaningful and More Valuable Jobs

    THE AUTOMATION ADVANTAGE How Australia Can Seize a $2 Trillion Opportunity from Automation and Create Millions of Safer, More Meaningful and More Valuable Jobs

    THE AUTOMATION ADVANTAGE How Australia can seize a $2 trillion opportunity from automation and create millions of safer, more meaningful and more valuable jobs. This report was commissioned by Google and prepared by AlphaBeta. The information contained in the report has been obtained from third-party sources and proprietary research. All monetary figures reported are in 2015 real Australian dollar terms, unless otherwise indicated. AlphaBeta is a strategy and economic advisory business serving clients across Australia and Asia from offices in Singapore and Sydney. Sydney Singapore Level 7, 4 Martin Place Level 4, 1 Upper Circular Road Sydney, NSW, 2000, Australia Singapore, 058400 Tel: +61 2 9221 5612 Tel: +65 6443 6480 [email protected] [email protected] 2 Automation is changing the way we work Machines will of the most tedious unburden the and manual work a week average Australian of 2 HOURS over the next 15 years Automation could deliver a boost to Australia’s national income between 2015 and $2.2 2030 from productivity gains TRILLION $1 $1.2 TRILLION TRILLION from accelerating the from transitioning the rate of automation workforce As automation reduces routine and manual work, our jobs will become... SAFER MORE MORE SATISFYING VALUABLE Workplace injuries 62% of low-skilled Wages for non- will fall by 11% as workers will automatable work are dangerous manual experience improved 20% higher than for tasks are automated satisfaction automatable work Australia currently lags global leaders in Automation 50% fewer Australian firms
  • Critical Analysis of the Roles of Women in the Lais of Marie De France

    Critical Analysis of the Roles of Women in the Lais of Marie De France

    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1976 Critical analysis of the roles of women in the Lais of Marie de France Jeri S. Guthrie The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Guthrie, Jeri S., "Critical analysis of the roles of women in the Lais of Marie de France" (1976). Graduate Student Theses, Dissertations, & Professional Papers. 1941. https://scholarworks.umt.edu/etd/1941 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A CRITICAL ANALYSIS OF THE ROLES OF WOMEN IN THE LAIS OF MARIE DE FRANCE By Jeri S. Guthrie B.A., University of Montana, 1972 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1976 Approved by: Chairmah, Board of Exami iradua4J^ School [ Date UMI Number EP35846 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT OissHEH'tfttkffl Pk^islw^ UMI EP35846 Published by ProQuest LLC (2012).
  • Songs in Fixed Forms

    Songs in Fixed Forms

    Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain.
  • Unifying Elements of John Corigliano's

    Unifying Elements of John Corigliano's

    UNIFYING ELEMENTS OF JOHN CORIGLIANO'S ETUDE FANTASY By JANINA KUZMAS Undergraduate Diploma with honors, Sumgait College of Music, USSR, 1985 B. Mus., with the highest honors, Vilnius Conservatory, Lithuania, 1991 Performance Certificate, Lithuanian Academy of Music, 1993 M. Mus., Bowling Green State University, USA, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA February 2002 © Janina Kuzmas 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. ~':<c It CC L Department of III -! ' The University of British Columbia Vancouver, Canada Date J/difc-L DE-6 (2/88) ABSTRACT John Corigliano's Etude Fantasy (1976) is a significant and challenging addition to the late twentieth century piano repertoire. A large-scale work, it occupies a particularly important place in the composer's output of music for piano. The remarkable variety of genres, styles, forms, and techniques in Corigliano's oeuvre as a whole is also evident in his piano music.
  • A History of the School of Music

    A History of the School of Music

    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1952 History of the School of Music, Montana State University (1895-1952) John Roswell Cowan The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Cowan, John Roswell, "History of the School of Music, Montana State University (1895-1952)" (1952). Graduate Student Theses, Dissertations, & Professional Papers. 2574. https://scholarworks.umt.edu/etd/2574 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. NOTE TO USERS Page(s) missing in number only; text follows. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI A KCSTOHY OF THE SCHOOL OP MUSIC MONTANA STATE UNIVERSITY (1895-1952) by JOHN H. gOWAN, JR. B.M., Montana State University, 1951 Presented In partial fulfillment of the requirements for tiie degree of Master of Music Education MONTANA STATE UNIVERSITY 1952 UMI Number EP34848 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction Is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, If material had to be removed, a note will Indicate the deletion.
  • President Douglas M. Knight Resigns from Lawrenci1 Ex-Yale Professor Accepts Duke University Presidency 7 Lawrentfanpresident Douglas Maitland Knight of Lawrence Voi

    President Douglas M. Knight Resigns from Lawrenci1 Ex-Yale Professor Accepts Duke University Presidency 7 Lawrentfanpresident Douglas Maitland Knight of Lawrence Voi

    President Douglas M. Knight Resigns from Lawrenci1 Ex-Yale Professor Accepts Duke University Presidency 7 LawrentfanPRESIDENT Douglas Maitland Knight of Lawrence Voi. 82— No. 7 Lawrence College, Appleton, Wis. Fri., Nov. 2, 1962 college was named fifth president of Duke university this morning at a meeting of the Duke board of trust­ Anthony Wedgwood Benn ees in Durham, N. C. Dr. Knight was in Durham for the meeting. The election of the 41-year old Yale- trained President Knight cli- rnaxed a nation-wide search Knight also has edited and British Politician to Speak on the part of a trustee Pres­ written several chapters of a idential Selection Committee, book. “The Federal Govern­ of which Wright Tisdale, ment and Higher Educa­ At Convocation Thursday Dearborn. Mich., was chair­ tion, brought out by the ANTHONY WEDGWOOD BENN, the brilliant and man. The Duke trustees have American Assembly in 1960. newsmaking young British politician, will speak in been discussing the matter At Lawrence. Knight’s nine convocation on Thursday, Nov. 8. The topic of his with President Knight since years have brought about a summer. speech will be “Report from London.” 100 |H*r cent increase in the ACCORDING to the an­ book value of the college phy­ Elected to the House of Commons at the age of 25 nouncement by B u n y a n sical plant and a 150 per cent in 1950, Benn was returned to Snipes Womble, chairman of increase in the hook value Parliament three times in the Viscount Stansgate, has add­ the Duke trustees, Dr.
  • June July 2018 Bulletin

    June July 2018 Bulletin

    A Congregation Affiliated with the Congregation B’nai Israel United Synagogue of Conservative Judaism 6525 Sylvania Avenue Sylvania OH 43560 151 Years of (419) 517-8400 Consecrated Service to www.cbitoledo.org God, Torah and Israel 5778 1 Notes from the Cantor ………………………………………. POWER OF MUSIC V The past month in Jewish history and in our calendar has been momentous. We experienced Israel’s 70th anniversary, celebrated in several excellent events in our community, the 51st anniversary of the reunification of Jerusalem, and the relocation of the US Embassy in Israel from Tel Aviv to Jerusalem. In the midst of all this euphoria, what might have escaped your attention is Israel’s winning the prestigious Eurovision song contest on May 12th 2018 in Lisbon, Portugal. That night in our Jewish calendar - the 28th of Iyar, commemorates the reunification of Jerusalem during the Six Day War of 1967. This is the fourth time Israel has won Eurovision, one of the world’s most famous international song contests. The winning song “Toy”, a pop anthem about female independence, was performed by 25 year old Netta Barzilai, accompanied by her signature “chicken dance.” Netta had placed third by the official judges, but won thanks to tele-voters from around the world catapulting her to victory. Hours before the victory, Israeli superstar film actress Gal Gadot had urged her twenty million Instagram followers to vote for Israel’s entry. Including words like “I’m not your toy you stupid boy...,” it was influenced by the #MeToo movement. The Eurovision contest has often been embroiled in political and religious controversies, although politically tinged songs are unofficially disallowed.
  • Music Videos in the British Screen Industries and Screen Heritage: from Innovation to Curation

    Music Videos in the British Screen Industries and Screen Heritage: from Innovation to Curation

    Alphaville: Journal of Film and Screen Media no. 19, 2020, pp. 154–159 DOI: https://doi.org/10.33178/alpha.19.13 Music Videos in the British Screen Industries and Screen Heritage: From Innovation to Curation Introduction Emily Caston In December 2019, Rolling Stone magazine ran a piece on the best videos of the year which began by asking, “What even counts as a music video now?” (Shaffer). Vevo, Tiktok and Instagram TV have blurred the lines. Videos can be an hour long. They can be events on YouTube Premiere. They can be virtual reality. The idea that the world of the earliest creators of pop promos was simple in comparison to today subtends this dossier. In 2015, I was awarded an Arts and Humanities Research Council (AHRC) grant to investigate the history of music videos in Britain since 1966.1 At the end of the grant, I curated a collection of the most significant of those videos into a limited-edition box set (Power). Selecting them involved very detailed discussions with our interviewees and industry consultants about just what a “music video”—known as a “promo” until the mid 1980s—is. The term “music video” arose in the 1980s. It was used in record labels to describe visual products mastered on physical videotapes for television broadcast. In fact, almost all of those products were shot on celluloid (16mm or 35mm) until digital technologies allowed HD to become the norm in the 2000s. For the purposes of this dossier, I define music videos and pop promos as a type of musical short film for mass audiences commissioned and released by record labels (usually) at the same time as the release of a synchronised audio “single”; the shorts comprise a copyrighted synchronised picture and audio track in which a percentage of the royalties accrue to the recording artist and/or record label.
  • Beethoven by George Alexander Fischer

    Beethoven by George Alexander Fischer

    The Project Gutenberg eBook, Beethoven, by George Alexander Fischer This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Beethoven Author: George Alexander Fischer Release Date: February 22, 2005 [eBook #15141] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK BEETHOVEN*** E-text prepared by Juliet Sutherland, Karina Aleksandrova, Ralph Janke, and the Project Gutenberg Online Distributed Proofreading Team Note: Project Gutenberg also has an HTML version of this file which includes sound files and the original illustrations. See 15141-h.htm or 15141-h.zip: (http://www.gutenberg.net/dirs/1/5/1/4/15141/15141-h/15141-h.htm) or (http://www.gutenberg.net/dirs/1/5/1/4/15141/15141-h.zip) Transcriber's Notes: 1. Corrected spelling of Maelzel's invention in one place from 'Panharmonican' to 'Panharmonicon'. 2. In the index, corrected 'Krumpholtz' to 'Krumpholz', 'Origen of the dance' to 'Origin of the dance', and 'Neafe' to 'Neefe'. BEETHOVEN A Character Study together with Wagner's Indebtedness to Beethoven by GEORGE ALEXANDER FISCHER Es kann die Spur von meinen Erdentagen Nicht in Aeonen untergehn. GOETHE. New York Dodd, Mead and Company The Trow Press, New York 1905 [Illustration: BEETHOVEN] TO THE MEMORY OF My father CONTENTS CHAPTER I. Early Promise II. The Morning of Life III. The New Path IV.
  • 8. Rock Me Like 'A Hurricane!: How Music Communities Promote Social Capital Adept for Recovery Daniel J

    8. Rock Me Like 'A Hurricane!: How Music Communities Promote Social Capital Adept for Recovery Daniel J

    8. Rock me like 'a hurricane!: how music communities promote social capital adept for recovery Daniel J. D'Amico 8.1 INTRODUCTION When Hurricane Katrina hit New Orleans it affected much more than the buildings. homes. and infrastructure of the city. While the physical damage was obvious. it was more difficult to determine how the storm and flooding would affect the city's diverse array of social networks. In particular many feared the death of the city's cultural identity - a criti- cal draw for the New Orleans' tourist industry. Even if New Orleans did rebuild. would it be the same New Orleans that it once was? While many recovery proposals have correctly noticed that New Orleans' culture is critical to its tourism. its tourism is critical to its economic prosperity. and an obvious link exists between New Orleans' culture and its local wealth. such proposals have also suggested top-down policy solutions to plan the process of cultural renewal. This chapter investigates how music communities have engaged in rebound and recovery from the bottom up by deploying social capital resources embedded within their networks. I focus in particular on the Garage Rock and New Orleans' Jazz music communities. I define music communities as the sub-cultural social networks that surround groups of musicians and fans.' As will be discussed below. some of these communi- ties were particularly adept at post-hurricane recovery. By analysing the strategies deployed by members of specific music communities, this chapter highlights the importance of social capital in the process of disaster recov- ery. This chapter complements the small but growing literature identify- ing the ways in which specific communities rely upon social networks as much as physical capital resources in overcoming adverse circumstances (Beggs et al.
  • Nationalhymnen, Klassik, Andere Sprachen

    Nationalhymnen, Klassik, Andere Sprachen

    Nationalhymnen, Klassik, Andere Sprachen Nationalhymnen Amerika The Star-Spangled Banner Argentinien Himno Nacional Argentino Belgien Brabançonne Brasilien Hino Nacional Brasileiro England God Save The Queen Finnland Finlandia Hymni Frankreich La Merseillaise Holland Wilhelmus Van Nassouwe Italien Fratelli D'Italia Kanada O Canada (Englisch) Kanada O Canada (Französisch) Philippinen Lupang Hinirang Portugal A Portuguesa Schweden Du Gamla Du Fria Schweiz Schweizer Psalm Klassik Amilcare Ponchielli Suicido! (La Giconda) Bach-Gounod Ave Maria Bach-Gounod/Celtic Woman Ave Maria Cesar Franck/Andrea Bocelli Panis Angelicus Franz Schubert Ave Maria (Englisch) Franz Schubert Ave Maria (Latein) Franz Schubert/Andrea Bocelli Ave Maria Franz Schubert/Barry Manilow Ave Maria Franz Schubert/Céline Dion Ave Maria Franz Schubert/Charles Gunod Ave Maria Franz Schubert/Michael Bublé Ave Maria Franz Schubert/Nana Mouskouri Ave Maria Franz Schubert/Perry Como Ave Maria Gaetano Donizetti Una Furtiva Lagrima (L'Elisir D'Amore) Georg Friedrich Händel Hallelujah Georg Friedrich Händel/Sarah Brightman Lascia Ch'io Pianga (Rinaldo) Georges Bizet L'Amour Est Un Oiseau Rebelle (Carmen) Georges Bizet Votre Toast...Toreador (Carmen) Giacomo Puccini Chi Il Be Sogno Di Doretta (La Rondine) Giacomo Puccini Nessun Dorma (Turandot) Giacomo Puccini Che Gelida Manina (La Boheme) Giacomo Puccini E Lucean Le Stelle (Tosca) Gioachino Rossini O Mio Babbino (Caro Gianni Schicchi) Gioachino Rossini La Calunnia (Il Barbiere Di Siviglia) Gioachino Rossini La Danza Gioachino Rossini