Search results for: musical work

Authors: Romy Martinez

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This paper focuses on the use of the indigenous language Guarani in Paraguayan popular song and on some key interpreters born between the 1930s and 1980s. It analyses two representative musical genres of Paraguay, the Polka Paraguaya and Guarania. The lyrics of these genres follow one of four poetic-linguistic forms: to be entirely in Guarani, entirely in Spanish, bilingual (alternating verses in Guarani and Spanish), or in Jopará; the last being a form where words of both languages may be mixed in a single verse. Through these forms, the lyrics alternate and combine the indigenous voice with the one introduced with colonisation, in turn reflecting how Guarani seems to constantly transit, to and from, between a position of disdain and of value within Paraguayan society. Through analysing recordings of Polkas, Paraguayas, and Guaranias, it identifies three styles of singing adopted by female singers who include these genres in their repertoires, namely Paraguayan classical folk, Paraguayan folk, and Paraguayan pop-folk. This analysis is informed by a pilot study which consisted of online interviews with several Paraguayan artists, revealing significant aspects of their backgrounds and musical influences. In addition, it draws on autoethnographic approaches, building on the experience of the music researcher and singer. From a decolonising perspective, the paper brings together the distinctive voices and sounds expressed in popular songs from a marginalised country, language, and gender.

Keywords: female singers, Guarani, Paraguayan song, performance

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Authors: Gokul G. Kshirsagar

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Native folk theatre and folk songs have a significant influence on the origin and development of Indian cinema. Therefore, the presence of songs and music has been an integral part and special characteristics of Indian cinema which is popularly known as Bollywood. An Indian cinema without songs, either in Hindi or other regional languages, is simply unimaginable. The present paper, in the first part, attempts to explain the use and need of musical songs and also the psychology of Indian audience in this respect with reference to some of the films which give primary importance to songs. In the second part, the paper tries to situate the present study in the context by referring to the Hindi language drama film Teesari Kasam directed by Basu Bhattacharys. The film is based on the Hindi novelist Phanishwarnath Renu’s short story Teesari Kasam (Mare Gaye Gulfam) in this adapted film, the director has made use of eight songs, but these songs are the extensive versions of the songs as used in the original story. Thus, the main aim of the paper is to underscore the fact that through artistic use of the musical, the director has succeeded in transforming the central feelings conveyed in the original story. Eventually, through the present study of the film adaptation, the relevance of songs in films will be illustrated and understood.

Keywords: Bollywood, folk theatre, folk songs, film adaptation

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Authors: Josephine K. Mule, Levi Obonyo

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Technology has changed human life over time. The COVID-19 pandemic has altered the work set-up, the school system, the shopping experience, church attendance, and even the way athletes train in Kenya. Although the use of technology to communicate and maintain interactions has been on the rise in the last 30 years, the uptake during the COVID-19 pandemic has been unprecedented. Traditionally, ‘paid’ work has been considered to take place outside the “home house” but COVID-19 has resulted in what is now being referred to as “the world’s largest work-from-home experiment” with up to 43 percent of employees working at least some of the time remotely. This study was conducted on 90 respondents from across remote work set-ups, school systems, merchants and customers of online shopping, church leaders and congregants and athletes, and their coaches. Data were collected by questionnaires and interviews that were conducted online. The data is based on the first three months since the first case of coronavirus was reported in Kenya. This study found that the use of technology is in the center of working remotely with work interactions being propelled on various online platforms including, Zoom, Microsoft Teams, and Google Meet, among others. The school system has also integrated the use of technology, including students defending their thesis/dissertations online and university graduations being conducted virtually. Kenya is known for its long-distance runners, due to the directives to reduce interactions; coaches have taken to providing their athletes with guidance on training on social media using applications such as WhatsApp. More local stores are now offering the shopping online option to their customers. Churches have also felt the brunt of the situation, especially because of the restrictions on crowds resulting in online services becoming more popular in 2020 than ever before. Artists, innovatively have started online musical concerts. The findings indicate that one of the outcomes in the Kenyan society that is evident as a result of the COVID-19 period is a population that is using technology more to communicate and get work done. Vices that have thrived in this season where the use of technology has increased, include the spreading of rumors on social media and cyberbullying. The place of technology seems to have been cemented by demand during this period.

Keywords: communication, coronavirus, COVID-19, Kenya, technology

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Authors: Fung Chiat Loo, Fung Ying Loo

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This paper discusses, suggests, and constructs a notation system to facilitate the learning and understanding of the two aspects of music and movement in a sports routine. This model serves to provide a simple and logical notation that does not require training in both music and choreography. Notation is an important medium in many art forms, particularly in music and dance, transmitting information that cannot easily be expressed using words or language. Another field that is closely associated with dance and music is sports routine, which equally requires choreography and music. However, from the perspective of music, it is common to observe many incongruencies appearing between the music used and the choreography that impede an optimal perception of the performance. The concept of the notation proceeds with a discussion and review of existing dance notations that could contribute to sports routines, along with rules and a code of points in selected sports routines. The author's involvement as an insider of numerous musical theatre productions also contributed to this study. The notation constructed includes time (tempo), significances of musical accents, direction, and phrasing, along with significances of movements (jump, punch, shape). It is believed that the level of congruence between music and movement will provide optimal visualization, and in that, the notation serves to provide adequate information on both entities for the understanding of athletes and coaches.

Keywords: notation, choreography, music learning, sports routines, congruence

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Authors: Ali Shah

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This paper outlines the case study experience of using a variety of online strategies in an Australian music academy context during covid times. The study aimed at exploring how online applications help students to learn music, specifically playing musical instruments, composing songs, and performing virtually. To explore this, music teachers’ perceptions and experiences regarding online learning, the teaching strategies they implemented, and the challenges they faced were examined. For the purpose of this study, a qualitative research structure was adopted through the use of three data collection tools. These methods included pre- and post-research individual interviews of teachers and students, analysis of their lesson plans, virtual classroom observations of the teachers followed by the researcher’sown reflections, post-observation discussions, and teachers’ reflective journals. The findings revealed that teachers had a theoretical understanding of virtual learning and recent musical application such as Flowkey, Skoove, and Piano marvel, which are benefits of e-learning. While teachers faced challenges in implementing strategies to teach keyboard/piano online, overall, both students and teachers felt the positive impact of online applications and strategies on their learning and felt that modern technology made it possible for anyone to take music lessons at home.

Keywords: music, keyboard, piano, online learning, virtual learning

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Authors: Li-Jun Zheng

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The use of drums as an accompanying instrument is a common phenomenon in traditional Chinese folk rituals and musical culture. Especially, some folk rituals construct ritual-related sounds and give them ritual-specific symbolic and meaningful systems through the combination and use of multiple percussion instruments. The Yue drum(岳鼓), an asymmetrically shaped thin waist drum, is currently used in Han Chinese Shigong（师公）rituals in Guangxi, China, and is an important ritual instrument in Shigong rituals. This paper examines the use of the Yue drum and other percussion instruments in Han Chinese Shigong rituals in Guangxi, China, and shows the current status of combining instrumental accompaniment forms with human voices in Shigong rituals. Through further analysis of the musical and dance forms of Han Chinese Shigong rituals, this paper shows how Han Chinese Shigong ritual performers construct the ritual field through "sound-human-dance" and further explains the relationship between the existing and fictitious performance fields in the rituals. In addition, this paper demonstrates the relationship between Han Chinese Shigong rituals and the religious beliefs they involve, such as Taoism and Buddhism. And it further explores how performers in Han Chinese Shigong rituals use Yue drums for the dual purpose of "entertaining the gods" and "entertaining the people".

Keywords: sound research, the Han Chinese Shigong ritual, the thin waist drum, folk beliefs, ritual music

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Authors: Marija Mihajlovic Pereira

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Teaching and learning a musical instrument is challenging for both teachers and students. Teachers generally use diverse strategies to resolve students' particular issues in a one-to-one context. Considering individual sessions as a supportive educational context, the teacher can play a decisive role in stimulating and promoting self-regulated learning strategies, especially with beginning learners. The teachers who promote self-controlling behaviors, strategic monitoring, and regulation of actions toward goals could expect their students to practice more qualitatively and consciously. When encouraged to adopt self-regulation habits, students' could benefit from greater productivity on a longer path. Founded on Bary Zimmerman's cyclical model that comprehends three phases - forethought, performance, and self-reflection, this work aims to articulate self-regulated and music learning. Self-regulated learning appeals to the individual's attitude in planning, controlling, and reflecting on their performance. Furthermore, this study aimed to present an observation grid for perceiving teaching instructions that encourage students' controlling cognitive behaviors in light of the belief that conscious promotion of self-regulation may motivate strategic actions toward goals in musical performance. The participants, two teachers, and two students have been involved in the social inclusion project in Lisbon (Portugal). The author and one independent inter-observer analyzed six video-recorded string instrument lessons. The data correspond to three sessions per teacher lectured to one (different) student. Violin (f) and violoncello (m) teachers hold a Master's degree in music education and approximately five years of experience. In their second year of learning an instrument, students have acquired reasonable skills in musical reading, posture, and sound quality until then. The students also manifest positive learning behaviors, interest in learning a musical instrument, although their study habits are still inconsistent. According to the grid's four categories (parent codes), in-class rehearsal frames were coded using MaxQda software, version 20, according to the grid's four categories (parent codes): self-regulated learning, teaching verbalizations, teaching strategies, and students' in-class performance. As a result, selected rehearsal frames qualitatively describe teaching instructions that might promote students' body and hearing awareness, such as "close the eyes while playing" or "sing to internalize the pitch." Another analysis type, coding the short video events according to the observation grid's subcategories (child codes), made it possible to perceive the time teachers dedicate to specific verbal or non-verbal strategies. Furthermore, a coding overlay analysis indicated that teachers tend to stimulate. (i) Forethought – explain tasks, offer feedback and ensure that students identify a goal, (ii) Performance – teach study strategies and encourage students to sing and use vocal abilities to ensure inner audition, (iii) Self-reflection – frequent inquiring and encouraging the student to verbalize their perception of performance. Although developed in the context of individual string instrument lessons, this classroom observation grid brings together essential variables in a one-to-one lesson. It may find utility in a broader context of music education due to the possibility to organize, observe and evaluate teaching practices. Besides that, this study contributes to cognitive development by suggesting a practical approach to fostering self-regulated learning.

Keywords: music education, observation grid, self-regulated learning, string instruments, teaching practices

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Authors: Kalpana Singh, Nikita Katiyar

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This research investigates the impact of Raga Bhairavi, a prominent musical scale in Indian classical music, on the mood and basic physiological parameters of research scholars at the University of Lucknow - India. The study focuses on the potential therapeutic effects of listening to Raga Bhairavi during morning hours. A controlled experimental design is employed, utilizing self-reporting tools for mood assessment and monitoring physiological indicators such as heart rate, oxygen saturation levels, body temperature and blood pressure. The hypothesis posits that exposure to Raga Bhairavi will lead to positive mood modulation and a reduction in physiological stress markers among research scholars. Data collection involves pre and post-exposure measurements, providing insights into the immediate and cumulative effects of the musical intervention. The study aims to contribute valuable information to the growing field of music therapy, offering a potential avenue for enhancing the well-being and productivity of individuals engaged in intense cognitive activities. Results may have implications for the integration of music-based interventions in academic and research environments, fostering a conducive atmosphere for intellectual pursuits.

Keywords: bio-musicology, classical music, mood assessment, music therapy, physiology, Raga Bhairavi

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Authors: J. F. Viljoen, Catherine Foxcroft

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Expert sight readers rely on their ability to recognize patterns in scores, their inner hearing and prediction skills in order to perform complex sight reading exercises. They also have the ability to observe deviations from expected patterns in musical scores. This increases the “Eye-hand span” (reading ahead of the point of playing) in order to process the elements in the score. The study aims to investigate the gaze patterns of expert and non-expert sight readers focusing on key and time signatures. 20 musicians were tasked with playing 12 sight reading examples composed for one hand and five examples composed for two hands to be performed on a piano keyboard. These examples were composed in different keys and time signatures and included accidentals and changes of time signature to test this theory. Results showed that the experts fixate more and for longer on key and time signatures as well as deviations in examples for two hands than the non-expert group. The inverse was true for the examples for one hand, where expert sight readers showed fewer and shorter fixations on key and time signatures as well as deviations. This seems to suggest that experts focus more on the key and time signatures as well as deviations in complex scores to facilitate sight reading. The examples written for one appeared to be too easy for the expert sight readers, compromising gaze patterns.

Keywords: cognition, eye tracking, musical notation, sight reading

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Authors: Prasan Briboonnanggoul

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The major objective of this research study was to explore some aspects of the performance culture of musical folk drama called Ligkey. This study was undertaken in an effect to focus on the specific functions of orchestra which accompanied Ligkey on Thai musical instruments in Chachoengsao Province. The process of study and exploration consisted of questionnaire, interview, a tape recording of an interview and photographs of performances which all of them were analyzed for the finding. The information obtained from the study indicated that Ligkey still received stable attention from people despite lesser performances affected by economics crisis. Almost all of the performances were organized and supported by both the public sector and the private sector. Based on the summary and finding of this study, a) there were ten Ligkey ensemble and ten orchestra which were Mon orchestra, not the precedent and the predecessor known as Thai orchestra; b) a variety of functions performed by musicians must harmonize discipline, punctuality, patience, no negligence, proficiency in performance; c) folklore melodies known as Plengnapad were performed as usual, but folklore melodies and songs known as Plangsongchan got lesser and got a tendency towards extinction because of the plot which corresponded with a market-driven entertainment. Therefore, a purpose-built schema of the preservation of Thai folklore songs was that they should have been recognized by both the performers and the audiences and patronized by the public sector via the government media to publicize the value of popular art form.

Keywords: Pipat Ensemble, Ligkey, Amphur Muaeng, Chachoengsao Province

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Authors: Johnson-Egemba Helen Amaka

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Music is emotional in the sense that it controls people’s feelings. The way and manner people react to music at a point in time depend on the type of music that is playing. Music can make someone to march or dance, to cry or laugh, to be happy or sad, to fight or make peace and so on. It therefore makes someone o exhibit some kind of behaviours, either positive or negative. Even dangerous animals have been found to be controlled by music. In the psychiatric homes, mad people are always found to be dancing to music. During funeral ceremony, music singing and dancing are sources of comfort to the bereaved. As a background to the study, Tarok ethnic group in Plateau State was used. The Tarok comprise of Langtang North and South Local Government Areas. The ethnic group of Tarok integrates music in almost all the activities of their lives. A total of six (6) types of folk songs were identified. These songs range from marriages, funeral, royalty, togetherness, war, rituals, festivals, and farming. This paper points out the significance of basic responsiveness of the Tarok people towards the folk songs, their reaction generally whether positive or negative. The methods of data collection employed in this work include oral interview approach, recording of various types of Tarok folk songs, consulting of journals, magazines and textbooks. The researcher used oral interview as her primary source of information which is found to be the most effective procedure in carrying out this task. The songs were textually analyzed with a view to unveiling their meanings, thought processes, and conveying their direction and functions within the context of their rendition. The major findings of the study are that music in Tarok culture covers the physical, mental, emotional and social experiences. The physical aspect is the motor skills, which include dancing and demonstration of the songs. The mental experiences are intellectual levels which include construction and manufacturing of musical instruments, composing songs, teaching and learning etc. Furthermore, this research provided in addition to musical activities, the literature, history and culture of the Tarok communities.

Keywords: cultural, music, practice, responsiveness

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Authors: Roni Granot

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Musical intervals are the building blocks of melody and harmony. Intervals differ in terms of their size, direction, or quality as consonants or dissonants. In Western music, perceptual dissonance is mostly associated with the sensation of beats or periodicity, whereas cognitive dissonance is associated with rules of harmony and voice leading. These two perceptions can be studied separately in musical cultures which include melodic with little or no harmonic structures. In the Arab musical system, there is a number of different quarter- tone intervals creating various combinations of consonant and dissonant intervals. While traditional Arab music includes only melody, today’s Arab pop music includes harmonization of songs, often using typical Western harmonic sequences. Therefore, the Arab population in Israel presents an interesting case which enables us to examine the distinction between perceptual and cognitive dissonance. In the current study, we compared the responses of 34 Jewish Western listeners and 56 Arab listeners to two types of stimuli and their relationships: Harmonic sequences and isolated harmonic intervals (dyads). Harmonic sequences were presented in synthesized piano tones and represented five levels of Harmonic prototypicality (Tonic ending; Tonic ending with half flattened third; Deceptive cadence; Half cadence; and Dissonant unrelated ending) and were rated on 5-point scales of closure and surprise. Here we report only findings related to the harmonic sequences. One-way repeated measures ANOVA with one within subjects factor with five levels (Type of sequence) and one between- subjects factor (Musical background) indicates a main effect of Type of sequence for surprise ratings F (4, 85) = 51 p<.001, and for closure ratings F (4, 78) 9.54 p < .001, no main effect of Background on either surprise or closure ratings, and a marginally significant Type X Background interaction for surprise F (4, 352) = 6.05 p = .069 and closure ratings F (4, 324) 3.89 p < .01). Planned comparisons show that the interaction of Type of sequence X Background center around surprise and closure ratings of the regular versus the half- flattened third tonic and the deceptive versus the half cadence. The half- flattened third tonic is rated as less surprising and as demanding less continuation than the regular tonic by the Arab listeners as compared to the Western listeners. In addition, the half cadence is rated as more surprising but demanding less continuation than the deceptive cadence in the Arab listeners as compared to the Western listeners. Together, our results suggest that despite the vast exposure of Arab listeners to Western harmony, sensitivity to harmonic rules seems to be partial with preference to oriental sonorities such as half flattened third. In addition, the percept of directionality which demands sensitivity to the level on which closure is obtained and which is strongly entrenched in Western harmony, may not be fully integrated into the Arab listeners’ mental harmonic scheme. Results will be discussed in terms of broad differences between Western and Eastern aesthetic ideals.

Keywords: harmony, cross cultural, Arab music, closure

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Authors: Pedro Rubio

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Antonio Romero y Andía, was one of the most active and interesting figures in 19th century Spanish music. He was not only an exceptional clarinetist, he was also a publisher, a brilliant oboist, a music critic, and he revitalized Madrid’s musical scene by promoting orchestras and a national opera. In 1849, Romero was appointed Professor of Clarinet at the Conservatory of Madrid. Shortly after, Romero introduced to Spain the Boehm-System clarinet recently appeared in France. However, when initial interest in that system waned, he conceived his own system in 1853. The clarinet was manufactured in Paris by Lefêvre, who registered its first patent in 1862. In 1867 a second version was patented, and a year earlier, in 1866, the Romero clarinet was adopted as an official instrument for teaching the clarinet at the Conservatory of Madrid. The Romero-System clarinet mechanism has incorporated numerous additional devices and several extra keys, its skillful combination in a single instrument represents not only one of the pinnacles in the manufacture of musical instruments of the 19th century, but also an authentic synthesis of knowledge and practice in an era in which woodwind instruments were shaped as we know them today. Through the description and analysis of the data related to the aforementioned historical period, this lecture will try to show a crucial time in the history of all woodwind instruments, a period of technological effervescence in which the Romero-System clarinet emerged. The different stages of conception of the clarinet will be described, as well as its manufacturing and marketing process. Romero played with his clarinet system over twenty-five years. The research has identified the repertoire associated with this instrument whose conclusions will be presented in its case in the Congress.

Keywords: Antonio Romero, clarinet, keywork, 19th century

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Authors: Mei-Ying Liao

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The main purpose of this study was to examine the requirements of a successful concert for young children in preschool in Taiwan. This study reports a case study of a preschool’s experience which undertook ten concerts for young children. The main audiences were young children who were two to six years of age. The performers, including children’s family, amateurs and professional performers, were invited to perform music instruments or singing twice a week. The performers participated in these concerts separately, as a solo or ensemble performance. There were totally ten concerts. The structure of concert included the performance, musical activities, questions and answers, song requests, and exploration of instruments. Data collection included interviews with children, teachers and performers, concert observations, and footnotes. Results showed that the requirements of a successful and meaningful concert for young children were suggested to include concert preparation, concert, and post activities. The concert organizer, host and classroom teachers played vital roles for a successful concert. The organizer had to organize the programs and prepared for the concerts based on the needs and interests of their audience of young children, engage their attention and offer the potential to expand their musical worlds. The hosts had to build a bridge between performers and young children who had to know how they could delight and educate children. Concerts combined games, storytelling, instrument exploration and great music had great effects. Finally, the classroom teachers had to do the extension activities after the concerts so that the children will involve more and get more enthusiasm in concerts.

Keywords: case study, concert, music education, performance

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Authors: Omotayo Abidemi Funmilayo

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Skill acquisition in professional fields has been prioritized and considered important to demonstrate the mastery of subject matter and present oneself as an expert in such profession. The ability to acquire skills in different fields, however calls for different method from the instructor or teacher during training. Music is not an exception of such profession, where there exist different area of skills acquisition require practical performance. This paper, however, focused on the impact and effects of different methods on acquisition of practical knowledge in the handling of some musical instruments among the students of Emmanuel Alayande College of Education, Oyo. In this study, 30 students were selected and divided into two groups based on the selected area of learning, further division were made on each of the two major groups to consist of five students each, to be trained using different methodology for two months and three hours per week. Comparison of skill acquired were made using standard research instrument at reliable level of significance, test were carried out on the thirty students considered for the study based on area of skill acquisition. The students that were trained on the keyboard and saxophone using play way method, followed by the students that were trained using demonstration method while the set of students that received teaching instruction through lecture method performed below average. In conclusion, the study reveals that ability to acquire professional skill on handling musical instruments are better enhanced using play way method.

Keywords: music education, skill acquisition, keyboard, saxophone

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Authors: Sakshi Singh, Shampa Chakraverty

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One of the essential characteristics of Blockchain is the ability to validate the integrity of new transactions added to the Blockchain. Moreover, one of the essential consensus algorithms, Proof of Work, performs this job. In this work, we implemented the Proof of Work consensus method on the block formed by performing the transaction using Ganache. The primary goal of this implementation is to understand the process and record how Proof of Work works in reality on newly created blocks.

Keywords: proof of work, blockchain, ganache, smart contract

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Authors: Pamela Tancsik

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The stage production in 2018, titled ‘From‘Marikana to Mahagonny’, began with a prologue in the form of the award-winning documentary ‘Miners Shot Down' by Rehad Desai, followed by Brecht/Weill’s song play or scenic cantata ‘Mahagonny’, premièred in Baden-Baden 1927. The central directorial concept of the DUT musical production ‘From Marikana to Mahagonny’ was to show a connection between the socio-political alienation of mineworkers in present-day South Africa and Brecht’s alienation effect in his scenic cantata ‘Mahagonny’. Marikana is a mining town about 50 km west of South Africa’s capital Pretoria. Mahagonny is a fantasy name for a utopian mining town in the United States. The characters, setting, and lyrics refer to America with of songs like ‘Benares’ and ‘Moon of Alabama’ and the use of typical American inventions such as dollars, saloons, and the telephone. The six singing characters in ‘Mahagonny’ all have typical American names: Charlie, Billy, Bobby, Jimmy, and the two girls they meet later are called Jessie and Bessie. The four men set off to seek Mahagonny. For them, it is the ultimate dream destination promising the fulfilment of all their desires, such as girls, alcohol, and dollars – in short, materialistic goals. Instead of finding a paradise, they experience how money and the practice of exploitive capitalism, and the lack of any moral and humanity is destroying their lives. In the end, Mahagonny gets demolished by a hurricane, an event which happened in 1926 in the United States. ‘God’ in person arrives disillusioned and bitter, complaining about violent and immoral mankind. In the end, he sends them all to hell. Charlie, Billy, Bobby, and Jimmy reply that this punishment does not mean anything to them because they have already been in hell for a long time – hell on earth is a reality, so the threat of hell after life is meaningless. Human life was also taken during the stand-off between striking mineworkers and the South African police on 16 August 2012. Miners from the Lonmin Platinum Mine went on an illegal strike, equipped with bush knives and spears. They were striking because their living conditions had never improved; they still lived in muddy shacks with no running water and electricity. Wages were as low as R4,000 (South African Rands), equivalent to just over 200 Euro per month. By August 2012, the negotiations between Lonmin management and the mineworkers’ unions, asking for a minimum wage of R12,500 per month, had failed. Police were sent in by the Government, and when the miners did not withdraw, the police shot at them. 34 were killed, some by bullets in their backs while running away and trying to hide behind rocks. In the musical play ‘From Marikana to Mahagonny’ audiences in South Africa are confronted with a documentary about Marikana, followed by Brecht/Weill’s scenic cantata, highlighting the tragic parallels between the Mahagonny story and characters from 1927 America and the Lonmin workers today in South Africa, showing that in 95 years, capitalism has not changed.

Keywords: alienation, brecht/Weill, mahagonny, marikana/South Africa, musical theatre

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Authors: Matthias Haenisch, Marc Godau, Julia Barreiro, Dominik Maxelon

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In times of ubiquitous digitalization and the increasing entanglement of humans and technologies in musical practices in the 21st century, it is to be asked, how popular musicians learn in the (post)digital Age. Against the backdrop of the increasing interest in transferring informal learning practices into formal settings of music education the interdisciplinary research association »MusCoDA – Musical Communities in the (Post)Digital Age« (University of Erfurt/University of Applied Sciences Clara Hoffbauer Potsdam, funded by the German Ministry of Education and Research, pursues the goal to derive an empirical model of collective songwriting practices from the study of informal lelearningf songwriters and bands that can be translated into pedagogical concepts for music education in schools. Drawing on concepts from Community of Musical Practice and Actor Network Theory, lelearnings considered not only as social practice and as participation in online and offline communities, but also as an effect of heterogeneous networks composed of human and non-human actors. Learning is not seen as an individual, cognitive process, but as the formation and transformation of actor networks, i.e., as a practice of assembling and mediating humans and technologies. Based on video stimulated recall interviews and videography of online and offline activities, songwriting practices are followed from the initial idea to different forms of performance and distribution. The data evaluation combines coding and mapping methods of Grounded Theory Methodology and Situational Analysis. This results in network maps in which both the temporality of creative practices and the material and spatial relations of human and technological actors are reconstructed. In addition, positional analyses document the power relations between the participants that structure the learning process of the field. In the area of online informal lelearninginitial key research findings reveal a transformation of the learning subject through the specific technological affordances of TikTok and Instagram and the accompanying changes in the learning practices of the corresponding online communities. Learning is explicitly shaped by the material agency of online tools and features and the social practices entangled with these technologies. Thus, any human online community member can be invited to directly intervene in creative decisions that contribute to the further compositional and structural development of songs. At the same time, participants can provide each other with intimate insights into songwriting processes in progress and have the opportunity to perform together with strangers and idols. Online Lelearnings characterized by an increase in social proximity, distribution of creative agency and informational exchange between participants. While it seems obvious that traditional notions not only of lelearningut also of the learning subject cannot be maintained, the question arises, how exactly the observed informal learning practices and the subject that emerges from the use of social media as online learning technologies can be transferred into contexts of formal learning

Keywords: informal learning, postdigitality, songwriting, actor-network theory, community of musical practice, social media, TikTok, Instagram, apps

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Authors: Clif P. Lewis, Ise-Lu Möller

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The COVID-19 pandemic has had a profound impact on employment. The ‘future of work’ is now the ‘present of work’. Changes in the social context within which organisations are embedded necessitated drastic changes in how we work. Through the leveraging of technology and changes in mindset, we have seen exciting innovations in the world of work. This global shift in the context of employment offers a unique opportunity to examine a key unresolved issue in the study of Burnout, namely contextual antecedents. This study answers the call for deeper empirical insight into the contexts within which Burnout occur. We explore the emergence of Burnout within a remote work context by using survey data that incorporates the latest global work trends into the Areas of Worklife framework.

Keywords: burnout, remote work, pandemic, wellness

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Authors: Syeda Faiza Gardazi, Syed Ahsan Ali Gardazi, Ajmal Waheed

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The trend of overtime is increasing among workers due to more pressure to perform workloads, job insecurity, and financial issues. Overtime work affects the work-life balance conflict negatively as well positively. Work-life balance conflict has become an important issue as traditional work and family roles have changed. The purpose of the current research was to study the impact of overtime work on work-life balance conflict along with the moderating role of job satisfaction. For this purpose, data is collected from the employees working in different public and private sectors of Pakistan using simple random sampling technique. Descriptive statistics was used for data presentation and analysis. Correlation and regression analysis were used to test four research hypotheses proposed on the basis of research framework. The findings led to the acceptance of four hypotheses. The results show that high working hours and overtime in general lead to high work-life balance conflict. Moreover, job satisfaction moderates the relationship between overtime work and work-life balance conflict.

Keywords: family to work conflict, overtime work, work to family conflict, work-life balance conflict

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Authors: Luminiţa Duţică, Gheorghe Duţică

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Many of the interrogations or dilemmas of the contemporary world found the answer in what was generically called the appeal to matrix. This genuine spiritual exercise of re-connection of the present to origins, to the primary source, revealed the ontological condition of timelessness, ahistorical, immutable (epi)phenomena, of those pure essences concentrated in the archetypal-referential layer of the human existence. The musical creation was no exception to this trend, the impasse generated by the deterministic excesses of the whole serialism or, conversely, by some questionable results of the extreme indeterminism proper to the avant-garde movements, stimulating the orientation of many composers to rediscover a universal grammar, as an emanation of a new ‘collective’ order (reverse of the utopian individualism). In this context, the music of oral tradition and therefore the world of the ancient modes represented a true revelation for the composers of the twentieth century, who were suddenly in front of some unsuspected (re)sources, with a major impact on all levels of edification of the musical work: morphology, syntax, timbrality, semantics etc. For the contemporary Romanian creators, the music of rituals, existing in the local archaic culture, opened unsuspected perspectives for which it meant to be a synthetic, inclusive and recoverer vision, where the primary (archetypal) genuine elements merge with the latest achievements of language of the European composers. Thus, anchored in a strong and genuine modal source, the compositions analysed in this paper evoke, in a manner as modern as possible, the atmosphere of some ancestral rituals such as: the invocation of rain during the drought (Paparudele, Scaloianul), funeral ceremony (Bocetul), traditions specific to the winter holidays and new year (Colinda, Cântecul de stea, Sorcova, Folklore traditional dances) etc. The reactivity of those rituals in the sound context of the twentieth century meant potentiating or resizing the archaic spirit of the primordial symbolic entities, in terms of some complexity levels generated by the technique of harmonies of chordal layers, of complex aggregates (gravitational or non-gravitational, geometric), of the mixture polyphonies and with global effect (group, mass), by the technique of heterophony, of texture and cluster, leading to the implementation of some processes of collective improvisation and instrumental theatre.

Keywords: archetype, improvisation, polyphony, ritual, instrumental theatre

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Authors: Yan Zou

Abstract:

Approach to the theory of Musical Narrative, as well as the three criteria of the 'explicit narrative', 'potential narrative' and 'image narrative' which are used to analyze the music, the author put Beethoven’s Piano Sonata in E-flat major, Op.31/3, into the context of the music genre and Western music history, and interpreted the programmatic contents that were embodied and hid in the special music genres.

Keywords: analysis, genre, narrative, rhetoric

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Authors: Pekka Makkonen, Georgios Lampropoulos, Kerstin Siakas

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This paper examines the impact of social media on knowledge work. It discloses and highlights which specific aspects, areas and tasks of knowledge work can be improved by the use of social media. Moreover, the study includes a survey about higher education students’ viewpoints in regard to the use of social media as a means to enhance knowledge work and knowledge sharing. The analysis has been conducted based both on empirical data and on discussions about the sources dealing with knowledge work and how it can be enhanced by using social media. The results show that social media can improve knowledge work, knowledge building and maintenance tasks in which communication, information sharing and collaboration play a vital role. Additionally, by using social media, personal, collaborative and supplementary work activities can be enhanced. Based on the results of the study, we suggest how knowledge work can be enhanced when using the contemporary information and communications technologies (ICTs) of the 21^st century and recommend future directions towards improving knowledge work.

Keywords: knowledge work, social media, social media services, improving work performance

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Authors: Carol Belle-Hallsworth

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Human interaction at work evolves over time and, with it, work identity. The social identity is built upon the development of its underpinning and preceding stages. Work identity can be viewed in the same way and will shift based on changes in the work environment and challenges to the work identity (threats to the four stages). This paper provides an analysis of how the stages of trust, autonomy, industry and initiative are related to the employee identity at work. Describing how they are related to each other and the development of identity. It has become common to notice changes in employee behavior during and after major operational changes in an organization. Previous studies suggest that there are emotional triggers that result in the new behaviors displayed. This study seeks to test a theoretical model by testing the relationship between the first four Erikson stages as constructs. A randomized sample of participants undertook a self-administered survey to capture information on trust, autonomy, initiative, and industry.

Keywords: work identity, change management, organizational management, technology implementation

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Authors: Thuy Bui Anh, Ngan Nguyen Thi Thanh

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Currently, social work in Vietnam is entering the first step in the development process to become a true profession with a strong position in society. However, Spirit of helping and sharing of social work has already existed in the daily life of Vietnamese people for a very long time, becoming a precious heritage passed down from ancestors to the next generations while expanding the territory, building and defending for the country. Following the stream of history, charity work in Vietnam has gradually transformed itself towards a more professional work, especially in the last 2 decades. Accordingly, more than 50 universities and educational institutions in Vietnam have been licensed to train social work, ensuring a stronger foundation on human resources working in this field. Despite the strong growth, social work profession, social work education and the recognition of the role of the social workers still need to be fueled to develop, responded to the increasing demand of Vietnam society.

Keywords: education, history, recognition, social work, Vietnam

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Authors: Hassan Rasool

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There is limited research in the intervention domain of work family interaction. We identified that meditation could be effective in coping work family conflict and nurturing work family facilitation across domains. We conducted pretest posttest control group field experiment on a sample of sixty employees to test the effectiveness of meditation in a financial sector organization. Empirical evidence confirms that the intervention was effective in coping work family conflict & nurturing facilitation across work & home domains. The intervention, also positively affected a known outcome (i.e. satisfaction at work and home) of work family interaction. Future research perspectives on the use of unorthodox interventions in the domain of work family interaction are also discussed.

Keywords: work family interaction, meditation, satisfaction, experiment

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Authors: Haezreena Begum Abdul Hamid

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This article will explore the conflation between voluntary sex work and trafficked sex work. In doing so, the article will analyse the meaning of trafficking according to the United Nations ‘Protocol to Prevent, Suppress and Punish Trafficking in Persons, Especially Women and Children’ and the Malaysian Anti-Trafficking in Persons and Anti-Migrant Smuggling Act, 2007 (ATIP), and discuss the ambiguities that may arise in understanding the term. While the law on human trafficking has long been understood by scholars, key stakeholders, and enforcement officers, identifying a victim of trafficking is far from being straight forward. This is because of the diverse understanding on sex trafficking and sex work, and the fact that ‘consent’ by trafficked persons remains irrelevant in cases of trafficking. As a result, women who voluntarily engage in sex work are sometimes categorised as ‘trafficked’ and are ‘rescued’ by the authorities in the name of ‘protection’, while those who insist of having agency can be charged for violating the immigration laws. In light of such circumstances, this article aims to explore the conflation between voluntary sex work and trafficked sex work and how such conflation have succeeded in fostering distrust between sex workers and authorities.

Keywords: voluntary sex work, trafficked sex work, sex work, coercion, protection

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Authors: Taylor La Carriere

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“What I had madly possessed was not she, but my own creation, another, fanciful Lolita perhaps, more real than Lolita; overlapping, encasing he and having no will, no consciousness indeed, no life of her own,” Vladimir Nabokov writes in his seminal work, Lolita. Throughout Nabokov’s novel, the eponymous character is rendered nonexistent through unreliable narrator Humbert Humbert’s impenetrable narrative, infused with lyrical rationalization. Instead, Lolita is “safely solipsised,” as Humbert muses, solidifying the potential for the erasure of Lolita’s agency and identity. In this literary work, Lolita’s voice is reduced to a nearly invisible presence, only seen through the eyes of her captor. However, in Stanley Kubrick’s film adaptation of Lolita (1962), the “nymphet,” as Nabokov coins, reemerges with a voice of her own, fueled by a lyric impulse, that displaces Humbert’s first-person narration. The lyric, as defined by Catherine Ing, is the voice of the invisible; it is also characterized by performance, the concentrated utterance of individual emotion, and the appearance of spontaneity. The novel’s lyricism is largely in the service of Humbert’s “seductive” voice, while the film reorients it more to Lolita’s subjectivity. Through a close analysis of Kubrick’s cinematic techniques, this paper examines the emergence and translation of Lolita’s voice in contrast with Humbert’s attempts to silence her in Nabokov’s Lolita, hypothesizing that Kubrick translates Lolita’s presence into a visual and aural voice with lyrical attributes, exemplified through the establishment of an altered power dynamic, Sue Lyon’s transformative performance as the titular character, Nelson Riddle and Bob Harris’ musical score, and the omission of Humbert’s first-person point-of-view. In doing so, the film reclaims Lolita’s agency by taking instances of Lolita’s voice in the novel as depicted in the last half of the work and expanding upon them in a way only cinematic depictions could allow. The results of this study suggest that Lolita’s voice in Kubrick’s adaptation functions without disrupting the lyricism present in Nabokov’s source text, materializing through the actions, expressions, and performance of Sue Lyon in the film. This voice, fueled by a lyric impulse of its own, refutes the silence bestowed upon the titular character and enables its ultimate reclamation upon the silver screen.

Keywords: cinema, adaptation, Lolita, lyric voice

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Authors: Romana P. Khokhar

Abstract:

The purpose of this study was to explore the impact of work-family conflict on self-esteem. On the basis of the literature reviewed, it was hypothesized that 1) work-family conflict has an impact on self- esteem, 2). There would be a gender difference on the variable of work family conflict. Data for this study was taken from a sample of 70 employees within the banking industry since this industry is generally associated with higher levels of work-family conflict. Statistical tests performed were regression and t-test. Self-esteem was assessed with the 10-item Rosenberg Self-Esteem Scale (RSE; Rosenberg, 1965) and Work-Family Conflict Scale (WFCS; Netemeyer, R. G., Boles, J. S., & McMurrian, R. 1996) was used to assess the level of work –family conflict. The results indicated that an increase in work-family conflict resulted in lower self-esteem due to the various pressures evidenced in a complicated network of direct and indirect influences. It was also determined that there is less effect of work-family conflict on the female workers, as opposed to the male population, leading to the conclusion that in the case of the female workers the impact on self-esteem was not significant.

Keywords: work and family conflict, self-esteem, employee

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Authors: Raghavi Janaswamy, Saraswathi K. Vasudev

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Music is ubiquitous in human lives. Ever since the fetus hears the sound inside the mother’s womb and later upon birth, the baby experiences alluring sounds, the curiosity of learning emanates and evokes exploration. Music is an education than mere entertainment. The intricate balance between music, education, and entertainment has well been recognized by the scientific community and is being explored as a viable tool to understand and improve human cognition. There are seven basic swaras (notes) Sa, Ri, Ga, Ma, Pa, Da, and Ni in the Carnatic music system that are analogous to C, D, E, F, G, A, and B of the western system. The Carnatic music builds on the conscious use of microtones, gamakams (oscillation), and rendering styles that evolved over centuries and established its stance. The complex but erudite raga system has been designed with elaborate experiments on srutis (musical sounds) and human perception abilities. In parallel, ‘rasa’- the emotions evoked by certain srutis and hence the ragas been solidified along with the power of language in combination with the musical sounds. The Carnatic music branches out as Kalpita sangeetam (pre-composed music) and Manodharma sangeetam (improvised music). This article explores the Manodharma sangeetam and its subdivisions such as raga alapana, swara kalpana, neraval, and ragam-tanam-pallavi (RTP). The intrinsic mathematical strategies in it’s practice methods toward improvising the music have been explored in detail with concert examples. The techniques on swara weaving for swara kalpana rendering and methods on the alapana development are also discussed at length with an emphasis on the impact on the human cognitive abilities. The articulation of the outlined conscious practice methods not only helps to leave a long-lasting melodic impression on the listeners but also onsets cognitive developments.

Keywords: Carnatic, Manodharmam, music cognition, Alapana

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