Trailers har använts för att förmedla filmer och spels budskap i snart ett århundrade. Denna studies syfte är att undersöka hur genre, upplevelse av spelmoment och känsla förändras mellan tre olika versioner av samma trailer. De två första versionerna innehåller symfonisk respektive elektronisk instrumentation och den tredje versionen endast ljudeffekter.En kvalitativ metod i form av semistrukturerade intervjuer användes för att ta fram deltagarnas svar och 12 personer i åldrarna 18 – 30 år deltog i studien. Fyra för varje version av trailer. Deltagarna fick först besvara en mindre enkät med grundläggande information. De fick sedan se en version av trailern och till sist delta i en intervju kring hur de upplevde genre, spelmoment och känsla.Undersökningen visade att instrumentationen och frånvaron av musik påverkade deltagarnas svar. Framtida forskning och vidare arbete är nödvändigt för att ta fram ett resultat med högre validitet.

This dissertation examines the impact of electronic sound technology on theories and practices of listening in Paris since 1945. It focusses on experimental work, carried out by musicians and medical professionals and designed with the express purpose of transforming the minds, bodies, and experiences of listening subjects in order to produce “experimental listeners.” Why did the senses become a target of manipulation at this particular moment, and how was technology used and abused for these ends? What kinds of changes to human beings, permanent or otherwise, was sound technology imagined to produce? And on what grounds were such experimental activities legitimized? To answer these questions in high definition, the story follows two main protagonists: otolaryngologist Alfred Tomatis and composer Pierre Schaeffer. Chapter 1 provides a launch pad into the world of Tomatis’s unconventional listening therapy by focusing on the invention in 1953 of the Electronic Ear, a device that could be described as an experiment in sensory prosthetics. Chapter 2 looks at Schaeffer’s experimental research into listening—through his “sound objects”—where his ultimate goal was to establish an entirely new musical culture based upon a new sensibility of sound awoken by the novel sound technologies of his day. The third chapter dissects Tomatis’s unlikely “postmortem” analysis of Enrico Caruso’s ears. Under the microscope in Chapter 4 is Schaeffer’s practical relationship with his public and his theoretical understanding of the mass media. Combining musicology with the history of the senses, science studies, and sound studies, and drawing on archival research, I excavate the material and epistemological resources mobilized by these experimenters to make malleable the sense of sound: not only resources broadly understood as “scientific” (mainstream medicine, cybernetics, information theory, acoustics) but also those often considered less so (psychoanalysis, alternative medicine, mysticism, and a panoply of spiritual beliefs). The project scrutinizes attempts to transform lived experience using electronic sound production technology; more broadly, it explores the meaning of the technological itself and its capacity to contain strange hybrid machines caught between fact and fiction, science and magic, human and non-human, matter and spirit, and certainty and wonder.

This study investigates aspects of Orientalism found within the genre of the English oratorio, specifically William Walton’s Belshazzar’s Feast (1931). Building on Edward Said’s research on Orientalism, analyses of Orientalist representations in music exploded the field of musicology in the 1980s and 90s. However, the examination of Orientalism in sacred genres remains lacking. Bringing forth cultural, political, and musical conflicts between East and West, Walton’s oratorio encourages further investigation in previously unaddressed genres. I argue that, by combining dramatic operatic elements with sacred text, Walton’s Belshazzar’s Feast reflects a continuation of Orientalist ideologies through binary opposition aimed at perpetuating the predominantly negative stereotypes of the Middle East and its people while celebrating the superiority of Western culture. Examining political, social, cultural, and musical contexts for Walton’s Belshazzar’s Feast in England between the wars, I draw on eighteenth through twentieth-century Western compositions, including opera and symphonic repertory, that appropriate the Orient in similar ways. Close examination of Walton’s oratorio reflects his adherence to standard tonal, harmonic, and orchestral signifiers that differentiate between East and West as established and canonized by Orientalist composers before him. Furthermore, I argue that Walton’s exposure to Orientalist works from an early age, as well as rising nationalistic sentiments in interwar England, shaped his conception of the Orient as a place of violence, savagery, and barbarity while promoting the West, represented by the Israelites in Belshazzar’s Feast, as rational, monotheistic, and civilized.

For Scots and non-Scots alike, the sounds of the bagpipes and the pipe band serve as a cultural metaphor for Scottish identity: the skirl of the pipes, the crisp sound of the snare drums, and the unique lilt of the music conjure an imagined Scotland of fierce, kilted clansmen and rugged, picturesque Highland scenery. This nearly global association appears to have been constructed on a series of transformations of cultural practices within Scotland itself, as well as throughout greater Britain and the lands of the Scottish diaspora, that began with the early “kiltophiles” in the late eighteenth century. Then, in the nineteenth century, its appeal was rendered greater by the romanticization of the Highlander in British literature, Queen Victoria's affinity for summer holidays at Balmoral Castle, expanded pipe band use in the British Army, and the formation of Scottish heritage societies embracing Highland dress, music, and sport. The turn of the twentieth century saw the pipe band move beyond military spheres to serve a range of civic and social purposes within Scotland, and throughout the subsequent hundred-plus year period, pipe bands as community musical ensembles have spread throughout the lands of the Scottish diaspora and other areas of the globe. Although there were and are a range of organizations, practices, and trends that offer insight into cultural developments within Scotland and the Scottish diaspora, the primary goal of this dissertation is to study the role of the pipe band in the construction and transformation of Scottish identity through an examination of the meanings, values, and musical practices that are built into ideas of "Scottishness" from the mid-nineteenth through the twenty-first century in the British Isles and North America. In its consideration of late twentieth- to twenty-first-century North American pipe bands, it will cast special light on selected bands of the Southeast and Ohio Valley regions, using two ensembles, the Kentucky United Pipes and Drums and the Knoxville Pipes and Drums, and one Highland festival, the Scotland County Highland Games, as case studies of present-day practices, but also as windows into identity formation within and through bands of the past.

This paper explores several narratives of race and racialized music production in postwar American popular musics, to study the ways in which race has played an intrinsic role in structuring not only contemporary expectations of popular music-making, but also the frameworks by which we continue to study American popular musics today. The essay discusses two case studies from Detroit's music cultures of the 1960s – black pop star Marvin Gaye and the white hard rock group the MC5 – to illustrate how entrenched expectations of racialized performance served to inform contemporary and still-current critiques of these groups; these case studies also reveal the inadequacy of some standard musico-racial narratives in interpreting the racialized dimensions of these artists' performances.

No description available.

I bakgrunden beskrivs musikaliska intervall och hur de klassas som antingen dissonantaeller konsonanta beroende på deras karaktär, vilket är centralt för detta arbete. Utöver dettabehandlas tidigare forskning kring musik och musikaliska intervall kopplat till känslor.Problemformuleringen tar upp frågeställning samt att tillvägagångssätt för undersökningenbeskrivs. Syftet med detta arbete är att undersöka hur en situation i ett datorspel kanuppfattas olika beroende på vad för musik som spelas i bakgrunden. Mer specifikt i dennaundersökning har två olika musikteoretiska egenskaper i melodi jämförts och hur det kanpåverka en spelare. Två musikstycken komponerades specifikt för denna undersökning ochvisades i samband med en inspelad spelsekvens. Till undersökningen har semistruktureradeintervjuer genomförts för att samla in information.Svaren i denna undersökning visade på att stycket med dissonanta förhållanden mellangrundton och meloditoner gjorde att situationen i videoklippet generellt uppfattades sommer hotfull, jämfört med stycket som innehöll konsonanta förhållanden mellan grundtonoch meloditoner.

Ensembles have become iconic of the eighteenth-century opera buffa. Previous studies have focused their efforts on form, analyzing ensembles with instrumental structures. However, these forms do not provide information as to how ensemble texts are set musically or function in terms of drama. This study follows Ronald Rabin’s dissertation research on opera buffa performed at the Burgtheater in Vienna between 1783 and 1791. Rabin asserts an ‘ensemble principle’, explaining the broad form of buffa ensembles. This study focuses on the ensembles of two Viennese works: W.A. Mozart’s Così fan tutte (1790) and Domenico Cimarosa’s Il Matrimonio Segreto (1792). Using Rabin’s ‘ensemble principle’ as a foundation, a close reading of each ensemble from these two works reveals that these composers took very different approaches to ensemble writing. By sticking to or straying from conventions, Mozart and Cimarosa made musical choices that enhance character relationships and drama in diverse ways.

In 1789 the Bristol Corporation for the Poor re-enacted legislation that aimed to outlaw beggar ballad singers the city’s streets. Seventy-five years later, the Street Music Act (Metropolis) endeavoured to complete the job that Bristol’s legislators had started. Although the outcome was never as effective as the authorities had wished, legislation provides this thesis with a chronological framework within which to examine the transformation of the music of the poor. As the targets of the legislator’s pen, the poor are taken as our primary subjects. Their musical presence is easily read into Nicholas Temperley’s inspirational comment in The Romantic Age, 1800-1914 in which he said, ‘At the beginning of the period the working classes were making their own entertainment, while at the end of it their music was supplied by a large, commercially organized population of professional entertainers.’ This statement forms the basis of the question: how, and in what ways, was the music of the poor transformed between 1789 and 1864? The thesis combines two approaches: musical and social. Its primary aim is to fill historical gaps in our existing knowledge of subaltern music and to examine the sounds of an under-reported world. By adopting two second cites as case-studies—Bristol and Hobart—the social and musical clues to the transformation of the music of the poor will be examined. Bristol is chosen out of convenience. By choosing a convict community, Hobart offers the opportunity to examine unique social and musical questions based on homesickness, attachments to and replication of home, and resistance to or compliance with authority. In both cities, the ephemera of the streets, the courts’ and newspapers’ response to its musical sound, and musical scores themselves will provide the detail of the music of the poor.

Studiens syfte är att beskriva hur musiklärare planerar, genomför och gör bedömningar av ensemblespel på högstadiet samt vad lärarna anser behövs för musikutrustning i klassrummet. För att uppfylla detta syfte lyfter studien frågor kring lärares planering, genomförande, tidsupplägg, betydelsen av klassrummets resurser samt insamling av bedömningsunderlag och bedömning. Metoden består av kvalitativa intervjuer med fem behöriga musiklärare. Resultatet visar att alla lärare i studien föredrar att undervisa i halvklass och menar att det ger kvalitet i undervisningen. Lärarna känner sig otillräckliga i stora grupper och menar att det leder till en ohälsosam arbetsmiljö samtidigt som de uttrycker samstämmiga åsikter kring vad för instrument som behövs för att bedriva ensembleundervisning på ett fullgott sätt. Dessutom understryks betydelsen av kontinuerlig lärarnärvaro men det varierar hur mycket lärarna släpper eleverna att spela på egen hand samt hur stort ansvar eleverna får ta för sitt eget lärande. Bedömningsmatriser, framarbetade system för bedömning och den egna magkänslan hos musiklärarna, hjälper dem att snabbt få en överblick över elevernas kunskapsnivå. I relation till detta framkommer att flera lärare väljer låtar eleverna känner igen och menar att det underlättar lärandet. Enkla låtar verkar vara ett medvetet val hos lärarna och i detta sammanhang innebär enkelhet att eleverna får arbeta med låtar med få ackord. Överlag framkommer det att lärarna i studien uppfattar bedömning av ensemblespel som en stor utmaning.