Global ETD Search

11	The Berliner Phonogramm-Archiv and the Emergence of Comparative Musicology Cairns, Elliott Scott January 2020 (has links) This dissertation examines the early history of the Berliner Phonogramm-Archiv (Berlin Phonogram Archive) and its role in the institutionalization of comparative musicology. The Berliner Phonogramm-Archiv was established in 1900 by psychologist Carl Stumpf in order to collect and preserve the phonographic recordings of non-European musics that would serve as the primary research materials for the then nascent discipline of comparative musicology. I situate the formation of the Phonogramm-Archiv and the emergence of comparative musicology within the historical contexts of the German cultural sciences and colonialism, and argue that both archive and discipline were informed as much by this immediate intellectual and political background as they were by the arrival of sound recording technologies in Germany. I explore how the other cultural sciences, primarily anthropology and ethnology, served as a model for comparative musicology’s methodological and epistemological framework, as well as for the strategies employed for expanding the Phonogramm-Archiv’s collection. As a cultural science, comparative musicology was governed by the tenet of scientific objectivity, and in sound recording, Stumpf found a means with which it was possible to engage with non-European musics objectively. Yet the scientific method also required the comparison of many different examples in order to determine laws through induction, which necessitated the collection of recordings of as many different musics as possible. In this dissertation, I demonstrate how the Phonogramm-Archiv’s mission to amass recordings and the comparative musicological project these recordings facilitated were both enabled by and dependent on the German colonial apparatus. Musicology Ethnomusicology Phonograph--Collectors and collecting Berliner Phonogramm-Archiv Stumpf, Carl, 1848-1936
12	Record Progressions: Technology and its Role in the Development and Dissemination of Jazz Surber, Greg A. 29 December 2009 (has links) No description available. African Americans Communication Mass Media Music Technology Jazz Audio Recording Record Phonograph Magnetic Tape Technology Music Industry
13	Cracked and Broken Media in 20th and 21st Century Music and Sound Kelly, Caleb, n/a January 2007 (has links) From the mid 20th century into the 21st, artists and musicians manipulated, cracked and broke audio media technologies to produce novel, unique and indeterminate sounds and performances. Artists such as John Cage, Nam June Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo Yoshihide pulled apart the technologies of music playback, both the playback devices � phonographs and CD players � and the recorded media � vinyl records and Compact Discs. Based in the sound expansion of the 20th century musical avant garde, this practice connects the interdisciplinary Fluxus movement with late 20th century sound art and experimental electronic music. Cracked and broken media techniques play a significant role in 20th century music and sound, and continue to be productive into the 21st. The primary contribution of this thesis is to provide a novel and detailed historical account of these practices. In addition it considers theoretical approaches to this work. After considering approaches through critiques of recording media, and concepts of noise, this thesis proposes novel theorisations focusing on materiality and the everyday. Ultimately it proposes that these practices can be read as precursors to contemporary new media, as music and sound art cracked open the fixed structures of �old media� technologies for their own creative purposes. Recording Technology Adorno Attali Phonograph Nam June Paik Kn��k Vinyl Glitching Compact Discs Yasunao Tone Nicolas Collins Paul DeMarinis Kim Cascone
14	Fusões de gêneros e estilos na produção musical da banda Som Imaginário / Fusions of genres and styles in brazilian popular music : the musical trajectory of the group "Som Imaginário" Moreira, Maria Beatriz Cyrino, 1985- 19 August 2018 (has links) Orientador: Antônio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T10:07:18Z (GMT). No. of bitstreams: 1 Moreira_MariaBeatrizCyrino_M.pdf: 2182763 bytes, checksum: 15fed57320fdcd934dd46fe29678303e (MD5) Previous issue date: 2011 / Resumo: O Som Imaginário foi um grupo que surgiu no Brasil em 1969 com o intuito de acompanhar o músico Milton Nascimento em sua turnê realizada em 1970. A partir da reunião de diversos músicos vindos de formações diferentes e com influências distintas, criou uma obra musical cheia de hibridismos fruto também de um contexto social-político e cultural específico. Através da análise musical dos três discos do grupo, Som Imaginário (1970), Som Imaginário (1971) e Matança do Porco (1973), buscou-se observar os aspectos de forma, gêneros e estilos presentes na sonoridade do grupo, instrumentação utilizada, harmonia e letra, com o objetivo de relacionar as formas de expressão musical do grupo com o contexto cultural e político do Brasil no período em que atuou, a transição da década de 60 para os anos 70. Ao se construir a narrativa da trajetória do grupo, procurou-se também relacioná-la à crescente indústria fonográfica no Brasil e associar elementos da produção musical do grupo com os traços comportamentais e maneiras de pensar relacionadas à contracultura e à vigência do regime ditatorial militar na sua fase mais repressiva / Abstract: The Brazilian group "Som Imaginário" emerged in 1969 with the purpose of accompanying the musician Milton Nascimento in his tour of 1970. The group gathered different musicians from differents music backgrounds and influences, and created a musical work full of hybridism as a result of the specific social, political and cultural context. Through the musical analysis of their three albuns, Som Imaginário (1970), Som Imaginário (1971), this study tried to identify many musical aspects such as form, genres and styles present in the sonority of the group, instrumentation used, harmony and lyrics, in order to relate these forms of musical expression with the cultural and political context of Brazil in that period, the transition between the 60's and 70's. By developing the narrative trajectory of the group, we tried to relate it to the growing phonographic industry in Brazil and associate elements of the musical production of the group with behavioral traits and ways of thinking related to the counterculture and to the term of military dictatorship in it most repressive stage / Mestrado / Fundamentos Teoricos / Mestre em Música Anos 1970 Contracultura Música popular - Brasil Ditadura e ditadores Rock Música - Fonografia Nineteen seventie Counter culture Popular music - Brazil Dictatorship and dictators Rock Phonograph music
15	Návrh a realizace obalu dlouhohrající desky (LP vinyl) / Design and implementation of the package long-playing records (LP vinyl) DOBAL, Stanislav January 2012 (has links) This thesis deals with the history records and charts its development through history to the present. It shows readers the first attempts of recording and reproducing apparatus , describes the history of the devices to play music and invented the phonograph . It outlines the creation of packaging design as a separate art disciplines and maps it over time to the present. The conclusion is devoted to contemporary music media. It outlines the emergence of followers technical revolution , cassettes and compact discs.
16	Gramofonový elektronkový zesilovač / Vacuum tube phono amplifier Hrubý, Ondřej January 2020 (has links) This master´s thesis deals with a design and simulation of an audio power phono amplifier using vakuum tubes. The frequency response of suggested solution should comply with the norm specified by RIAA. It also describes a vacuum tube basic description and also its advantages for audio applications and principle of usage a magnetodynamic pick-up. Last part contains a design of microprocessor system and power supply.
17	Les débuts du cinéma en Corée : entre projection et spectacle vivant Kang, Chang Il 10 November 2018 (has links) Cette recherche est une étude sur les débuts de l'histoire du cinéma en Corée des premières projections de films dans ce pays jusqu'en 1935, année pendant laquelle les Coréens ont commencé à produire des films parlants. Dans la première partie, nous avons étudié l’arrivée du cinéma en Corée, quand et par qui il a été introduit dans ce pays. Puis, quels films ont été vus par le public coréen et quels effets ils ont produits sur ce public.Dès les premiers temps du cinéma, chaque région du monde a essayé de surmonter les manques du film muet. Aussi, la deuxième partie s’intéresse à la particularité de la projection des premiers films muets en Corée. Le mot « spectacle cinématographique » se réfère, d’abord, à la représentation de films dans les premiers temps des débuts du cinéma. Le spectacle cinématographique sous-entend la possibilité d’un accompagnement supplémentaire, surtout sonore. En effet, les premiers films étaient « muets » et le moyen de mettre du son sur la pellicule n’avait pas encore été trouvé. De plus, souvent, il y avait aussi un concert ou un court spectacle secondaire (clown, bonimenteur, etc.) pendant, avant ou même après la projection des films. Cet ensemble autour de la projection de films représentait un véritable « spectacle cinématographique ». Nous avons étudié ce spectacle mixte présenté depuis 1919 à Séoul en Corée, et qui combine concert, projections de films, théâtre occidental moderne et boniment appelé Chosŏn Sinp'a Hwaltong Yŏnswaegŭk ou Chosŏn Kino-drama.Dans la troisième partie, nous avons présenté et analysé les données sur les films muets coréens dont nous avons pu retrouver les traces. / This research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces. Premiers films coréens Films muets coréens Spectacles mixtes en Corée Chosŏn Sinp'a Hwaltong Yŏnswaegŭk Chosŏn Kino-drama Disques Projections sonores Arly korean films Korean silent films Chosŏn Sinp'a Waltong Yŏnswaegŭk Chosŏn Kino-drama Phonograph record Silent film sound The sounds of early cinema in Korea
18	Zeit-Kritik als Form der Templation durch Medien des 21. Jahrhunderts Lorenz, Hans Christopher 05 March 2015 (has links) Wie können Theodor W. Adornos medienkritische Thesen – als wohl prominentester Beitrag gilt das in Zusammenarbeit mit Max Horkheimer entstandene Kapitel „Kulturindustrie. Aufklärung als Massenbetrug (1944)“ – in ihrer Gesamtheit mit heute auf Basis algorithmischer Transformationen prozessierenden zeitkritischen Medien in Bezug gesetzt werden? Wo lässt sich der Begriff der „Manipulation“ erweitern, oder neu verorten, wenn Mediensysteme als „nicht-menschliche Akteure“ (Bruno Latour) im mikrotemporalen Bereich prozessieren, entscheiden und im technikepistemologisch orientierten medienwissenschaftlichen Diskurs eine Akzentverschiebung und gar Aktualisierung des Begriffs „Medien-Kritik“ beziehungsweise „Zeit-Kritik“ anregen? Und mit welchen Abhandlungen hat womöglich Adorno selbst bereits ein Denken eröffnet hinzu der Erörterung von Funktions- und Zeitwe(i)sen von Medien als Basis von Manipulation menschlicher Wahrnehmung auf subliminaler Ebene? / How can the aggregate of Theodor W. Adornos media-critical hypotheses be relativised to todays time-critical media which effect processes on the basis of algorithmic transformations – the most prominent contribution arguably being constituted by the chapter “The Culture Industry. Enlightenment as Mass Deception” (1944), formulated in collaboration with Max Horkheimer? Within which sphere can the concept of “manipulation” be expanded, or re-contextualised, if media systems – essentially “non-human actors” (Bruno Latour) – effect processes and decisions in the micro-temporal sphere and, thus, trigger a shift in emphasis and a re-definition of the concept of “critique of media” or “critique of time” even within technologically and epistemologically orientated scholarly media discourse? And which are the treatises by means of which Adorno may have himself already opened up a school of thought, supplementing the debate on the methods (and systems) of media functioning and media-specific temporal considerations as the basis for the manipulation of human perception at a subliminal level? Ideologie Manipulation Computer Psychologie Musik Macht Wahrnehmung Zeit Musikwissenschaft Medienwissenschaft Sprache Film Atomistisches vs. strukturelles Hören Grammophon Schallplatte extensiver vs. intensiver Typus Medien-Kritik Zeit-Kritik technische Struktur Algorithmen Online-Targeting-Mechanismen Empfehlungs-Systeme Medium als Botschaft Massenmedien Kulturindustrie Priming-Effekt Zahl One-to-One-Kommunikation Reklame Personalisierung technikepistemologisch vs. inhaltistisch Radio Fernsehen Dialektik das Unbewusste Zielgruppen Ähnlichkeiten Photographie Phonograph Wahrscheinlichkeitsrechnung entscheiden und konstruieren Mathematik. Computer Atomistisches vs. strukturelles Hören Grammophon Schallplatte Manipulation extensiver vs. intensiver Typus Medien-Kritik Zeit-Kritik technische Struktur Algorithmen Online-Targeting-Mechanismen Empfehlungs-Systeme Medium als Botschaft Medienwissenschaft Musikwissenschaft Psychologie Film Massenmedien Kulturindustrie Wahrnehmung Priming-Effekt Zahl One-to-One-Kommunikation Reklame Personalisierung Ideologie technikepistemologisch vs. inhaltistisch Radio Fernsehen Dialektik das Unbewusste Macht Zielgruppen Ähnlichkeiten Photographie Phonograph Zeit Musik Sprache Wahrscheinlichkeitsrechnung entscheiden und konstruieren Mathematik. 780 Musik 48 Musik MR 7100 AP 12300 AP 16800 AP 45100 ddc:780
19	'True receivers': Rilke and the contemporary poetics of listening (Part 1) ; Poems: Small weather (Part 2) Lawrence, Faith January 2015 (has links) Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'. 831

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