Sound Recording

Cuando celebramos 40 años de la edición de 'La Voz de los '80' (1984), comparto con Uds la sección completa de reseñas de discos de Los Prisioneros, incluida originalmente en la edición 2023 de mi libro "Exijo ser un héroe: La historia de Los Prisioneros", de Ediciones UC.

This is a contribution to a monograph on Tap Dancing. It explains the impossibility to record tap steps prior to the invention of microphones. When the sound of tap was required on a recording this had to be imitated, using woodblocks, sticks, snare drum hits on the rim, or bones (castanets)
ISBN 978-3-98753-014-2

In Giacomo Puccini’s Turandot (premiered at the Teatro alla Scala in Milan on 25 April 1926), the nocturne plays a dual role: on the one hand, it serves as the diegetic frame of the plot; on the other, it symbolises the inner metamorphosis of the protagonist, the Chinese princess Turandot. This article details this dual function by analysing how it takes shape throughout the opera. In this regard, three possible declinations of Turandot’s night are examined: the poetic (libretto), the musical (score), and the scenic.

Звуковий образ в кіномистецтві посідає рівнозначно важливе місце поряд із іншими засобами виразності кінематографу. Освідомлене створення звукового образу саундпродюсерами може виконувати наступні функції в кіно: емоційну (підсилення емоцій, формування емоційної напруги, виклик асоціацій), атмосферну (звуковий супровід який занурює глядача у необхідну атмосферу), сюжетну (звукові рішення, які стануть ключем до розуміння сюжету), характерну (звукові образи персонажів кіно), історично-географічну (використання звукового супроводу характерного для певного історичного періоду або географічної території), ритмічно-динамічну (підтримка темпоритму дії), символічну (передача символізму дії), жанрову (ідентифікація жанру) та інші.
Питання звукового образу в кіномистецтві ХХ століття вимагає деталізованого вивчення. Оскільки із розвитком технічного прогресу
та появою нових аудіотехнологій відбувся перехід на новий рівень саунду в кіномистецтві. Думки науковців щодо звукового образу в кіно різняться, тому подальші дослідження можуть забезпечити когерентне трактування у спільноті дослідників поняття звукового образу в кіномистецтві. Подальша розробленість теми допоможе вдосконалити роботи над аудіальною складовою кінофільмів та забезпечити ще більше емоційне залучення глядачів.

Цитування: Бондарець Є.В., Бондарець Н.Л., 2024 Звуковий образ у кіномистецві. збірник наукових праць «SCIENTIA» за матеріалами VIII Міжнародної науково-теоретичної конференції «Formation of innovative potential of world science» (06.12.2024, м. Тель Авів, Держава Ізраїль). 208-211. DOI 10.36074/scientia-06.12.2024

Record collecting, be it as a social, cultural, or commercial activity, has been a significant aspect of the music industry in the 20th century. Collecting encompasses not only the assembling of a number of musical objects into one unit, but also the assembling of various forms of knowledge
connected to those objects and what they are believed to represent. The rise of a market of recorded music, itself an emblem of musical ‘modernisation,’ coincided with an emerging and contested discussion on the fundamental nature and problems of ‘modern’ music, both in terms of popular styles such as Jazz as well as new movements within the Western art music tradition. This paper explores ecologies of record collecting in 1920s Europe and U.S. and how collecting procedures created narratives of ‘modern’ music. Although musical ‘modernism’ has long been studied in relation to the record industry, the contribution of this paper concerns how definitions and conceptualisations of ‘modern’ music were materially supported through record collecting in networks of knowledge circulation.

My study focuses on specialized phonographic journals as well as discussions on recordings in the music press, with special emphasis on the emerging communication between individual collectors and listeners vis-à-vis appointed ‘experts’ on recorded music. On the one hand, the paper shows that narratives of ‘modern’ recorded music circulated via commercial collection-making, for example in the form of proposed ‘budget packages’ within the music press. This was primarily a one-way communication pattern targeting collectors as consumers. However, the collecting of recorded ‘modern’ music could also be an object of discussion and negotiation which helped constitute subjectivities of ‘experts’ and ‘lay’ collectors on what the concept encompassed. The paper seeks to stimulate further discussion on the historical importance of collecting as part of knowledge circulation.

Introduction to my book, Korean Musical Instruments, a Practical Guide (second edition). Seoul: Minsokwon, 2015. Chapters: Korean Music, Korean Notation, Catalogue of Korean Instruments, Kayagum, Komun'go, Haegum, Changgo, P'iri, Tanso, Taegum, 52pp notations, etc.

W hy would a North American write multiple lines with a sentence in Spanish like "Lo siento mucho" (I'm sorry) in a document meant to register the vari ous artists and pieces recorded during a phonographic expedition through vari ous cities across Latin Amer i ca and the Caribbean? And not only line upon line of "Lo siento mucho" but also several rows with conjugations of common verbs in Spanish-in the style of "se, saben, sabemos, saben" (I know, we know, they know)-and even a series of instructions for Spanish speakers about how to conduct themselves in the recording studio? Given the nature of such transnational assignment, namely capturing local musics for its eventual commodification as 78RPM rec ords, these lines could be traces of the intercultural challenges faced by these North American "recording experts," as they were known at the time, when interacting with diff er ent peoples and material scenarios. As they ventured through diverse places, artists, and sounding events-from traditional musics to a variety of jokes, recitations, and other spoken performances in Spanish and Portuguese-these recording experts needed to make sure they could communicate certain matters effectively and unambiguously. And apologizing was, in many ways, intrinsic to the act of recording. These seemingly random annotations were written by traveling agents of the Victor Talking Machine Com pany in a set of ledger books that they carried with them-along with a bulk of recording equipment-as they traveled around the 543-118796_ch01_2P.indd 361 543-118796_ch01_2P.indd 361 11/12/23 4:55 PM 11/12/23 4:55 PM

Trabalho apresentado no Simpósio Científico Internacional: Les Traces du Vodun dans les arts et cultures des sociétés post-esclavage (Traços do Vodun nas artes e culturas das sociedades pós-escravização), na École Du Patrimoine Africain- EPA, em Porto Novo, Benin, entre 2 e 4 de agosto de 2024.

RESUMO
Foi Gbesen que te trouxe", disse a Nandoji Índia de Azonsu, sacerdotisa do Terreiro do Bogum, a casa seminal da nação Jeje-Mahi do Candomblé em Salvador, ao abrir o jogo de búzios. Ela disse isso antes de eu contar pra ela que eu estava ali para devolver as vozes ancestrais que eu encontrei em um museu na Alemanha. Essas cantigas, armazenadas sem contexto por mais de um século no Arquivo Fonográfico de Berlim, estão entre os mais antigos documentos sonoros conhecidos das práticas africanas na diáspora. Meu encontro com elas me impactou profundamente, moldando minha jornada acadêmica, artística e espiritual desde então. São 12 cantigas gravadas em seis fonogramas, louvando Voduns e Orixás em uma mistura dos idiomas iorubá, fon e ewe, gravados em cilindros de cera usando a primeira tecnologia de gravação e reprodução de som, o Fonógrafo de Edison, provavelmente entre 1900 e 1929. Suas origens exatas permanecem ocultas em um arquivo de museu que não pode ou não quer revelar os detalhes. Recorri à tecnologia ancestral oracular quando os métodos acadêmicos se mostraram insuficientes. Fui guiada a devolver essas gravações de forma discreta ao Bogum e, a partir de lá, disseminá-las para o maior número de pessoas possível, com o compromisso de nunca mais permitir que esses sons sejam aprisionados. Enquanto isso, tento preencher as lacunas para recontar a história dessas vozes. Esse processo destaca como as práticas espirituais podem revelar e honrar nossas histórias ocultas em arquivos, restaurar a dignidade de nossos objetos sagrados e tradições sequestradas e curar rupturas coloniais, especialmente na diáspora. Essas cantigas, antes perdidas, agora estão prontas para aprofundar nossa compreensão das práticas espirituais da diáspora africana entre continentes. As circunstâncias da gravação, em uma época em que as práticas espirituais negras ainda eram criminalizadas no Brasil, permanecem incógnitas, assim como a forma como foram parar na Alemanha. Este artigo tem como objetivo relatar todo o caminho até aqui, documentando minha jornada de pesquisa em andamento em cada um de seus becos sem saída e possíveis desdobramentos. Além disso, pretendo discutir não só as raízes, mas o tronco e os ramos coloniais das coleções de museus europeus, assim como as motivações por trás de suas práticas de arquivamento.

This study aims to examine the aesthetic goals of producers, engineers and musicians involved in recording Turkish folk music. Several detailed sonic analyses of a range of recordings are presented as a means to clarifying these goals, rather than a purely technical survey. Basic artistic and technical trends are identified, compared and criticized. To keep in view these considerations some folk music album’s examples were given from Turkey. Some recording production analysis made in these examples in a way of technical and philosophical considerations. It was motioned about some questions to be answered before the recording processes begin. These questions are about listener’s perspective and to make the decision between real and illusion for the production. It was mentioned that the answers for these questions would decide for the way of the production as well. In this sense some general considerations are made on Turkish Folk Music recordings in Turkey.

‘Music is a uniting of people; that is its ultimate goal.’ Through his son Alexander (1899-1977) and grandsons Serge and Ivan the dynasty Nikolay Tcherepnin (1873-1945) founded – fin de siècle Tsarist, emigré Russian, Russo-American – spearheaded modern cross-cultural exchange. An elevated, luminously impressionistic orchestrator, drawn to theatre (notably a dozen ballets, nine of them unpublished, and two late operas), descriptive music, smaller self-contained forms, and song, Nikolay grew out of the (imported) Minkus, (indigenous) Borodin/Liadov, Tchaikovsky/Rimsky-Korsakov tradition. ‘A journey fraught with surprise: sometimes disappointing, sometimes highly gratifying – never quite predictable’. Early on Alexander, the BBC noted in 1937, 'betrayed a leaning toward bold harmonic experiment'. He grew up in a household where 'music was religion.’ He matured believing music to be 'a uniting of people; that is its ultimate goal’.  ‘The ultimate value of a composition,' he maintained, 'is the complete balance of the “what” with the “how”. The “how” can and should be analysed. The “what” is extemporaneous and can only be felt, and escapes every cerebral investigation.'

The appearance of the Franco-European harp in Ottoman İstanbul, more than a century after the çeng had become obsolete, coincided with the new-wave ideas of Mahmud II, who in 1828, two years after the abolishment of the Janissaries, appointed Giuseppe Donizetti (1788-1856) to take up office as ‘Istruttore Generale delle Musiche Imperiali Ottomane’. Along with the buffa and seria of Italian theatre, the rise of the harp in Turkey - and the emergence of Turkish 'polyphony' (how ever much at the service initially of dance, march and inept harmonisations of the patently anti-harmonic) - symptomized a progressive Empire's willingness to embrace new cultural directions. Considering the contrast between the two 'classical' lines of Turkish music – the one monophonic (single-voiced melody), Eastern in aesthetic and temperament, an immovable, prescriptive, modal, assymetric, ornamented tradition; the other polyphonic (many-voiced harmony), Western in model, fluid, liberating, chromatic, metric, relatively unadorned – the learning curve facing the reformist Republicans, post-War of Independence, could not have been steeper. ‘A daring step from one civilisation to another,’ says İlhan Usmanbaş (born 1921), father-statesman to the many.

Virtual reality technologies allow new ways of creating a sense of space not only through sight but also through sound. We present SoundTrek, a game about using listening perspective for navigating through environments in VR. In SoundTrek, the player needs to switch between listening to spatialized sounds from the first- and third-person perspectives to navigate through obstacles. SoundTrek also employs sound design strategies, such as spatialized soundtracks and near-field audio to aid spatial navigation in the absence of visual cues and to create unique aesthetic experiences through sound. We present new ways of utilizing sound in virtual reality game design that highlights design considerations for audio-focused gameplay and diversifies the opportunities for creating rich, interactive soundscapes.

Reports Research Projects RAMUND: A Century of Music and Radio in Denmark. Music genres, radio genres and mediatisation The FKK-funded research project RAMUND began in 2013 and will run until 2018.The project's overall research question is: in what ways have the fi elds of music and radio interacted since the launch of a Danish state radio in the 1920s? The question concerns the changing relations between local music culture(s) and radio(s) in a historical perspective. Music-cultural conventions such as performance formats, repertoires, genre rules, aesthetics, and presentations have been incorporated into radio practices. For the Danish Radio, the live music ethic has been all-important as seen in the tradition for transmissions, in the continued importance of DR's ensembles, and in the old and the new concert hall's central position as concert venues. At the same time, DR has infl uenced Danish musical life to a still greater degree throughout the period. Many of the conventions taken up and adapted by radio have been re-circulated into the musical fi eld (formats, repertoires, presentations): radio logic became part of the 1930s' Radiomusik genre, 1950s' and 1960s' microphone tests infl uenced singing ideals, chart singles have been edited specifi cally for broadcasts, broadcasts have worked as commercials for music. In a complex interplay, radio has also contributed to the articulation and identity of several subcultural formations within youth culture, among music amateurs, and with respect to specifi c musical cultures. Such problems are dealt with, drawing upon the broad fi eld of cultural theory as well as theories developed within anthropology, musicology, media studies, sociology, and history. Within a historiographic framework defi ned by the given disciplines' uses of 'New History' two broad-range concepts will structure the theoretical fi eld: genre cultures and mediatisation. These are informed by discussions of different ontologies of music and by the fact that questions of radio, genre, and mediatisation are related to local, national, and transnational circumstances simultaneously. The overall research question can be divided into four: 1. What are the characteristics of music radio, its genres, its narratives, its journalistic techniques? 2. Which processes constitute music radio as a fi eld of practices or an assemblage mediating radio and music genre cultures? 3. How does radio afford long terms changes in musical life-socially, politically, economically, technologically, geographically-and how do national and local music cultures become still more mediatised? 4. How does music as an ontologically diverse medium and developments in musical life afford long term changes on Danish radio? RAMUND includes eleven subprojects: a full Ph.D. project, a postdoctoral project and nine relatively small senior researcher projects. These include:

Greek-Karamanlidika publications represent a broad area of research in the history of Ottoman music. The publications written by Ottoman Greeks, most of whom were musicians or cantors, contain a wide range of repertoire and theoretical texts. They include material on Orthodox church music and folk music, as well as European and Ottoman music. However, I will focus on the material related to Ottoman music. Such documents
are largely found in various archives in Greece, Turkey, and Romania. These resources consist of many sub-themes such as theoretical texts, repertoire collections, articles and advertisements about music in periodicals, most of which were published in Istanbul. Beyond political and ideological reasons, we can say that these publications in various
archives have been digitised and made publicly available on online platforms, thanks to technological developments in the last twenty years. Some of them are available in the catalogues of libraries and can be accessed upon request. It should be noted that such sources have been the focus of international research in the last twenty years. By studying these sources, small or large groups of scholars are conducting research on the written culture of the period through readings from the perspective of music theory or social history. Moreover, comparative studies and critical editions of the sources have become increasingly important. At this point, I should make it clear that the sources are also idiosyncratic examples when we compare them with other texts related to Ottoman music, due to their cultural characteristics such as language, notation, repertoire and themes, in addition to the socio-cultural environment to which they refer. For this reason, there are many methodological sub-issues that we must deal with, both in terms of access to the sources as well as the technical dimensions of their content. Taking into account the historical changes, I would like to briefly address two issues: Firstly, what are the methodological strategies that are applied in terms of access to and evaluation of the Greek-Karamanlidika publications? Secondly, what are the technical approaches used by researchers to examine the historical documents of Ottoman music recorded by the Greek community, known as a minority in the Ottoman Empire, together with the other sources as a whole? I will discuss these questions with reference to some of the archives and research related to the Greek Karamanlidika sources.

Леся Українка виявила себе не лише як видатна поетеса та культурна діячка, а й як одна з перших саундпродюсерок в Україні. Її активна участь у закупівлі  обладнання,  організації  записів  та  продюсуванні  фольклорних експедицій  свідчить  про  глибоке  розуміння  важливості  збереження національної музичної спадщини із використанням аудіотехнологій. Завдяки її технічним  знанням  і  організаційним  зусиллям  були  створені  записи кобзарських дум і лірницьких пісень, що стали важливими джерелами для подальших наукових досліджень та відтворення українського фольклору. Як саундпродюсерка,  поетеса  прагнула  максимально  точно  здійснити аудіофіксацію для подальшого відтворення та поширення задля можливості точного виконання іншими співаками. Отже, можна вважати, що Леся Українка стояла у витоків українського саундпродюсування.

Цитування: Бондарець Н.Л. (2024) Леся Українка та саундпродюсування. Education and science of today: intersectoral issues and development of sciences: збірник  наукових  праць  «ΛΌГOΣ» з матеріалами VII Міжнародної  науково-практичної  конференції, м. Кембридж, 18 жовтня 2024р. Вінниця-Кембридж: ТОВ «УКРЛОГОС Груп», P.C. Publishing House. С. 490-493. DOI: 10.36074/logos-18.10.2024.114

This paper looks into the life and ethnographic work of Leonore Kosswig (1904–1973), who lived in Turkey as a German exile from 1937 until her death in 1973. While her husband, Curt Kosswig was invited to Istanbul University as a full professor, Leonore had no institutional affiliation. However, she traveled with her husband around Anatolia and joined his fieldwork, during which she developed an interest in local customs and the daily life of villagers and nomadic tribes. Leonore decided to stay in Turkey after Curt’s return to Germany in 1955. Her excellent command of Turkish and former experience in fieldwork allowed her to become one of the first women to conduct ethnographic research in Turkey. Until her death, she pursued several pioneering research projects on wedding customs, tablet weaving, nomadic life, and ownership signs. Relying on her research publications and ego-documents, we employ a biographical approach to articulate upon her liminal existence in exile. In dialogue with research on twentieth century forced migrations that engage with the concepts of in-betweenness and liminality, we address Leonore’s liminal existences on the edge of two worlds on numerous planes. In particular, we argue that Kosswig’s liminality was reflected on her exilic existence in Istanbul as a foreign woman; her ethnographic research agenda into liminal geographic locations, marginalized communities, and disappearing cultural artifacts; and her gendered navigation of foreignness and nativeness.

“Aspectos sobre a valsa no Rio de Janeiro ao longo do século XIX: de folhetins, música de salão e serestas” de Martha Tupinambá de Ulhoa investiga práticas musicais de entretenimento no Rio de Janeiro, especialmente a valsa. A obra contextualiza a valsa no século XIX, analisa figuras como Geraldo Horta e adaptações populares. Críticas apontam a erudição acadêmica.

In the 1990s and into the beginning of the 21st century, Luciano Pavarotti helped popularise opera through singing the anthem for the Italia90 soccer World Cup; through concerts with the Three Tenors, and through his inter-music-genre charity concerts, Pavarotti and Friends. In doing so, he helped bring opera, and in particular ‘Nessun Dorma’ from Puccini’s opera Turandot, to a wider audience than ever before. In Daniel Somerville’s practice-research performed presentation, which draws on his research into operatic movement, he muses on how along with positioning ‘Nessun Dorma’ as the most recognisable tune in opera, Pavarotti also instilled an idea of how opera singers move that affirms negative stereotypes of the arm-raising, hand-waving, ‘stand and deliver’ opera star, while also divorcing the aria from its original context. Dancing ‘Nessun Dorma’ seeks to restore the aria to its original literary context and to reclaim the narrative of Turandot through presenting the moving body...

While a quick survey of popular culture reveals the continuing fascination of the U.S. public with educator/ composer/conductor Leonard Bernstein (consider, for example, articles discussing Jamie Bernstein's publication Famous Father Girl: A Memoir of Growing Up Bernstein, an upcoming biopic starring Bradley Cooper, or Steven Spielberg's film adaptation of West Side Story), Bernstein scholars rarely consider his lifelong relationship with jazz music. Katherine Baber's Leonard Bernstein and the Language of Jazz explores Bernstein's unique brand of jazz-infused polystylism, its epistemological foundation, and its ability to create meaning through cultural associations. The book consists of an introduction, six chapters, and a conclusion. The first chapter, "Bernstein's Philosophy and the Language of Jazz," establishes three tenets of Bernstein's aesthetic philosophy: (i) the primacy of tonality, (ii) music-as-language, and (iii) music's ability to express nationality/identity. All of these themes can be seen in Bernstein's 1939 honors thesis, "The Absorption of Race Elements into American Music." 1 Baber traces the origins of these epistemological underpinnings to John Dewey and David Prall, Bernstein's undergraduate professors while at Harvard. The chapter also addresses Bernstein's Norton Lectures, in which Bernstein drew from Noam Chomsky's theory of generative grammar to create musico-linguistics. The chapter polemicizes against Bernstein's problematic conception of jazz history, and how Bernstein's jazz idiom operated semiotically. Chapter 2, "Trading Fours: Bernstein, Copland, Gershwin, and Jazz," introduces Baber's notion of Bernstein's blues-jazz dichotomy, a music-theoretical model that undergirds much of the semiotic analysis of Bernstein's jazz/blues-tinged compositions. The dichotomy functions by invoking jazz and blues music's cultural associations. Utilizing aesthetic material from the blues-jazz idiom, Bernstein's compositions produce hermeneutical meanings that inform the audience's interpretation/ perception of the music. Baber argues, "By the premiere of Porgy and Bess (1935), the Gershwin blues could invoke a range of ideas and emotions: urbanity, femininity, sex, parody, worry, and trouble … When writing for a musical theatre audience, Bernstein was given to drawing on this range of associative meanings, particularly as they could be placed in relation to another style" (63). This chapter lays out the theoretical framework for analyzing pieces that later sections employ. Additionally, the chapter considers George Gershwin's musical influence on Bernstein and their personal correspondence, and explores the sociological relationship between African Americans and American Jews by highlighting examples in Bernstein's theatre productions, citing Charles Hersch's contention that "American Jews have used jazz to construct three kinds of identities: to become more American, to emphasize their minority outsider status, and to become more Jewish." 2 The chapter also addresses gender/racial dynamics by drawing on Angela Davis's work. 3 "A Jazz-Shaped America: Swing Styles in Fancy Free and On the Town," the third chapter, argues that two of Bernstein's theatre works can begin to outline a conceptual map of Bernstein's political sympathies and musical philosophy during the World War II years. Fancy Free (1944) and On the

Though shorthand manuscripts burst from the seams of North American archives, surprisingly little work has been done on the stenographic culture of early America. After shorthand permeated the intellectual, cultural, and religious world of the American colonies, it took on an important role in the newly formed nation. This article revises the limited discussions on early American stenographic reporters to-date. While stenographers could not avoid every suspicion of party politics or accusation of misbehaviour, most early national politicians trusted shorthand as a functional scribal technology, but one that introduced far-reaching questions about how much material an 'informed' public really needed. Today, scholars of early American politics continue to rely on the stenographic labours of early congressional reporters, without fully understanding or sometimes even acknowledging their craft.

No cautious, creative person starts a project nowadays without a back-up strategy...it is wise to maintain a living archive of all work. [1] Acousmatic composition begins with source material that is processed and reflected upon. Given a set of concrete sources and a set of build instructions it is theoretically possible to compile a composition from a limited number of critical initial sounds. This is analogous to the build process for software. By modifying existing compositional tools such that decisions and parameters are recorded, we construct a set of build instructions that reproduce the finished work from original source. Using version control with this methodology to track and record development it is possible to explore a trace of the composition process and use some of the features of the latest version control systems such as branching, tagging and merging. We demonstrate a methodology for composition that enables the composer to use version control effectively and in so...

This paper explores the historical use of the term āvāz in Iranian music during the 19th century and early 20th century. It examines various sources including musical treatises, diaries, early musical scores, record labels, and published books by both traditional and European-influenced Iranian musicians. The research reveals that āvāz was the dominant term used to refer to modes in Iranian music throughout the 19th century and the early 20th century. This usage is evident in both musical and non-musical writings. The paper explores how āvāz was used in 19th-century musical texts. It highlights that āvāz was even used to refer to the ancient modes attributed to the legendary pre-Islamic musician Bārbad. The study also examines the use of āvāz in non-musical texts, such as diaries of Iranian royalty. Furthermore, the paper investigates the use of āvāz in the first published scores of Iranian music and the labels of early commercial recordings of Iranian music by the Gramophone Company. Both sources extensively use āvāz to designate the modes. The analysis of theoretical works by Iranian musicians in the early 20th century reveals that āvāz remained the preferred term for modes even when the authors employed European musical theory. In conclusion, the paper demonstrates that āvāz was the ubiquitous term for modes in Iranian music throughout the 19th century and the early 20th century. This usage was employed by both traditional musicians and the new generation influenced by European music theory.

This study examines the effectiveness of various research methods in business education, aiming to enhance teaching and learning outcomes. A mixed-methods approach was employed, combining surveys, interviews, and focus groups to gather data from business educators and students. The findings highlight the benefits and limitations of different research methods, including case studies, simulations, and experiential learning. The results inform evidence-based recommendations for business educators to adopt innovative research methods, fostering critical thinking, problem-solving, and decision-making skills in students. This research contributes to the development of pedagogically sound and industry-relevant business education, preparing students for success in an ever-changing business landscape.

Der Essay folgt den Klängen von Landschaften der Elektrizitätsproduktion und versucht Zugänge zu skizzieren, wie diese auditiv-künstlerisch erforscht werden können. Dazu bezieht er sich auf Feldforschungen in operierenden und verhinderten Wasserkraftwerken im Flussnetzwerk des portugiesischen Douro-Tals. So setzt sich der Essay mittels eines auditiv-ethnographischen Zugangs mit klangästhetischen, ökologischen und soziopolitischen Ambivalenzen grüner Elektrizität auseinander.

El último día de Pompeya, que se estrenó en 1825 en Nápoles, es una ópera que no sólo da muestras de lo mejor del bel canto italiano, sino que también en su momento logró tener un gran impacto en las exploraciones arqueológicas y en el interés que las artes tuvieron de la historia antigua en general y en particular con lo sucedido en Pompeya. A través de una trama de amor y traiciones el espectador descubrirá que en el centro de la acción está el mismo volcán Vesubio que será motor del desarrollo y eventual conclusión de la historia.

El trabajo profundiza en cómo la vía criolla se manifiesta en el Códice Zuola a través de tres supuestos sustentados en: un Memento mori con un Suri, la transcripción castellana de un poema mudado a lenguas andina, la desaprensión sobre la sacralidad de Inti, la naturaleza como edénico valle de lágrimas, un cancionero español anónimo, una hagiografía germanesca, la templanza mariana sobre metáforas
sacras y profanas, el asombro secular por nacimientos extraños, la burla al reclamo andinos de tierras, el elogio de una mujer que atentó contra el orden colonial y las alegrías y amarguras sobre disputas franco–españolas en América. El primer supuesto es la asimilación de rasgos culturales correspondientes a etnias americanas desde lógicas europeas. El segundo, es la conversión de valores negativos atribuidos a los criollos —como vicio y cerrazón— en positivos —como jovialidad y constancia— afines a una intelectualidad curiosa y asistemática. El tercero, es el reconocimiento del criollo como sujeto inestable en su relación con los demás actores coloniales del Perú.

This article discusses how everyday speech was mediated in early modern England: how speech was registered and remediated through various cultural techniques making it recognizable as a distinct linguistic medium and how these processes intersected with literary writing. A contribution to the study of the early modern English mediascape and its literary ramifications, this essay is also an effort to think historically about media change and literary transformation both as they happen and as they become visible over time. In what follows, I trace the relationship between speech and the cultural techniques that engage with speech as the medium of everyday face-to-face interaction. Although my question is ultimately about speech, not poetry, and although the larger question I am interested in is not about artistic production but about media and cultural techniques more broadly, literary—poetic and especially dramatic—writing is nevertheless central to my essay. My argument grows out of the insights of twentieth-century literary criticism, whose observations about the relationship between speech and writing in 1600 were recognizably informed by the discourse network of their own moment and by their own concerns with modernity and its origins. So even as I am making an argument about the media constellation of a particular moment (an argument that could perhaps be described as crudely historicist), I am also curious about how the features of that moment became visible under different historical conditions or were imprinted by different media constellations and also how the defamiliarizing effect of the new may have made the past look familiar.

rechushedshej-epohi-sobranie-viktora-duvakina.html (accessed January 9, 2024). Duvakin was motivated to preserve hundreds of Soviet voices in response to a sudden change in his professional life: in the spring of 1966, he was fired from Moscow State University's philology faculty after publicly coming to the defense of his former student, the writer Andrei Siniavskii, at a widely reported show trial. Duvakin joined forces with university students like Radzishevskii and his future wife, Marina Radzishevskaia, who helped the professor record, catalog, and transcribe some three hundred interviews. Radzishevskii's personal account of his time spent with Duvakin can be found in his article, Vladimir Radzishevskii, "Izgoi s dopotopnym magnitofonom: Zhizn΄ posle katastrofy," Znamia, no. 12 (2004), at https://znamlit.ru/publication.php?id=2531 (accessed January 9, 2024). 2. The Institute's website can be accessed at http://www.oralhistory.ru; it features nearly 100 interviews conducted by Duvakin and several other notable sound recordings. Many of the site's recordings have now been transcribed and translated into multiple language, and Shklovskii's interviews with Duvakin and Radzishevskii (https:// oralhistory.ru/talks/orh-814) were recently translated into English and annotated by the scholarly team of Slav Gratchev and Irina Evdokimova as Dialogues with Shklovsky: The

MusiClef was one of the "brave new tasks" at MediaEval 2013 with a multimodal approach that combined music, video and textual information in order to evaluate systems that recommend a music soundtrack given the video of a commercial and the information on the product to be advertised.

MusiClef was one of the "brave new tasks" at MediaEval 2013 with a multimodal approach that combined music, video and textual information in order to evaluate systems that recommend a music soundtrack given the video of a commercial and the information on the product to be advertised.

© by Edition Margaux "sehr lange gerade am Eindruck immer noch größerer Simplizität gearbeitet" 28 hat. Selbst Volksliedhaftes, das pure Eingebung zu sein scheint, ist, wie sich zeigen lässt, stets bis ins Letzte durchgearbeitet, 29 dezidiert ein Kunstprodukt, das als solches gehört werden will. Natürlich ist all dies bei spontanem Hören nicht zwingend nachvollziehbar und für viele Arten von Musikgenuss gewiss entbehrlich. Eine ideale Transkription scheint mir persönlich aber gerade darin zu bestehen, dass sie von sich aus eine hörende Mittelposition anzubieten vermag, pendelnd zwischen einem "Ja, so könnte es sein", einem Vergessen-Lassen also, dass man es nicht mit einem Original zu tun hat, und dem Bewusst-Machen eines ‚Hörens zweiter Ordnung', das die Doppelbödigkeit, die der Sache nolens volens innewohnt, selbstbewusst herausstellt. Gerade das schwankende Wechseln zwischen solchen Hörhaltungen ist es, was ich an Transkriptionen so wertvoll finde. So geht es mir beispielsweise, wenn ich Mertz' exquisite Gitarren-Version des Ständchens aus dem Schwanengesang höre oder spiele, und ich leugne nicht, dass mir gerade sie, neben Mertz' weiteren Schubert-Liedern, für meine vorliegenden Bemühungen um Brahms ein entscheidendes Vorbild gewesen ist. Meine Ausgabe wagt sich auf eine Weise an Brahms, in der er meines Wissens bisher nicht bedacht wurde: daran, aus drei Liedern von Brahms, die ich dafür geeignet finde, gitarristische "Lieder ohne Worte" zu machen, bei denen man die Worte kennen kann, aber nicht muss, innerlich mitsingen kann, aber nicht muss. Dass dieses Wagnis mit vielen Schwierigkeiten einhergeht, ist mir bewusst. Vielleicht geht es aber auch mit Chancen einher. Brahms' Klaviersatz und zusätzlich die Gesangsstimme unmittelbar und verlustfrei auf ihren bescheidenen sechs Saiten vortragen, das kann die Gitarre nicht. Was ihr aber vielleicht gelingt, ist, diese kleine Auswahl mit ihren eigenen Mitteln zu betrachten, im Wortsinn zu reflektieren, und damit etwas Anderes zu gewinnen, das den originalen Klang nicht mit Ansage defizitär kopiert, sondern seinen in Kauf genommenen Verlust ansatzweise durch ein Neues aufwiegt. Mir als Bearbeiter und Autor dieser Zeilen bleibt nur zu hoffen, dass Brahms' Musik am Ende mit Hilfe von interessierten Interpret*innen sich sogar auf der Gitarre "hübsch und angemessen" verwirklichen möge.

It was a slow start but the phonograph record gradually became a stage unto itself for a dancing figure, and the most popular of all were Ragtime Dancers from the World of Minstrelsy. "Rastus" was activated in Boston in 1914 and gave rise to several other - even newsworthy - terpsichorean combinations. But where did the little Automata get their own beginning? Could it have been even before the invention of the phonograph? Columbia was already using the term "Uncle Rastus" by 1897.

This chapter explores the work of multimedia artist Julian House how it has travelled across different contexts. House, who belongs to the British creative agency Intro, and co-runs the esteemed independent music label Ghost Box, started work as a designer and has since moved into producing music, creating music videos, and other short pieces of audio-visual work. Ghost Box is a label closely linked to the emergence of musical hauntology and House is one of the most important contributors to a broader hauntological audio-visual aesthetic. This chapter chiefly examines the work that he has produced for Ghost Box, which includes album art, posters, music videos, and other associated audio-visual media, alongside his other commissioned works, including film-related work, which includes the title sequence for the film-within-a-film, The Equestrian Vortex, which appeared within Peter Strickland’s Berberian Sound Studio (2012); the credits sequence for Strickland’s In Fabric (2018); and the end credit sequence for Ben Wheatley’s A Field in England (2013).

Comunicación en el Congreso Internacional "Ciutats sonores. Música, so, soroll en entorns urbans (1500-1800)" organizado por la Universidad Internacional de Valencia en colaboración con el IMS, AVAMUS, la Universitat de València y el Conservatorio Superior de Música "Joaquín Rodrigo" de Valencia. Se desarrolló entre el 23 y 25 de octubre de 2023.