Recorders and electronics: an introduction to the performance of electroacoustic music

Abstract The development of the electroacoustic genre has presented modern recorder players with a myriad of new and exciting repertoire, but many acoustic musicians are reluctant to explore these new works due to the barriers of technology. Many different electronic devices are used in composition and performance, and this can be daunting for a performer with no previous experience in the field. This resource is designed to assist the performer in the transition from acoustic to electroacoustic performer, and aims to reach performers and teachers of the recorder to encourage more performances of works in this exciting genre. This thesis is primarily of interest to recorder players, but is also useful for composers interested in using recorders in an electroacoustic context. It examines aspects of the recorder which make the instrument particularly well suited to the electroacoustic genre, including acoustics and timbre shifting potential of recorders, and provides information about some compositional ideas which are relevant to the performer. An understanding of the importance of audience perception and the expression of gesture and texture in the electroacoustic genre creates a more sensitive performance, where the performer is aware of their role within the context of the music. A discussion of repertoire is arranged in a progression of least to most complicated electronics; this is to assist the performer in learning to use various electronic devices in performance. All recorders and electronics required for performance of selected works are described in relation to each piece, and performance notes are included as well. This knowledge can be applied to the performance of other electroacoustic works, and it is hoped the thesis will encourage performers and composers to collaborate in the production of new works to contribute to the huge body of electroacoustic repertoire for recorders

Recorders and electronics: an introduction to the performance of electroacoustic music

Abstract The development of the electroacoustic genre has presented modern recorder players with a myriad of new and exciting repertoire, but many acoustic musicians are reluctant to explore these new works due to the barriers of technology. Many different electronic devices are used in composition and performance, and this can be daunting for a performer with no previous experience in the field. This resource is designed to assist the performer in the transition from acoustic to electroacoustic performer, and aims to reach performers and teachers of the recorder to encourage more performances of works in this exciting genre. This thesis is primarily of interest to recorder players, but is also useful for composers interested in using recorders in an electroacoustic context. It examines aspects of the recorder which make the instrument particularly well suited to the electroacoustic genre, including acoustics and timbre shifting potential of recorders, and provides information about some compositional ideas which are relevant to the performer. An understanding of the importance of audience perception and the expression of gesture and texture in the electroacoustic genre creates a more sensitive performance, where the performer is aware of their role within the context of the music. A discussion of repertoire is arranged in a progression of least to most complicated electronics; this is to assist the performer in learning to use various electronic devices in performance. All recorders and electronics required for performance of selected works are described in relation to each piece, and performance notes are included as well. This knowledge can be applied to the performance of other electroacoustic works, and it is hoped the thesis will encourage performers and composers to collaborate in the production of new works to contribute to the huge body of electroacoustic repertoire for recorders

The Art of Morals: A Study of the Influence of Musicopoetic Arts on Moral Development in Plato\u27s Laws

This dissertation\u27s primary goal is to give a detailed account of the employment of musicopoetic arts in the process of moral development in Plato\u27s Laws. Its secondary objective is to propose an explanation for the different evaluations of musicopoetic arts at the end of the Republic and in the Laws. To achieve the first goal I analyze the elements of the soul involved in the moral psychology of the Laws, as sketched in the famous image of the marionette; I maintain that the process of habit formation is the pivotal aspect of this moral psychology; I indicate that Plato restricts the musicopoetic arts to the representation of virtue; and I propose ways in which these arts can influence the process of habit formation. I conclude that the moral psychology of the Laws is highly dependent on non-rational and semi-rational motives for action. Additionally I maintain that these motives can promote the pursuit of virtue when they undergo habits of repression (i.e. habits that lead the agent to resist some non-rational or semi-rational motives) or habits of cultivation (i.e. habits that promote certain non-rational motives). And I propose ways in which the musicopoetic arts intercept the process of habit formation, thereby reinforcing in the agent those motives that promote virtue. With regards to the secondary goal, I make the case that Plato does not change his opinion with regards to the musicopoetic arts between Republic and Laws. But I claim that significant changes in the moral psychology lead to very different conclusions in the two dialogues about the ethical effectiveness of these arts

Computable Rationality, NUTS, and the Nuclear Leviathan

This paper explores how the Leviathan that projects power through nuclear arms exercises a unique nuclearized sovereignty. In the case of nuclear superpowers, this sovereignty extends to wielding the power to destroy human civilization as we know it across the globe. Nuclearized sovereignty depends on a hybrid form of power encompassing human decision-makers in a hierarchical chain of command, and all of the technical and computerized functions necessary to maintain command and control at every moment of the sovereign's existence: this sovereign power cannot sleep. This article analyzes how the form of rationality that informs this hybrid exercise of power historically developed to be computable. By definition, computable rationality must be able to function without any intelligible grasp of the context or the comprehensive significance of decision-making outcomes. Thus, maintaining nuclearized sovereignty necessarily must be able to execute momentous life and death decisions without the type of sentience we usually associate with ethical individual and collective decisions

Supporting decentralised urban governance : training women municipal councillors in Mumbai, India

India;urban areas;local government;training programmes;women's participation

Cognitive-motivation strategies of learning regulation on the example of the fantasy novel Pinocchio

The goal of the research is to look at the developmental path of Collodi’s hero Pinocchio, from egocentric to self-responsible in setting goals, monitoring, regulating and controlling his own behaviour, learning and motivation through the prism of the SRL model (Pintrich, 2004). By applying the qualitative methodology, we have tried to examine whether and in what way the teaching practice of SRL encourages students. The research corpus from which we sample units for qualitative thematic analysis constitutes the very content of the story. The text of the novel is, at the same time, a medium for viewing the representation of SRL elements in said content and teaching practice through the eyes of children (49 second-grade students) and teachers (7) from primary schools in Podgorica through focus group and individual interviews. The research results indicate clear SRL developmental stages of the main character in the story, according to the proposed model. Children recognise his goals, intentions, and values, supporting their insights with examples from the work itself, but also from their own experience. Teachers cite reasons for the inadequate application of SRL in teaching, such as their own insufficient preparation, overprotective upbringing of children, and beliefs about a desirable model of behaviour

From Performer to Petrushka: A Decade of Alexandra Exter\u27s Work in Theater and Film

The subject of my thesis is Russian artist Alexandra Exter’s work in the performing arts, with a focus on her theatrical set and costume designs in the Kamerny Theater, her creations for Iakov Protazanov’s 1924 science fiction film, Aelita, and finally her exquisitely fabricated set of approximately forty marionettes. Within these colorful wooden figures are reconciled conflicting notions of stasis and dynamism, sculpture and performer, human and object. Drawing upon Victor Shklovskiĭ’s formalist definition of “enstrangement,” I examine her introduction of the object in place of the human performer as a means of exposing the creative process, forcing the viewer to actively engage with the production. Thus, her manipulation and eventual replacement of the human performer not only exemplifies the interconnectivity and mutability of Russian avant-garde art, but impels the viewer to reconsider the familiar in terms of the strange, ultimately calling attention to the humanity of the dehumanized performer

From Performer to Petrushka: A Decade of Alexandra Exter\u27s Work in Theater and Film

The subject of my thesis is Russian artist Alexandra Exter’s work in the performing arts, with a focus on her theatrical set and costume designs in the Kamerny Theater, her creations for Iakov Protazanov’s 1924 science fiction film, Aelita, and finally her exquisitely fabricated set of approximately forty marionettes. Within these colorful wooden figures are reconciled conflicting notions of stasis and dynamism, sculpture and performer, human and object. Drawing upon Victor Shklovskiĭ’s formalist definition of “enstrangement,” I examine her introduction of the object in place of the human performer as a means of exposing the creative process, forcing the viewer to actively engage with the production. Thus, her manipulation and eventual replacement of the human performer not only exemplifies the interconnectivity and mutability of Russian avant-garde art, but impels the viewer to reconsider the familiar in terms of the strange, ultimately calling attention to the humanity of the dehumanized performer