196,299 research outputs found

    Confessions of a live coder

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    This paper describes the process involved when a live coder decides to learn a new musical programming language of another paradigm. The paper introduces the problems of running comparative experiments, or user studies, within the field of live coding. It suggests that an autoethnographic account of the process can be helpful for understanding the technological conditioning of contemporary musical tools. The author is conducting a larger research project on this theme: the part presented in this paper describes the adoption of a new musical programming environment, Impromptu, and how this affects the author’s musical practice

    Is music conscious? The argument from motion, and other considerations

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    Music is often described in anthropomorphic terms. This paper suggests that if we think about music in certain ways we could think of it as conscious. Motional characteristics give music the impression of being alive, but musical motion is conventionally taken as metaphorical. The first part of this paper argues that metaphor may not be the exclusive means of understanding musical motion – there could also be literal ways. Discussing kinds of consciousness, particularly “access consciousness” (Block 1995), the second part proposes ways in which music could (hypothetically) be conscious. The conclusion states that a greater understanding of the interactions of “phenomenal consciousness” and “access consciousness” is important in conceptualizing non-human consciousnesses, such as music might be conceived to be

    'Country life'? Rurality, folk music and 'Show of Hands'

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    This paper examines the contribution of folk music to understanding the dynamic, fluid and multi-experiential nature of the countryside. Drawing from literature on the geographies of music, it examines the work of 'Show of Hands', a contemporary folk band from Devon in England. Three areas are studied. First, the paper examines the musical style of Show of Hands in order to explore how hybridised, yet distinctive, styles of music emerge in particular places. Second, it demonstrates how Show of Hands' hybrid musical style has become closely associated with the Southwest of England. Finally, within these spatial and hybrid contexts, attention is given to the ways in which their music represents the 'everyday lives of the rural'. Taken together these themes assess the relevance of music in the understanding of rurality as hybrid space. © 2008 Elsevier Ltd. All rights reserved

    Conductor\u27s Guide to Mark Camphouse\u27s To Build A Fire

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    This thesis is a guide to understanding and performing Mark Camphouse’s composition, To Build A Fire. The thesis includes a biography of Jack London and a literary analysis of London’s short story “To Build A Fire,” upon which the composition is based. Musical analysis of the Camphouse composition, rehearsal considerations, and performance considerations are also discussed. The literary analysis provides background for the composition and a starting platform for the musical analysis. The musical analysis parallels the composition with the short story. This analysis also provides some technical considerations of the instrumental parts. The rehearsal considerations include a rehearsal plan, discussion of the conductor’s preparation, and some rehearsal guidelines. The performance consideration section includes ensemble seating and how to introduce the audience to the work. The conclusion of the thesis states that when the steps used for score study are applied to the Camphouse piece, the information uncovered is valuable to the performance
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