Global Folk Music Evolution through Technology

This artistic research project is an audio engineering, sound design, and electronic music production portfolio which explores the social, cultural, and political potential for furthering traditional and folk music styles through creative music production techniques and spaces. This topic is explored through a series of collaborations with folk musicians around the world, resulting in a collection of acoustic music recordings, and an EP of ambient electronic music. A sound design library and educational content component are created to accompany each recording. This project seeks to define new paradigms for producing folk music styles and challenges the dichotomy of acoustic and electronic music.https://remix.berklee.edu/graduate-studies-production-technology/1186/thumbnail.jp

HISTORICAL SUBJECT MATTER IN ORAL LYRIC POETRY

Ono što se u usmenoj književnosti u prošlosti mijenjalo i kako se mijenjalo ostalo nam je slabo poznato. Zbog toga utječu na našu svijest oni aspekti koji se održavaju trajno i naglašenije negoli bi to bilo kad bismo mogli ravnomjerno poznavati međusobne odnose stabilnosti promjena u proteklim dugotrajnim razdobljima povijesti usmene književnosti. Međutim, trajnost pojava u usmenoj književnosti nije mjerilo njihove vrijednosti (premda i danas još postoji sklonost baštinjena iz romantičkih vremena, da se poistovjete ili bar blisko povežu starost i vrijednost).The relationship between lyrical oral poems and historial events is discussed. As contents of lyric oral poems, historical events are transformed according to poetical pattern. So transformed, they lose connection with the real historical data. The author concludes that it is necessary to distinguish the poetical pattern from the historical fact, and that the lyric poem has to be regarded as a folkloristic fact. Such a fact can only indirectly be considered as a testimony of historical data

IMPACT: The Journal of the Center for Interdisciplinary Teaching and Learning. Volume 2, Issue 2, Summer 2013

Impact: The Journal of the Center for Interdisciplinary Teaching & Learning is a peer-reviewed, biannual online journal that publishes scholarly and creative non-fiction essays about the theory, practice and assessment of interdisciplinary education. Impact is produced by the Center for Interdisciplinary Teaching & Learning at the College of General Studies, Boston University (www.bu.edu/cgs/citl)

Change through Learning: Observing the Need and Benefits of a Multicultural Music Education through Applying Coursework about the Korean and Korean American Musical Diaspora

Music education is often synonymous with Western Music education, or more specifically, Classical music education. Music theory and analysis surrounding the styles of Bach, Mozart, and Beethoven have been central to the pedagogy of a collegiate musical background, while expertise in Carnatic, Gamelan, or African drumming—to name a few—is seen as nonessential. This research project aims to uncover the reasons why (higher) music education is so narrowly focused and provides the skeletal framework for a practical method to begin constructing diverse, holistic curricula. While the overarching goal is to diversify music education in all cultures, the project focuses on the Asian American and Korean diasporas. After a literature review that outlines the need to alter the state of music academia through these diasporas, the project provides an example course design that could be annexed into most degree plans, and assume little-to-no musical knowledge outside Western practices. A survey is also provided with a sample set of participants, detailing how faculty and other educational institutions could use data from relevant demographics (such as a student pool) to develop their own curricula. The implications of this project\u27s survey data suggest that reeducation would have to develop slowly, for the sake of both educational institutions and students alike

A Modern-Day Musical Melting Pot: Sounds that Span the Seas

This project is an original cross-cultural music and visual performance. Graduate student Ryan Vazquez plans to blend the genres of Reggae, Latin, and Electronica, spanning a variety of styles from each throughout history to create a modern and eclectic fusion sound. By conducting research on the various aspects of these genres over time, including rhythm, instrumentation, and cultural influence, Ryan narrows down the similarities between them in order to blend them, and accent their differences to give contrast. He uses a system where he can create, loop, layer, mix, and manipulate sound and video in real time with the combination of a keyboard, digital vocoder, Theremin, turntable, and digital controller. Using his knowledge from class along with research, innovation, and practice, he expands his capabilities as a performer using sound, video, and lighting that combines Reggae, Latin, and Electronic music to create a captivating, and new audio/visual musical experience.https://remix.berklee.edu/graduate-studies-production-technology/1222/thumbnail.jp

A Process to Create Dynamic Landscape Paintings Using Barycentric Shading with Control Paintings

In this work, we present a process that uses a Barycentric shading method to create dynamic landscape paintings that change based on the time of day. Our process allows for the creation of dynamic paintings for any time of the day using simply a limited number of control paintings. To create a proof of concept, we have used landscape paintings of Edgar Payne, one of the leading landscape painters of the American West. His specific style of painting that blends Impressionism with the style of other painters of the AmericanWest is particularly appropriate for the demonstration of the power of our Barycentric shading method

Sam Van Aken: New Edens

Hybridized fruit trees, grafted orchids on shiny, reflective aluminum pedestals, fluorescent lights placed vertically on stands, and sheets of silver Mylar create a lush and somewhat disorienting space in contemporary artist Sam Van Aken’s most recent body of work New Edens. Van Aken makes Gettysburg College’s Schmucker Art Gallery into a kind of fantastical and futuristic winter garden. Without daylight and despite the cool fall weather of the Northeast, the dozen trees in the gallery are leafy and green, some even bearing fruit. Peach, plum, cherry, nectarine and apricot branches emerge from a single trunk and grow productively alongside their sister fruits. These surprising new plants, carefully designed and created by the artist, are titled Trees of 40 Fruits, and as time passes the artist will continue to graft more branches of various kinds of fruits onto each “parent” rootstock until he has reached forty. The saplings on display are relatively small, but eventually these trees will reach an approximate height of twenty feet. Van Aken created a nursery as part of his studio in Syracuse, New York. As an artist-cum-horticulturalist, he, like a nurturing parent, cares for his grafted fruit trees with a steadfast devotion. In his studio Van Aken carefully concocts the best fertilizers, waters carefully and diligently, removes hoards of Japanese beetles from the leaves one-by-one, and provides adequate warmth and protection for the young trees (with huge mounds of mulch and careful wrappings) during harsh New York winters. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1007/thumbnail.jp

The Elements of Production: Myth, Gender, and the Fundamental Task of Producing Popular Music

Using Antoine Hennion’s “anti-musicology”, this research project proposes a methodology for studying music production that empowers production choices as the primary analytical tool. It employs this methodology to analyze Kesha’s Rainbow, Janelle Monáe’s Dirty Computer, and St. Vincent’s Masseduction according to four, encompassing groups of production elements: musical elements, lyrical elements, personal elements, and narrative elements. All three albums were critical and commercial successes, and analyzing their respective choices offers valuable insight into the practice of successful producers that could not necessarily be captured by methodologies traditionally used for studying production, such as the interview. Further, as self-productions by female producers, these records confront and disrupt gendered perceptions of the production role that have mythologized and mischaracterized it in discourse. By unpacking the work of three radical producers, this thesis advocates for, and seeks to contribute to, reforming production discourse

NPR\u27S TINY DESK CONCERT SERIES: VOCALITIES OF OUTRAGE AND ACTS OF GAIETY

The Tiny Desk concert series features live video-recorded performances of artists at the desk of NPR Music’s Bob Boilen, the series’ main host. This thesis interrogates NPR Music’s values and the ways artists both manifest and queer those ideals in performance. I argue, in light of the 2016 election, performers challenge NPR Music’s taste system through two modes of subversion. The first mode considers vocalities of outrage specifically in the performances of Saul Williams and the Drive-By Truckers. These performers shift their social positions in expressions of outrage through vocality—as the embodied materiality of the voice and its constructed meanings (Freya Jarman-Ivens, 2011). The second mode considers acts of gaiety (Sara Warner, 2012), which sustain struggles for social change. These musical acts are shown in the performances of Common and Troker, who use moments of unexpected release to further engage their audience