Sound archaeology: terminology, Palaeolithic cave art and the soundscape

This article is focused on the ways that terminology describing the study of music and sound within archaeology has changed over time, and how this reflects developing methodologies, exploring the expectations and issues raised by the use of differing kinds of language to define and describe such work. It begins with a discussion of music archaeology, addressing the problems of using the term ‘music’ in an archaeological context. It continues with an examination of archaeoacoustics and acoustics, and an emphasis on sound rather than music. This leads on to a study of sound archaeology and soundscapes, pointing out that it is important to consider the complete acoustic ecology of an archaeological site, in order to identify its affordances, those possibilities offered by invariant acoustic properties. Using a case study from northern Spain, the paper suggests that all of these methodological approaches have merit, and that a project benefits from their integration

Musical organics: a heterarchical approach to digital organology

Gaining a comprehensive understanding of new musical technologies is fraught with difficulties. The digital materials from which they are formed are of such diverse origins and nature, that they do not match traditional organological classifications. This article traces the history of musical instrument classifications relevant to the understanding of new instruments, and proposes an alternative approach to the centuries-old tree-structure of downwards divisions. The proposed musical organics is a multi-dimensional, heterarchical, and organic approach to the analysis and classification of both traditional and new musical instruments that suits the rhizomatic nature of their material design and technical origins. Outlines of a hypothetical organological informatics retrieval system are also presented

A computational study on outliers in world music

The comparative analysis of world music cultures has been the focus of several ethnomusicological studies in the last century. With the advances of Music Information Retrieval and the increased accessibility of sound archives, large-scale analysis of world music with computational tools is today feasible. We investigate music similarity in a corpus of 8200 recordings of folk and traditional music from 137 countries around the world. In particular, we aim to identify music recordings that are most distinct compared to the rest of our corpus. We refer to these recordings as ‘outliers’. We use signal processing tools to extract music information from audio recordings, data mining to quantify similarity and detect outliers, and spatial statistics to account for geographical correlation. Our findings suggest that Botswana is the country with the most distinct recordings in the corpus and China is the country with the most distinct recordings when considering spatial correlation. Our analysis includes a comparison of musical attributes and styles that contribute to the ‘uniqueness’ of the music of each country

Modernization and Its Discontents

Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/67022/2/10.1177_000276427702100208.pd

Exiles in British sociology

We have all seen them, foreheads wrinkled like a ploughed field, pastel-shaded check summer shirts worn in winter, desks festooned with yellowed index cards covered in hieroglyphics, books like yours only in plainer covers and read more carefully, filthy cigarettes, an accent growing thicker with age. But we have all seen them too, the luxuriant thatch at seventy, the jacket and tie, the tidy desk, the London club and the house in the country, the pipe, the disdain for small talk made all the more intimidating by an English acquired somewhere between grammar school and Oxford. Self-contained in a way only the uprooted can be, mysterious because you never knew what questions to ask them, emissaries from worlds they have lost and you have never known: the Polish gentry, the central European peasantry, Jewish merchants, German workers and, most puzzling of all, the continental European middle class

Cognitive and affective judgements of syncopated musical themes

This study investigated cognitive and emotional effects of syncopation, a feature of musical rhythm that produces expectancy violations in the listener by emphasising weak temporal locations and de-emphasising strong locations in metric structure. Stimuli consisting of pairs of unsyncopated and syncopated musical phrases were rated by 35 musicians for perceived complexity, enjoyment, happiness, arousal, and tension. Overall, syncopated patterns were more enjoyed, and rated as happier, than unsyncopated patterns, while differences in perceived tension were unreliable. Complexity and arousal ratings were asymmetric by serial order, increasing when patterns moved from unsyncopated to syncopated, but not significantly changing when order was reversed. These results suggest that syncopation influences emotional valence (positively), and that while syncopated rhythms are objectively more complex than unsyncopated rhythms, this difference is more salient when complexity increases than when it decreases. It is proposed that composers and improvisers may exploit this asymmetry in perceived complexity by favoring formal structures that progress from rhythmically simple to complex, as can be observed in the initial sections of musical forms such as theme and variations

Spontaneous singing and musical agency in the everyday home lives of three- and four-year-old children

Spontaneous singing permeates the lives of young children and can provide insights into the social and personal worlds of young children at home. Research into young children’s singing has traditionally been dominated by studies framed by developmental perspectives. However, developmental approaches run the risk of overlooking the ways in which spontaneous singing is useful and meaningful to young children. Despite increased interest in the musical lives of young children, there exists very little research into young children’s musical lives at home, largely because the home can be a difficult space to access for research purposes. This chapter is based on research undertaken from audio recordings of 15 3- and 4-year-old children who were recorded for continuous periods at home using all-day recording technology. I draw on ideas from music sociology and childhood studies to illustrate how children use singing as a tool of agency in their interactions with others and to manage their own experience