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Co-creating a Brass Band Dance Number for a Large-scale Community Opera Project with the Aid of Improvisatory Techniques: Co-creativity within an Operatic Context 在即兴技术的帮助下,为大型社区歌剧项目共同创作铜管乐队舞蹈:歌剧背景下的共同创造
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-01-31 DOI: 10.46580/cx34966
Oliver Rudland
Community opera projects have often integrated bands of varying types to involve participants in ways other than singing and acting. Although many community opera projects incorporate co-creative elements and improvisation techniques in their composition, there is little coverage of how bands, in practice, can be involved as participants in the co-creative process of shaping a new community opera. This paper documents a practice research project that took place with Waterbeach Brass Band based in Cambridgeshire, UK. It records in detail the process whereby aspects of a brass band dance number were devised during co-creative improvisation workshops, and provides both audio-visual recordings and notated examples that capture the emergent creative process, alongside a commentary explaining the processes and methodological approaches employed. The paper discusses the different ways in which members of the brass band responded to improvisational workshops, and how this fed into the co-creative process. It subsequently examines how such co-creative elements can form part of a larger musical-dramatic presentation, demonstrating how they can be developed during an extended operatic scene.
社区歌剧项目经常整合不同类型的乐队,让参与者以唱歌和表演以外的方式参与进来。尽管许多社区歌剧项目在其创作中融入了共同创作元素和即兴创作技术,但在实践中,乐队如何作为参与者参与塑造新社区歌剧的共同创作过程的报道很少。本文记录了与英国剑桥郡的水滩铜管乐队一起进行的实践研究项目。它详细记录了在共同创作即兴创作研讨会上设计铜管乐队舞蹈数字的过程,并提供了捕捉突发创作过程的视听记录和标记示例,以及解释所采用的过程和方法方法的评论。本文讨论了铜管乐队成员应对即兴工作坊的不同方式,以及如何将其融入共同创作过程。它随后探讨了这些共同创作的元素如何形成一个更大的音乐戏剧表演的一部分,展示了它们如何在一个扩展的歌剧场景中发展。
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引用次数: 0
From Civil Rights to the Post-racial Lie: The Representation of Racial Politics in the American Horror Film Score 从民权到后种族谎言:美国恐怖电影配乐中种族政治的表现
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-01-31 DOI: 10.46580/cx78995
Calum White
Socio-political messages have been discernible in film since the advent of the moving image. With this study, I respond to a gap in academic research by establishing how these messages have been manifested through a film’s score, focusing specifically on racial politics within American horror films. Drawing upon discussions of film scores, both generally and specific to the horror genre, as well as writings on cultural identity in music, I question how, using these theoretical frameworks, music can be seen as representative of a film’s racial politics and subtext. I will focus on three films released over a fifty-year period that each provide commentary on race in the contemporary United States: Night of the Living Dead (dir. George A. Romero, 1968); Candyman (dir. Bernard Rose, 1992); and Get Out (dir. Jordan Peele, 2017). The study showcases numerous ways in which film scores can represent subtext through instrumentation, timbre, pre-existing music, silence, and the cultural associations that these elements evoke.
自从电影出现以来,社会政治信息就一直在电影中可见。通过这项研究,我通过确定这些信息是如何通过电影的分数表现出来的,特别关注美国恐怖电影中的种族政治,来回应学术研究的空白。通过对电影配乐的讨论,无论是一般的还是特定于恐怖类型的,以及关于音乐中的文化认同的文章,我质疑如何使用这些理论框架,音乐可以被视为电影种族政治和潜台词的代表。我将重点关注五十年来上映的三部电影,每部电影都对当代美国的种族问题进行了评论。乔治·a·罗梅罗,1968);甜心宝贝(dir。伯纳德·罗斯,1992);和Get Out(导演)。Jordan Peele, 2017)。这项研究展示了许多电影配乐可以通过乐器、音色、预先存在的音乐、沉默以及这些元素所唤起的文化联系来表达潜台词的方式。
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引用次数: 0
Helen J. English. Music and World-Building in the Colonial City: Newcastle, NSW, and its Townships, 1860–1880 (review) 海伦·j·英格利希。殖民城市的音乐与世界建设:纽卡斯尔、新南威尔士州及其乡镇,1860-1880
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-01-31 DOI: 10.46580/cx89103
S. Owens
As Helen English rightly acknowledges early on in her wonderfully detailed study of music making in nineteenth-century Newcastle and its surrounds, while the area’s European settlers engaged enthusiastically in ‘building individual and collective worlds,’ their ‘world-building’ simultaneously (and violently) destroyed the country and lifestyle of the local Awabakal people (pp. 2, 29). In stark contrast, the locations covered in this book—the coalmining city of Newcastle, the pastoral settlement of Maitland, and a number of small towns nearby (among them Lambton, Wallsend, and Waratah, now all suburbs of Newcastle)—were all thriving by the 1860s. While there was a certain degree of demographic diversity between these settlements— Newcastle, for example, was chiefly home to miners, tradesmen, and itinerant port workers, compared to Maitland’s landowners and small-scale farmers—one feature they all shared was the significant amount of music-making that occurred within their communities. […]
正如海伦·英格利希(Helen English)在她对19世纪纽卡斯尔及其周边地区音乐制作的精彩详细研究中正确地承认的那样,当该地区的欧洲定居者热情地参与“建立个人和集体世界”时,他们的“世界建设”同时(并且暴力地)摧毁了当地阿瓦巴卡人的国家和生活方式(第2,29页)。与之形成鲜明对比的是,这本书所涉及的地点——煤矿城市纽卡斯尔、梅特兰的牧区以及附近的一些小城镇(其中包括兰姆顿、沃尔森德和沃拉塔,现在都是纽卡斯尔的郊区)——在19世纪60年代都很繁荣。虽然这些定居点之间存在一定程度的人口多样性——例如,纽卡斯尔主要是矿工、商人和流动港口工人的家园,而梅特兰的土地所有者和小农则是如此——但他们都有一个共同的特点,那就是在他们的社区内发生了大量的音乐创作。[…]
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引用次数: 0
Improvisation, Ontology, and Davidson: Exploring the Improvisational Character of Language and Jazz 即兴、本体论与戴维森:探索语言与爵士乐的即兴特征
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-01-31 DOI: 10.46580/cx87493
Sam McAuliffe
At least since the 1990s, the relationship between linguistic communication and jazz improvisation has been a topic of interest to both philosophers of language and theorists of jazz improvisation. Rarely, however, are the shared elements of language and jazz explored directly. This article interrogates these elements, with a particular focus on improvisation by drawing upon the work of Donald Davidson. While Davidson himself does not readily employ the term ‘improvisation’, I argue that key ideas from Davidson’s work—the principle of charity, triangulation, and his argument that there is no such thing as a language—align with the concept of improvisation. In this article I offer a reading of Davidson’s work—a reading that highlights an improvisational character of his philosophy typically not made explicit—and, on the basis of the ontology of improvisation that emerges from Davidson’s philosophy, I explore the implications of that understanding of language for the way in which we understand jazz.
至少自20世纪90年代以来,语言交流与爵士即兴之间的关系一直是语言哲学家和爵士即兴理论家感兴趣的话题。然而,很少有人直接探索语言和爵士乐的共同元素。本文对这些元素进行了探讨,特别关注唐纳德·戴维森的即兴创作。虽然戴维森本人并不乐意使用“即兴创作”这个术语,但我认为戴维森作品中的关键思想——慈善原则、三角测量法,以及他关于没有语言这种东西的观点——与即兴创作的概念是一致的。在这篇文章中,我对戴维森的作品进行了解读——这种解读突出了他的哲学中通常不明确的即兴特征——并且,在戴维森哲学中出现的即兴本体论的基础上,我探索了这种对语言的理解对我们理解爵士乐的方式的影响。
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引用次数: 0
Exploring Tasmania’s History and Landscape in Music for Children’s Performance: Don Kay’s There Is an Island (1977) 用儿童表演音乐探索塔斯马尼亚的历史和风景:唐·凯的《有一个岛》(1977)
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-01-01 DOI: 10.46580/cx46584
Holly Caldwell, C. Philpott, Maria Grenfell
Tasmanian composer Don Kay (b. 1933) has made a significant contribution to music in his island state and in Australia more broadly in a career spanning over six decades. Many of his works explore aspects of Tasmania’s landscape and history, especially its Indigenous past, and of his 300 works, approximately ten percent are designed specifically for children to perform. Through these latter works, Kay has made a substantial contribution to educating children about locally relevant topics, a practice often overlooked within the context of art music and education. Kay’s works are regularly performed and held in high regard, particularly in Tasmania; however, his music has rarely been discussed in detail in the literature before now. In this article, we begin to address this gap by examining one of Kay’s most successful works for children to perform, There is an Island (1977), within the context of his work as a composer and educator. Drawing on primary data collected from the composer via interviews and surveys, relevant existing literature and our analyses of the score and recording of There is an Island,the article aims to illuminate the processes Kay has employed to write music for children that connects them with Tasmania’s landscape and history; and to demonstrate the ongoing relevance and significance of such work within Australian music.
塔斯马尼亚作曲家唐·凯(生于1933年)在其60多年的职业生涯中,为塔斯马尼亚乃至澳大利亚的音乐做出了重大贡献。他的许多作品都探索了塔斯马尼亚的景观和历史,尤其是原住民的过去,在他的300件作品中,大约有10%是专门为儿童设计的。通过这些后期作品,Kay为教育儿童有关当地相关主题做出了重大贡献,这在艺术音乐和教育的背景下经常被忽视。凯的作品经常被演出并受到高度重视,特别是在塔斯马尼亚州;然而,在此之前,他的音乐很少在文献中被详细讨论。在这篇文章中,我们通过研究Kay最成功的儿童表演作品之一,There is an Island(1977),在他作为作曲家和教育家的工作背景下,开始解决这一差距。通过采访和调查、相关的现有文献以及我们对《有一个岛》的乐谱和录音的分析,从作曲家那里收集到的主要数据,本文旨在阐明凯为儿童创作音乐的过程,将他们与塔斯马尼亚的风景和历史联系起来;并展示这些作品在澳大利亚音乐中的持续相关性和重要性。
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引用次数: 0
The Ancients and the Moderns: Chasles on Euclid's lost Porisms and the pursuit of geometry. 古人与今人:查斯莱斯关于欧几里得失传的《波里斯密》和对几何学的追求。
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2022-09-01 Epub Date: 2024-06-04 DOI: 10.1017/S0269889724000048
Nicolas Michel, Ivahn Smadja

Of Euclid's lost manuscripts, few have elicited as much scholarly attention as the Porisms, of which a couple of brief summaries by late-Antiquity commentators are extant. Despite the lack of textual sources, attempts at restoring the content of this absent volume became numerous in early-modern Europe, following the diffusion of ancient mathematical manuscripts preserved in the Arabic world. Later, one similar attempt was that of French geometer Michel Chasles (1793-1880). This paper investigates the historiographical tenets and practices involved in Chasles' restoration of the porisms, as well as the philosophical and mathematical claims tentatively buttressed therewith. Echoes of the Quarrel of the Ancients and the Moderns, and of a long-standing debate on the authority and usefulness of the past, are shown to have decisively shaped Chasles' enterprise-and, with it, his integration of mathematical and historical research.

在欧几里得遗失的手稿中,很少有像《Porisms》那样引起学术界的关注。尽管缺乏文字资料,但随着保存在阿拉伯世界的古代数学手稿的流传,在早期现代欧洲,恢复这本缺失的书卷内容的尝试层出不穷。后来,法国几何学家米歇尔-沙斯勒(Michel Chasles,1793-1880 年)也进行了类似的尝试。本文探讨了沙斯勒恢复孔子学说所涉及的史学信条和实践,以及其初步支持的哲学和数学主张。本文表明,"古今之争 "的回响,以及关于过去的权威性和实用性的长期争论,决定性地影响了查斯莱斯的事业--以及他对数学和历史研究的整合。
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引用次数: 0
The hospital as a laboratory: Population studies at Tel-Hashomer hospital in Israel (1950s-1960s). 医院作为实验室:以色列 Tel-Hashomer 医院的人口研究(1950-1960 年代)。
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2022-09-01 Epub Date: 2024-06-04 DOI: 10.1017/S0269889724000036
Ari Barell, Nurit Kirsh

In this article we examine how a leading Israeli hospital gradually became a large biomedical research facility, resembling a huge laboratory. For Chaim Sheba (1908-1971), the founder and first director of Tel-Hashomer Hospital, the massive immigration to Israel in the 1950s was a unique opportunity for research of diverse human populations, especially Jews who had arrived to Israel from Asia and Africa. The paper focuses on the way research and medical practices were integrated and their boundaries blurred, and studies the conditions under which an entire hospital became a research field. Using the case of one of Israel's prominent medical institutes, we explore and expand upon the idea of "the hospital as a laboratory," arguing that, for Sheba, it was not only the hospital but the entire country that functioned as a great research site-a vast laboratory that "had no walls."

在这篇文章中,我们将探讨以色列一家主要医院是如何逐渐成为一个类似于大型实验室的大型生物医学研究机构的。对于特尔哈肖尔医院的创始人和首任院长查伊姆-谢巴(1908-1971 年)来说,20 世纪 50 年代以色列的大规模移民为研究不同人群,尤其是研究从亚洲和非洲来到以色列的犹太人提供了一个独特的机会。本文重点探讨了研究与医疗实践的结合方式及其界限的模糊,并研究了整个医院成为研究领域的条件。通过以色列一家著名医疗机构的案例,我们探讨并扩展了 "医院作为实验室 "的概念,认为对舍巴来说,不仅是医院,整个国家都是一个巨大的研究场所--一个 "没有围墙 "的巨大实验室。
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引用次数: 0
Botany and national identities: The Tokyo Cherry. 植物学与民族身份:东京樱桃
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2022-09-01 Epub Date: 2024-02-19 DOI: 10.1017/S0269889724000012
Wybe Kuitert

When Japan faced the world after the collapse of its feudal system, it had to invent its own modern identity in which the Tokyo Cherry became the National Flower. Despite being a garden plant, it received a Latin scientific species name as if it was an endemic species. After Japan's colonial conquest of Korea, exploring the flora of the peninsula became part of imperial knowledge practices of Japan. In the wild, a different cherry was discovered in Korea that was proposed as the endemic parent of the Tokyo Cherry, supporting imperialist policies. Following Japan's defeat after the Pacific War, South Korea in turn entered its search for cultural identity. The supposed parent of the Tokyo Cherry was now successfully acclaimed as the parent species of the colonial oppressor's Tokyo Cherry and named the King Cherry. Such scientific practice into cherries smoothly intertwined with nationalism and its legacy continues to interfere with research today.

日本的封建制度崩溃后,面对世界,日本必须创造自己的现代身份,其中东京樱花成为国花。尽管东京樱花是一种园林植物,但它却被冠以拉丁学名,仿佛它是一种特有物种。日本殖民征服朝鲜后,对半岛植物的探索成为日本帝国知识实践的一部分。在野外,韩国发现了一种不同的樱桃,并提出将其作为东京樱桃的特有亲本,以支持帝国主义政策。太平洋战争后,日本战败,韩国也开始寻找自己的文化身份。现在,东京樱桃的假定亲本被成功地认定为殖民压迫者东京樱桃的亲本,并被命名为樱桃王。对樱桃的这种科学实践顺利地与民族主义交织在一起,其遗留问题至今仍在干扰着研究工作。
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引用次数: 0
Victims and diplomats: European white stork conservation efforts, animal representations, and images of expertise in postwar ornithology. 受害者与外交官:战后鸟类学中的欧洲白鹳保护工作、动物代表和专业形象。
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2022-09-01 Epub Date: 2024-06-04 DOI: 10.1017/S0269889724000024
Simone Schleper

This article discusses two approaches to save the European white stork populations from extinction that emerged after 1980. Despite the shared objective to devise transnational, science-based conservation measures, the two approaches' geographical focus was radically different. Projects by the World Wildlife Fund and the International Council for Bird Preservation focused firmly on the stork's wintering areas on the African continent. Interventions by a second group of ornithologists at the Max Planck Institute for Ornithology in Radolfzell concentrated on the Middle East as a migration bottleneck. Based on archival research, interviews and correspondence with involved ornithologists, the article examines stork representations as an important lens for investigating the professional politics of ecology and conservation. It shows that representations of white storks, the birds' ecology, and derived conservation hotspots became part of the boundary work used by European ornithologists in the creation of changing scientific and institutional identities.

本文讨论了 1980 年后出现的两种拯救欧洲白鹳种群免于灭绝的方法。尽管这两种方法的共同目标是制定跨国的、以科学为基础的保护措施,但它们的地理重点却截然不同。世界自然基金会和国际鸟类保护理事会的项目主要集中在非洲大陆的白鹳越冬区。而位于拉多夫采尔的马克斯-普朗克鸟类学研究所的第二批鸟类学家的干预则集中在作为迁徙瓶颈的中东地区。文章以档案研究、采访和与相关鸟类学家的通信为基础,将白鹳的表述作为研究生态学和自然保护专业政治的一个重要视角。文章表明,白鹳、鸟类生态和衍生保护热点的表述已成为欧洲鸟类学家在创建不断变化的科学和机构身份时所使用的边界工作的一部分。
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引用次数: 0
Introduction 介绍
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2022-06-30 DOI: 10.1017/S0269889700000946
Michael Espagne, A. Haß
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引用次数: 0
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