Abstract Latin America has a tradition of socially engaged artists. In Mexico, since the muralist movement of the 1920s, artists have shown a preoccupation for denouncing social issues in their works. In this article, we propose the concept of Paisaje sonoro social [socially engaged soundscapes], an approach to the composition of sound art that aims to raise awareness about specific social issues experienced in Mexican society. Through the combination of oral testimony, soundscapes (both real and imagined), and instrumental and electroacoustic music, Paisaje sonoro social aims to provide a direct communication to the listener in order to draw attention to social issues such as child exploitation, migration, poor working conditions for factory workers, poverty, and children working in the touristic industry. Through the analysis of a series of six works we argue that, although Paisaje sonoro social shares features of other genres, such as soundscape composition, acousmatic storytelling, and documental sonoro [radio feature] it has fundamental differences
{"title":"Paisaje Sonoro Social: Socially Engaged Soundscapes in Mexico","authors":"Mario Alberto Duarte-García;Emma Wilde","doi":"10.1162/comj_a_00638","DOIUrl":"10.1162/comj_a_00638","url":null,"abstract":"Abstract Latin America has a tradition of socially engaged artists. In Mexico, since the muralist movement of the 1920s, artists have shown a preoccupation for denouncing social issues in their works. In this article, we propose the concept of Paisaje sonoro social [socially engaged soundscapes], an approach to the composition of sound art that aims to raise awareness about specific social issues experienced in Mexican society. Through the combination of oral testimony, soundscapes (both real and imagined), and instrumental and electroacoustic music, Paisaje sonoro social aims to provide a direct communication to the listener in order to draw attention to social issues such as child exploitation, migration, poor working conditions for factory workers, poverty, and children working in the touristic industry. Through the analysis of a series of six works we argue that, although Paisaje sonoro social shares features of other genres, such as soundscape composition, acousmatic storytelling, and documental sonoro [radio feature] it has fundamental differences","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"58-71"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46995169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Electroacoustic music has a long and rich tradition in Latin America, despite the many instances of political and economic turbulence that the region has experienced throughout its existence. Without much public or private support, composers such as Maurico Kagel, Reginaldo Carvalho, Jorge Antunes, José Vicente Asuar, Juan Amenabar, Juan Blanco, Carlos Jiménez Mabarak, and Franciso Kröpfl, among many others, established the foundations of what is now a vibrant and active Latin American computer music community. Ricardo Dal Farra’s article in this special issue, which we encourage the reader to visit, provides a profound and important account of the development of this genre in the region. One interesting fact to emphasize is that, in an era when communications were not as rapid and abundant as they are today, the time gap between the first European compositions of musique concrète and electronic music and their Latin American counterparts was not very long. The first Latin American works, created by Kagel, date from the early 1950s, and in 1956 the first Chilean and Brazilian pieces were composed. This, we believe, is evidence suggesting that the history and advances of this genre in the Latin American regions are as rich and important as the better-known European or North American equivalents. Another important aspect of the computer music of Latin America
{"title":"Sound Anthology: Program Notes","authors":"Rodrigo F. Cádiz;Federico Schumacher","doi":"10.1162/comj_e_00643","DOIUrl":"10.1162/comj_e_00643","url":null,"abstract":"Electroacoustic music has a long and rich tradition in Latin America, despite the many instances of political and economic turbulence that the region has experienced throughout its existence. Without much public or private support, composers such as Maurico Kagel, Reginaldo Carvalho, Jorge Antunes, José Vicente Asuar, Juan Amenabar, Juan Blanco, Carlos Jiménez Mabarak, and Franciso Kröpfl, among many others, established the foundations of what is now a vibrant and active Latin American computer music community. Ricardo Dal Farra’s article in this special issue, which we encourage the reader to visit, provides a profound and important account of the development of this genre in the region. One interesting fact to emphasize is that, in an era when communications were not as rapid and abundant as they are today, the time gap between the first European compositions of musique concrète and electronic music and their Latin American counterparts was not very long. The first Latin American works, created by Kagel, date from the early 1950s, and in 1956 the first Chilean and Brazilian pieces were composed. This, we believe, is evidence suggesting that the history and advances of this genre in the Latin American regions are as rich and important as the better-known European or North American equivalents. Another important aspect of the computer music of Latin America","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"136-140"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42263312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editors' Notes","authors":"Rodrigo F. Cádiz;Federico Schumacher","doi":"10.1162/comj_e_00641","DOIUrl":"10.1162/comj_e_00641","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"5-7"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46124665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 88M is a compact 10 × 10 audio interface (see Figure 1) that uses the same 88 Marinair transformercoupled microphone preamplifier as Neve’s 88RS console. It has two combination microphone/line/DI inputs on the front panel, which feed into the Marinair transformer. There are independent phantom power switches and a gain control for each. LED indicators are provided for each signal type and activation of phantom power. The rear panel features eight ADAT digital inputs and output on TOSLINK optical connectors and two analog monitor outputs on TRS jacks. Balanced inserts for send and return loops on the two analog input channels are also located here. The front panel has a TRS jack for headphone output with an independent level control. Beside this there is a large monitor pot similar to that found on the 88RS console. The interface provides latency free monitoring for mono and stereo signals. The 88M offers a frequency response of 20 Hz to 20 kHz, headroom of +18 dB (less than 0.5 percent THD at 1 kHz), and total harmonic distortion (THD) with noise of less than 0.008 percent (at +18 dBu and 1 Hz).
{"title":"Products of Interest","authors":"","doi":"10.1162/comj_r_00631","DOIUrl":"10.1162/comj_r_00631","url":null,"abstract":"The 88M is a compact 10 × 10 audio interface (see Figure 1) that uses the same 88 Marinair transformercoupled microphone preamplifier as Neve’s 88RS console. It has two combination microphone/line/DI inputs on the front panel, which feed into the Marinair transformer. There are independent phantom power switches and a gain control for each. LED indicators are provided for each signal type and activation of phantom power. The rear panel features eight ADAT digital inputs and output on TOSLINK optical connectors and two analog monitor outputs on TRS jacks. Balanced inserts for send and return loops on the two analog input channels are also located here. The front panel has a TRS jack for headphone output with an independent level control. Beside this there is a large monitor pot similar to that found on the 88RS console. The interface provides latency free monitoring for mono and stereo signals. The 88M offers a frequency response of 20 Hz to 20 kHz, headroom of +18 dB (less than 0.5 percent THD at 1 kHz), and total harmonic distortion (THD) with noise of less than 0.008 percent (at +18 dBu and 1 Hz).","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"123-135"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45381907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Juan Ramos;Esteban Calcagno;Ramiro Vergara;Joaquín Rizza;Pablo Riera
Abstract The bandoneon is a distinctive free-reed instrument with profound ties to tango culture and Latin American music. The scarcity of manufacturers and the related high retail prices, however, are restricting access to the instrument for new generations of musicians. By combining modern technologies and scientific research, the Bandoneon 2.0 project aims to create an expressive and accessible new version of the instrument. In this article, we present an electronic bandoneon with a custom sound synthesis system. We also present an acoustic measurement system with which we analyzed the sound and air pressure signals of an acoustic bandoneon. Through this, we characterized several sound attributes that are utilized in a synthesis model made in Faust DSP. Combining the controller interface and the custom synthesizer, the electronic bandoneon we created can achieve a good level of expressiveness and engagement for the performer. We aim to produce an instrument that can be used in recreational, academic, and professional contexts to address the current sociocultural demand.
{"title":"An Electronic Bandoneon with a Dynamic Sound Synthesis System Based on Measured Acoustic Parameters","authors":"Juan Ramos;Esteban Calcagno;Ramiro Vergara;Joaquín Rizza;Pablo Riera","doi":"10.1162/comj_a_00636","DOIUrl":"10.1162/comj_a_00636","url":null,"abstract":"Abstract The bandoneon is a distinctive free-reed instrument with profound ties to tango culture and Latin American music. The scarcity of manufacturers and the related high retail prices, however, are restricting access to the instrument for new generations of musicians. By combining modern technologies and scientific research, the Bandoneon 2.0 project aims to create an expressive and accessible new version of the instrument. In this article, we present an electronic bandoneon with a custom sound synthesis system. We also present an acoustic measurement system with which we analyzed the sound and air pressure signals of an acoustic bandoneon. Through this, we characterized several sound attributes that are utilized in a synthesis model made in Faust DSP. Combining the controller interface and the custom synthesizer, the electronic bandoneon we created can achieve a good level of expressiveness and engagement for the performer. We aim to produce an instrument that can be used in recreational, academic, and professional contexts to address the current sociocultural demand.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"40-57"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45543049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
James Dashow’s second volume of Soundings in Pure Duration features works for electronic sounds, several which are composed for instrumental or vocal soloists. The composer is well known in the electronic and computer music worlds and has produced a large amount of work over many decades. This release contains the last four works in the Soundings series, composed between 2014 and 2020, as well as the rerelease of “. . . At Other Times, the Distances,” an older, quadraphonic composition. This DVD contains stereo mix downs and full 5.0-surround mixes for each of the five compositions. The stereo versions were all spatially enhanced to suggest a wider-than-normal audio field. Dashow is perhaps best known for his work with spatialization. According to the liner notes,
{"title":"James Dashow: Soundings in Pure Duration, Volume 2","authors":"Ross Feller","doi":"10.1162/comj_r_00642","DOIUrl":"10.1162/comj_r_00642","url":null,"abstract":"James Dashow’s second volume of Soundings in Pure Duration features works for electronic sounds, several which are composed for instrumental or vocal soloists. The composer is well known in the electronic and computer music worlds and has produced a large amount of work over many decades. This release contains the last four works in the Soundings series, composed between 2014 and 2020, as well as the rerelease of “. . . At Other Times, the Distances,” an older, quadraphonic composition. This DVD contains stereo mix downs and full 5.0-surround mixes for each of the five compositions. The stereo versions were all spatially enhanced to suggest a wider-than-normal audio field. Dashow is perhaps best known for his work with spatialization. According to the liner notes,","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"120-122"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41341559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-30DOI: 10.1177/15269248221087441
Robert M Shavelle, Rachel C Saur, Ji Hun Kwak, Jordan C Brooks, Bilal Hameed
Introduction: Non-Alcoholic Steatohepatitis is an increasing reason for liver transplantation in the western world. Knowledge of recipient life expectancy may assist in prudent allocation of a relatively scarce supply of donor livers. Research Questions: We calculated life expectancies for Non-alcoholic steatohepatitis (NASH) patients both at time of transplant and one year later, stratified by key risk factors, and examined whether survival has improved in recent years. Design: Data on 6635 NASH patients who underwent liver transplantation in the MELD era (2002-2018) from the United States OPTN database were analyzed using the Cox proportional hazards regression model and life table methods. Results: Factors related to survival were age, presence of diabetes or hepatic encephalopathy (HE), and whether the patient required dialysis in the week prior to transplant. Other important factors were whether the patient was working, hospitalization prior to transplant, ventilator support, and length of hospital stay (LOS). Survival improved over the study period at roughly 4.5% per calendar year during the first year posttransplant, though no improvement was observed in those who had survived one year. Conclusion: Life expectancy in NASH transplant patients was much reduced from normal, and varied according to age, medical factors, status at transplant, and post transplant course. Over the 17-year study period, patient survival improved markedly during the first year posttransplant, though not thereafter. The results given here may prove helpful in medical decision-making regarding treatment for both liver disease and other medical conditions, as they provide both clinicians and their patients with evidence-based information on prognosis.
{"title":"Life Expectancy after Liver Transplantation for NASH.","authors":"Robert M Shavelle, Rachel C Saur, Ji Hun Kwak, Jordan C Brooks, Bilal Hameed","doi":"10.1177/15269248221087441","DOIUrl":"10.1177/15269248221087441","url":null,"abstract":"<p><p><b>Introduction:</b> Non-Alcoholic Steatohepatitis is an increasing reason for liver transplantation in the western world. Knowledge of recipient life expectancy may assist in prudent allocation of a relatively scarce supply of donor livers. <b>Research Questions:</b> We calculated life expectancies for Non-alcoholic steatohepatitis (NASH) patients both at time of transplant and one year later, stratified by key risk factors, and examined whether survival has improved in recent years. <b>Design:</b> Data on 6635 NASH patients who underwent liver transplantation in the MELD era (2002-2018) from the United States OPTN database were analyzed using the Cox proportional hazards regression model and life table methods. <b>Results:</b> Factors related to survival were age, presence of diabetes or hepatic encephalopathy (HE), and whether the patient required dialysis in the week prior to transplant. Other important factors were whether the patient was working, hospitalization prior to transplant, ventilator support, and length of hospital stay (LOS). Survival improved over the study period at roughly 4.5% per calendar year during the first year posttransplant, though no improvement was observed in those who had survived one year. <b>Conclusion:</b> Life expectancy in NASH transplant patients was much reduced from normal, and varied according to age, medical factors, status at transplant, and post transplant course. Over the 17-year study period, patient survival improved markedly during the first year posttransplant, though not thereafter. The results given here may prove helpful in medical decision-making regarding treatment for both liver disease and other medical conditions, as they provide both clinicians and their patients with evidence-based information on prognosis.</p>","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"8 1","pages":"15269248221087441"},"PeriodicalIF":0.8,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90995353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-12DOI: 10.1093/obo/9780199757824-0306
This article covers the dissemination of musical scores by technical means. The function of both printing and publication is to produce multiple copies of a work or a group of works and to arrange for the distribution of those copies to many purchasers. This requires diverse skills: on the one hand, the ability to print, involving preparing a copy of the music in a form suitable for the printing press, and then producing the copies; on the other, to make marketing decisions, to handle advertising and distribution of copies to individuals or to music shops, and to budget and plan for profits. Since the first printed music produced by Ottaviano Petrucci at the beginning of the 16th century, printing has been developed in Europe on a broad scale. Its technical requirements have changed from movable type to engraving, lithography, and, most recently, the computer. Entries are arranged to cover these activities separately, and then provide an introduction to bibliography, the scholarly study of both activities. Descriptive bibliography and analytic bibliography are recent in the field of music; they have been primarily devoted to the study of the printers and publishers from the 16th to the 18th centuries established in the main centers in Europe, including Venice, Paris, Antwerp, Frankfurt, London, and Vienna. Specific topics have become of increasing interest in recent years, including patterns of distributing copies and reaching markets and music appearing in general cultural periodicals and magazines. In addition, two subjects have risen to importance, the first, the paratext, or matters of design, which is sparsely discussed in connection with music; and the second, the place of music and its editions in cultural and intellectual history. Use of printed music has changed during the 20th century. Employed as a mean for performing and circulating music among musicians, professionals, and amateurs during four centuries, printed music became a support to produce performing rights when audiovisual media became the main access to music. Another important evolution has been the production of different kind of editions. During a long period, publishers sold the music written day by day for the entertainment of specific groups in society and for a specific purpose—liturgy, concert life, house music. Following a growing interest in the music of the past, they began to produce collected works and critical editions that reconcile mass production to the quality of the publishing.
{"title":"Printing and Publishing of Music","authors":"","doi":"10.1093/obo/9780199757824-0306","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0306","url":null,"abstract":"This article covers the dissemination of musical scores by technical means. The function of both printing and publication is to produce multiple copies of a work or a group of works and to arrange for the distribution of those copies to many purchasers. This requires diverse skills: on the one hand, the ability to print, involving preparing a copy of the music in a form suitable for the printing press, and then producing the copies; on the other, to make marketing decisions, to handle advertising and distribution of copies to individuals or to music shops, and to budget and plan for profits. Since the first printed music produced by Ottaviano Petrucci at the beginning of the 16th century, printing has been developed in Europe on a broad scale. Its technical requirements have changed from movable type to engraving, lithography, and, most recently, the computer. Entries are arranged to cover these activities separately, and then provide an introduction to bibliography, the scholarly study of both activities. Descriptive bibliography and analytic bibliography are recent in the field of music; they have been primarily devoted to the study of the printers and publishers from the 16th to the 18th centuries established in the main centers in Europe, including Venice, Paris, Antwerp, Frankfurt, London, and Vienna. Specific topics have become of increasing interest in recent years, including patterns of distributing copies and reaching markets and music appearing in general cultural periodicals and magazines. In addition, two subjects have risen to importance, the first, the paratext, or matters of design, which is sparsely discussed in connection with music; and the second, the place of music and its editions in cultural and intellectual history. Use of printed music has changed during the 20th century. Employed as a mean for performing and circulating music among musicians, professionals, and amateurs during four centuries, printed music became a support to produce performing rights when audiovisual media became the main access to music. Another important evolution has been the production of different kind of editions. During a long period, publishers sold the music written day by day for the entertainment of specific groups in society and for a specific purpose—liturgy, concert life, house music. Following a growing interest in the music of the past, they began to produce collected works and critical editions that reconcile mass production to the quality of the publishing.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79207013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-12DOI: 10.1093/obo/9780199757824-0308
This bibliography covers scholarship on selected protest songs of the musician Thomas “Mukanya” Mapfumo (b. 1945) that were written in colonial and postcolonial Zimbabwe. In keeping with the Marxist cultural theoretical orientation that is evident in research on this subject, the organization of these entries traces the sociopolitical engagement of Mapfumo’s songs that reflect praise and dissent during the Second and Third Chimurenga wars of political liberation, respectively. Discourse on Zimbabwe’s economic challenges has positive and negative interpretations. Mamdani 2005 and Bond and Manyanya 2002 (both cited under General Overview) state that the Zimbabwe African National Union-Patriotic Front (ZANU-PF) inherited an economy that had already suffered due to pre-independence policies. Dossa 2007 (under General Overview) argues that development is meant to perpetuate Western dominance. Manjengwa 2007 (under General Overview) blames the ruling party’s top-down approach in implementing development programs. The first section of the bibliography analyzes the songs “Pfumvu paruzevha,” “Kuyaura,” “Chiruzevha chapera,” and “Tumira vana kuhondo,” which Mukanya composed to express the experiences of Zimbabweans during colonialism. Zimbabweans’ way of life was disrupted and Mukanya mirrored this cultural upset through protest songs. The songs resonated well with the ideology of the ZANU-PF. Soon after independence, Mapfumo sang celebration songs (“Zimbabwe” and “Rakarira jongwe”). The second section examines protest songs penned after independence (“Varombo kuvarombo,” “Ndiani waparadza musha,” “Musatambe nenyika,” “Disaster,” “Corruption,” “Mamvemve,” “Maiti kurima hamubvire,” “Chauya chauya,” and “Ndangariro”). The scenario deteriorated due to alleged misgovernance by the ruling ZANU-PF elite, a situation that attracted Mukanya’s criticism. The bibliography traces how the transition of ZANU-PF from heroes to villains is portrayed through Mukanya’s music. During the armed struggle, Mapfumo sided with the liberation war movement. This changed after independence, and Mapfumo allegorically poses questions pointing at the empty promises ZANU-PF leaders made to uplift Zimbabweans’ standard of living. Mukanya sang about the contested land redistribution in Zimbabwe. Consequently, Mapfumo was stalked by state repressive agents until he fled to live in exile in the United States in 2000. He yearned for Ubuntu philosophy, nationalism, and unity. People may differ ideologically, but they ought to accept one another as a nation. This fosters positive peace, which Zimbabweans have yearned for over four decades. Mapfumo wants people to be economically empowered. He has been incarcerated before and he is fearless. Chimurenga music is a voice for the downtrodden masses. Mukanya’s songs that have explicit political messages were banned from airplay by the government. Mapfumo has remained united with the people he is fighting for despite living in exile. Mapfumo uses m
本参考书目涵盖了音乐家Thomas“Mukanya”Mapfumo(生于1945年)在殖民和后殖民津巴布韦创作的精选抗议歌曲的奖学金。为了与马克思主义文化理论取向保持一致，这些条目的组织追溯了Mapfumo歌曲的社会政治参与，这些歌曲分别反映了第二次和第三次奇穆伦加政治解放战争期间的赞美和异议。关于津巴布韦经济挑战的论述有积极和消极的解释。Mamdani 2005和Bond and Manyanya 2002(两者均引自总览)指出，津巴布韦非洲民族联盟爱国阵线(ZANU-PF)继承了由于独立前政策而已经遭受损失的经济。Dossa 2007 (General Overview下)认为，发展是为了使西方的主导地位永久化。《Manjengwa 2007》(总览)指责执政党在实施发展项目时采用自上而下的方法。参考书目的第一部分分析了穆坎亚为表达津巴布韦人在殖民时期的经历而创作的歌曲“pumvu paruzevha”、“Kuyaura”、“Chiruzevha chapera”和“Tumira vana kuhondo”。津巴布韦人的生活方式被打乱了，穆卡尼亚通过抗议歌曲反映了这种文化动荡。这些歌曲与非洲民族联盟-爱国阵线的意识形态产生了很好的共鸣。独立后不久，马普福莫唱起了庆祝歌曲(“津巴布韦”和“拉卡瑞拉jongwe”)。第二部分检视独立后创作的抗议歌曲(“Varombo kuvarombo”、“Ndiani waparadza musha”、“Musatambe nenyika”、“Disaster”、“Corruption”、“Mamvemve”、“Maiti kurima hamubvire”、“Chauya Chauya”和“Ndangariro”)。由于执政的非洲民族联盟-爱国阵线精英据称管理不善，局势恶化，这引起了穆卡尼亚的批评。参考书目追溯了非洲民族联盟-爱国阵线如何通过穆卡尼亚的音乐描绘从英雄到恶棍的转变。在武装斗争中，马富茂站在解放战争运动一边。这种情况在津巴布韦独立后发生了变化，马普福莫以讽喻的方式提出了一些问题，直指非洲民族联盟-爱国阵线领导人为提高津巴布韦人民的生活水平所做的空洞承诺。穆卡尼亚唱到了津巴布韦有争议的土地再分配。因此，马普福莫一直受到国家镇压人员的跟踪，直到2000年逃往美国流亡。他渴望乌班图哲学、民族主义和团结。人们可能有不同的意识形态，但他们应该作为一个民族接受彼此。这促进了津巴布韦人民40多年来所渴望的积极和平。Mapfumo希望人们在经济上获得权力。他以前被监禁过，他无所畏惧。奇穆伦加音乐是受压迫群众的声音。穆卡尼亚的歌曲含有明确的政治信息，因此被政府禁止播放。尽管流亡在外，马普福莫仍然与他为之奋斗的人民团结在一起。Mapfumo用音乐来抱怨人们的苦难。在非洲民族联盟-爱国阵线(ZANU-PF)霸权的背景下，他对津巴布韦的记忆仍然深深植根于奇穆伦加音乐中。他呼吁举行自由公正的选举，因为津巴布韦人民有权选择领导人，但是自2000年以来，选举结果一直存在争议。
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{"title":"Narrative, Activism, and Aesthetics: Composing Electroacoustic Music for Mexicans","authors":"Rosalia Soria Luz","doi":"10.1162/comj_a_00634","DOIUrl":"10.1162/comj_a_00634","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"82-93"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64509058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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