Music Reviews Research Articles

ОСОБЕННОСТИ РЕЦЕНЗИРОВАНИЯ МУЗЫКАЛЬНЫХ ПРОИЗВЕДЕНИЙ В КОНВЕРГЕНТНОЙ ЖУРНАЛИСТИКЕ

The article is devoted to the analysis of music reviews as affected by transformation of the genre and its framework in the convergent media environment. The proposed original structure of analysis is developed and reasoned based on the ideas presented in works by Russian and foreign scholars on the specific features of the review as a genre (Ye. A. Nabiyeva, A. A. Tertychnyi, and others), media convergence (H. Jenkins, T. Rogers, and others), interpretation of music images (T. Adorno, Yu. Strakovich, and others), suggestiveness of media texts (A. Beck, D. Burns, J. Baron and others). The analysis structure includes three basic sections: content, environment of publication, communicative tactics; each section is expanded in several criteria grades. The review is considered as an analytical genre that is traditionally based on suggestion as the leading communicative strategy. However, today this genre is transforming intensively in the mutable deinstitutionalized environment of the network mass media. Distortions, which are inevitable in conversion of an artistic image into a text, become especially identifiable in music reviews and increase subjectivity initially typical for this genre. The structure of analysis elaborated in the article engages particularly a classification of heuristics, or cognitive biases, which are considered to be cognitive distortions turning in opinion journalism into the means of expression and suggestion. These means are regarded as the foundation for the genesis of local media myths. The proposed method is tested on the review published at the Colta web portal. In conclusion, the paper emphasizes the significance of the research done for some general issues of communication studies, and in particular notes the method’s applicability to the analysis of inner cognitive triggers a person feels exposed to in the network society.

An Obscure Form of Protest: Politicized Pleasure, Gay Liberation and Hair: The American Tribal Love-Rock Musical

An Obscure Form of Protest:Politicized Pleasure, Gay Liberation and Hair: The American Tribal Love-Rock Musical Mary Rizzo (bio) When Esquire magazine vocal and visible young urban gay men of the era and an older generationsteeped in homophile respectability. Cultural touchstones defined each as much as politics—and were, in fact, signs of political affiliation. As he found in his interviews, while the older generation identified with the doyennes of musical theater like Ethel Merman or Judy Garland, "Today, gay kids identify with males—with Peter Fonda, or Dustin Hoffman." Overall, theater was of little interest, especially Broadway—"Except, of course Hair."1 Hair: The American Tribal Love-Rock Musical, a colorful, experimental, raucous musical revue about the lives of a group of countercultural youth written by Gerome Ragni and James Rado, premiered Off-Broadway at the Public Theater in 1967 and then moved to Broadway in April 1968. The first show to move from Off-Broadway to Broadway, it blazed the path followed by A Chorus Line and Hamilton. Hair became an immediate smash hit, with numerous touring companies playing the show around the world. By the end of its original run in 1972, approximately 20 million people worldwide, including innumerable gay men, had seen it.2 Hair drew gay fans, in part, because of its frank discussions of homosexuality. While theater became more experimental in the 1950s and 60s, Broadway musicals (with a few exceptions such as West Side Story and Cabaret) remained bastions of Americana with gentle, comedic narratives focused on heterosexual romance, offering ideology in the guise of heartfelt harmonies.3 Hair was different. Its loose plot revolved around hippie Claude's dilemma of whether to evade [End Page 5] the draft. But through its rock music score and scenes in a coffeehouse, at a party and during an LSD trip, the show depicted characters shamelessly engaging in homosexuality, bisexuality, and polyamory. Woof, one of the hippie "tribe," sings "Sodomy," in the first act in an angelic-voice, celebrating sodomy, pederasty, and fellatio, sexual acts that were banned by anti-gay laws on the books in many states. Even with this explicit embrace of gay sexuality, Hair has never been placed in the pantheon of musicals, like Gypsy or Rent, beloved by gay men. It remains unacknowledged in recent scholarly articles, monographs like D.A. Miller's lyrical meditation on gay men and musicals Place for Us: Essay on the Broadway Musical, and in popular, grassroots historical efforts like the website Queer Music Heritage, the 2012 winner of the Allan Bérubé Prize for outstanding work in public or community-based LGBTQ history from the Committee on Lesbian, Gay, Bisexual & Transgender History.4 More general histories of 1960s counterculture often ignore it or mention it fleetingly, with no acknowledgement of its importance within gay liberation.5 Musicologist Elizabeth Wollman offers a welcome corrective in her work on adult musicals arguing that, "like Hair, many adult musicals were ultimately used as much to educate mainstream audiences about contemporary sociosexual mores as to entertain."6 By not taking Hair seriously, critics have ignored an important source through which gay men constructed their identities and also missed how that cultural text shaped the gay liberation movement. There are several reasons for the forgetting of Hair's gay past. No character in Hair overtly proclaims a gay identity. With the gay liberation and LGBTQ rights movements from the 1970s onward, homosexuality became a politicized identity that defined a person, rather than a set of behaviors. Hair's proto-queerness meant that it was eclipsed by other musicals and plays with explicitly gay characters, like The Boys in the Band and Falsettos. Materially, after its initial run it became difficult to see. It was revived in 1977 in a disastrous production that closed within a month. Milos Forman's 1979 film Hair focused on Claude, now an Oklahoma farm boy in New York City for induction into the army, and his infatuation with rich-girl Sheila. Most references to homosexuality were eliminated. The song "Sodomy" is sung to shock Sheila and her uptight friends rather than to revel in sexual pleasure. While cast albums from the original run still circulate...

Just Nina Mae: The Struggle of an Early African American Movie Star

Just Nina MaeThe Struggle of an Early African American Movie Star Kristine Somerville Click for larger view View full resolution Nina Mae McKinney, 1931, Courtesy George Eastman Museum [End Page 67] During Hollywood's early years, tantalizing stories of discovery flourished, luring young hopefuls to the fledgling industry out west. According to movie lore, The Hollywood Reporter founder Billy Wilkerson came across sixteen-year-old Lana Turner drinking a Coke at a soda fountain. Photographer David Conover spotted Marilyn Monroe while she was working on an airplane assembly line. And John Wayne was a prop man on John Ford's movie set when the director made him an extra in his film. Fame and fortune for these actors soon followed. Nina Mae McKinney's story of discovery was no less fantastic. She left high school at sixteen to join the chorus of impresario Lew Leslie's all-Black Broadway musical revue, Blackbirds of 1928. Hollywood directors and producers regularly raided Broadway productions for fresh, inexpensive talent to fill their stables at their California studios. After failing to sign jazz singer Ethel Waters, one of MGM's top directors, King Vidor, was on the lookout for an extraordinary Black actress to play the title role of Chick, a singer and dancer in Hallelujah. The movie was a serious look into the lives of African Americans in the South. When he saw Blackbirds, McKinney stood out. He later recalled, "She was third from the right in the chorus. She was beautiful and talented and glowing with personality." When they met after the show, he offered her the lead, skipping the usual preliminary screen tests, acting classes, and makeovers. There is no evidence that McKinney was seeking a movie career; she had fallen in love with theater as a young girl growing up in South Carolina and trained herself as a singer and dancer, borrowing songs and choreography from the movies she saw at the local theater. In many ways, films were still inferior to Broadway, which in 1925 staged over two hundred productions; nevertheless, she accepted Vidor's offer. McKinney portrays Chick, a seductive cabaret dancer who lures a cotton picker into a crooked game of dice. As an actor, McKinney had nuance and depth, and the camera loved her. Dressed in a fringed drop-waist dress, bangles on her arms, gold chains around her neck, she wisecracks, dances, and sings. Vidor praised McKinney's performance and her ability to take direction: "She just had it. Whatever you wanted, whatever you visualized, she could do it. Nina was full of life, full of expression, and just a joy to work with." Critics were also smitten. The Daily News of New York wrote that she was "an honest-to-goodness film star." In the 1930s, Black performers were promoted by identifying them with white movie stars. The press labeled McKinney the "Black Greta Garbo," even though the only things she had in common with [End Page 68] Click for larger view View full resolution Nina Mae McKinney, Safe in Hell, 1931, Courtesy George Eastman Museum [End Page 69] Click for larger view View full resolution Nina Mae McKinney, Safe in Hell, 1931, Courtesy George Eastman Museum the Swedish actress were youth, talent, and beauty. She evoked the era's "It" girl and was anointed the "dusky Clara Bow." Her offbeat, wacky sense of humor drew comparisons to Carole Lombard. African American newspapers simply referred to her as Nina Mae. MGM gave McKinney a five-year contract and rolled out the red carpet, lavishing limousines, hotel suites, and a smartly decorated dressing [End Page 70] Click for larger view View full resolution Nina Mae McKinney, Safe in Hell, 1931, Courtesy George Eastman Museum room on her. Yet her meteoric rise from chorus girl to star quickly stalled. After her successful film appearance in Hallelujah, starring roles did not follow. In 1930, during a fallow period, McKinney followed in the footsteps of minority performers such as Josephine Baker, Anna May Wong, and Paul Robeson and sailed to Europe for a three-month tour. The press covered the eighteen-year-old's departure and noted her fashionable appearance in black satin and a black velvet...

Beethoven's Conversation Books. Volume 1: Nos. 1 to 8 (February 1818 to March 1820) ed. by Theodore Albrecht, and : Beethoven's Conversation Books. Volume 2: Nos. 9 to 16 (March 1820 to September 1820) ed. by Theodore Albrecht

Reviewed by: Beethoven's Conversation Books. Volume 1: Nos. 1 to 8 (February 1818 to March 1820) ed. by Theodore Albrecht, and: Beethoven's Conversation Books. Volume 2: Nos. 9 to 16 (March 1820 to September 1820) ed. by Theodore Albrecht Marten Noorduin Beethoven's Conversation Books. Volume 1: Nos. 1 to 8 (February 1818 to March 1820). Edited and translated by Theodore Albrecht. Wood-bridge, Suffolk: Boydell, 2018. [xxxvii, 384 p. ISBN 9781783271504 (hardcover), $80; ISBN 9781787442412 (e-book), $24.99.] Music examples, maps, bibliography, index. Beethoven's Conversation Books. Volume 2: Nos. 9 to 16 (March 1820 to September 1820). Edited and translated by Theodore Albrecht. Wood-bridge. Suffolk: Boydell, 2019. [xxxvii, 411 p. ISBN 9781783271511 (hardcover), $80; ISBN 9781787446212 (e-book), $24.99.] Music examples, maps, bibliography, index. In the lead-up to the year 2020, a veritable smorgasbord of Beethoven-themed concerts, conferences, recordings, music editions, and other publications and events were announced that sought to capitalize on the increased momentum surrounding the composer's 250th birth year. Several commentators, myself included, have questioned the utility of some of these undertakings and have criticized publications that have added little of substance. (See for instance Marten Noorduin, "What Scope Is There for Another Edition of Beethoven's Piano Sonatas?" Nineteenth-Century Music Review, 4 June 2019, 1–12, https://doi.org/10.1017/S1479409819000053 [accessed 16 December 2019].) In that context, the appearance of the first two volumes of a new English edition of Beethoven's conversation books, which describes itself as a licensed edition of the German publication from 1972 and 1976, might seem like a symptom of the above disease. Luckily, Theodore Albrecht, the editor and translator of the planned twelve volumes, has added enough context to the material in the conversation books that this series is more than just a translation and is overall a welcome and long-awaited addition to the literature. There is evidence that Beethoven's associates had been writing down confidential communications as early as 1816, the year in which his gradual loss of hearing forced him to withdraw from giving public concerts as a pianist. The earliest surviving conversation books date from the beginning of 1818, and Beethoven seems to have used these books until the end of his life. Nevertheless, as Albrecht shows in the general introduction and elsewhere, there are a number of books missing between 1820 and 1822 when Beethoven lost a trunk with his possessions while moving his home (Theodor Albrecht, "Anton Schindler as Destroyer [End Page 588] and Forger of Beethoven's Conversation Books: A Case for Decriminalization," in Music's Intellectual History, ed. Zdravko Blažeković and Barbara Dobbs Mackenzie [New York: RILM, 2009], 169–81). The conversation books in the two volumes under review here precede the incident. The majority of the entries in the books consist of short conversational statements by Beethoven's friends and associates, who wrote what they otherwise would have had to say so loudly that they might be overheard. In most cases, Beethoven apparently answered vocally, but when discussing especially sensitive matters in public he often chose to write down his part of the conversation too. Whenever there were no other people around to overhear him, however, such as on occasions when he invited his friends over to his apartment, Beethoven seems to have preferred people to simply speak loudly, which was evidently still an option for communication during that period. Accordingly, the conversations in these first two volumes represent only a small subset of Beethoven's social interactions. The other types of content include shopping lists, arithmetic calculations, copied advertisements that interested the composer, drafts of letters, and a small number of musical extracts. Together, this material forms a picture, albeit fragmentary, of what occupied the composer on a day-to-day level during the last nine years of his life. The only complete edition of the conversation books, produced between 1968 and 2001, contains a fairly diplomatic transcription of their contents (Ludwig van Beethovens Konversation-shefte, ed. Karl-Heinz Köhler, Grita Herre, and Dagmar Beck, 11 vols. [Leipzig: VEB Deutscher Verlag für Musik, 1968–2001]). The German transcription, however, is not the most...

Р. Баррет. Критичная / конвульсивная – музыка Роджера Редгейта (перевод А.А. Гундориной)

Richard Barrett's article “Сritical / Convulsive – The Music of Roger Redgate” is one of the first works about a modern British composer R. Redgate. The publication was included in the first issue of the thirteenth volume of Contemporary Music Review (1995-1996), which focused on a group of British composers. The issue was entitled “Aspects of Complexity in Recent British Music”. Barrett was Redgate’s colleague and compatriot and witnessed the formation and development of his creativity first-hand. They were in touch for a long time, and their collaboration resulted in a creative project Ensemble Exposé, jointly founded by the composers in 1984. This makes Barrett's article especially valuable, since it provides a critical review and assessment of creativity and the creative process from the professional perspective of his counterpart. The article examines Redgate's early works written in the 1980s/early 1990s. Barrett focuses on the most important aspects of Redgate's works. He describes their genesis, provides an overview of his compositional techniques, and gives a few remarks on Redgate’s musical notation. Barret declares his approach to the study saying, “I have nowhere quoted or paraphrased the composer's words: it is axiomatic to my approach that it embodies a personal journey through somewhat hazardous terrain, in the hope that the reader will make his or her own.” The article by R. Barrett, first published in Russian translation, is supplemented with an introduction and notes by the translator.

Recenzja muzyczna w uwikłaniach dyskursywnych

Celem artykułu jest analiza uwikłań dyskursywnych prasowej recenzji muzycznej. Badaniem zostały objęte recenzje wyekscerpowane z polskiego miesięcznika „Teraz Rock” oraz amerykańskiego dwutygodnika „Rolling Stone” (roczniki 2015). Materiał dowodzi, że w prasowej recenzji muzycznej dominuje dyskurs prasowy, który wchłania elementy dyskursów: muzycznego, elitarnego, artystycznego oraz z zakresu reklamy i promocji. Uwikłania dyskursywne tego gatunku umożliwiają do pewnego stopnia rekonstrukcję kultur dziennikarskich, które dominują w obu magazynach.

VALENTYNO SERMATTEI’S PRIVATE ITALIAN MANAGEMENT AT ODESA OPERA HOUSE (1857 – 1859)

The relevance of the paper. The Italian Opera of Odesa from its foundation in the beginning of the 19th century became an integral part of the city cultural life. The authorities annually allocated huge amounts of subsidies to support the existence of an Italian troupe in the local theatre. During and after the Eastern War of 1854-57, the city budget suffered from an economic downturn, which is why the Italian opera gradually lost its urban source of funding – from 1855 the usual practice of the Italian opera troupe foreign engagement was discontinued. In such circumstances, the only way to organize theatrical performances was to rent a free theatre hall by various touring troupes. F. Berger’s private Italian opera enterprise acted in Odesa on the basis of the lease, in particular, during the period from 1856 to the spring 1857. After its departure, the city stayed without Italian opera. For the next two theatrical seasons the municipal authorities were again forced to offer the lease of the theatre to another Italian impresario V. Sermattei. A certain period in the history of Odesa Italian opera was one of the poor investigated ones: there missed a piece of information about the artistic composition of the troupe, repertoire policy and peculiarities of entrepreneur’s organizational activities; it is necessary to verify the Italian artistes’ valuations made by local and Italian music critics.The objectives of the study is to investigate V. Sermattei’s Odesa private enterprise activities on the stage and its socio-cultural dimensions through the prism of music-critical discourse.The methodology involves the semiotic-hermeneutic method (to analyze the peculiarities of scenic directing, the specifics of musical-critical thought, the audience reactions and preferences as a text of culture and its hermeneutic comprehension); bio-bibliographical method (for clarifying and combining the facts of Italian singers’ life and creative activity in Italy and abroad, in particular, in Ukraine); cultural-historical method (allows to study V. Sermattei’s Italian troupe scenic activities as a social phenomenon, contributed to the dissemination of Italian opera achievements in the local musical and theatrical environment).Findings and conclusions. V. Sermattei’s enterprise during 1857-59 gained peculiarities connected with the specificity of its financing. As the profit was constituted with season ticket and entrance fees only, the entrepreneur sought to profit by saving money on performances (props, scenery), reducing the cost of soloists, choirs and orchestra musicians engaging, as well as increasing the number of premieres performed in the theatre repertoire. The austerity mode had a negative effect on the engaged soloists’ scenic qualities, many of whom had no stage experience, so they were unable to perform the popular Verdi’s repertoire, also it led to reducing a number of choirsingers and orchestra musicians.The accelerated pace for new performances preparation influenced the directorate coursed the operas being staged without proper rehearsals, so the performers felt uncertain on stage, made mistakes and, as a consequence, exposed to fair criticism. Instead, the music reviews, being published in local newspapers, gained professionalism, first of all, thanks to P. Sokalsky’s, S. Schiff’s and other music correspondents having had special music education publications. News columns devoted to the Italian troupe performances testified to their authors’ deep awareness in the field of the opera history, vocal performance art, contemporary trends in music development in general. The Italian artists’ performances are analyzed in music-critical articles according to the texts of the original operatic scores, often several author’s editions are taken into consideration. The singers’ vocal and acting talents, revealed at Odesa premieres, local musicologists often compared with the eminent Italian artistes’ performances, which they succeeded to see at famous Europe theatres.

Are UK music therapists talking past each other? A critical discourse analysis of three book reviews

Ansdell’s ‘Winds of Change’ paper articulated a distinction in UK music therapy between established ‘consensus’ practice drawing on psychotherapeutic principles and developing or previously hidden ‘community music therapy’ practices based on ecological or social-psychological principles. Writing that addresses different theoretical positions in music therapy (meta-theory) exists from European and American perspectives but far less from a UK perspective. This article considers the view that UK music therapy writing in general has continued along one or other of these paths and that there has been relatively little exchange between them; indeed, that UK music therapists tend to ‘talk past each other’. To explore the matter systematically, this article takes a critical discourse analysis approach to analysing three recent music therapy book reviews. Critical discourse analysis was chosen to identify underlying assumptions (‘ideologies’) that shape thinking and practice, as revealed by language use. Book reviews were identified as texts where reviewers typically engage with authors from different perspectives and in doing so offer potentially rich material for such analysis. The analysis identifies ways in which UK music therapy writing shows signs of stress across a divide between ecological and psychodynamic approaches, with reviewers going to some lengths to reconnect these different positions and so unify a discourse within which ‘fault-lines’ are present. It is suggested that, in the United Kingdom at least, ecological and psychodynamic music therapy writing are becoming more separated as discourses, with a lack of integrated meta-theoretical discussion or examples of shared practice. This inhibits coherent development of the discipline and the effective training of future practitioners. A case is made for greater integration in music therapy writing through both developments in meta-theory and by practitioners sharing examples of cross-theoretical practice.

The Balkan tradition in contemporary jazz. Anatoly Vapirov

Abstract The folkloric character of the beginnings of jazz has been established by all researchers of American classical music. The African-Americans brought as slaves onto the territory of North America, the European émigrés tied to their own folkloric repertoire, the songs in the musical revues on Broadway turned national successes – can be considered the first three waves to have fundamentally influenced the history of jazz music. Preserving the classical and modern manner of improvisation and arrangement has not been a solution for authentic jazz musicians, permanently preoccupied with renewing their mode of expression. As it happened in the academic genres, the effect of experiments was mostly to draw the public away, as its capacity of understanding and empathizing with the new musical “products” (especially those in the “free” stylistic area) were discouraging. The areas which also had something original to say in the field of jazz remained the traditional, archaic cultures in Eastern Europe, Asia, the Orient. Compared to folkloric works from very distant areas, the musical culture of the Balkans bears the advantage of diversity, the ease of reception of melodies, rhythms and instrumental sonority. One of the most important architects of ethno-jazz is Anatoly Vapirov. A classically-trained musician, an author of concerts, stage music and soundtracks, a consummate connoisseur of the classical mode of improvisation as a saxophone and clarinet player, Anatoly Vapirov has dedicated decades of his life to researching the archaic musical culture of the Balkans, which he translated into the dual academic-jazz language, in the hypostases of predetermined scored works and of improvised works – either as a soloist, in combos or big bands. This study focuses on highlighting the language techniques, emphasizing the aesthetic-artistic qualities of the music signed Anatoly Vapirov.

Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)

Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.

Music, Mediation Theories and Actor-Network Theory

In this double issue of the Contemporary Music Review we focus not on Adorno but on theories of music’s mediation that have emerged in the last two decades, offering some systematic reflection. The impetus for the issue came from the research programme ‘Music, Digitisation, Mediation: Towards Interdisciplinary Music Studies’ (or MusDig). MusDig received funding from the European Research Council Advanced Grants scheme under the EU’s Seventh Framework Programme, ERC grant no. 249598. The MusDig programme was directed by Georgina Born and ran from 2010–15 based at the Faculty of Music, University of Oxford. MusDig consisted of a series of comparative ethnographic studies that each addressed, in different ways, how music is being transformed around the world by digitisation and digital media. Studies were located in Cuba, India, Kenya, Argentina, Canada and the UK, but the programme also encompassed ethnographies of music’s online consumption and circulation, of internet-mediated music genres, and of the software platform, Max. As the title announces, questions of music’s mediation were central to MusDig from its inception; a core theoretical ambition was, through the combined ethnographic, historical and conceptual work engaged in by the researchers, to further develop those mediation theories that have been emerging in recent years in relation to music. This issue is one of the main vehicles for attaining that goal. It interweaves research from the MusDig programme (articles by Christopher Haworth and Patrick Valiquet, and this introduction) with that of colleagues also working broadly with these ideas.

Musical Review

Abstract Priscilla Queen of the Desert: The Musical, Simon Phillips (2018), book by Stephen Elliot and Allan Scott, Regent Theatre, Melbourne, 17 March 2018

Design and Analysis of Sentiment Classification Model for Korean Music Reviews based on Convolutional Neural Networks

최근 텍스트 데이터의 감정 분류에 컨볼루션 신경망을 적용한 결과 효율적인 성능을 나타내고 있음을 여러 연구에서 보이고 있다. 본 연구에서는 한글로 작성된 음악 리뷰의 감정을 분류하는 컨볼루션 신경망 기반의 모델을 설계하고, 설계한 모델의 성능을 분석한다. 일반적으로 문자로 이루어진 음악 리뷰는 신경망 기반의 모델에서 사용할 수 있도록 벡터로 변환되어야 하는데, 본 연구에서는 룩업 테이블을 사용하여 문자를 벡터로 변환하였고, 전체 음악 리뷰의 80%는 학습 데이터, 20%는 평가 데이터로 구분하여 사용하였다. 또한 감정 분류 모델은 한 개의 컨볼루션 층과 두 개의 완전 연결 층을 갖도록 설계하였다. 그리고 이들을 사용하여 네 가지 활성화 함수와 함께 음악 리뷰의 감정 분류를 수행한 결과, Leaky ReLU 함수를 사용하였을 때 분류 정확도가 가장 높았으며, SELU 함수를 사용하였을 때 학습 속도가 가장 빠르고 학습이 안정적으로 이루어지는 모습을 확인하였다. 또한 학습이 거듭될수록 감정 분류 정확도는 활성화 함수의 종류에 상관없이 높은 수준의 정확도로 수렴함을 보였고, 이러한 실험 결과들은 컨볼루션 신경망을 사용하여 텍스트 데이터의 감정을 분류하는 연구에 기여할 수 있을 것으로 본다.Recently, several researches have shown that sentiment analysis of text data using convolutional neural networks shows efficient performance. In this study, we design a model based on convolutional neural networks that classifies the sentiment of music reviews written in Korean and analyze the performance of the designed model. Generally, a reviews composed of letters should be converted to vectors for use in a neural network based model. In this study, we converted letters to vectors using a lookup table. 80% of the reviews were used as learning data and 20% as evaluation data. The model is designed to have one convolution layer and two fully connected layers. The results showed that classification accuracy was the highest when Leaky ReLU was used, and training speed was the fastest and learning was stable when SELU was used. In addition, as the learning progressed, the accuracy converged to a high level irrespective of the type of activation function, and these experimental results can contribute to the sentiment classification of text data using convolutional neural networks.

Classical Music Review on Instagram: Accumulating Cultural Capital through Inter-Learning

Classical Music Review on Instagram: Accumulating Cultural Capital through Inter-Learning

The somewhat different diva: Impersonation, ambivalence and the musical comedy performances of Julian Eltinge

Abstract Female impersonator and musical theatre star Julian Eltinge (1881–1941) was as formidable a draw on the musical stages as George M. Cohan in the first decades of the twentieth century. Eltinge headlined a series of musical comedies and revues, including The Fascinating Widow (1911) and Cohan and Harris Minstrels (1908). His musical comedy diva performances were inspired by the Gibson Girl image, and he enacted cross-racial performances in musical revues. As a man-impersonating-a-woman-impersonating-a-diva, he underscored the performativity of gender and race. In this article, I examine a different kind of diva performance through Eltinge’s performance: the ambivalent diva. As a white and – vigorously proclaimed – heterosexual man, Eltinge undermined his own rebelliousness through the eventual divulgence of his masculinity and subsequent repudiation of the cultural identities he performed. Eltinge’s unassailable performance ultimately and forcefully symbolized the political, social and material tensions of the Progressive Era.

Music Received

Music Received Kathleen A. Abromeit INTRODUCTION This column presents a comprehensive list of new music publications that have been sent recently by publishers and distributors for possible review in Notes. Additionally, the list has been supplemented with selective items extracted from the Theodore Front Musical Literature, Inc. webpage. Self-published music is listed when a source of acquisition is provided. The primary aim of this column is to provide brief listings of a broad range of new editions of music, thereby assisting in selection and ordering for libraries or personal collections. After the listing is prepared, the publications are sent selectively to Keith Cochran, the "Music Reviews" column editor. Many thanks to Paul Schubert for his assistance with this column. ORGANIZATION AND SCOPE NOTES Scholarly & Historical Editions: Primarily volumes of collected editions and monumental series. Extensive critical apparatus is generally assumed and therefore not noted in the entries. Facsimile Editions: Limited to publications presenting a reproduction of an item that emphasizes its nature as a primary source rather than its simple intellectual content. Orchestral Music: Works for full and chamber orchestra, and chamber groups of more than nine players. Full scores of concertos are included, but reductions for solo instrument(s) with keyboard are listed in the appropriate chamber music category. Band Music: Brass and wind ensemble music intended for more than one player to a part, and wind chamber groups of more than nine players. Choral Music: Includes all types of nondramatic choral works, in full scores or vocal scores. Dramatic Music: Operas, musicals, and ballets, in full or vocal scores. Chamber Music with Strings; Chamber Music without Strings: Duets through nonets other than one instrument with keyboard. "Strings" includes harp and guitar, but excludes keyboard instruments. String Instrument with Keyboard; Woodwind Instrument with Keyboard; Brass Instrument with Keyboard: Includes reductions for one solo instrument with keyboard (including organ). Music for more than one instrument with keyboard is listed as Chamber Music. Music for solo instrument with basso continuo is listed here, however, since the bass part is often presented as optional or for a choice of instruments. Solos for Bowed or Plucked Strings, Unaccompanied; Solos for Wind Instruments, Unaccompanied: Music for single solo instrument. Studies are included here unless they are technical exercises, orchestral studies, or methods. Music for Organ: Solo organ music, duets, arrangements, and reductions. Music for Piano or Harpsichord: For any keyboard instrument other than organ. Includes solo music and like-instrument ensembles such as 4-hand piano and 2-piano duets, keyboard reductions of piano concertos, and larger keyboard ensembles. Music for Percussion: Includes percussion solos (with or without keyboard accompaniment) and ensembles. Chamber music with other instruments is listed in the appropriate category above. Music for Voice: Music for one or more solo voices (one singer per part) with any accompaniment, including chamber ensemble. Opera excerpts, such as collections of arias, are included, but complete opera vocal scores are listed under Dramatic [End Page 153] Music. Other works for solo voices with chorus are listed under Choral Music. Methods and Studies: Includes method books, technical exercises, and orchestral studies; studies that might be used in performance are listed above as solo music. Music for Children: Materials designed for study and performance by children of preschool or elementary school age. Miscellaneous: For music that defies inclusion in the categories above. CITATION STYLE Citations include publishers' numbers or plate numbers, ISBN, and ISMN, where available. In order to keep the citations brief, description of introductory notes, critical reports, etc., is not included unless the material is considered unusual for the type of publication, or an indication of languages is warranted. Abbreviations for publishers are listed at the end of the column with complete imprints, U.S. distributors, and Web sites. Some well-known collected works series titles are abbreviated according to usage in works lists of The New Grove Dictionary of Music and Musicians, 2nd ed. Most other abbreviations follow The Chicago Manual of Style and the Notes Style Sheet. SCHOLARLY & HISTORICAL EDITIONS Arie a voce sola de diversi auttori (Venice, 1656). Edited by Paolo Alberto Rismondo. (Recent Researches in the Music of the Baroque Era, Vol. 198). A-R, 2018. B 198. ISBN...

Freshwater

Freshwater Mariel Fechik (bio) after Maggie Smith I sat at the edge of a lake, willing itto be an ocean, to spill itself forth,garlands of pearls waiting to wraparound my ankles and pull me in–except the freshwater kind wouldunwither themselves in the salt,become round and whole andsilvered, their iridescence bendingaround the body, the curve of thewaiting sand. I'll become bodiedthis way, full and blue as the mooncupped in your palms, pulling at thetide, instead of this stillness,this murk, this landlocked mass. [End Page 54] Mariel Fechik Mariel Fechik lives in Chicago, IL and works in a library. She sings for the band Fay Ray and writes music reviews for Atwood Magazine and Third Coast Review. She is a Best of the Net and Bettering American Poetry nominee and her work has appeared in Hobart, Tinderbox Poetry Journal, Cream City Review, Yes Poetry, and others. She is the author of the micro-chapbook An Encyclopedia of Everything We've Touched (Ghost City Press, 2018). Copyright © 2018 University of Wisconsin Board of Regents

Les métaphores synesthésiques et le son

En conclusion, sur la base de nombreux parallélismes et concordances au niveau de la description synesthésique des sensations acoustiques (le choix de lexèmes et leur valeur connotative lexicalisée ou (con)textuelle) on suppose qu’il s’agit d’un phénomène relativement universel et que les constructions synesthésiques reposent sur nos expériences perceptives universelles et se développent sous l’influence du contexte socio-culturel. Outre la description dénotative et connotative d’un phénomè auditif il y a aussi la répartion des classses sensorielles servant de domaine source qui se ressemblent dans les deux langues. Ce sont les lexèmes de la modalité tactile qui prévalent dans la description synesthésique, suivent les lexèmes de la perception visuelle, puis ceux du goût et finalement ceux appartenant au domaine olfactif. Il est vrai aussi que la classe de mots prédominante est, comme prévu, l’adjectif et que les lexèmes désignant les perceptions des sens inférieurs sont plus fréquemment dotés d’une valeur connotative comparé aux sens supérieurs. On affirme par ailleurs l’hypothèse que la proportion de lexèmes connotés et neutres est équilibrée.

Sonic Commentary: Bonus Ghost Tracks

December 01 2017 Sonic Commentary: Bonus Ghost Tracks Veniero Rizzardi Veniero Rizzardi LMJ27 Audio Curator, Email: veniero@unive.itVENIERO RIZZARDI is an Italian musicologist and cultural historian, full professor and chief librarian at the State Conservatory of Padua, and adjunct professor at the Ca’ Foscari University in Venice. His main research interests are the genetic analysis of the compositional process, the history of sound technologies, and the social history of sound. He has lectured extensively in Europe and in the United States, published numerous essays and books on twentieth-century music, including one on Miles Davis’s recorded work, and also curated editions of previously unpublished music by Luigi Nono and Bruno Maderna. Together with A.I. De Benedictis he has edited the writings of Luigi Nono (English edition in preparation for University of California Press) and a volume on the Studio di Fonologia of RAI, Milan and the beginnings of electroacoustic music in Italy (RAI-ERI 2001). He has co-founded the Luigi Nono Archive in Venice, where he is member of the Managing Board and of the Scientific Committee, and the music review AAA/TAC. He has also been active as a curator and concert producer at the University of Padua. Search for other works by this author on: This Site Google Scholar Author and Article Information Veniero Rizzardi LMJ27 Audio Curator, Email: veniero@unive.itVENIERO RIZZARDI is an Italian musicologist and cultural historian, full professor and chief librarian at the State Conservatory of Padua, and adjunct professor at the Ca’ Foscari University in Venice. His main research interests are the genetic analysis of the compositional process, the history of sound technologies, and the social history of sound. He has lectured extensively in Europe and in the United States, published numerous essays and books on twentieth-century music, including one on Miles Davis’s recorded work, and also curated editions of previously unpublished music by Luigi Nono and Bruno Maderna. Together with A.I. De Benedictis he has edited the writings of Luigi Nono (English edition in preparation for University of California Press) and a volume on the Studio di Fonologia of RAI, Milan and the beginnings of electroacoustic music in Italy (RAI-ERI 2001). He has co-founded the Luigi Nono Archive in Venice, where he is member of the Managing Board and of the Scientific Committee, and the music review AAA/TAC. He has also been active as a curator and concert producer at the University of Padua. Online Issn: 1531-4812 Print Issn: 0961-1215 ©2017 ISAST2017ISAST Leonardo Music Journal (2017) 27: 99–100. https://doi.org/10.1162/LMJ_e_01030 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Veniero Rizzardi; Sonic Commentary: Bonus Ghost Tracks. Leonardo Music Journal 2017; 27 99–100. doi: https://doi.org/10.1162/LMJ_e_01030 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsLeonardo Music Journal Search Advanced Search This content is only available as a PDF. ©2017 ISAST2017ISAST Article PDF first page preview Close Modal You do not currently have access to this content.

CHARACTERISTICS OF LATGALIAN POPULAR MUSIC (2005–2016)

Looking at the events of the last decade in the life of Latgalian popular music, there may be twofold feelings; one will feel that in the field of popular music life is in full swing; another will feel that everything is stunted and hopeless. The purpose of the research is to describe the situation of Latgalian popular music (success, problems) between 2005 and 2016. The object of the research is Latgalian groups and performers. In the given study, the concept of the popular Latgalian music is presented, which includes pop music, rock music, jazz, rap, and other styles of popular music that may involve folk elements, as well as shlager music performed in the Latgalian language, as well as its authors (preferably) have a kinship with Latgale and who (preferably) have released at least one album where at least one song (preferably not a folk song) is in Latgalian, and even if it is a folk song, then in a less traditional arrangement. The following resources are used: correspondence with musicians, Internet resources, author’s own observations as a listener and as a musician. In Latgale musical tendencies keep up with the times and, this is also confirmed by one of the few music reviewers who mentions Latgalian music, Sandris Vanzovičs, here (in Latgale) virtually all the music styles of the world are represented, all niches are filled (Gusāns 2015: 1). Latgalian popular music has high quality ethno-rock artists – „Laimas muzykanti”, poprock group „Bez PVN”, „Dabasu Durovys”, specific rap group „Borowa MC”, strong rock and metal performers „Green Novice” and Sovvaļnīks, and a representative of ethno jazz Biruta Ozoliņa. Also in the last few years an interesting alternative stage has been created represented by the group „Kapļi” and „Jezups i Muosys”. Between 2005 and 2016 at least 39 albums of Latgalian popular music have been released. The most successful style for Latgalian performers („Galaktika”, „Ginc un Es”, Inga un Normunds, „Baltie Lāči”, „Patrioti. Ig”, „Dricānu Dominante”, etc.) was and still is the shlager music style, where several performers are still active and gaining success in the main criterion of Latvian music evaluation - in different song polls. The list of successes for pop and rock musicians is not so long, also taking into account the differences in the rating system, usually only the winner is emphasized; therefore, getting on the list of the five nominees for the given prize is highly appreciated. The biggest problem in Latgale and also in Latvian music is the decline of the music market. The greatest potential for loss and success is the introduction of new technologies, which make the majority of listeners choose to play music on their phone or computer, resulting in the loss of significance of music recorded in CDs. Artists are now trying to distribute music through the Internet, where much is determined by chance for the group to be noticed among other amounts of information and thus begins to symbolically earn on the sale of recordings on the Internet, but very often there are situations where high quality performances and lovely songs are left unnoticed. Thus, it is also musicians' own responsibility for the originality of the material being placed on the Internet, both in musical, textual and visual form, to promote visibility. The second biggest problem is the decrease in the audience that affects musicians in several ways: a) the decrease of the number of people, including the Latgalian audience (emigration), makes the sale of CDs meaningless; the lack of purchasers; b) the decrease of population also has an effect on the concerts and festivals; c) not only a part of the public, but also talented musicians emigrate in relation to the economic situation. Also, the third problem of Latgalian popular music is very topical; it is the place of Latgalian culture in the Latvian media, here it is worth noting the intolerance of the Latvian media, especially the strongest broadcasting stations (with a few exceptions over a decade) against songs performed in Latgalian. Therefore, Latgalian groups can rarely present their musical compositions elsewhere in Latvia, as a result of which many performers write songs in Latvian, not in Latgalian. It is necessary to emphasize that in recent years musicians („Dabasu Durovys”, „Green Novice”, etc.) pay more attention to the written language and its consistent use in published texts and song titles unless it is presented as a stylistic, specific feature of the group. Thus group texts can be mentioned as worth considering for people who want to learn or get in touch with Latgalian texts. Acquiring a place on the Latvian music market depends on many factors – recognizable, high quality song, successful management, solid concert performance, and elaborate group image and, above all, the idea of why it is being done.