Pre-existing Pieces Research Articles

Library music as a matter of time

The industry of library music (pre-existing pieces that can be licensed for use in media) has grown considerably in the past two decades with its transition to a digital medium. A rising number of composers rely on this music as a source of income, along with audiovisual creators who increasingly use it in their productions. This expansion has accentuated a fundamental aspect of library music: the creation of large quantities of tracks at breakneck speed. Parallel to this, the video editors and videographers who form library music's main client base experience tight production deadlines where the choice of music is often left as an afterthought. This article explores the implications of the sped-up creation and use of library music in the current online media landscape. Although the interactions of composers and videographers with this music are often fraught with concerns of limited time, their attitudes towards this acceleration vary considerably: for instance, composers describe their fast-paced work in widely different ways, viewing it as a constraint, or, on the contrary, as a positive and freeing aspect. That being said, the sense of urgency shared by these agents has wide-ranging impacts on every step of the ‘life’ of a library track, from its composition and presentation to its selection and synchronisation with images. As composers attempt to appeal to hurried videographers browsing libraries, these, in turn, resort to this music as an invaluable strategy to retain their audience's attention. Furthermore, sonic stereotypes that are prevalent in library music are valued as communication shortcuts in audiovisuals where messages must be conveyed through instantly recognisable musical formulas. In addition to broader impacts on the workings of library music, this widespread perception of ‘lacking time’ is also a vital factor that shapes its sonic characteristics themselves, making library music truly a matter of time.

The Sectorial Analysis Of Moderating Effect Of Business Responsibility And Sustainability Reporting On The Financial Performance And Investor Reaction

Purpose – This paper attempts to provide significant information as an indicator of non-financial reporting. Business responsibility and sustainability reporting has gained less attention in pre-existing pieces of literature. The purpose of this study is to examine the relationship between financial performance and investor reaction in the four sectors. Further, the study has also aimed to identify the moderating role of business responsibility and sustainability reporting on financial performance and investor reaction in sectors. There are four sectors considered such as oil and gas industry, fast moving consumer goods sector, health sector and Information technology sector. Design/Methodology/Approach: This research is based on secondary data. Data was gathered from the company's annual report to analyze the financial performance and BRSR Report. Data on investor reaction gathered from the websites of NSE and BSE. Financial performance is independent variable in this study model. Financial performance consists of four dimensions return on equity, current ratio, debt-equity ratio, and earning per share. In addition, E-views have been adopted to apply regression on data to examine the relationship between variables. Findings: Findings revealed that financial performance has a significant and positive impact on investors. The study also demonstrates that all industries have positively impacted and supported results. Practical/Research Implications: This study has implications for investors who have been making investment decisions solely based on information about the firm's financial performance. Specifically, investors can understand the impact of sustainability reports while making an investment decision. Originality/ Value- This paper adds significant contribution to industry and investor decision making. India has contributed fewer documents in this research area. There is significant potential in India.

Spreading of Localized Information across an Entire 3D Electrical Resistivity Volume via Constrained EMI Inversion Based on a Realistic Prior Distribution

Frequency-domain electromagnetic induction (EMI) methods are commonly used to map vast areas quickly and with minimum logistical efforts. Unfortunately, they are often characterized by a very limited number of frequencies and severe ill-posedness. On the other hand, electrical resistivity tomography (ERT) approaches are usually considered more reliable; for example, they do not require specific calibration procedures and can be easily inverted in 2D/3D. However, ERT surveys are, by far, more demanding and time consuming, allowing for the deployment of a few acquisition lines per day. Ideally, the optimal would be to have the advantages of both approaches: ease of acquisition while keeping robustness and reliability. The present work raises from the necessity to cope with this issue and from the importance of enforcing realistic constraints to the data inversion without being limited to (over)simplistic spatial constraints (for example, characterizing the smooth and/or sharp regularization). Accordingly, the present research demonstrates, by means of synthetic and field data, how the EMI inversion—based on realistic prior models—can be further enhanced by incorporating additional pre-existing pieces of information. While the proposed scheme is quite general, in the specific examples discussed here, these additional pieces of information are, respectively, a reference model along a line across the survey area, and an ERT section. The field EMI results were verified against extensive ground penetrating radar (GPR) measurements and boreholes.

The Synchrony Era

The Synchrony Era

Linking carbon emission and economic growth: Case from developing economies of the Asian region

As an indicator of environmental quality, carbon dioxide (CO2) emission has gained much attention in the pre-existing pieces of literature. Because of their complex link with economic development, human activities, etc., it's always being an issue of discussion and is largely neglected in the country's political decision-making. The present study probes the association between economic growth and carbon dioxide emission in the context of developing nations in the Asian region, by incorporating urbanization, merchandise trade, Foreign Direct Investment and renewable energy consumption for the period of 10 years (i.e., 2009–2018). For the analysis, the Granger causality relationship is used with an appropriate panel data regression model. The results of the causality analysis indicate that there prevails a relationship running from economic growth, merchandise trade to CO2 emissions, whereas renewable energy consumption has an inverse and significant impact on CO2 emissions. Therefore, to enhance the environmental quality, more renewable energy sources should be used which helps in the betterment of human welfare. To overcome the problem of CO2 emission and tackling climate change has become an essential part of the national as well as international climate policy agenda.

A noiva e o estribilho: uma análise da música preexistente num filme de Truffaut

Em A noiva estava de preto (François Truffaut, 1968), a protagonista Julie se vinga dos cinco homens responsáveis pela morte de seu noivo. Duas músicas preexistentes, o Concerto para bandolim de Vivaldi e a Marcha Nupcial de Mendelssohn, acompanham-na como estribilhos. A primeira se relaciona ao modo de enumeração da história, próprio dos contos de fada e marcado pela repetição, presente também na estrutura da música. Já a Marcha Nupcial é ouvida à medida em que a cena originária, a saída do casal da igreja, é repetida com diferenças. Consideramos os conceitos de estribilho, repetição (Deleuze) e origem (Benjamim) e fazemos uma análise fílmica das sequências com as duas músicas preexistentes.

Listening to Stanley Kubrick: The Music in His Films by Christine Lee Gengaro (review)

Listening to Stanley Kubrick: The Music in His Films. By Christine Lee Gengaro. Lanham, MD: Scarecrow Press, 2013. [x, 305 p. ISBN 9780810885646 (hardcover), $60; ISBN 9780810885653 (e-book), $59.99.] Music examples, appendices, bibliography, index.Christine Gengaro's book is a compre- hensive overview and analysis of American film director Stanley Kubrick's musical practices. A notable extension of her disser- tation research on Kubrick's A Clockwork ( 'It Was Lovely Music That Came to My Aid': Music's Contribution to the Narrative of the Novel, Film and Play, A Clockwork Orange [Ph.D. diss., University of Southern California, 2005]), it fills an im- portant gap in the bibliography of film studies, Kubrick studies, and film score studies, locating important sources for re- search on Kubrick's soundtracks and high- lighting some of the major scholarly argu- ments and concerns surrounding his work. This book is a compendium, pulling to- gether diverse materials on the director's approach to film scoring: Kubrick biogra- phies, commentaries on his craft, articles on the effects of his musical choices, and analyses of the scores themselves, including composition and reception histories for the many pre-existing pieces he used. In short, Listening to Stanley Kubrick should be any scholar's first stop when embarking upon a study of the auteur's musical choices.Gengaro begins with a chapter on Kubrick's first projects (Day of the Fight [1951], The Flying Padre [1951], Fear and Desire [1953], The Seafarers [1953], Killer's Kiss [1955], The Killing [1956], and Paths of Glory [1957]), most of the music for which was a result of collaboration with film and television composer Gerald Fried. (Nathaniel Shilkret composed the music for The Flying Padre, and the score for The Seafarers was drawn from a library of prere- corded stock cues.) Fried's compositions were highly thematic and leitmotivic, and while he and Kubrick worked well together at the start, their philosophies regarding the merits of original scores versus compila- tion scores diverged greatly over time; by Paths of Glory, Fried felt he had to justify every note of his work to Kubrick. The book's second chapter covers the projects that occurred after his collaboration with Fried, through which Kubrick became adept at employing pre-existing tunes in his soundtracks-Spartacus (1960), Lolita (1962), and Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). Gengaro also includes Full Metal Jacket (1987) in this chapter, reserving the re- maining bulk of her book for dedicated chapters on Kubrick's five best known works. In following her treatment of Dr. Strangelove directly with Full Metal Jacket, she draws an equivalency between Kubrick's in- tentional use of pre-existing popular music as a cultural reference in both, particularly because the director abandons his well- known preference for classical or art music in this later film.In the final five chapters, which cover, in- dividually, 2001: A Space Odyssey (1968), A Clockwork (1971), Barry Lyndon (1975), The Shining (1980), and Eyes Wide Shut (1999), Gengaro structures her report to thoroughly explore several important categories of information on each film. These include: an overview of the film's conception, creative process, and plot; a summary of Kubrick's approach to the soundtrack, identifying both successful and strained lines of communication between himself and his musical collaborators; an analysis and history of each major musical piece-pre-existing or newly composed- with indications of when each is heard within the film; and a consideration of the cultural meanings attached to the music he chose. By approaching each chapter in this way, Gengaro provides the reader with not only the particularities of Kubrick's sound- tracks, but also with the story of how his ap- proach to scoring, preferring compilation scores over traditionally- and originally- composed scores, developed over the years. …

Understanding Minimalist Film Music: The Case of Man on Wire

Abstract This article sets out to analyse the use of pre-existing minimalist music in film and media by looking at the film documentary Man on Wire. The application of pre-existing music in film has been the subject of recent studies by Stilwell and Powrie (2006), Citron (2011) and Vincent (2011), but the focus has been more on the analysis of pre-existing Classical or pop music than minimalist or post-minimalist styles. During the 1980s and 1990s Michael Nyman’s music was frequently used in a variety of contexts by film directors such as Peter Greenaway and Michael Winterbottom, but James Marsh’s recent Oscar-winning film documentary on the extraordinary life of tightrope walker Philip Petit (which culminated in his walk across the towers of the World Trade Centre in 1974) is the first to draw exhaustively on pre-existing pieces by Nyman. This article contextualises Nyman’s music, and by extension, the minimalist genre in general, by comparing multiple functions of the same music from a variety of films, ranging from The Draughtsman’s Contract, A Zed and Two Noughts, Drowning by Numbers and The Libertine.

Playing Mozart : Biopics and the musical (re)invention of a composer

Composer biopics have received scant attention both from musical reception history and from film musicology, though they clearly are key sources for the popular reception of composers, and often are also laboratories for the use of pre-existing music in film. Composer biopics re-invent their subjects in the stories they tell; but they also re-invent them through their music – music which in such films is usually both part of the story told and of its telling. This article takes seven Mozart biopics from between 1940 and 2006 as examples of such musical (re)inventions, and studies typical techniques and effects of using Mozart's music to score stories of his life. The use of pre-existing pieces both as diegetic and nondiegetic music, and crucially in the transition from one to the other, is shown as a central aspect of the way the films capitalise on existing Mozart myths and feed them back into their own (re)constructions of Mozart, in the process becoming drivers in a (vicious or virtuous) circle.

Behaviourally rich actions for user-controlled characters

The increasing use of animated characters and avatars in computer games and 3D online worlds requires increasingly complex behaviour with increasingly simple and easy to use control systems. This paper presents a system for user-controlled actions that aims at simplicity and ease of use while being enhanced by modern animation techniques to produce rich and complex behaviour. We use inverse kinematics based motion adaptation to make pre-existing pieces of motion apply to new targets. The expressiveness of the character is enhanced by adding autonomous behaviour, in this case eye gaze behaviour. This behaviour is generated autonomously but is still influenced by the actions that the user is requesting the character to perform. The actions themselves are simple for a designer with no programming experience to design and for an end user to customise. They are also very simple to invoke.

Where Does the Body End?

Where Does the Body End?

Heralds of Victory: A History Celebrating the 100th Anniversary of the New York Staff Band & Male Chorus 1887-1987

other, Hindemith strove for a reconciliation between past and present: evident power of reflection on historical musics of his creative imagination in Mathis der Maler carries over into, and is gradually refined in, later quite as much as any specific technique of melody or harmony (p. 216). Neumeyer goes on to observe that starting in 1940s Hindemith tends more and more to turn eye of reflection onto his own music (p. 216). This takes form of generating larger structures from preexisting pieces of his own as well as thoroughgoing revisions of earlier large-scale compositions. A good case in point for former is Hindemith's American masterwork, When Lilacs Last in Dooryard Bloom'd, which, as Neumeyer shows, was generated from a song written in 1943 (Sing on there, in swamp,' no. 8 in collection Nine English Songs [1944]) and in its orchestrated version mezzo-soprano arioso (section 5) of this For Those We Love. However, this song is not, as claimed by author, a reworking of a Germanlanguage setting from 1919, second of Drei Hymnen, op. 14. But he correctly observes that the uncharacteristically tight motivic-thematic integration of Requiem is a compound of generative method Hindemith used in its composition and consistent mood and recurring imagery of Whitman's text. It is entirely characteristic of Hindemith's flexibility, however, that, as Neumeyer rightly concludes, organic unity as motivic integration, like expressionistic techniques [he] had used twenty-five years earlier, was for him a tool, not a fundamental aesthetic outlook (p. 223). In discussing two versions of Das Marienleben, Neumeyer offers first description of stages of revision by comparing various sketches of two of songs in cycle. This intriguing glimpse into process of revision throws a new light on Hindemith's real artistic intentions, which are only partially revealed in his lengthy foreword to revised version. This obviously is a book addressed to a limited readership of specialists: theorists, composers, critics, and serious musicians interested in analyses of twentieth-century music. For them, however, it is a must. It will stimulate their thinking and serve to clear away misconceptions about Hindemith that have prevailed far too long. It convincingly demonstrates continuity and consistency of his creative development. The author always maintains a becoming scholarly balance and objectivity. His approach is nonpartisan and free of special pleading. The book includes an appendix which provides a chronological listing of Hindemith's published and unpublished works, with pertinent historical and biographical information, compiled by Luther Noss, Curator of Hindemith Collection at Yale University.