Minimalist Music Research Papers - Academia.edu (original) (raw)

2025, Sulla necessità del Senza titolo

"Sulla necessità del Senza titolo" di Chiara Ianeselli -- I titoli delle opere d'arte rappresentano un'invenzione relativamente moderna, introdotta formalmente nella storia dell'arte occidentale a partire dal XVIII secolo. Nonostante il loro utilizzo si sia diffuso solo negli ultimi secoli, oggi siamo abituati al fatto che le opere d'arte abbiano un titolo distintivo. Eppure i titoli non sono sempre esistiti. Nella loro funzione condizionano la percezione delle opere d'arte e favoriscono una lettura e un'interpretazione a scapito di un'altra, determinano anche l'interesse o la curiosità che un'opera desta. Infatti, spesso è proprio dal titolo inserito nella didascalia inizia la relazione tra spettatore e opera d'arte. Sostanzialmente sono un vero e proprio nome che determina spesso l'identità e la comprensione di ciò che è rappresentato.

2025

Minimalist Opera and Piano Music with Postmodernist Approach ÖZET Minimalizm, 20. yüzyılın ortalarında ortaya çıkan sadelik, zamansal genişleme ve tekrarlama gibi temel özellikleriyle tanımlanan bir sanat akımıdır. Minimalist müzikte tekrar, basitlik, durağanlık ve mikro dönüşüm gibi temel unsurların, postmodernizmin çoklu anlam ve biçim serbestliği anlayışıyla nasıl uyum sağladığına odaklanılmıştır. Minimalist müzik, tekrara ve sadeliğe dayalı yapısıyla modern müzik anlayışına meydan okurken, postmodernizm farklı anlatı yapıları ve kimliklerin çoğulluğunu bünyesinde barındırmaktadır. Bu bağlamda, minimalist opera ve piyano müziği, anlatı ve estetik anlamda postmodern paradigmayı yeniden tanımlayan bir ilişki sunmaktadır. Minimalist opera ve piyano müziği, postmodernist sanat anlayışı içinde birbirini tamamlayan unsurlardır. Minimalizm, piyanoyu hem solo bir araç hem de opera içinde dramatik bir yapı taşı olarak kullanırken, postmodernizm bu sürece anlam katma işlevini yüklemektedir. Postmodernizm, tek bir "doğru" ya da "evrensel" kavramlarını reddederek çoğulculuğu ve bireyselliği savunur. Bu yaklaşım, minimalizmin sanat anlayışıyla doğal bir uyum içindedir. Minimalizm, süslemeleri ve dramatik yoğunluğu azaltarak, özün ve tekrarın ifade gücünü ön plana çıkarmaktadır. Minimalist operanın, hikâye anlatımında geleneksel dramatik yapıları reddederek, müzik ve metin arasında yeni bir ilişki kurduğu gözlemlenmiştir. Özellikle Philip Glass, Steve Reich ve John Adams gibi bestecilerin eserleri, postmodernist anlatı teknikleri ve estetik yaklaşımlar üzerinden değerlendirilmiştir. Opera sanatının her döneminde olduğu gibi minimalist müzikte de piyano önemli bir araçtır. Piyano solo ve topluluk eserlerinde, minimalizmin tekrarlayan ve hipnotik yapısını taşımak için ideal bir enstrümandır. Aynı zamanda, minimalist operalarda piyano, sahnedeki dramatik ifadeyi güçlendiren bir temel unsur olarak kullanılır. Minimalist piyano ve opera birlikteliği, sanatın sınırlarını genişleten ve izleyiciyi kendi zaman ve mekân algısını yeniden değerlendirmeye davet eden bir dönüşüm hikâyesidir. Çalışma minimalist müziğin postmodernist bir yaklaşım ile nasıl yeniden anlam kazandığını göstermeyi ve bu iki estetik paradigmanın etkileşiminden doğan sanatsal yaratım sürecini tartışmayı amaçlamaktadır.

2025, Philipas Glassas Vilniuje, praėjus dešimčiai metų. Omažas kompozitoriui. In: Literatūra ir Menas, 5 (3809), Vilnius, 2025, 49-50

Philipas Glassas spaudos konferencijoje vilki džinsais
ir džinsiniais marškiniais. Amerikietis. Vakare vyks
koncertas, o dabar – žurnalistai.
Ant mano stalo guli originali vinilinė plokštelė
„Einšteinas paplūdimyje“, sprendžiant iš etiketės,
kadaise pirkta prekybos centre „KaDeWe“ Vakarų
Berlyne ir niekada nepraplėšta. Paimu peiliuką, ašmenimis
perbraukiu per sukietėjusį celofaną. Taurė
raudonojo. Paguldau ant patefono. Apžiūriu vidų –
užrašas rodo, kad tai 1987 m. leidimas. Pirmą kartą
Ph. Glasso „Einšteinas“ išleistas 1979 m., o pirmasis
pastatymas įvyko 1976 m. Laiko kapsulė. Klausydamas
nusikeliu į tuos laikus, kai prieš daugelį metų nusipirkau
savo pirmąjį „Einšteiną“ parduotuvėje „Thelonious“
Stiklių gatvėje. Klausau ir tarsi tampu „tikru
berniuku“, o ne postmodernaus Pinokio socialinių
iliuzijų ir konstruktų dariniu.

2025

ライヴエンタテインメントビジネスほど不確実性の高いビジネスはない。なぜなら、このビジネスは、成否が人の嗜好という非科学的な要素に大きく左右され、常に自然災害や突発的事故などの予測不能なリスクにさらされているからである。本稿は、このリスクの塊のようなライヴエンタテインメントビジネスのリスクマネジメントについて考究する。具体的には、ライヴエンタテインメントビジネスのリスクを特定するとともに、リスクファイナンスの観点からコンサートプロモーター(コンサート企画運営会社)のリスク対応について分析と考察を行う。本稿から、コンサートプロデューサーによる戦略的な保険選択の実践が、コンサートプロモーターのリスクファイナンスの成功の鍵を握ることが明らかになる。There is no other business that has high uncertainty like Live Entertainment Business. This isbecause the success and failure of this business depend a great deal on the unscientific element whichis the individual taste, and it is consistently exposed to unpredictable risks such as a natural disasteror a sudden accident. This research paper investigate the Risk Management of Live EntertainmentBusiness just like the lump of the risk. Specifically, We identify the risk of Live EntertainmentBusiness, and discuss the risk countermeasure of the concert promoters (company that plan andconduct concerts )from the perspective of Risk Finance. And it is revealed from the con...

2025

Julius Eastman was born in 1940 to parents of West Indian descent. This essay shall consider his refusal to compromise on who he was and the implications that had for his music and for his life. His queerness, his blackness, and his musical ability, pulled him across different spaces, unsettled his subjecthood. I shall consider the particulars of situatedness and snubbing, musical spaces of rejection and acceptance. I shall attempt to document the spaces he kept, that he lived in, containing an ecology of care that involved human and non-human elements, that allowed the meeting of disparate figures in his life, where the policy was to always have the door open no matter the circumstances. Eastman’s sojourning shall be examined, where he stayed when he was homeless, how he acted, what he was thinking of when composing some of his final works. This shall be performed with an eye to the dangers of canonisation in the museum or the academy, with an eye to what parts of Eastman are acceptable to revere, what we can ‘hold and return’ to and what ‘can melt’.

2025

Conference paper delivered at Minimalism Extended: The Seventh International Conference on Minimalist Music, Cardiff University, 22 - 25 August 2019

2024, Anais do 47º INTERCOM - 2024

Em meio ao uso de música clássica como parte do projeto musical de vários filmes premiados em festivais europeus, há obras fílmicas que, em função do contexto cultural no qual são produzidas, submetem tais composições a novos arranjos e significados na narrativa fílmica. Dentro desse contexto, a presente comunicação propõe uma análise do filme Felicité (2017), do cineasta franco-senegalês de Alain Gomis, com o objetivo de verificar os efeitos da música na narrativa a partir da observação dos recursos utilizados pelo cineasta para articular duas vertentes musicais distintas: a música minimalista do compositor estoniano Arvo Pärt e as músicas tradicionais com influência eletrônica do grupo musical congolês Kasai Allstars. Uma mistura de melodias que conduz a uma reflexão mais ampla sobre usos da música no cinema.

2024, Max Richter: History, Memory, Nostalgia

For what more terrifying revelation can there be than that it is the present moment? That we survive the shock at all is only possible because the past shelters us on one side, the future on another. But we have no time now for... more

2024, Mitteilungen der Paul Sacher Stiftung

, The Desert Music is regarded by many as one of Steve Reich's most important compositions. K. Robert Schwarz praised the work for its "coloristic variety, harmonic and melodic range, and emotional impact," while conductor Michael Tilson Thomas drew attention to its "very powerful, spiritual message." 1 One of The Desert Music's most striking elements, at least to those familiar with Reich's previous oeuvre, is its exploration of a new harmonic sound world. Partly inspired by William Carlos Williams's poetry, the ominous, unsettling chords heard at the beginning of the large-scale work for chorus and orchestra have been described by the composer as "more chromatic and 'darker' in harmony" than in any of his previous works. 2 According to Richard Taruskin, by "[broadening] his harmonic palette into intense chromatic terrain," The Desert Music equipped the composer "to deal with sober, even sombre matters." 3 Its impact can be heard in several subsequent works, which explore harmony in similar ways, including Sextet (1985), Three Movements (1986), and City Life (1995). The introduction to The Desert Music sets the tone with a series of five chords that cycle four times during its opening three minutes. These are labeled I-V in Example 1. The voicings of each chord as they appear in the soprano, alto, tenor, and bass parts have also been retained. These chords have been described by Reich as "altered dominant" harmonies. 4 The second chord can be described as an E! dominant ninth over a C root, the third chord an E! dominant ninth with a flat fifth, and the fourth an F dominant seventh with a raised fifth and a raised ninth. The first and last

2024, Master research at Helwan University

The early 20th century witnessed a proliferation of artistic trends and schools of musical composition in pursuit of experimentation and innovation. These included late Romanticism, Serialism, and Neoclassicism. More recently, the latter... more

2024

INTRODUCTION AM INTRIGUED BY Frederic Rzewski's ability, in his pieces from the 1960s and 70s, to model socio-political phenomena and to teach specific lessons about these phenomena on both intuitive and intellectual levels to both performers and listeners. Performers in particular will literally experience these socio-political phenomena in the course of performing these pieces. Rzewski seems to have achieved Brecht's ideal of a gestic music without dryness or lack of credibility. Frederic Rzewski and Spontaneous Political Music PIECES COMING TOGETHER1 This is a piece for speaker and bass instrument plus any other instruments. The score consists of a single bass line in sixteenth notes throughout in 4/4 time. Its pitch-class content is restricted to the pentatonic scale, G-BV-C-D-F. Above the beginning of each measure is a short phrase of text containing between one and six words. These phrases are taken from a letter written by Sam Melville, a left-wing activist who was incarcerated in Attica for political crimes and was a leader in the Attica uprising of 1971. He was one of forty-three prisoners killed when the National Guard moved in after the Attica uprising.2 Rzewski stated that the Attica incident was an "atrocity that demanded of every responsible person that had any power to cry out, that he cry out."3 The complete text is as follows: O I think the combination of age and a greater coming together is responsible for the speed of the passing time.

2024, Perspectives of New Music

2024

The Identification of Production Methods Exploring Cell-based Repetition and Development in Techno Music and AudioVisual Display. In 2020, accessibility to the tools of electronic music production have become near ubiquitous to anyone with access to modestly powered computing equipment. The use of musical, cell-based repetition as a musical device is straightforward to achieve using these tools, however further production methods are available to augment and enhance this process. This thesis, a collection of audio production, audiovisual display and dissertation, has been completed with the generous assistance and wise counsel of my supervisors Dr Anthony Lyons and Professor Kenny McAlpine from the Interactive Composition department at the Melbourne Conservatorium of Music.

2024, Human–Computer Interaction Series

This chapter addresses the first building block of sonic interactions in virtual environments, i.e., the modeling and synthesis of sound sources. Our main focus is on procedural approaches, which strive to gain recognition in commercial applications and in the overall sound design workflow, firmly grounded in the use of samples and event-based logics. Special emphasis is placed on physics-based sound synthesis methods and their potential for improved interactivity. The chapter starts with a discussion of the categories, functions, and affordances of sounds that we listen to and interact with in real and virtual environments. We then address perceptual and cognitive aspects, with the aim of emphasizing the relevance of sound source modeling with respect to the senses of presence and embodiment of a user in a virtual environment. Next, procedural approaches are presented and compared to sample-based approaches, in terms of models, methods, and computational costs. Finally, we analyze ...

2023

Az sözle çok söz söyleme esasına bağlı olarak oluşturulan küçürek öyküler, öykü ve romandan kısa olmakla birlikte şiir kadar da etkileyicidir. Yorgun düşen türleri çağın ruhuna uygun bir şekilde dirilten küçürek öykü, sözcüklerde tasarruf ederek okuma zamanını kısaltır, ancak okuyucuyu etkin bir şekilde türe dâhil eder. Küçürek öykü formuna uygunluk gösteren Ferit Edgü'nün "Yol" isimli öyküsü, yalnızlıklar ortasındaki modern insanın açmazlarını ve bunaltısını konu almaktadır. Öykü kendi içerisinde ikiye ayrılmakta umut ile umutsuzluk, anlam ve anlamsızlık gibi kavramlar karşıt ögeler şeklinde sıralanarak ve dil ile desteklenerek sunulmaktadır.

2023, Springer series on cultural computing

Kristina Andersen designs objects and experiences to explore ideas and notions of the unknown. A central element of her practise is workshop-like experiences that expose everyday desires as drivers for ideas. They employ familiar, mundane materials-such as candy and cardboard-through which several planes collide: the possible, the unknown, the feared and the desired. These processes are aimed at allowing a broad range of knowledge to materialise as interdisciplinary knowledge, which belongs to no one. The outcomes range from requirement engineering, technology prototyping, to the making of work about technology, rather than of technology. She holds degrees in Industrial Design, Virtual Environments, and wrote her Ph.D. on "magic machines". She was a researcher at STEIM (Studio for Electro-Instrumental Music) in Amsterdam for 15 years, and now works in the Future Everyday group at Industrial Design at TU Eindhoven as well as maintaining her own practice. The interview was conducted on January 24th 2018. The text has been edited slightly for clarity.

2023

Cel anime making procedure

2023, Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

Zdrajcy metalu?-fenomen muzyczny i medialny zespołu Nocny Kochanek Fenomen jest takim słowem, które niesie ze sobą bardzo pozytywny ładunek i mi od razu kojarzy się z przymiotnikiem "fenomenalny"… a my się za fenomenalnych nie uważamy. Natomiast zwracając się w stronę języka angielskiego-"phenomenon" oznacza przede wszystkim zjawisko i myślę, że śmiało można powiedzieć, że jakimś zjawiskiem jesteśmy.

2023, INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES

Öz: 1990'lı yılların başından itibaren önemli bir gelişme kaydeden dijital yazın çalışmaları yeni bir disiplin olarak tüm yazınsal alanı sorgulamaya girişir. Elinizdeki çalışma bu alandaki gelişmeleri somut bir örnek üzerinden göstermek için Bir İnsan Yaratmak isimli etkileşimli dijital anlatıyı inceleyerek yazınsallık ve dijitallik arasındaki ilişkiyi ortaya koymaya çalışır. Burada çözümleme yöntemi olarak Gérard Genette'in anlatıbilimsel yaklaşımının dijital alana uyarlanmış versiyonu kullanılır. Böylece dijital ve yazınsal alan sorgulanıp onların sınırlılıkları gösterilmeye çalışılırken dijital ile yazınsal unsurların sınırlarının nasıl değiştirildiği ve anlatısal etkinlik sorumluluğunun nasıl okura verildiği gösterilir. Bu çerçevede Bir İnsan Yaratmak'ın geleneksel ve dijital yazınsallığın sorgulandığı bir üstanlatı üretme makinesi (anlatısal makroyapı) olarak yaratılmış olduğu görülür. Çalışmanın sonunda dijital yazınsallığın, geleneksel yazınsallığın sınırlarını aşmaya başladığı ve yeni bir yazınsallığa ait uzlaşımların oluşturulma zeminini hazırladığı görülür.

2023

Oz Minimalizm terimi yirminci yuzyilin basinda politik alanda kullanilmis, ancak 1960’lardan itibaren basta resim ve heykel olmak uzere muzik ve mimarlik gibi sanat alanlarinda ve edebiyat (ozellikle kisa oyku) alaninda bir fenomeni nitelendirmistir. Soyut disavurumculuga tepki olarak ortaya cikan minimalizm yeni usluplar getirmis, genelgecer sanat anlayisina alternatif bir anlayis ortaya koymustur. Minimalizm hem edebiyatta hem de genel olarak sanatta eksiltme, indirgeme ve kisitlama teknikleriyle ve damitma-yogunlasma surecleriyle kucukluk ve sadeligin saglanmasini amaclar. Minimalist eserin basarisi izler kitlede yarattigi etkiye baglidir. Bu calisma minimalizmin ortaya cikisini, gelisimini, edebi minimalizmi, minimalist eserlerde rastlanan ortak ozellikleri kisaca ele almayi, ayrica edebi minimalizmin onde gelen yazarlarindan Ann Beattie’nin “The Rabbit Hole as Likely Explanation” adli oykusunu minimalist acidan incelemeyi amaclamaktadir.

2023, シューベルトが愛したアルペジョーネ

フランツ・シューベルトが作曲した名曲、アルペジョーネ・ソナタ（イ短調 D821）は、音楽愛好家にとってはお馴染みの曲であり、その美しい旋律が多くの人々を魅了してきた。しかしながら、この曲がもともと作曲された楽器であるアルペジョーネは、現代ではほぼ忘れ去られた楽器となっている。一般的には、現存するCDなどでは、チェロやビヴィオラなどの代用楽器で演奏されることが多い。また、管楽器による編曲も存在する。... more

2023, アルペジョーネ演奏計画書

アルペジョーネによる演奏計画シューベルティアーデ関連の楽曲を中心に 1)はじめにアルペジョーネ学とは？ 2)アルペジョーネの位置づけと選曲の開発１．シューベルトの楽曲からの選曲アルペジョーネの教則本課題曲として１．１アヴェマリア１．２子守歌１．３野ばら１．４菩提樹アルペジョーネのアンサンブル課題曲として１．５ Serenade １．６歌曲から１．ｘアルペジョーネソナタD821からの抜粋... more

アルペジョーネによる演奏計画
シューベルティアーデ関連の楽曲を中心に
1)はじめにアルペジョーネ学とは？
2)アルペジョーネの位置づけと選曲の開発
１．シューベルトの楽曲からの選曲
アルペジョーネの教則本課題曲として
１．１アヴェマリア
１．２子守歌
１．３野ばら
１．４菩提樹
アルペジョーネのアンサンブル課題曲として
１．５ Serenade
１．６歌曲から
１．ｘアルペジョーネソナタD821からの抜粋
２．シューベルティアーデのサロン仲間からの選曲

2023, Current Musicology

This paper analyzes the life and work of Julius Eastman (1940–1990), namely his 1980 Northwestern Concert Series and Grammy-nominated Eight Songs for A Mad King (1973) alongside anti-black state violence in the United States as sites of black sonority made legible through and against, what Christina Sharpe calls, “the wake” of chattel slavery (2016). The mouth, stifled breath, and voice, I have argued, all persist through the reiterative scene of state-sanctioned violence against black and brown people. I am interested in the historicized phenomenology of sounds produced in radically different scenes of performance and murder. That is, the history of black and brown folx in America is, in part, produced out of, “[t]he ‘very dangerous evil’ of slavery and the ‘agonizing groans of suffering humanity’ [that] had been made music” (Saidiya Hartman 1997, 17). The paper departs from the scene of black sonority processed under duress to query: what are the effects of racialized aesthetic pr...

2023, Appunti musicali

Nella musica elettronica il suono diventa plasmabile e, questo meccanismo è dovuto al trattamento del suono generato proveniente da apparecchiature elettroacustiche che vengono utilizzate per modificare i suoni bianchi e quelli preesistenti di altre forme e natura. La musica elettronica inizia a essere utilizzata e studiata in forma sperimentale ed in seguito in forma accademica partendo da i primi anni 50, dove le esigenze dei compositori tendevano ad andare oltre i parametri musicali guidati dal temperamento musicale.

2023, Music & Letters

Christophe Levaux wants there to be an 'established musical fact' called 'minimalist music' (p. 10). This provocative and eminently readable book tracks this fact's long, contentious, and ongoing 'musicological discovery' (p. 10).

2023, sinecine: Sinema Araştırmaları Dergisi

2023, Self published

Title page & Score of Rhapsody Spaniel as performed on the LP "Jan Steele/John Cage: Voices & Instruments" Obscure No 5 and the Community Library LP "Distant Saxophones" by Jan Steele & Janet Sherbourne and available from Bandcamp

2023, Self published

Title pages, scores & parts of Deathward by Jan Steele & John Lyle Donaghy as performed on the Community Library LP "Distant Saxophones" by Jan Steele & Janet Sherbourne and available from Bandcamp.

2022, Rivista di estetica

The paper proposes a focus upon two tendencies of contemporary music; the first is Minimalism, movement represented by musicians like La Monte Young, Philip Glass and Steve Reich, the second one is the rave music (like techno), feature of popular culture and postmodernist age. Through Adorno's thought, and starting from his dialectical analysis about the dualism Schönberg-Stravinskij, this essay aims a philosophical understanding of concepts like "repetition" and "lack of transcendence"; the absence of development in a lot of musical production of the last decades, in popular music as much as in classical music, is demonstration of a loss of subject, where the "eternal return" of the rhythmic structure can be understood in terms of "eternal return of the same" and not in terms of "eternal return of possibility".

2022, Tempo

CORNELIUS CARDEW was killed in a road accident last December. Though he had translated several German articles JOT recent issues of TEMPO, he himself contributed only once, and that twenty years ago: his article 'Notation-Interpretation, Etc.'* remains an important document of its times and of the quality of extreme commitment which Cardew (who had recently been closely involved in the composition of Stockhausen s Carre) brought to everything he did. Through the various developments and differing ideological stances of his career, it was this quality of commitment which made him such an inspiring figure to so many people concerned with wholly different kinds of'New Music' throughout the 1960*5 and 1970'j. Susan Sradshaw, who had known Cardew as a fellow student at the R.A.M., gave the premiere, with John Tilbury, in March 1981 of his last work: Boolavogue^or two pianos, an example of the highly politicized music that had become his prime concern. Howard Skentpton was a pupil of Cardew in the 1960'j, and a representative of that generation of young English composer-performers who were involved with him in the extraordinary range of improvisational activities centred on the Scratch Orchestra. Kurt Schwertsik knew Cardew well, and was deeply influenced by him, during his early years in Cologne.

2022, In Terms of Orchestral Interpretation Musical Character Analysis of Specific Scenes Chosen From The Movements of Fantastic Symphony

This study attempts to refine how Hector Berlioz's form-music-program interact and aims to examine in terms of orchestral interpretation musical character analysis of Fantastic Symphony. Orchestral conducting directly includes the ideas and statements – musical, dramatical and philosophical – alleged in the examination. Orchestra conductors will be able to make more prominent theatrical and musical expression of the symphony along with the interpreted elements.
Berlioz, with his perfect composition talent and used elements for enriching orchestral music, was brought a dramatical dimension into the symphonic music. At the present, Fantastic Symphony has lost nothing of its musical worth and meaning, due to the dramatical structure of the symphony.
As a result of the literature, it has been inadequate either any publishing or academical study made about Berlioz and Fantastic Symphony. İn mentioned areas, it is thought that this study will bring a different view in.

2022

2022, Bigaku

「スティーヴ・ライヒの「プロセスとしての音楽」とポストミニマリズムの美術」（第五十七回美学会全国大会発表要旨）

2022

Howard Skempton: a 70th birthday celebration Howard Skempton is one of the most influential and distinguished of living British composers. In a wide-ranging tribute to this remarkable composer, pianist Ian Pace traces influences from Erik Satie through to the present day, including a new commission from Skempton himself. Pre-concert talk at 6.45pm: John White in conversation with Howard Skempton, with a complimentary glass of wine/juice John White: Piano Sonata No 178 (WP)– LM commission, dedicated to Howard Skempton Morton Feldman: Vertical Thoughts IV Cornelius Cardew: Unintended Piano Music Cornelius Cardew: The East is Red Howard Skempton: Well, well, Cornelius Howard Skempton: Toccata (in memoriam Morton Feldman) David Power: Becalmed (WP) James Whittle: this piece gets more magical every time someone writes ill of it Satie: Sports et Divertissements Sofia Gubaidulina: Musical Toys (a selection) Edward Caine: Short Waltz 1 (WP) Edward Caine: Rhapsody for Howard (WP) Steve Crowt...

2022, Choice Reviews Online

Initially regarded as a renegade, Philip Glass has become one of the most popular serious composers of our time, writing symphonies, operas, ballets, film scores, music theater, music for dance, and songs. He has made more than thirty compact disks and albums. An active performer, he presents on average over seventy-five concerts a year. In 199^^his score for the Martin Scorcese film, Kundun^won the best music award from the Los Angeles Film Critics Association and was nominated for both a Golden Globe and an Academy Award for best original score. With its sparing use of dialogue, this fihn about the early life of the fburteendi Dalai Lama relies heavily on images complemented only by music to evoke an emotional response. The use of actual Tibetan instruments combined with the essential Eastern underpinnings of Glass's musical style effectively convey the mysteries of the Tibetan culture. And like the earlier films for which he has written music, Koyaanisqatsi and Powaqqatsi, Kundun addresses a subject that has profound social and cultural importance for our time. Glass has been a visionary leader from the beginning of his career and now popular culture is coming to reflect his aesthetic. There is perhaps no better time to take a careful look at the work of the musician Philip Glass. The essays in this book trace his development from his entry into the music scene in the 1960$, a time of interest in experimental forms in all the arts. Glass, along with contemporary Preface Copyrifitfed avant-garde composeis like Terry Riley, Steve Reich, and others, created repetitive modular nittsic that was similar to visual structures employed by Sol LeWitt, Carl Andre, and other Minimalist artists. The connection between art and music at the time is underscored by an illuminating conversation between the sculptor Richard Serra and Glass. Edward Strickland's essay "Minimalism: T" studies the development of Minimalism and its aesthetic characteristics. Strickland points out that both Glass and Reich performed at the '*Anti-IUiision'' show at the Whimey Museum, an important Minimaliitt/Post-MinimaUst exhibition. Hm Page's essay on Glass's seminal Music in Tlvehe Parts (1974) describes the work as a "conscious encyclopedic compendium of some of the techniques of repetition the composer had been evolving since the mid-60s." Calling it "both a massive theoretical exercise and a deeply engrossing work of art," Richard Kostelanetz in his essay analyzes its structure, examining both its novelty and its resemblance to Bach's Art of the Fugue, He shows how the similar Changing Parts was designed, in Glass's words, to be deUberately **intentioniess,*' and concludes by describing Glass's musical grammar as a psycho-acoustical phenomenon that demonstrates experientiatty the relationship between music and human physiology. The Tricycle interview with Helen Tworkov and Robert Coe allows a rare glimpse into Glass^spiritual practice and its impact on his work. Beginning with his finding his first yoga teacher in 1962 by looking under Y in the yellow pages, Glass traces his journey from reading about Zen in John Cage's writings and learning Indian musical forms from Ravi Shankar in Paris. This interview will enable readers to see that Glass's success is to some extent a reflection of his acceptance of a synchronistic chain of being and his abiUty to maximize its potential. In retrospect, Glass's involvement with Eastern forms and practices can be perceived as a chain of serendipitous events that, taken togethei; have a profound logic and inevitability and that have shaped his work. Writings on Glass follows Glass's work as it became more multivalent and more content-oriented in the 1970s. The work began to move beyond purely musical issues when he undertook a series of collaborations with Robert Wilson, Lucinda Childs, Constance Dejong, Richard Foreman, Doris Lessing, Robert Coe, Allen Ginsberg, and others that can be seen as the vanguard of what is being called the new opera. Most intriguing is Paul John Frandsen*s essay about Akhnaten in which he points out similarities between Glass and his subject and shows how Glass, like Akhnaten the ancient Egyptian religious leformei; resorts to convention to make himself understood. Analyzing and describing Akhnaten scene by rfmfmCm • • Vlll Copyrighted material scene, Fransden identifies Glass's unique musical structures and musical notation, the opera's plot and its use of Egyptian mythology, all from an Egyptologist's perspective. Glass even inspires his critics. Thomas Rain Crowe's inventive review of Hydrogen Jukebox is written in the spirit of the music, using a repetitive structure similar to Glass's own compositional techniques. Crowe in effect collaborates with Glass, combining his own spontaneous notes taken in the theater during the performance wtdi sections quoted from Ginsberg's libretto and excerpts firom a pre-show interview with Glass. Using three different typefaces, Crowe interweaves these different points of view into a new text produced in response to the original. Recently, Glass completed his operatic trilogy based on the works of Jean Cocteau: the chamber opera Orphee (1993), an opera for film La Belle et la BeU (1994), and the opera ballet Les Enfants Terribles (1996). Glass wrote a new operatic score for the classic 1946 Cocteau film La Belle et la Bete (Beauty and the Beast) using words from the original film and synchronized his music precisely frame by frame widi the original film. The live singers act as a visual counterpart to the characters on screen and in a deliberate layering or mirroring one character is sometimes played by two persons. This doubling emphasizes the duality which Cocteau himself uses as an allegory for the creative process and which Glass reinvents on stage. The result is one of the most moving and innovative works he has ever done. Les Enfants Terribles {Children of the Game)^the final opera of the trilogy, premiered on May ISth, 1996 in Zug, Switzerland A collaboration with American choreographer Susan Marshall, Les Enfants Terribles is not properly an opera but is called a "dance-opera spectacle." Subdivided into 27 scenes, the music is scored for three electronic keyboards played by members of the Philip Glass Ensemble with Glass among them and directed by Karen Kamensek. It is adapted from a Cocteau novel about the tragic story of four children who live in a self-made narcissistic fantasy world and are incapable of escaping from it as they grow up. The setting is a room that the children turn into a private sanctuary, a place of mystery and magic that only children can comprehend and enjoy. Juxtaposed to this mythical world, over which no one seems to have control, is the actual world in which they live and reluctandy must face. Heroes^Glass's fourth symphony, is the second part of a trilogy and is based on the 1977 album by David Bowie and Brian Eno. (The first Bowie/Eno/Glass collaboration was the^'Low" Symphony^and Lodger is planned as the third.) Recorded by the American Composers Orchestra Preface oopy I lyt licyfnaiui lal tinder the impeccable direction of Dennis Russell Davies, Heroes was released in 1997 on Point Miisic. TwyUi Tharp created a ballet for the piece which toured during the fall of 1997. Glass describes his record label, Point Music, as representing "a kind of new classical music out of which good music can appear anywhere whether it be techno, classical, or popular." The Japanese CD edition of Heroes included a bonus CD single with a remix of the first movement by the British techno artist Aphex Twin with samples of Bowie's original 1977 vocals track. Called a '"digital opera in three dimensions," Monsters of Gracet he latest major opera by Robert Wilson and Philip Glass, premiered at Royce Hall at the University of California Los Angeles campus on April 15, 1998 as a work in-progress. "Version 1.0* is scored for live amplified voices, woodwinds, keyboards, Macintosh computers, MIDI interface, and electronic keyboards using sampling of traditional Persian and other Middle-Eastern string and percussion instruments. The libretto is based on fourteen poems by the thirteemh-century Sufi mystic, Jalaluddin Rami. Utilizing advanced digital technology developed by Silicon Graphics and first made famous in the movie Jurassic Park, Monsters of Grace melds high art and high technology to achieve a muki-platform conceptual and aesthetic bendmiark. Seven of the thirteen scenes were presented as three-dimensional computer-generated images projected onto a large screen in 70mm stereoscopic film format. For these portions audience members wore special polarized 3-D glasses so that the slow moving and at times abstract visual elements appear sometimes as close as arm's length and at other times as far as the eye can see. The other seven scenes had live performers. With substantial sponsorship and a touring schedule to include over thirty cities through the spring of 1999, Monsters of Grace is intended to be another landmark in twentieth-century theater and a model perhaps for the twenty-first century. A CD ROM version of the work is planned and the web site can be visited at wMrw.extremetaste.com. Monsters of Grace reflects Glass's ongoing effort to establish new agendas for the future of opera.

2022, the Journal of Academic Social Sciences

Bağlanma yaralanması kavramı çift aile terapilerinde oldukça yeni ve özel olan bir kavramdır. Bireylerin romantik ilişkideki partneriyle arasında olan bağlanmanın yapısına zarar verici bir durum olduğunda ortaya çıkar. Bireylerin savunmasız olduğu ihtiyaç anlarında yaşandıkları için ilişkide belirleyici olabilir. Her çift için bağlanma yaralanmasına sebep olabilecek olaylar değişkendir. Örneğin bir çift için oldukça travmatik olan bir olay, başka bir çift önemsiz bir durum olabilir. Bu çalışmanın amacı bağlanma ve bağlanma yaralanması kavramlarını incelemek ve film analizi yöntemiyle bu kavramları filimdeki sahneler üzerinden açıklamaktır. Bu amaçla nitel araştırma yöntemlerinden doküman incelemesi kullanılmış ve 2006 yılı yapımı olan Duvak/The Painted Veil filmi bağlanma yaralanması açısından incelenmiştir. Film Kitty ve Walter çiftinin yaşadığı bir aldatma olayı ve sonrasında yaşadıkları bağlanma yaralanmasının iyileşmesi sürecini konu almaktadır. Filmde yaşanan olaylar ve geçen konuşmalar üzerinden bağlanma yaralanması ve kavramları açıklanmaya çalışılmıştır. Çalışmanın yeni bir kavram olan bağlanma yaralanmasının anlaşılabilmesi adına literatüre yararlı olacağı düşünülmektedir.

2022, INTERNATIONAL REFEREED JOURNAL OF RESEARCH ON ECONOMICS MANAGEMENT

Öz: Bu araştırmanın amacı, hastaneler ve diğer sağlık tesislerinde su tüketimini azaltmaya yönelik olarak alınacak tasarruf tedbirlerinin verimlilik üzerindeki etkilerinin ortaya çıkarılmasına yöneliktir. Araştırma Türkiye'de Kırıkkale ilinde, Kamu Hastaneler Birliğine bağlı olarak hizmet veren tüm sağlık tesislerinde gerçekleştirilmiştir. Bu araştırma yaklaşık olarak 24 ay sürmüştür. Araştırmanın evrenini Türkiye örneklemi ise Kırıkkale ili oluşturmaktadır. Araştırmadan elde edilen verilerde, değişkenlerin normal dağılıma uygunluğu Shapiro-Wilks testi ile değerlendirilmiştir. Belirtilen su tüketim miktarlarının genel olarak ve birimler bazında yıllara göre farklılık gösterip göstermediğini değerlendirmek için Wilcoxon Eşleştirilmiş İki Örnek Testi kullanılmıştır. İstatistiksel analizler ve hesaplamalar için IBM SPSS Statistics 21.0 ve MS-Excel 2007 programları kullanılmıştır. Analiz sonrası, yapılan verimlilik çalışmaları sonucunda, su tüketim miktarlarının ve su faturalarına ait gider kalemlerinin anlamlı bir şekilde azaldığı sonucuna ulaşılmıştır. Saptanan bir önemli nokta da, konforu etkilemeksizin alınan tasarruf önlemlerinin ve farkındalık eğitimlerinin verimlilik konusunda çok faydalı olduğunun gösterilmesidir.

2022, INTERNATIONAL REFEREED JOURNAL OF RESEARCH ON ECONOMICS MANAGEMENT

2022, ETKİLEŞİMLİ BİR DİJİTAL ANLATI OKUMASI: BİR İNSAN YARATMAK (1

Digital literary works, experiencingan important development since the beginning of1990’s, has arted to queion the whole literaryfield as a new discipline. To show this througha concrete example, this udy tries to explainthe relationship between literariness and digital by analyzing an interactive digital narrative, Birİnsan Yaratmak. In this udy, Gérard Genette’snarrative approach, adapted to digital, is used asthe method of analysis. Thus, while the literari
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ness and digitality are being queioned and theirconraints are being shown up, it is explainedhow the digital changes the boundaries of literaryelements and how the responsibility of narrativeactivity is given to the reader. From this point ofview, it is seen that Bir İnsan Yaratmak is createdas a metanarrative production machine queio
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ning both digital literature and traditional litera
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ture. At the end of the udy, it is shown that thedigital literariness has overepped the boundariesof traditional literature and arted to create theconventions of a new literariness.
Key Words:
Digital Literature, Interactive Digital Narrative, Digital Literariness, Digital Aehetic,Digital Narrativity

2022, Uluslararası Hakemli İletişim ve Edebiyat Araştırmaları Dergisi

Sosyal medya ile boyutu değişen iletişim artık eşzamanlı,
dinamik ve çift taraflı paylaşımlarla istenilenin istenildiği
yerde söylenebileceği bir hale gelmiştir. Bununla birlikte,
toplumsal hayatın çeşitli alanlarında değişiklik isteyen ya
da değişime karşı çıkan ve bu doğrultuda faaliyette bulunan
oluşumlar şeklinde ifade edebileceğimiz toplumsal
hareketlere katılma ve takip etme alışkanlıkları da değişmeye
başlamıştır. Bu kapsamda, internet ve sosyal medya
kullanıcılarına ilişkin yapılan bu çalışmada tarama modeli
uygulanmıştır. Anket daha önce uygulanmadığı için bir
ön teste tabi tutulmuştur. Ön test için toplam 101 katılımcıdan
elde edilen veriler kullanılmıştır. Asıl araştırmamıza
katılan anketleri cevaplayan 420 kullanıcının 384’ünün
cevapları değerlendirmeye alınmıştır. Elde edilen veriler
SPSS istatistik programından yararlanılarak çalışma ileri
seviyelere taşınmıştır. Araştırmamız sonrasında elde edilen
veriler doğrultusunda bulgular ve sonuçlara gidilmiştir. Bu
kapsamda, sosyal medya kullanımı ile toplumsal hareketlere
eğilim arasında anlamlı ilişki bulunmuştur. Sosyal medya
kullanıldıkça çevrimiçi toplulukların birbirlerini etkiledikleri
ifade edilmiştir. Bu çalışma toplumsal hareket gruplarının
tamamını ele almıştır. Gelecekte yapılacak çalışmalarda
daha özel toplumsal hareket grupları ele alınırsa, grupların
davranışları daha belirgin değerlendirilebilecektir.

2022, INTERNATIONAL PEER-REVIEWED JOURNAL OF NUTRITION RESEARCH

Öz: Son yıllarda sukroz ya da mısır şurubu kaynaklı fruktoz tüketimi günlük beslenmemizde artış göstermektedir. Yüksek fruktozlu mısır şurubu (YFMŞ) veya nişasta bazlı şeker, mısır nişastasından enzimatik hidroliz ile üretilen, sukroza alternatif sıvı bir tatlandırıcıdır. YFMŞ, sukrozdan daha ucuz olması ve bazı besinlere arzu edilen özellikleri kazandırması nedeniyle içecek, çikolata, kek, şekerleme gibi birçok işlenmiş üründe yaygın bir tatlandırıcı olarak kullanılmaktadır. Yüksek fruktozlu besinler özellikle düşük fiziksel aktivite ve fazla enerji alımı ile beraber obezite, kardiovasküler hastalıklar, hipertansiyon, metabolik sendrom, böbrek hastalığı gibi birçok kronik hastalığın gelişiminde önemli bir rol oynayabilir. Bu derleme makalede fruktozun sağlık üzerine etkileri ele alınmıştır.

2022, INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES

2022, Lisans Bitirme Çalışması

Bu araştırmanın amacı; hız ve hareket fetişizmi üzerinden, çeşitli sanat akımlarının, nasıl bir yol izledikleri; zamanın koşullarına göre ne tür bir zorunlulukla, ya da tam tersi bir istekle bu hamleyi benimsedikleri, çok detaya... more

2022, INTERNATIONAL REFEREED JOURNAL OF NURSING RESEARCHES

Öz: Acil serviste ateş ya da hipoterminin zamanında tanılanması ve yönetimi, aynı zamanda tedavinin etkinliğinin değerlendirilebilmesi için vücut sıcaklığının doğru ölçülmesi önemlidir. Normal olmayan vücut sıcaklığının ölçümü hastanın tedavisini, bakımını ve prognozunu değiştirebileceği için ateşin doğru ve kesin ölçümü klinik tanılamanın önemli bir unsurudur. Vücut sıcaklığı ölçümünde 200 yıldan fazla süredir standart yöntem olarak civalı cam termometreler kullanılmaktayken günümüzde elektronik, dijital, infrared timpanik membran (transtimpanik), temporal arter termometresi, temassız infrared alın termometresi ve tek kullanımlık plastik termometreler ile vücut sıcaklığı ölçümü yapılabilmektedir. Literatürde hem çocuk hem de yetişkin hastaların vücut sıcaklığının ölçülmesinde kullanılan invaziv olmayan yöntemlerin etkinliklerinin karşılaştırıldığı çok sayıda çalışma ve bu alana yönelik rehberler bulunmaktadır. Acil Hemşireler Birliği'nin rehberinde, acil serviste vücut sıcaklığı ölçümü ile ilgili uygulamaların kanıta dayandırılması gerektiği belirtilmektedir. Bu makalede acil serviste invaziv olmayan vücut sıcaklığı ölçüm yöntemlerinin etkinliği, üstünlüğü ve kısıtlılıkları ele alınmıştır. Bununla birlikte çeşitli dernekler tarafından bu alanda geliştirilen rehberlere de yer verilmiştir.