Peter J. Martin
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719072161
- eISBN:
- 9781781701492
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719072161.001.0001
- Subject:
- Society and Culture, Media Studies
This book explores the interface between musicological and sociological approaches to the analysis of music, and in doing so reveals the differing foundations of cultural studies and sociological ...
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This book explores the interface between musicological and sociological approaches to the analysis of music, and in doing so reveals the differing foundations of cultural studies and sociological perspectives more generally. Building on the arguments of his earlier book Sounds and society, the author initially contrasts text-based attempts to develop a ‘social’ analysis of music with sociological studies of musical activities in real cultural and institutional contexts. It is argued that the difficulties encountered by some of the ‘new’ musicologists in their efforts to introduce a social dimension to their work are often a result of their unfamiliarity with contemporary sociological discourse. Just as linguistic studies have moved from a concern with the meaning of words to a focus on how they are used, a sociological perspective directs our attention towards the ways in which the production and reception of music inevitably involve the collaborative activities of real people in particular times and places. The social meanings and significance of music, therefore, cannot be disclosed by analysis of the ‘texts’ alone, but only through the examination of the ways in which music is a constituent part of real social settings. This theme is developed through discussions of music in relation to processes of social stratification, the collaborative activities of improvising musicians, music as language, music as a ‘cultural object’ and music in everyday social situations.Less
This book explores the interface between musicological and sociological approaches to the analysis of music, and in doing so reveals the differing foundations of cultural studies and sociological perspectives more generally. Building on the arguments of his earlier book Sounds and society, the author initially contrasts text-based attempts to develop a ‘social’ analysis of music with sociological studies of musical activities in real cultural and institutional contexts. It is argued that the difficulties encountered by some of the ‘new’ musicologists in their efforts to introduce a social dimension to their work are often a result of their unfamiliarity with contemporary sociological discourse. Just as linguistic studies have moved from a concern with the meaning of words to a focus on how they are used, a sociological perspective directs our attention towards the ways in which the production and reception of music inevitably involve the collaborative activities of real people in particular times and places. The social meanings and significance of music, therefore, cannot be disclosed by analysis of the ‘texts’ alone, but only through the examination of the ways in which music is a constituent part of real social settings. This theme is developed through discussions of music in relation to processes of social stratification, the collaborative activities of improvising musicians, music as language, music as a ‘cultural object’ and music in everyday social situations.
Eric Clarke, Nicola Dibben, and Stephanie Pitts
- Published in print:
- 2009
- Published Online:
- March 2012
- ISBN:
- 9780198525578
- eISBN:
- 9780191689352
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198525578.001.0001
- Subject:
- Psychology, Music Psychology
Music pervades everyday life. In so many ways, music marks and orchestrates the ways in which people experience the world together. What is it that makes people want to live their lives to the sound ...
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Music pervades everyday life. In so many ways, music marks and orchestrates the ways in which people experience the world together. What is it that makes people want to live their lives to the sound of music, and why do so many of our most private experiences and most public spectacles incorporate — or even depend on — music? This book uses psychology to understand musical behaviour and experience in a range of circumstances, including composing and performing, listening and persuading, and teaching and learning. Starting from ‘real world’ examples of musical experiences, it critically examines the ways in which psychology can explain people's diverse experience of, and engagement with music, focusing on how music is used, acquired, and made in a range of familiar musical contexts. Using a framework of real and imagined musical scenarios, the book draws on a wide range of research in the psychology of music and music education. The book is organized into three central sections. Firstly, it tackles the psychology of playing, improvising, and composing music, understood as closely related and integrated activities. Next, it addresses the ways in which people listen to music, manage their emotions, moods, and identities with music, and use music for therapy, persuasion, and social control. Finally, it considers music in human development, and in a range of more formal and informal educational contexts. The final chapter provides an overview of the history and preoccupations of music psychology as a discipline.Less
Music pervades everyday life. In so many ways, music marks and orchestrates the ways in which people experience the world together. What is it that makes people want to live their lives to the sound of music, and why do so many of our most private experiences and most public spectacles incorporate — or even depend on — music? This book uses psychology to understand musical behaviour and experience in a range of circumstances, including composing and performing, listening and persuading, and teaching and learning. Starting from ‘real world’ examples of musical experiences, it critically examines the ways in which psychology can explain people's diverse experience of, and engagement with music, focusing on how music is used, acquired, and made in a range of familiar musical contexts. Using a framework of real and imagined musical scenarios, the book draws on a wide range of research in the psychology of music and music education. The book is organized into three central sections. Firstly, it tackles the psychology of playing, improvising, and composing music, understood as closely related and integrated activities. Next, it addresses the ways in which people listen to music, manage their emotions, moods, and identities with music, and use music for therapy, persuasion, and social control. Finally, it considers music in human development, and in a range of more formal and informal educational contexts. The final chapter provides an overview of the history and preoccupations of music psychology as a discipline.
Roger Nichols
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195320169
- eISBN:
- 9780199852086
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195320169.003.0022
- Subject:
- Music, History, Western
In speaking of Offenbach, the author did justice to his marvelous natural gifts and deplored the way he had squandered them. He was proven wrong as Offenbach came back into fashion. As the public ...
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In speaking of Offenbach, the author did justice to his marvelous natural gifts and deplored the way he had squandered them. He was proven wrong as Offenbach came back into fashion. As the public cannot bring itself to do without gaiety, it turned to operetta and, naturally, to the man who was its creator and prolific purveyor. The word “purveyor” is not out of place, because Offenbach was not interested in creating art; gifted as he was with comic verve and an unquenchable fount of tunefulness, his only idea was to feed the theatre of which he was simultaneously the director and, to all intents and purposes, the exclusive composer. But harmonic inventions are rare in Offenbach. What makes him interesting is a richness and fertility of melodic invention that has few equals. He used to improvise endlessly, and at extraordinary speed.Less
In speaking of Offenbach, the author did justice to his marvelous natural gifts and deplored the way he had squandered them. He was proven wrong as Offenbach came back into fashion. As the public cannot bring itself to do without gaiety, it turned to operetta and, naturally, to the man who was its creator and prolific purveyor. The word “purveyor” is not out of place, because Offenbach was not interested in creating art; gifted as he was with comic verve and an unquenchable fount of tunefulness, his only idea was to feed the theatre of which he was simultaneously the director and, to all intents and purposes, the exclusive composer. But harmonic inventions are rare in Offenbach. What makes him interesting is a richness and fertility of melodic invention that has few equals. He used to improvise endlessly, and at extraordinary speed.
Warwick Lister
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195372403
- eISBN:
- 9780199870820
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372403.003.0003
- Subject:
- Music, History, Western
This chapter describes Viotti's becoming the most acclaimed violinist of his time after his sensational debut at the Concert spirituel in Paris. After only two seasons Viotti renounced public ...
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This chapter describes Viotti's becoming the most acclaimed violinist of his time after his sensational debut at the Concert spirituel in Paris. After only two seasons Viotti renounced public performance, but continued to play in private salon concerts (which this chapter treats in some detail) and for a time he was in the service of the queen, Marie Antoinette. Viotti's Paris works are described, including a section on his improvising, as well as his activities as a violin teacher. The possibility that Viotti's trip to his hometown, Fontanetto, took place in the summer and autumn of 1782, rather than the summer of 1783, as is commonly thought, is considered. Viotti's friendships with Madame Vigée-Lebrun, the painter, and Madame de Genlis, the educator and novelist, are introduced in this chapter. Viotti's putative musical participation in the Masonic Concert olympique, of which he was a member in 1786, is speculated upon.Less
This chapter describes Viotti's becoming the most acclaimed violinist of his time after his sensational debut at the Concert spirituel in Paris. After only two seasons Viotti renounced public performance, but continued to play in private salon concerts (which this chapter treats in some detail) and for a time he was in the service of the queen, Marie Antoinette. Viotti's Paris works are described, including a section on his improvising, as well as his activities as a violin teacher. The possibility that Viotti's trip to his hometown, Fontanetto, took place in the summer and autumn of 1782, rather than the summer of 1783, as is commonly thought, is considered. Viotti's friendships with Madame Vigée-Lebrun, the painter, and Madame de Genlis, the educator and novelist, are introduced in this chapter. Viotti's putative musical participation in the Masonic Concert olympique, of which he was a member in 1786, is speculated upon.
Pamela Burnard
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199583942
- eISBN:
- 9780191740671
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199583942.001.0001
- Subject:
- Psychology, Music Psychology, Social Psychology
This book explores the social and the cultural contexts in which creativity in music occurs. It begins by considering what constitutes creativity — taking a cross cultural view of music, while ...
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This book explores the social and the cultural contexts in which creativity in music occurs. It begins by considering what constitutes creativity — taking a cross cultural view of music, while investigating creative processes far beyond just the classical music genre — including electronic media, popular music, and improvised music. In addition it looks at creativity in both writing and performing. The field of musical education is a key focus: examining why creativity is important within the educational environment, and looking at how schools might sometimes stifle creativity in their music teaching, rather than encourage it. The book is packed with case studies and real-life examples taken from studies across the world, providing a powerful corrective to myths and outmoded conceptions which privilege the creative practice of individual artists. This book argues the need for conceptual expansion of musical creativities in line with vital contemporary real world practices. It explores how different types of musical creativities are recognized and communicated in the real world practices of a diversity of professional musicians. The book covers creative practice issues underlying composing, improvising, singer songwriting, originals bands, DJ cultures, live coding and interactive sound designing, and the implications of creativity research for music education and for the assessment of creativities in industry and education.Less
This book explores the social and the cultural contexts in which creativity in music occurs. It begins by considering what constitutes creativity — taking a cross cultural view of music, while investigating creative processes far beyond just the classical music genre — including electronic media, popular music, and improvised music. In addition it looks at creativity in both writing and performing. The field of musical education is a key focus: examining why creativity is important within the educational environment, and looking at how schools might sometimes stifle creativity in their music teaching, rather than encourage it. The book is packed with case studies and real-life examples taken from studies across the world, providing a powerful corrective to myths and outmoded conceptions which privilege the creative practice of individual artists. This book argues the need for conceptual expansion of musical creativities in line with vital contemporary real world practices. It explores how different types of musical creativities are recognized and communicated in the real world practices of a diversity of professional musicians. The book covers creative practice issues underlying composing, improvising, singer songwriting, originals bands, DJ cultures, live coding and interactive sound designing, and the implications of creativity research for music education and for the assessment of creativities in industry and education.
Pamela Burnard
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199583942
- eISBN:
- 9780191740671
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199583942.003.0008
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter discusses improvised musics that are embedded in real time. It shows that this topic is relevant in questioning the narrowness of the customary concept of musical creativity. It studies ...
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This chapter discusses improvised musics that are embedded in real time. It shows that this topic is relevant in questioning the narrowness of the customary concept of musical creativity. It studies five musicians that improvise in real time and represent a variety of practices. These accounts help explain the status adding to the improvisational creativities in the fields of folk/traditional, electro-acoustic, computer, and community music.Less
This chapter discusses improvised musics that are embedded in real time. It shows that this topic is relevant in questioning the narrowness of the customary concept of musical creativity. It studies five musicians that improvise in real time and represent a variety of practices. These accounts help explain the status adding to the improvisational creativities in the fields of folk/traditional, electro-acoustic, computer, and community music.
Andreas C. Lehmann and Victoria McArthur
- Published in print:
- 2002
- Published Online:
- October 2011
- ISBN:
- 9780195138108
- eISBN:
- 9780199849291
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195138108.003.0009
- Subject:
- Music, Psychology of Music
From a psychological viewpoint, sight-reading involves perception (decoding note patterns), kinesthetics (executing motor programs), memory (recognizing patterns), and problem-solving skills ...
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From a psychological viewpoint, sight-reading involves perception (decoding note patterns), kinesthetics (executing motor programs), memory (recognizing patterns), and problem-solving skills (improvising and guessing). Sight-reading skills seem to be highly trainable and differences in sight-reading ability can be explained through differences in the amount of relevant experience and the size of the knowledge base (e.g., repertoire). The ability to perform with little or no rehearsal may be regarded as a reconstructive activity that involves higher-level mental processes. These are primarily initiated by visual input but also by conceptual knowledge and specific expectations. This chapter discusses common problems in sight-reading of pitches, rhythm, articulation, and expression, and presents suggestions for their remediation through the use of technical equipment, practice of isolated parameters, and strategic preparations for playing.Less
From a psychological viewpoint, sight-reading involves perception (decoding note patterns), kinesthetics (executing motor programs), memory (recognizing patterns), and problem-solving skills (improvising and guessing). Sight-reading skills seem to be highly trainable and differences in sight-reading ability can be explained through differences in the amount of relevant experience and the size of the knowledge base (e.g., repertoire). The ability to perform with little or no rehearsal may be regarded as a reconstructive activity that involves higher-level mental processes. These are primarily initiated by visual input but also by conceptual knowledge and specific expectations. This chapter discusses common problems in sight-reading of pitches, rhythm, articulation, and expression, and presents suggestions for their remediation through the use of technical equipment, practice of isolated parameters, and strategic preparations for playing.
Richard Marsella
- Published in print:
- 2020
- Published Online:
- February 2021
- ISBN:
- 9780197523889
- eISBN:
- 9780197523926
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197523889.003.0025
- Subject:
- Music, Performing Practice/Studies
The activity described in this chapter is one of many that can help inspire students to compose. Done collectively with a group of people of any age in a community or school context, the facilitator ...
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The activity described in this chapter is one of many that can help inspire students to compose. Done collectively with a group of people of any age in a community or school context, the facilitator of the activity uses a set of word magnets to ignite the imaginations of the participants and then gets them to write a song in a popular style. Adding fun words that spark social, political, or controlled avenues of exploration are left to the discretion of the facilitator. This exercise is a fun and simple way to improvise lyrics, and begin the process of setting those words to music.Less
The activity described in this chapter is one of many that can help inspire students to compose. Done collectively with a group of people of any age in a community or school context, the facilitator of the activity uses a set of word magnets to ignite the imaginations of the participants and then gets them to write a song in a popular style. Adding fun words that spark social, political, or controlled avenues of exploration are left to the discretion of the facilitator. This exercise is a fun and simple way to improvise lyrics, and begin the process of setting those words to music.
Eric Clarke, Nicola Dibben, and Stephanie Pitts
- Published in print:
- 2009
- Published Online:
- March 2012
- ISBN:
- 9780198525578
- eISBN:
- 9780191689352
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198525578.003.0004
- Subject:
- Psychology, Music Psychology
This chapter defines improvisation as the art of making up something as the musician goes along with the music — an instant composition — and ‘the most widely practised of all musical activities and ...
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This chapter defines improvisation as the art of making up something as the musician goes along with the music — an instant composition — and ‘the most widely practised of all musical activities and the least acknowledged and understood’. The chapter relates how musical improvisation can be interrelated and how it can appear to be similar to human beings' daily communication and discourse. Composition, on the other hand, is a more complex and sophisticated area which requires deeper psychological study to understand the composers' motivations, intentions, and emotions. Studying composition as a sophisticated musical activity provides insights on cultural creations and myths. The chapter discusses introspection as a major part of this musical skill and activity, and relates psychological studies and concepts involved in such.Less
This chapter defines improvisation as the art of making up something as the musician goes along with the music — an instant composition — and ‘the most widely practised of all musical activities and the least acknowledged and understood’. The chapter relates how musical improvisation can be interrelated and how it can appear to be similar to human beings' daily communication and discourse. Composition, on the other hand, is a more complex and sophisticated area which requires deeper psychological study to understand the composers' motivations, intentions, and emotions. Studying composition as a sophisticated musical activity provides insights on cultural creations and myths. The chapter discusses introspection as a major part of this musical skill and activity, and relates psychological studies and concepts involved in such.
Dolly Daftary
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781479800155
- eISBN:
- 9781479813100
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479800155.003.0005
- Subject:
- Political Science, American Politics
State-led neoliberalization is discussed through the case of rural development in Gujarat, India’s flagship state of market reforms. The essay takes neoliberalization not as given or self-evident, ...
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State-led neoliberalization is discussed through the case of rural development in Gujarat, India’s flagship state of market reforms. The essay takes neoliberalization not as given or self-evident, but as a process of reworking of the state’s boundaries with the market and civil society. State transformation in India includes a downsized rural bureaucracy recruiting temporary workers and contract NGOs to implement development, expanding women’s employment while rendering its circumstances precarious, delegating development practice to an ungoverned space in the locality, and employing techniques of self-governance among development subjects to rid the state of these responsibilities. The new state is revealed to be an improvising state, constantly departing from certainty and provisionally administering social life.Less
State-led neoliberalization is discussed through the case of rural development in Gujarat, India’s flagship state of market reforms. The essay takes neoliberalization not as given or self-evident, but as a process of reworking of the state’s boundaries with the market and civil society. State transformation in India includes a downsized rural bureaucracy recruiting temporary workers and contract NGOs to implement development, expanding women’s employment while rendering its circumstances precarious, delegating development practice to an ungoverned space in the locality, and employing techniques of self-governance among development subjects to rid the state of these responsibilities. The new state is revealed to be an improvising state, constantly departing from certainty and provisionally administering social life.
David Cameron and John Carroll
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262015332
- eISBN:
- 9780262295369
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262015332.003.0009
- Subject:
- Computer Science, Game Studies
This chapter positions machinima within current discussions of liveness in performance studies. It shows that within the incorporeal species that make up the evolving ecology of machinima exists a ...
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This chapter positions machinima within current discussions of liveness in performance studies. It shows that within the incorporeal species that make up the evolving ecology of machinima exists a continuum of performance conventions that mirrors the conventions of process drama, on the one hand, and those of improvised cinema on the other, with each grade in the range connected to a specific level of liveness. Although all variations ultimately depend on the game engines for their dramatic frame, they occupy different niches, and different communities of practice have developed around them. The machinima performance range includes the following: live puppet machinima operating for a physically present audience, or a virtual audience in a shared game space; demos and “speed runs” working as game engine replay; and “recamming” of demo data files using software to alter game engine replay.Less
This chapter positions machinima within current discussions of liveness in performance studies. It shows that within the incorporeal species that make up the evolving ecology of machinima exists a continuum of performance conventions that mirrors the conventions of process drama, on the one hand, and those of improvised cinema on the other, with each grade in the range connected to a specific level of liveness. Although all variations ultimately depend on the game engines for their dramatic frame, they occupy different niches, and different communities of practice have developed around them. The machinima performance range includes the following: live puppet machinima operating for a physically present audience, or a virtual audience in a shared game space; demos and “speed runs” working as game engine replay; and “recamming” of demo data files using software to alter game engine replay.
Karen M. Inouye (ed.)
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780804795746
- eISBN:
- 9781503600560
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804795746.003.0002
- Subject:
- History, American History: 20th Century
Chapter One examines the life and work of former inmate and sociologist Tamotsu Shibutani, and how the afterlife of a historical event can develop from a generalized sense of injustice and its costs ...
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Chapter One examines the life and work of former inmate and sociologist Tamotsu Shibutani, and how the afterlife of a historical event can develop from a generalized sense of injustice and its costs into a clear topic for scholarly study and political engagement. Though Shibutani had been interested in race relations and social disincorporation long before Executive Order 9066, and had worked for the Japanese American Evacuation and Resettlement Study where he gathered ample data for his graduate theses at the University of Chicago, nearly three decades would pass after his release from camp before he began publishing on the complexities of interpersonal experience and social disincorporation. This chapter treats that interval, as well as the work that came after it, as a study in the trajectory of afterlife from lingering memories to explicit analysis, and from personal experience to broad political engagement.Less
Chapter One examines the life and work of former inmate and sociologist Tamotsu Shibutani, and how the afterlife of a historical event can develop from a generalized sense of injustice and its costs into a clear topic for scholarly study and political engagement. Though Shibutani had been interested in race relations and social disincorporation long before Executive Order 9066, and had worked for the Japanese American Evacuation and Resettlement Study where he gathered ample data for his graduate theses at the University of Chicago, nearly three decades would pass after his release from camp before he began publishing on the complexities of interpersonal experience and social disincorporation. This chapter treats that interval, as well as the work that came after it, as a study in the trajectory of afterlife from lingering memories to explicit analysis, and from personal experience to broad political engagement.
Mark de Rond
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9781501705489
- eISBN:
- 9781501707940
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501705489.003.0009
- Subject:
- Anthropology, Medical Anthropology
The author says the last month was a record-breaking one for the field hospital in terms of blood use. Because the numbers of casualties were not significantly different from previous months, this ...
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The author says the last month was a record-breaking one for the field hospital in terms of blood use. Because the numbers of casualties were not significantly different from previous months, this meant that people were getting increasingly badly injured, fueled by more powerful and often badly contaminated improvised explosive devices. The author also discusses the controversy sparked by one of the doctors' comments that the field hospital should stop giving one of the Afghans more opiates as he wouldn't get the same pain medications in any local hospital. After mentioning the day's casualties, he describes the three helicopter crews that were in charge of the evacuation of casualties: MERT, Dustoff, and Pedro. MERT is a British-staffed medical crew, comprising a physician, one or two advanced paramedics, and an emergency nurse. Dustoff and Pedro are American-staffed helicopter crews with a limited level of medical care.Less
The author says the last month was a record-breaking one for the field hospital in terms of blood use. Because the numbers of casualties were not significantly different from previous months, this meant that people were getting increasingly badly injured, fueled by more powerful and often badly contaminated improvised explosive devices. The author also discusses the controversy sparked by one of the doctors' comments that the field hospital should stop giving one of the Afghans more opiates as he wouldn't get the same pain medications in any local hospital. After mentioning the day's casualties, he describes the three helicopter crews that were in charge of the evacuation of casualties: MERT, Dustoff, and Pedro. MERT is a British-staffed medical crew, comprising a physician, one or two advanced paramedics, and an emergency nurse. Dustoff and Pedro are American-staffed helicopter crews with a limited level of medical care.
Sherre DeLys
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9781469633138
- eISBN:
- 9781469633152
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469633138.003.0012
- Subject:
- Society and Culture, Media Studies
Sherre DeLys makes a point of bringing no consistent bag of tricks to her projects. She approaches each as an “improvised, open-ended dialogue with [her] subject.” You never know what approach she’ll ...
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Sherre DeLys makes a point of bringing no consistent bag of tricks to her projects. She approaches each as an “improvised, open-ended dialogue with [her] subject.” You never know what approach she’ll take, and neither does she, but the result is often breathtaking. Sherre ends one piece, about the late artist Derek Jarman and his seaside home, with six minutes of wordless sound: waves pulling at the shore, gulls, a bell, an electric piano. This dance of pure sound, she believes, can mesmerize us into a “slower, stiller mode that promotes reflective inquiry.”Less
Sherre DeLys makes a point of bringing no consistent bag of tricks to her projects. She approaches each as an “improvised, open-ended dialogue with [her] subject.” You never know what approach she’ll take, and neither does she, but the result is often breathtaking. Sherre ends one piece, about the late artist Derek Jarman and his seaside home, with six minutes of wordless sound: waves pulling at the shore, gulls, a bell, an electric piano. This dance of pure sound, she believes, can mesmerize us into a “slower, stiller mode that promotes reflective inquiry.”
Lawrence Tritle
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780813177571
- eISBN:
- 9780813177588
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813177571.003.0019
- Subject:
- Political Science, Conflict Politics and Policy
This chapter investigates the issue of landpower from a demographic perspective, exploring the realities of military manpower in a time when fewer than 1 percent of the American people serve in ...
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This chapter investigates the issue of landpower from a demographic perspective, exploring the realities of military manpower in a time when fewer than 1 percent of the American people serve in uniform. Since 9/11, the United States has deployed in combat situations this minority of the population in Afghanistan and Iraq, where thousands have been exposed to a new-age weapon of choice, the IED, the Improvised Explosive Device. Many hundreds have been killed or maimed for life. Many thousands more have suffered debilitating, if not life-changing, head and brain injuries. The latest generation of diagnostic tools now available to medical professionals, magnetic resonance imaging, makes clear the catastrophic damage such weapons inflict on the human brain. These findings have enhanced the scientific and popular understanding of the nature of post-traumatic stress disorder, and such precursors as Combat Fatigue, Shell Shock, and Soldier's Heart. The lingering question remains the extent to which the USgovernment and the governed will recognize and act on the revealed science.Less
This chapter investigates the issue of landpower from a demographic perspective, exploring the realities of military manpower in a time when fewer than 1 percent of the American people serve in uniform. Since 9/11, the United States has deployed in combat situations this minority of the population in Afghanistan and Iraq, where thousands have been exposed to a new-age weapon of choice, the IED, the Improvised Explosive Device. Many hundreds have been killed or maimed for life. Many thousands more have suffered debilitating, if not life-changing, head and brain injuries. The latest generation of diagnostic tools now available to medical professionals, magnetic resonance imaging, makes clear the catastrophic damage such weapons inflict on the human brain. These findings have enhanced the scientific and popular understanding of the nature of post-traumatic stress disorder, and such precursors as Combat Fatigue, Shell Shock, and Soldier's Heart. The lingering question remains the extent to which the USgovernment and the governed will recognize and act on the revealed science.
William I. Bauer
- Published in print:
- 2020
- Published Online:
- August 2020
- ISBN:
- 9780197503706
- eISBN:
- 9780197503744
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197503706.003.0003
- Subject:
- Music, Performing Practice/Studies
Grounded in the research and promising practices literature, Chapter 3 discusses concepts and skills, pedagogies, and technology related to musical creativity. Creativity is usually an assumed part ...
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Grounded in the research and promising practices literature, Chapter 3 discusses concepts and skills, pedagogies, and technology related to musical creativity. Creativity is usually an assumed part of being musical. While there are creative aspects to a variety of musical activities—for instance, developing an interpretation of a musical composition involves creative thinking—the focus in this chapter is on the development of original musical ideas through two primary musical processes, improvisation and composition. The chapter provides an overview of creativity, discusses the process of learning to improvise and compose, describes pedagogical strategies to use with students, and suggests technological tools that can support creative musical experiences. Contemporary approaches to musical creativity such as remixing and mashups are also addressed.Less
Grounded in the research and promising practices literature, Chapter 3 discusses concepts and skills, pedagogies, and technology related to musical creativity. Creativity is usually an assumed part of being musical. While there are creative aspects to a variety of musical activities—for instance, developing an interpretation of a musical composition involves creative thinking—the focus in this chapter is on the development of original musical ideas through two primary musical processes, improvisation and composition. The chapter provides an overview of creativity, discusses the process of learning to improvise and compose, describes pedagogical strategies to use with students, and suggests technological tools that can support creative musical experiences. Contemporary approaches to musical creativity such as remixing and mashups are also addressed.
Larry Kart
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300104202
- eISBN:
- 9780300128192
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300104202.003.0007
- Subject:
- Music, Theory, Analysis, Composition
This chapter discusses the music of the men surrounding pianist Lennie Tristano in the mid-1940s. Their music is usually regarded as crucial to the development of the jazz avant-garde because ...
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This chapter discusses the music of the men surrounding pianist Lennie Tristano in the mid-1940s. Their music is usually regarded as crucial to the development of the jazz avant-garde because “Intuition” and “Digression”—recorded in 1949 by an ensemble that included saxophonists Lee Konitz and Warne Marsh and guitarist Billy Bauer—are reputed to be the first “free,” totally improvised jazz performances. The Tristano ensemble's free pieces sound very Tristano-like and would seem to have little or no organic connection with the music of Ornette Coleman, Albert Ayler, Cecil Taylor, and company. The deeper significance of the Tristano-ites lies in Tristano's transformation of jazz's historical self-consciousness into a rationale for making a new kind of music.Less
This chapter discusses the music of the men surrounding pianist Lennie Tristano in the mid-1940s. Their music is usually regarded as crucial to the development of the jazz avant-garde because “Intuition” and “Digression”—recorded in 1949 by an ensemble that included saxophonists Lee Konitz and Warne Marsh and guitarist Billy Bauer—are reputed to be the first “free,” totally improvised jazz performances. The Tristano ensemble's free pieces sound very Tristano-like and would seem to have little or no organic connection with the music of Ornette Coleman, Albert Ayler, Cecil Taylor, and company. The deeper significance of the Tristano-ites lies in Tristano's transformation of jazz's historical self-consciousness into a rationale for making a new kind of music.
Omar Ashour
- Published in print:
- 2020
- Published Online:
- September 2021
- ISBN:
- 9781474438216
- eISBN:
- 9781474495554
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474438216.003.0002
- Subject:
- Society and Culture, Middle Eastern Studies
The chapter is composed of seven sections. The second section overviews the military build-up of IS and its predecessors in Iraq from October 2002 – the date when the founding leader of its ...
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The chapter is composed of seven sections. The second section overviews the military build-up of IS and its predecessors in Iraq from October 2002 – the date when the founding leader of its predecessor organizations, Abu Mus‘ab al-Zarqawi, arrived in the northeast of the country – to June 2014, the date of IS establishment and self-declaration as a “caliphate.” The third, fourth, and fifth sections outline the details of the three battlefronts of Fallujah, Mosul, and Ramadi, as a sample reflecting how ISIS/IS have fought in Iraq within specific timeframes. The sixth section of the chapter analyses how IS fights in Iraq, using empirical data and battlefield observations from the three battlefronts and elsewhere in Iraq. Finally, the concluding section focuses on the future of IS insurgency in Iraq, after losing territory and shifting back to guerrilla and terrorism strategies and tactics.Less
The chapter is composed of seven sections. The second section overviews the military build-up of IS and its predecessors in Iraq from October 2002 – the date when the founding leader of its predecessor organizations, Abu Mus‘ab al-Zarqawi, arrived in the northeast of the country – to June 2014, the date of IS establishment and self-declaration as a “caliphate.” The third, fourth, and fifth sections outline the details of the three battlefronts of Fallujah, Mosul, and Ramadi, as a sample reflecting how ISIS/IS have fought in Iraq within specific timeframes. The sixth section of the chapter analyses how IS fights in Iraq, using empirical data and battlefield observations from the three battlefronts and elsewhere in Iraq. Finally, the concluding section focuses on the future of IS insurgency in Iraq, after losing territory and shifting back to guerrilla and terrorism strategies and tactics.
Hans Boutellier
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9781529203752
- eISBN:
- 9781529203943
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781529203752.003.0002
- Subject:
- Sociology, Law, Crime and Deviance
This chapter first looks at the information age and its networking mindset. It then examines three tenets from the study of complex systems: structure, synchrony, and stability. It describes the ...
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This chapter first looks at the information age and its networking mindset. It then examines three tenets from the study of complex systems: structure, synchrony, and stability. It describes the concept of ‘improvising society’, which refers to new social forms of processing alignment and fine-tuning. In both tightly structured and more fluid compositions, arrangements and spontaneous play produce a kaleidoscopic image of networks, clusters and subcultures. The improvising society reflects the new institutional relations. Institutions develop on the basis of tradition and renewal, and give society stability. The alignment of one actor (person, organization) with another actor, and vice versa, ad infinitum, is the ordering process of the current network society.Less
This chapter first looks at the information age and its networking mindset. It then examines three tenets from the study of complex systems: structure, synchrony, and stability. It describes the concept of ‘improvising society’, which refers to new social forms of processing alignment and fine-tuning. In both tightly structured and more fluid compositions, arrangements and spontaneous play produce a kaleidoscopic image of networks, clusters and subcultures. The improvising society reflects the new institutional relations. Institutions develop on the basis of tradition and renewal, and give society stability. The alignment of one actor (person, organization) with another actor, and vice versa, ad infinitum, is the ordering process of the current network society.
Paola Giuli
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9780804759045
- eISBN:
- 9780804787543
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804759045.003.0013
- Subject:
- History, European Modern History
In the second half of the eighteenth century, women became most acclaimed and prominent improvisers in Italy. Women improvisers such as Maria Maddalena Morelli, Teresa Bandettini, and Fortunata ...
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In the second half of the eighteenth century, women became most acclaimed and prominent improvisers in Italy. Women improvisers such as Maria Maddalena Morelli, Teresa Bandettini, and Fortunata Sulgher Fantastici were especially popular and successful. This chapter explores the social and aesthetic foundations that contributed to the emergence of improvising and the success of women improvisers in eighteenth-century Arcadia and Italy.Less
In the second half of the eighteenth century, women became most acclaimed and prominent improvisers in Italy. Women improvisers such as Maria Maddalena Morelli, Teresa Bandettini, and Fortunata Sulgher Fantastici were especially popular and successful. This chapter explores the social and aesthetic foundations that contributed to the emergence of improvising and the success of women improvisers in eighteenth-century Arcadia and Italy.