Computer Music Journal最新文献_第6页

Paisaje Sonoro Social: Socially Engaged Soundscapes in Mexico Paisaje Sonoro Social：墨西哥的社交声景

Computer Music Journal Pub Date : 2022-06-01 DOI: 10.1162/comj_a_00638

Mario Alberto Duarte-García;Emma Wilde

引用次数: 0

Sound Anthology: Program Notes 声音选集:节目说明

Computer Music Journal Pub Date : 2022-06-01 DOI: 10.1162/comj_e_00643

Rodrigo F. Cádiz;Federico Schumacher

{"title":"Sound Anthology: Program Notes","authors":"Rodrigo F. Cádiz;Federico Schumacher","doi":"10.1162/comj_e_00643","DOIUrl":"10.1162/comj_e_00643","url":null,"abstract":"Electroacoustic music has a long and rich tradition in Latin America, despite the many instances of political and economic turbulence that the region has experienced throughout its existence. Without much public or private support, composers such as Maurico Kagel, Reginaldo Carvalho, Jorge Antunes, José Vicente Asuar, Juan Amenabar, Juan Blanco, Carlos Jiménez Mabarak, and Franciso Kröpfl, among many others, established the foundations of what is now a vibrant and active Latin American computer music community. Ricardo Dal Farra’s article in this special issue, which we encourage the reader to visit, provides a profound and important account of the development of this genre in the region. One interesting fact to emphasize is that, in an era when communications were not as rapid and abundant as they are today, the time gap between the first European compositions of musique concrète and electronic music and their Latin American counterparts was not very long. The first Latin American works, created by Kagel, date from the early 1950s, and in 1956 the first Chilean and Brazilian pieces were composed. This, we believe, is evidence suggesting that the history and advances of this genre in the Latin American regions are as rich and important as the better-known European or North American equivalents. Another important aspect of the computer music of Latin America","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"136-140"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42263312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Editors' Notes 编辑笔记

Computer Music Journal Pub Date : 2022-06-01 DOI: 10.1162/comj_e_00641

Rodrigo F. Cádiz;Federico Schumacher

引用次数: 0

Products of Interest 感兴趣的产品

Computer Music Journal Pub Date : 2022-06-01 DOI: 10.1162/comj_r_00631

引用次数: 0

An Electronic Bandoneon with a Dynamic Sound Synthesis System Based on Measured Acoustic Parameters 一种基于实测声学参数的动态声合成系统电子Bandoneon

Computer Music Journal Pub Date : 2022-06-01 DOI: 10.1162/comj_a_00636

Juan Ramos;Esteban Calcagno;Ramiro Vergara;Joaquín Rizza;Pablo Riera

引用次数: 0

James Dashow: Soundings in Pure Duration, Volume 2 詹姆斯·达肖：《纯粹持续时间的声音》，第2卷

Computer Music Journal Pub Date : 2022-06-01 DOI: 10.1162/comj_r_00642

Ross Feller

引用次数: 0

Life Expectancy after Liver Transplantation for NASH. NASH 肝移植后的预期寿命。

IF 0.8

Computer Music Journal Pub Date : 2022-03-30 DOI: 10.1177/15269248221087441

Robert M Shavelle, Rachel C Saur, Ji Hun Kwak, Jordan C Brooks, Bilal Hameed

{"title":"Life Expectancy after Liver Transplantation for NASH.","authors":"Robert M Shavelle, Rachel C Saur, Ji Hun Kwak, Jordan C Brooks, Bilal Hameed","doi":"10.1177/15269248221087441","DOIUrl":"10.1177/15269248221087441","url":null,"abstract":"Introduction: Non-Alcoholic Steatohepatitis is an increasing reason for liver transplantation in the western world. Knowledge of recipient life expectancy may assist in prudent allocation of a relatively scarce supply of donor livers. Research Questions: We calculated life expectancies for Non-alcoholic steatohepatitis (NASH) patients both at time of transplant and one year later, stratified by key risk factors, and examined whether survival has improved in recent years. Design: Data on 6635 NASH patients who underwent liver transplantation in the MELD era (2002-2018) from the United States OPTN database were analyzed using the Cox proportional hazards regression model and life table methods. Results: Factors related to survival were age, presence of diabetes or hepatic encephalopathy (HE), and whether the patient required dialysis in the week prior to transplant. Other important factors were whether the patient was working, hospitalization prior to transplant, ventilator support, and length of hospital stay (LOS). Survival improved over the study period at roughly 4.5% per calendar year during the first year posttransplant, though no improvement was observed in those who had survived one year. Conclusion: Life expectancy in NASH transplant patients was much reduced from normal, and varied according to age, medical factors, status at transplant, and post transplant course. Over the 17-year study period, patient survival improved markedly during the first year posttransplant, though not thereafter. The results given here may prove helpful in medical decision-making regarding treatment for both liver disease and other medical conditions, as they provide both clinicians and their patients with evidence-based information on prognosis.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"8 1","pages":"15269248221087441"},"PeriodicalIF":0.8,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90995353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Printing and Publishing of Music 音乐印刷出版

Computer Music Journal Pub Date : 2022-01-12 DOI: 10.1093/obo/9780199757824-0306

{"title":"Printing and Publishing of Music","authors":"","doi":"10.1093/obo/9780199757824-0306","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0306","url":null,"abstract":"This article covers the dissemination of musical scores by technical means. The function of both printing and publication is to produce multiple copies of a work or a group of works and to arrange for the distribution of those copies to many purchasers. This requires diverse skills: on the one hand, the ability to print, involving preparing a copy of the music in a form suitable for the printing press, and then producing the copies; on the other, to make marketing decisions, to handle advertising and distribution of copies to individuals or to music shops, and to budget and plan for profits. Since the first printed music produced by Ottaviano Petrucci at the beginning of the 16th century, printing has been developed in Europe on a broad scale. Its technical requirements have changed from movable type to engraving, lithography, and, most recently, the computer. Entries are arranged to cover these activities separately, and then provide an introduction to bibliography, the scholarly study of both activities. Descriptive bibliography and analytic bibliography are recent in the field of music; they have been primarily devoted to the study of the printers and publishers from the 16th to the 18th centuries established in the main centers in Europe, including Venice, Paris, Antwerp, Frankfurt, London, and Vienna. Specific topics have become of increasing interest in recent years, including patterns of distributing copies and reaching markets and music appearing in general cultural periodicals and magazines. In addition, two subjects have risen to importance, the first, the paratext, or matters of design, which is sparsely discussed in connection with music; and the second, the place of music and its editions in cultural and intellectual history. Use of printed music has changed during the 20th century. Employed as a mean for performing and circulating music among musicians, professionals, and amateurs during four centuries, printed music became a support to produce performing rights when audiovisual media became the main access to music. Another important evolution has been the production of different kind of editions. During a long period, publishers sold the music written day by day for the entertainment of specific groups in society and for a specific purpose—liturgy, concert life, house music. Following a growing interest in the music of the past, they began to produce collected works and critical editions that reconcile mass production to the quality of the publishing.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79207013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Thomas “Mukanya” Mapfumo and Songs of Protest in Colonial and Post-Independence Zimbabwe 托马斯·马普福莫与津巴布韦殖民地和独立后的抗议歌曲

Computer Music Journal Pub Date : 2022-01-12 DOI: 10.1093/obo/9780199757824-0308

{"title":"Thomas “Mukanya” Mapfumo and Songs of Protest in Colonial and Post-Independence Zimbabwe","authors":"","doi":"10.1093/obo/9780199757824-0308","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0308","url":null,"abstract":"This bibliography covers scholarship on selected protest songs of the musician Thomas “Mukanya” Mapfumo (b. 1945) that were written in colonial and postcolonial Zimbabwe. In keeping with the Marxist cultural theoretical orientation that is evident in research on this subject, the organization of these entries traces the sociopolitical engagement of Mapfumo’s songs that reflect praise and dissent during the Second and Third Chimurenga wars of political liberation, respectively. Discourse on Zimbabwe’s economic challenges has positive and negative interpretations. Mamdani 2005 and Bond and Manyanya 2002 (both cited under General Overview) state that the Zimbabwe African National Union-Patriotic Front (ZANU-PF) inherited an economy that had already suffered due to pre-independence policies. Dossa 2007 (under General Overview) argues that development is meant to perpetuate Western dominance. Manjengwa 2007 (under General Overview) blames the ruling party’s top-down approach in implementing development programs. The first section of the bibliography analyzes the songs “Pfumvu paruzevha,” “Kuyaura,” “Chiruzevha chapera,” and “Tumira vana kuhondo,” which Mukanya composed to express the experiences of Zimbabweans during colonialism. Zimbabweans’ way of life was disrupted and Mukanya mirrored this cultural upset through protest songs. The songs resonated well with the ideology of the ZANU-PF. Soon after independence, Mapfumo sang celebration songs (“Zimbabwe” and “Rakarira jongwe”). The second section examines protest songs penned after independence (“Varombo kuvarombo,” “Ndiani waparadza musha,” “Musatambe nenyika,” “Disaster,” “Corruption,” “Mamvemve,” “Maiti kurima hamubvire,” “Chauya chauya,” and “Ndangariro”). The scenario deteriorated due to alleged misgovernance by the ruling ZANU-PF elite, a situation that attracted Mukanya’s criticism. The bibliography traces how the transition of ZANU-PF from heroes to villains is portrayed through Mukanya’s music. During the armed struggle, Mapfumo sided with the liberation war movement. This changed after independence, and Mapfumo allegorically poses questions pointing at the empty promises ZANU-PF leaders made to uplift Zimbabweans’ standard of living. Mukanya sang about the contested land redistribution in Zimbabwe. Consequently, Mapfumo was stalked by state repressive agents until he fled to live in exile in the United States in 2000. He yearned for Ubuntu philosophy, nationalism, and unity. People may differ ideologically, but they ought to accept one another as a nation. This fosters positive peace, which Zimbabweans have yearned for over four decades. Mapfumo wants people to be economically empowered. He has been incarcerated before and he is fearless. Chimurenga music is a voice for the downtrodden masses. Mukanya’s songs that have explicit political messages were banned from airplay by the government. Mapfumo has remained united with the people he is fighting for despite living in exile. Mapfumo uses m","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78408733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Narrative, Activism, and Aesthetics: Composing Electroacoustic Music for Mexicans 叙事、行动主义和美学:为墨西哥人创作电声音乐

Computer Music Journal Pub Date : 2022-01-01 DOI: 10.1162/comj_a_00634

Rosalia Soria Luz

引用次数: 0