Igbo Master Musician

1986 ◽  
Vol 14 (2) ◽  
pp. 126 ◽  
Author(s):  
Joshua Uzoigwe ◽  
Israel Anyahuru
Keyword(s):  
Master Musician

Place, Meaning, Comunity, and In-Betweenness

2017 ◽  
Author(s):  
Lee Bidgood
Keyword(s):  
Motivating Factors ◽  
Place Meaning ◽  
Master Musician ◽  
The Aesthetic ◽  
The Way

The author presents bluegrass as a practice of in-betweenness, a way of dealing with authenticity, place, and genre. Scenes from a bluegrass workshop, a Prague pub jam, and an analysis of the the way musicians talk about their musical goals shows that Czech bluegrassers' projects are rooted in reality, nostalgia, imagination, and a mix of all three. The frame of musical pragmatics provides a way to consider these motivating factors, and how they play out socially. The author explains the methodology bi-musicality gained not as the disciple of a master musician, but as a student of the aesthetic, interpersonal, and transnational aspects of Czech bluegrass.

Strauss: Master Musician

1977 ◽  
Vol 118 (1607) ◽  
pp. 35
Author(s):  
Michael Kennedy
Keyword(s):  
Master Musician

Beethoven, Master Musician

Notes ◽  
1947 ◽  
Vol 4 (2) ◽  
pp. 184
Author(s):  
Virginia Cunningham ◽  
Madeleine Goss ◽  
Ann M. Lingg
Keyword(s):  
Master Musician

Ustad Ali Akbar Khan: Master Musician of India: Raga Chandranandan; Raga Gauri Manjari

1966 ◽  
Vol 10 (2) ◽  
pp. 242
Author(s):  
Walter Kaufmann ◽  
James Lyons ◽  
Swami Vidyananda
Keyword(s):  
Master Musician

Berlioz, Master Musician

1967 ◽  
Vol 108 (1491) ◽  
pp. 423
Author(s):  
David Cairns ◽  
J. H. Elliot
Keyword(s):  
Master Musician

Tejano Music in the Urbanizing Midwest: The Musical Story of Conjunto Master Jesse Ponce

2009 ◽  
Vol 3 (2) ◽  
pp. 195-219 ◽  
Author(s):  
DAVID HARNISH
Keyword(s):  
Cultural Capital ◽  
Early Life ◽  
San Antonio ◽  
Recent History ◽  
Cultural Institutions ◽  
Musical Identity ◽  
History Of ◽  
Master Musician ◽  
Aesthetic Preferences ◽  
Latino Communities

AbstractThis article explores the story and agency of conjunto master musician Jesse Ponce from his early life in San Antonio to his migration to northwest Ohio as an “authentic” Tejano (Texas-Mexican) musician. Although Ponce used this status as a form of cultural capital to construct his identity, integrate into local Latino communities, and interface with Latino cultural institutions, three outside agents, including the author, worked to publicize his expertise in Ohio, which, in turn, led to new acknowledgment and self-identification. The recent history of the “traditional” conjunto style is revealed as paralleling Ponce's career and aesthetic preferences. Both are in slight decline: Ponce, because of his failing health and resulting fewer performance opportunities; traditional conjunto, because of the rise of a more virtuosic “progressive” styleBourdieu's notion of cultural capital and Loza's concept of enculturation are utilized to explicate Ponce's experience and self-construction in urbanizing northwest Ohio. The author's experiences with Ponce (as promoter and musician) are included to demonstrate the constant negotiations between Ponce, his musical identity and authority, and the outside world

A System for Tuning Instruments Using Recorded Music Instead of Theory-Based Frequency Presets

2012 ◽  
Vol 36 (3) ◽  
pp. 43-56 ◽  
Author(s):  
Barış Bozkurt
Keyword(s):  
Visual Feedback ◽  
Musical Instrument ◽  
Oral Traditions ◽  
Audio Feedback ◽  
Twelve Tone ◽  
Musical Scale ◽  
Scale Theory ◽  
Tuning Method ◽  
Fundamental Frequencies ◽  
Master Musician

Musical instrument tuners are devices that help musicians to adjust their instruments such that the played notes have the desired fundamental frequencies. In a conventional tuner, the reference tuning frequencies are preset, where the presets are obtained from tuning (musical scale) theory, such as twelve-tone equal temperament, or are user-specified temperaments. For many kinds of music in oral traditions, especially nonwestern music, widely accepted theoretical presets for tuning frequencies are not available because of the use of non-standard tunings. For such contexts, the “reference” is a master musician or a recording of a master musician. In this article, a tuning method and technology are presented that help the musician to tune the instrument according to a given (user-provided) recording. The method makes use of simultaneous audio and visual feedback during the tuning process, in which novel approaches are used for both modalities. For audio feedback, loopable stable frames, obtained automatically from the recording, are looped and played continuously. For visual feedback, a superimposed plot of the auto-difference functions is displayed instead of the conventional tuner's approach of detecting frequencies and displaying the amount of frequency difference between the input and the reference.

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